Select Jewellery & Watches | Auction 17th October in London

SELECT JEWELLERY & WATCHES

17TH OCTOBER 2023

LONDON | LIVE ONLINE

Front cover Lots 108 & 126

Left Lots 78 & 192

Sale Number LT758

CONTACT

LONDON

+44 (0) 207 930 9115

info@lyonandurnbull.com

VIEWING

22 Connaught Street, London, W2 2AF

Thursday 12 October 6pm-8pm

Friday 13 October 10am-5pm

Saturday 14 October 11am-3pm

Monday 16 October 10am-5pm

BIDDING AT THIS SALE

ONLINE, TELEPHONE & COMMISSION BIDDING

There will be no in-room

bidding for this auction

Please see the guide on p128

BUYER'S GUIDE

BUYER’S PREMIUM

The buyer shall pay the hammer price together with a premium, at the following rate, thereon:

26% up to £20,000

25% from £20,001 to £500,000 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

No VAT is payable on the hammer price or premium for books bought at auction.

WATCHES

Please note that all watches sold at auction are pre-owned and buyers are recommended to refer to condition reports. Condition reports for all watches are made without any guarantee as to the working condition beyond the point at which the report is written. Buyers should assume that any watch purchased at auction will require regular, and often immediate, servicing. Originality of parts, forming the structure of the watch and its bracelet/strap and all constituent parts, and the internal movement, should not be assumed. Originality is not guaranteed in any form. Unless otherwise stated, all watches will have been opened during the cataloguing process. It must therefore be assumed that the waterproof seal will need to be reinstated by a competent watch maker. If the watch caseback has not been opened and the movement has not been

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).

accessed, nothing pertaining to the movement’s originality or condition should be assumed by the buyer.

REGISTRATION

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/ bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol )

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold

‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT

Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES

Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the United Kingdom. For more information visit http:// www.defra.gov.uk/ahvla-en/ imports-exports/cites

COLLECTION OF PURCHASED LOTS

Lots will be available to collect from 22 Connaught Street, London W2 2AF from Tuesday 17 October. All collections will be by appointment only (this applies to both carriers and personal collections).

Please contact 0207 930 9115 or london@lyonandturnbull.com to make an appointment.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.

Please note we are unable to take payments over the phone.

Silver, Jewellery & Watches 22.2

MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

Charlotte Peel Head of Department (London) charlotte.peel@lyonandturnbull.com

Ruth Davis Head of Department (Edinburgh) ruth.davis@lyonandturnbull.com

Kier Mulholland Administrator & Junior Specialist kier.mulholland@lyonandturnbull.com

Kathryn Jolley Junior Specialist, Jewellery kate.jolley@lyonandturnbull.com

SELECT JEWELLERY

1

AN EARLY 19TH CENTURY GIARDINETTO RING

Set with a cabochon garnet within an openwork foliate scroll surround, set with rose-cut diamonds, emeralds and a sapphire in foiled closed back settings

Ring size: N

£400-600 2

A

The six petals and central cluster set throughout with foiled white paste, in closed back settings

Length: 5.0cm

£300-500

3

AN EARLY 20TH CENTURY NATURAL PEARL AND DIAMOND PENDENT BROOCH

The drop-shaped pearl, measuring 10.311.8 x 16.2mm, with a single-cut diamond cap, to a millegrain-set old brilliant-cut diamond five-stone bar brooch in polished halo surrounds and diamond connector

Accompanied by a GCS report stating that the pearl was found to be natural of saltwater origin. Report no. 5783-3801, dated 18th August 2023.

Length: 4.3cm

£3,000-5,000

GEORGIAN PASTE BROOCH, CIRCA 1800

4

Each cultured pearl to a tapered 18ct gold cap and hook of matt finish, UK hallmarks

Length: 5.3cm

£300-500

5

GIOVANNI

Each carved turquoise cameo of a classical profile within a circular shield with seed pearl border, suspending three cultured pearl and seed pearl line pendants, post and clip fittings

Length: 7.0cm

£800-1,200

6 A CULTURED PEARL AND

Of hinged crossover design, the terminals set with an 11.9mm cultured pearl and an 11.5mm golden cultured pearl, each to a tapered shoulder pavé-set with brilliant-cut diamonds, French assay and maker’s mark Inner diameter: 6.0cm

£2,000-3,000

A PAIR OF CULTURED PEARL EARRINGS

MANETTI: A PAIR OF TURQUOISE AND CULTURED PEARL EARRINGS

DIAMOND BANGLE

A DIAMOND SINGLE-STONE RING

The brilliant-cut diamond, weighing 5.59 carat, claw-set to an 18ct gold band, UK hallmark

Ring size: N

£16,000-20,000

£800-1,200

A PAIR OF CULTURED PEARL EARRINGS, 1970S

Each cultured pearl with a textured claw mount, to a four-sided textured rod connector and tiered abstract design surmount, post fittings, Dutch marks

Length: 4.5cm

£300-500

ALBION CRAFT COMPANY: A ROSE QUARTZ BROOCH, 1972

The rose quartz crystal within a 9ct gold textured tendril surround, UK hallmark, maker’s mark AC.Co.

Length: 6.0cm

Set with five brilliantcut diamonds, between overlapping textured 18ct gold batons, maker’s mark

E&W, UK hallmark

Ring size: N

£400-600

11

KUTCHINSKY: A SAPPHIRE AND DIAMOND BROOCH, 1967

Of abstract design, composed of textured 18ct gold rods accented with circular-cut sapphires and brilliant-cut diamonds, signed Kutchinsky, maker’s mark, UK hallmark

Length: 7.9cm

£1,800-2,200

12

Set with a cluster of circular-cut white and blue sapphires, to a radiating textured rod surround and shoulders, rubbed marks

Ring size: J

£300-500

A DIAMOND DRESS RING, 1975

A SAPPHIRE-SET RING, 1974

CHARLES DE TEMPLE: A DIAMOND-SET NECKLACE, 1965

Composed of a graduated series of 18ct white gold undulating tapered links, mostly accented with brilliant-cut diamonds, the front suspending a similarly-set fringe, signed CdeT, UK hallmark

Length: 43.5cm

£1,200-1,500

14 §

ANDREW GRIMA: A RUBY AND DIAMOND RING, 1979

Collet-set with a cabochon ruby, between crossover design brilliant-cut diamond shoulders, signed Grima, rubbed maker’s mark, UK hallmark

Ring size: R

£2,000-3,000

Composed

maker’s mark JAD, partial UK hallmark

Length: 47.0cm

£1,800-2,200

JOHN DONALD: AN 18CT WHITE GOLD NECKLACE, 1970S

of single or double openwork crescent-shaped links with beadwork decoration,

16

CHARLES DE TEMPLE: AN AQUAMARINE AND DIAMOND RING AND EARRINGS, 1970S

Each set with a pear-shaped aquamarine within a bi-coloured openwork surround of textured design, accented with brilliant-cut diamonds, earrings signed CdeT, ring unsigned

Ring size: K, earring length: 3.1cm

From the estate of the late Elfrieda Fluss, milliner to HM Queen Elizabeth Elfrieda Fluss was born in Moravia in 1914 and fled to England in 1939. Working at a hat factory in Luton, it was not long before she was discovered by a visiting milliner. She set up her own boutique on South Molton Street in 1947 and was invited to show her collections to the Queen soon after and continued to supply hats for her for many years. She was responsible among others for the distinctive tricorn hat worn every year by the Queen for the Trooping of the Colour.

£6,000-8,000

17

CHARLES DE TEMPLE: A LAPIS LAZULI AND CULTURED PEARL NECKLACE, 1965

Composed of alternating lapis lazuli bead and cultured pearl sections, interspersed with 18ct gold rondelles, signed CdeT, UK hallmark

Length: 75.0cm

£700-900

18

AN AQUAMARINE AND DIAMOND RING

The cut-cornered square-cut aquamarine, to a singlecut diamond surround and shoulders

Ring size: I/J

£1,200-1,500

19

A CONTINENTAL AQUAMARINE DESK SEAL

The facetted aquamarine handle, mounted in silver with an oval matrix, with engraved cypher in a scroll border

Length: 4.5cm, matrix: 2.2cm x 1.9cm

£300-500

20

A PAIR OF AQUAMARINE AND DIAMOND EARRINGS

Each composed of a rectangular mixed-cut aquamarine between two oval-cut aquamarines, each within a brilliant-cut diamond surround, post fittings

Length: 3.8cm

£1,200-1,500

AN OPAL AND AQUAMARINE PENDANT

The oval cabochon opal, within a brilliant-cut diamond frame, suspending three graduated aquamarine drops with diamond connectors, to a pear-shaped aquamarine surmount, on a fine-link chain

Lengths pendant 3.9cm, chain 45.5cm £1,600-2,000

22

A PAIR OF AQUAMARINE AND DIAMOND EARRINGS

Each facetted aquamarine drop, to a brilliant-cut diamond line surmount, post fittings

Length: 4.6cm

£1,000-1,500

23

AN UNMOUNTED

24

AN UNMOUNTED

OPAL

The pear-shaped cabochon opal, weighing 5.33ct £700-900

OPAL

The oval cabochon opal, weighing 14.40ct £3,000-5,000

AN UNMOUNTED BLACK OPAL

The oval cabochon black opal, weighing 12.29ct £2,000-3,000

AN UNMOUNTED OPAL

The triangular cabochon opal, weighing 13.64ct £800-1,200

AN UNMOUNTED BOULDER OPAL

The oval boulder opal plaque, weighing 19.41ct £400-600

TIFFANY & CO: A DIAMOND ‘JAZZ’ PENDANT

Collet-set with six graduated brilliant-cut diamonds mounted in platinum, to a curb-link chain, signed Tiffany & Co, UK hallmarks

Length: 2.4cm

£800-1,200

29

A DIAMOND LINE BRACELET

Set with a continuous row of brilliant-cut diamonds in fourclaw mounts

Length: 18.0cm

£3,500-4,500

A PAIR OF ROCK CRYSTAL, SAPPHIRE AND DIAMOND EARRINGS, BY FEI LIU

Each carved rock crystal heart to a pear-shaped sapphire surmount, within brilliant-cut diamond surrounds, mounted in 18ct white gold, post fittings, maker’s mark, UK hallmark

Length: 3.2cm

£1,600-2,000

A GEM-SET DRESS RING

The old brilliant-cut diamond raised above a pierced plaque set with lines of calibré-cut sapphires, tsavorite garnets and brilliant-cut diamonds

Ring size: N

£1,800-2,200

32

A SAPPHIRE AND DIAMOND BRACELET

Composed of alternating brilliant-cut diamond circlets and calibré-cut sapphire line connectors

Length: 18.0cm

£2,500-3,000

33

A PAIR OF SAPPHIRE AND DIAMOND CLUSTER EARRINGS

Each oval-cut sapphire within a brilliant and baguette-cut diamond surround, post fittings

Length: 1.4cm

£3,600-4,000

A SAPPHIRE AND DIAMOND BROOCH

Designed as a circlet of vari-sized old brilliant-cut diamonds, within a radiating surround of oval cabochon sapphires

Length: 4.3cm

£1,000-1,500

A PAIR OF PERIDOT AND DIAMOND EARRINGS

Each pear-shaped peridot and brilliant-cut diamond cluster, to a diamond-set surmount, post fittings

Length: 2.7cm

£1,800-2,500

35

34

35

A MOSS AGATE AND CITRINE PENDANT

The tapered drop-shaped moss agate plaque held by foliate design claws, to a pear-shaped citrine surmount and brilliant-cut diamond cluster connector, on a fine-link chain

Length: 4.9cm

£400-600

A COLOURED SAPPHIRE LINE BRACELET

Composed of a continuous row of collet-set oval and pear-shaped blue, green and yellow sapphires in graduating hues

Length: 17.0cm

£1,200-1,500

38

A 19TH CENTURY RENAISSANCE REVIVAL PENDANT

The stylised floral motif between two trumpeters, decorated with polychrome enamel, accented with circularcut rubies and table-cut emeralds, to a belcher-link chain, indistinct assay mark, maker’s mark HB

Length: pendant 4.0cm, chain 52.0cm

£700-1,000

39

A 19TH CENTURY RENAISSANCE REVIVAL GEM-SET BROOCH/ PENDANT

The pierced cartouche with enamel detail throughout, collet-set with table-cut emeralds, rubies and diamonds, claw-set with a triangular-cut diamond, suspending three pearl drops, engraved detail to the reverse, pearls untested

Length: 7.0cm

£1,000-1,500

40

A RENAISSANCE REVIVAL GEM-SET PENDANT

Modelled as a bird with outstretched wings between scrolling foliate motifs, enamel detail to front and reverse, set with oval-cut rubies, a table-cut emerald and graduated pearls, pearls untested

Length: 8.5cm

£500-700

A 19TH CENTURY RENAISSANCE REVIVAL PEARL AND GEM-SET PENDANT

Modelled as a sphinx, the body formed of a baroque pearl, the mount with enamel detail, suspended from a seed pearl chain, with a garnet and white enamel connector, to an associated silver-gilt belcher-link chain, indistinct marks, pearls untested Length of pendant: 7cm, chain 63.0cm £2,000-3,000

42

A GEM-SET NOVELTY BROOCH

Modelled as a sitar player, the body and legs formed of oval cabochon chalcedony, the head a cultured pearl, with cabochon ruby accents

Length: 7.5cm

£700-1,000

43

A GEM-SET NOVELTY BROOCH

Modelled as a propeller airplane, pavé-set throughout with brilliant-cut diamonds, with calibrécut sapphire lines and circular-cut ruby accents

Width: 4.7cm

£1,800-2,200

44

A PINK TOURMALINE DRESS RING

The cushion-shaped fancy-cut pink tourmaline collet-set to a 22ct gold mount, UK hallmark

Ring size: L

£700-900

45

A PINK TOURMALINE NECKLACE

Suspending graduated clusters of facetted pink tourmaline beads, to an S-shaped 18ct gold clasp, UK hallmark

Length 42.5cm

£1,200-1,500

46

A PAIR OF CHRYSOPRASE PENDENT EARRINGS

Each collet-set pear-shaped chrysoprase surmount, suspending an 18ct gold lozenge-shaped frame with four chrysoprase drops, post fittings

Length: 4.5cm

£300-500

47

A GEM-SET DRESS RING

Channel-set with square-cut citrine, topaz, garnet, amethyst and peridot, with brilliant-cut diamond line detail

Ring size: N

£300-500

48

A PAIR OF GEM-SET EARRINGS

Each channel-set with three rows of square-cut citrine, peridot, amethyst, garnet and topaz, post and clip fittings

Length: 2.1cm

£400-600

A GEM-SET NECKLACE

The front composed of a series of tapered links, each channel set with three square-cut peridot, citrine, tourmaline, garnet, amethyst or topaz, with brilliant-cut diamond detail to a curved brick-link chain

£1,200-1,800

A RUBY AND DIAMOND NECKLACE AND PAIR OF EARRINGS

The necklace set to the front with a line of brilliant-cut diamonds, suspending seven polished ruby drops with brilliant-cut diamond surmounts, to a fancy-link back chain, the earrings en suite, post fittings

Lengths: necklace 40.5cm, earrings 4.5cm £1,200-1,800

51

A DIAMOND CROSS PENDANT

The Latin cross set with eleven brilliant-cut diamonds, to a fancy-link chain

Length: 3cm

£600-800

52

A DIAMOND SINGLESTONE RING

The brilliant-cut diamond in a four-claw mount

Ring size: O

£8,000-10,000

53

A PAIR OF PINK TOURMALINE AND DIAMOND EARRINGS

Composed of three graduated pear-shaped brilliant-cut diamond frames, each suspending a flat briolette-cut pink tourmaline swing centre, post fittings

Length: 4.0cm

£800-1,200

MRS NEWMAN: A GARNET, DIAMOND AND ENAMEL PENDANT, CIRCA 1900

The scrolling white enamel cartouche with black enamel dots, set with oval-cut garnets and old brilliant-cut diamonds, centring on a split pearl and old brilliant-cut diamond cluster, later central cluster and brooch fitting, signed Mrs N

Length: 5.3cm

£1,800-2,200

55

CARLO GIULIANO: A DIAMOND AND ENAMEL BROOCH, 1860S

The circular plaque with beadwork border, decorated with filigree motifs and accented with turquoise and white enamel, centring on an old brilliant-cut diamond, maker’s mark C.G

Length: 3.2cm

£1,200-1,500

56

A NEO-GOTHIC MOONSTONE RING, 1872

The oval cabochon moonstone within a hexagonal 15ct gold plaque, between pierced and engraved shoulders, UK hallmark, maker’s mark W.R

Ring size: N

£300-500

57

AN ITALIAN MICROMOSAIC CROSS

PENDANT, CIRCA 1870

The Latin cross with circular terminals decorated with micromosaic symbols of peace, the centre a circular image of a putto, the arms with the words ‘IN PAX DEO’, within ropetwist borders, Papal gold marks, maker’s mark

Length: 7.0cm

£400-600

A RUBY FRINGE NECKLACE

Suspending an alternating series of graduated ruby drops and vari-sized 18ct gold discs, on a cable-link chain, UK hallmark Length 45.5cm

£800-1,200

59

A GEM-SET DRESS RING

Of torc design, the sky blue enamel band with rose-cut diamond lines, to circular terminals with cabochon sapphire centres, rose-cut diamond surrounds and galleries

Ring size: O

£400-600

60

A DIAMOND SINGLE-STONE PENDANT

The rose-cut diamond collet-set in a partly blackened 18ct gold closedback mount, to a trace-link chain, pendant with UK hallmark

Lengths: pendant 1.5cm, chain 42cm

£400-600

61 Y

A PAIR OF INDIAN GEMSET EARRINGS

Each crescent set with turquoise slices, suspending a tassel of coral and red paste beads

Length 2.5cm

£400-600

62

AN INDIAN TURQUOISE AND SEED PEARL CHOKER AND BRACELET

Each composed of a graduated series of collet-set cabochon turquoise sections, strung on twin seed pearl strands, the choker to a three-strand seed pearl back chain (2)

Lengths: 34.5cm, 18.5cm £1,000-1,500

63

AN INDIAN TURQUOISE AND PINK TOURMALINE PENDANT

The openwork foliate cartouche set with cabochon turquoise, suspending a polished pink tourmaline drop Length: 6.4cm

£700-900

64

A CULTURED PEARL, TURQUOISE AND DIAMOND NECKLACE

The graduated row of 4.68-9.19mm cultured pearls, to a late 19th century cabochon turquoise and old mine-cut diamond clasp

Length: 80.5cm

£500-700

64 65

65

A DIAMOND SINGLE-STONE RING

The old brilliant-cut diamond in an eightclaw mount

66

A LATE 19TH CENTURY TURQOUISE AND DIAMOND NECKLACE, CIRCA 1890-1900

Alternately set with a graduated series of old brilliantcut diamond three-stone sections and oval cabochon turquoise, the front suspending a graduated fringe of alternating cabochon turquoise single-stone drops and turquoise and diamond clusters

Length: 43.0cm

£6,000-8,000

67

A PAIR OF LATE 19TH CENTURY DIAMOND AND SAPPHIRE BROOCHES, CIRCA 1890

Of opposing design, each modelled as a stylised dolphin with old brilliant-cut diamond body and cabochon sapphire eyes, mounted in silver and gold, pendant fittings, two diamonds deficient, brooch fittings not currently detachable

Lengths: 4.7cm

£1,500-2,500

68

A DIAMOND CLUSTER RING

69

A DIAMOND SINGLE STONE RING

The brilliant-cut diamond within a brilliant-cut diamond surround

Ring size: J £1,800-2,500

The brilliant-cut diamond in a six-claw mount, maker’s mark, UK hallmark

Ring size J £6,500-7,500

70

AN EMERALD AND DIAMOND RING

The cut-cornered square-cut emerald, to a brilliant and baguette-cut diamond surround and shoulders

Ring size: O½

£2,600-3,000

71

A PAIR OF EMERALD AND DIAMOND EARRINGS

Each oval-cut emerald within a brilliant-cut diamond surround, post fittings

Length: 1.2cm

£1,600-2,000

72

AN EMERALD AND DIAMOND CLUSTER RING

The oval-cut emerald within a two-row surround set with brilliant-cut diamonds

Ring size M/N

£1,200-1,500

ATTRIBUTED TO HERMES: A PAIR OF EARCLIPS

Each of bombé openwork foliate design, clip fittings, French assay and maker’s mark

Length: 2.0cm

£800-1,200

74

AN

EMERALD AND DIAMOND-SET BROOCH

Designed as a cluster of circular-cut emeralds and diamonds within a tiered feather design surround, French assay and maker’s mark

Length: 4.1cm

£1,500-2,000

75

HERMES: A PAIR OF EARRINGS

Each of chain-link design, clip fittings, signed Hermès Paris, French assay mark

Length: 2.2cm

£800-1,200

76

A GEM-SET NOVELTY BROOCH

Designed as a wirework dog with brilliant-cut diamond collar, cabochon sapphire nose and circular-cut synthetic pink sapphire eye, maker’s mark

Length: 4.3cm

£600-800

77

A RETRO MOONSTONE DRESS RING

The greenish cabochon moonstone raised above a radiating ropetwist surround, between pierced tapered shoulders

Ring size: O

£300-500

A PAIR OF COLOURED SAPPHIRE, DIAMOND AND ONYX EARRINGS

Each composed of four graduated cushion-shaped onyx, each mounted with a cushion-shaped pink, purple or blue sapphire and brilliant-cut diamond cluster, post fittings

Length: 5.1cm

£1,800-2,200

A FRENCH GEM-SET BANGLE

Of crossover design, each oval terminal set with a cabochon frosted rock crystal, set with a cabochon pink tourmaline, each in a brilliant-cut diamond surround, one diamond deficient, signed BGE, French assay and maker’s marks

Inner diameter: 5.7cm

£1,500-2,000

A PINK SAPPHIRE AND DIAMOND

‘TOI ET MOI’ RING

Of crossover design, set with a pearshaped diamond and an oval-cut pink sapphire terminal, each to an old-cut diamond shoulder

Ring size: N

£2,200-3,000

81

ABRAHAM BEILIN: A RUSSIAN CIGARETTE CASE, ST PETERSBURG, 1908-1917

Of rectangular outline, with bi-coloured gold tapered reeded design, and a cabochon sapphire thumb piece, 56 standard Russian mark, maker’s mark

Length: 9.7cm

£2,500-3,000

82

ATTRIBUTED TO PAUL FLATO: A GEM-SET SHOE BROOCH, CIRCA 1940

Designed as a shoe with a pom pom on the tip, set throughout with circular-cut rubies and sapphires and single-cut diamonds, unsigned

Length: 4.1cm

£12,000-18,000

83

AN EARLY 20TH CENTURY JADEITE JADE AND ENAMEL RING

The pierced jadeite jade plaque carved with a floral motif, between tiered shoulders decorated with red and green enamel

Ring size: G/H

£300-500

84

AN EARLY 20TH CENTURY AUSTROHUNGARIAN LONGCHAIN

Of alternating cable-link and pierced navetteshaped plaque design, to an Albert clasp, maker’s mark AW for Argentor Werke Rust & Hetzel, Austrian assay mark

Length: 176cm

£1,200-1,500

85

BOUCHERON: AN ART DECO ONYX POCKET WATCH, CIRCA 1930

The square dial inset to a black onyx surround, to a chevron shaped suspension loop, inscribed to the reverse ‘Tarsy’, signed Boucheron, fitted Boucheron case

Width: 4.8cm

£3,000-5,000

87

CARTIER: AN ART DECO JADE, DIAMOND AND ONYX JABOT PIN, CIRCA 1925

Each terminal set with a circular carved jade plaque, with old brilliant and single-cut diamond and cabochon onyx diamond detail, signed Cartier

Length: 8.0cm

£3,000-5,000

86

CARTIER: AN ENAMEL AND DIAMOND POWDER COMPACT, 1937

The square black enamelled silver box with a squarecut diamond four-stone thumb piece, opening to reveal a mirror and powder compartment, signed Cartier London, numbered, maker’s mark, UK hallmark, some enamel loss

Length: 4.5cm

£400-600

88

AN EARLY 20TH CENTURY EMERALD AND DIAMOND JABOT PIN

Each tapered terminal, millegrain-set with two cut-cornered step-cut emeralds, within a pierced surround set with old brilliant-cut diamonds

Length: 10.2cm

£2,000-3,000

89 Y

A GEM-SET PENDANT NECKLACE

Of tapered geometric openwork design with a floral surmount, set throughout with old brilliant and single-cut diamonds and calibrécut onyx and rubies, suspending two cabochon coral, to a long trace-link chain interspersed with seed pearls

Lengths: pendant 7.5cm, chain 65.5cm £1,500-2,000

90 Y

A MID-20TH CENTURY CORAL AND DIAMOND DRESS RING

The oval cabochon coral, within an openwork scroll surround set with brilliant cut diamonds

Ring size: P £1,000-1,500

91

A PAIR OF DIAMOND AND RUBY PENDENT EARRINGS

Each old pear-shaped diamond swing centre, within a pierced scalloped surround set with single-cut diamonds and calibré-cut rubies, to a similarlyset geometric surmount, post fittings

Length: 6.3cm

£5,000-7,000

92

A DIAMOND SINGLESTONE RING

The brilliant-cut diamond in a four-claw mount

Ring size: J

£1,200-1,800

93

A DIAMOND CLUSTER RING

The princess-cut diamond within a surround of four marquise-cut diamonds, to a polished band

Ring size: J

£1,000-1,500

94

95

96

AN

EMERALD AND DIAMOND DRESS RING

The cut-cornered rectangular-cut emerald, millegrain-set within an oval openwork surround, set with calibré-cut emeralds and brilliantcut diamonds

Ring size: M

£2,000-3,000

A DIAMOND BRACELET

The wide strap composed of alternating panels with pierced designs, set throughout with brilliant-cut diamonds

Length: 18.0cm

£8,000-12,000

A PAIR OF EMERALD AND DIAMOND EARRINGS

Each pierced drop set with brilliant and princess-cut diamonds and calibré-cut emeralds, post fittings

Length: 7.0cm

£2,600-3,000

97

AN EMERALD ETERNITY RING

Set with a continuous row of square-cut emeralds, French assay marks

Ring size: N

£500-700

98

AN EMERALD AND DIAMOND RING

The cut-cornered rectangular-cut emerald, between scrolled openwork shoulders set with a tapered cluster of brilliant-cut diamonds, to a ropetwist hoop Accompanied by a report from The Gem & Pearl Laboratory, stating that the emerald, measuring 15.6 x 9.8 x 7.5mm, is natural with evidence of moderate clarity enhancement, origin Colombia. Report no. 22908, dated 17th March 2023.

Ring size: J

£5,000-7,000

Ring

Length:

A SAPPHIRE AND DIAMOND RING

The oval-cut sapphire within an octagonal plaque set throughout with single-cut diamonds, French import marks

size: V £3,000-5,000

A BELLE EPOQUE STAR-SAPPHIRE AND DIAMOND BROOCH, CIRCA 1910

The oval cabochon star sapphire, mounted within an oval plaque of knifewire lines and a rose-cut diamond frame

3.6cm £3,000-5,000

102

AN EARLY 20TH CENTURY GEM-SET PENDANT

The carved emerald bead with tumblepolished rubies above and below suspended from a seed pearl swag, to a millegrain-set rose-cut diamond and knife-edge bar panel, on a later trace-link chain

Length: 41.5cm

£1,500-2,000

103

A DIAMOND AND RUBY DRESS RING, CIRCA 1900

Set with three old and rose-cut diamonds, within an openwork navette-shaped surround set with calibré-cut rubies and rose-cut diamonds, between diamond-set trefoil shoulders, one diamond deficient

Ring size: N

£400-600

£4,000-6,000

Designed as a flower, set throughout with rose-cut diamonds

Length: 3.1cm

£300-500

106

Each old brilliant-cut diamond within a tiered openwork surround set with old and rose-cut diamonds, mounted in silver and gold, later converted, post and clip fittings

Length: 2.5cm

£1,200-1,500

107

Modelled as a peacock feather, set throughout with graduated old brilliant and rose-cut diamonds, mounted in silver and gold, to a detachable pin fitting

Length: 10.8cm

£1,500-2,500

A LATE 19TH CENTURY DIAMOND BROOCH

A PAIR OF DIAMOND EARRINGS, CIRCA 1900

AN EARLY 20TH CENTURY DIAMOND BROOCH

A LATE 19TH CENTURY DIAMOND TIARA, CIRCA 1890 - 1900

Composed of five graduated detachable bow motifs, set throughout with old brilliant and rose cut diamonds, mounted in silver and gold, each with additional brooch fitting, in a fitted case by Hamilton & Inches

Lengths: tiara frame 18.5cm, brooches 4.5cm, 3.5cm and 3.0cm

£5,000-7,000

A PAIR OF ENAMEL AND DIAMOND CUFFLINKS

Double-sided: each disc terminal centrally-set with an oldcut diamond, within a blue and white enamel geometric surround, to chain-link connectors, French import marks

Terminal length: 1.3cm

£500-700

ATTRIBUTED TO GEORGES LENFANT: A PAIR OF SAPPHIRE-SET CUFFLINKS

Double-sided: each palmier link circlet collet-set with an oval cabochon sapphire, rubbed signature “Paris”, partial numbering

Terminal length: 1.4cm

£600-800

111

HERMES: A PAIR OF CUFFLINKS

Double-sided: each bicoloured shotgun cartridge with reeded sides to a percussion cap and arched bar-link, signed Hermès, maker’s marks, French assay marks

Baton length: 1.9cm

£600-800

112

JEAN DESPRÉS: A PAIR OF SILVER CUFFLINKS, 1940S

Each rectangular plaque with a geometric motif in relief, to a terminal of hammered finish, signed J Despres, maker’s mark, French assay mark

Length: 2.3cm

Jean Després (1889-1980) was born in Souvigny, France. His father owned a small jewellery shop and sent his 16 year old son to be apprenticed in Paris, where he also studied design at night. During World War I Després became a draughtsman for the French Air Force, which later influenced his modernistic designs. After the war, he took over the family business, which was to mark the beginning of his design career. Innovative with his use of materials, he embraced the dramatic contrasts of silver, enamel and semi-precious stones. He exhibited at the 1925 Exposition Internationale in Paris. His work was well received and was collected by many important writers and artists including Anatole France, Paul Signac and Andy Warhol.

£600-800

113

A PAIR OF CUFFLINKS, 1940S

Double-sided: each rectangular plaque of tank track design, to chain link connectors, French assay marks

Terminal length: 1.7cm

£300-500

114

A PAIR OF CUFFLINKS, 1940S

Double-sided: each designed as a cylinder in a ropetwist circle surround, to chain-link connectors, French assay marks, maker’s marks

Terminal length: 1.6cm

£300-500

ANDREW GRIMA: A PAIR OF MOSS AGATE CUFFLINKS, 1973

Each circular moss agate plaque within an 18ct gold textured frame, to a rectangular panel

terminal, signed Grima, maker’s mark, UK hallmark

Terminal length: 2.7cm

£2,500-3,000

116

GILLIAN PACKARD: A PAIR OF CUFFLINKS, 1967

Each square 18ct white gold plaque applied with a textured and polished gold motif, to T-bar terminals, maker’s mark GEP, UK hallmark

Terminal length: 1.9cm

£800-1,200

117 §

STUART DEVLIN: A PAIR OF 18CT GOLD CUFFLINKS, 1982

Each oval plaque of tiered radiating design, to T-bar terminals, maker’s mark SD, UK hallmark, in a case applied with a plaque engraved ‘R.J.R.McD From M.L.R-L, 26-4-87’ and signed Stuart Devlin

Terminal length: 2.2cm

Stuart Devlin (1931-2018) began his career as an art teacher in Australia, specialising in gold and silversmithing. In 1957 he obtained a post at the Royal Melbourne Institute of Technology and studied for a Diploma of Art in gold and silversmithing, followed by a two-year fellowship at Columbia University. Devlin returned to Australia to teach, but quickly rose to fame in 1964 after winning a competition to design the first decimal coinage in Australia. In 1965, he moved to London and opened a small workshop, in which he adapted and devised new techniques to produce a wide variety of textures and filigree forms. His popularity grew in London’s West End, where he held a prestigious showroom in Conduit Street between 1979 and 1985. In 1982, Devlin was granted the Royal Warrant of Appointment as Goldsmith and Jeweller to Her Majesty the Queen. Devlin was also made Prime Warden of the Goldsmith’s Company (1996-97).

£800-1,200

118 §

STUART DEVLIN: A PAIR OF 18CT WHITE GOLD CUFFLINKS, 1974

The rectangular openwork plaque composed of 18ct white gold figures, to a textured terminal, maker’s mark SD, UK hallmark, maker’s cardboard box

Terminal length: 2.6cm

£1,000-1,500

119

CARTIER: A PAIR OF ‘LOVE’ CUFFLINKS

Of hinged stirrup design, decorated with screwhead motifs, signed Cartier, numbered

Length: 1.9cm

£1,000-1,500

120

CARTIER: A PAIR OF BI-METALLIC CUFFLINKS

Of bi-metallic reeded design, to chain-link connectors and cylindrical terminals, signed Cartier, numbered

Terminal length: 1.7cm

£600-800

121

CARTIER: A PAIR OF BI-COLOURED CUFFLINKS

Of bi-coloured stirrup design, with double-C finials, signed Cartier, numbered, French assay mark, maker’s mark

Length: 2.2cm

£800-1,200

122

CARTIER: A PAIR OF EARLY 20TH CENTURY CUFFLINKS

Double-sided, each rectangular plaque with bevelled edges, engraved with the arms of the Earls Poulett and their motto ‘Gardez la Foi’, signed Cartier London

Terminal length: 1.7cm

£800-1,200

A PRIVATE COLLECTION OF SEALS: FURTHER HIGHLIGHTS FROM THE MATRIX COLLECTION

AN EARLY 19TH CENTURY AMETHYST, BLOODSTONE AND GOLD DESK SEAL, CIRCA 1815

The facetted amethyst handle to a foliate collar and mount, the bloodstone matrix of quatrefoil outline, engraved ‘I’LL RETURN’ above a mountain sunset

Length: 6.5cm, matrix: 1.3cm

£500-800

124

AN EARLY 19TH CENTURY SMOKY QUARTZ AND GOLD SEAL, CIRCA 1815

The facetted tapered smoky quartz handle engraved to the terminal with the initials ‘ CRF’ below the rod of Asclepius, with a gold foliate, shell and scroll decoration girdle, the collar and mount of similar decoration, to a vacant citrine matrix

Length: 8cm, matrix: 2.2cm x 2.1cm

£500-800

HER MAJESTY QUEEN VICTORIA (1819 – 1901) AND ALBERT, PRINCE CONSORT (1840 – 1861) DESK SEAL

A MID VICTORIAN ROSE QUARTZ DESK SEAL, CIRCA 1850

The tapered facetted rose quartz handle of oval section with waisted collar, to an oval matrix, engraved with the conjoined cipher VA with royal crown above Length 6.8cm, matrix 2.1cm x 1.6cm £800-1,200

HER ROYAL HIGHNESS THE PRINCESS MARGARET, COUNTESS OF SNOWDON (1930-2002) PERSONAL DESK SEAL

A FINE 19TH CENTURY SMOKY QUARTZ AND DIAMOND-SET DESK SEAL

The facetted baluster smoky quartz handle to an openwork diamond-set collar and domed mount, circular smoky quartz matrix engraved with a script initial M, accompanied by leather folio and certificate of provenance from Christie’s, London Length: 6.1cm, matrix 1.2cm

Provenance: Silver, Furniture And Works Of Art From The Collection Of H.R.H. The Princess Margaret, Countess Of Snowdon, Christies London 14th June 2006, lot 459

Literature: Matrix: A Collection of British Seals - David Morris 2012- Seal 21, page 61

Note: Princess Margaret (1930-2002) was born at Glamis Castle in Scotland, the youngest daughter of King George VI and Queen Elizabeth, The Queen Mother. In the post-war years she became one of the world’s most celebrated socialites, famed for her glamourous lifestyle and reputed romances.

Due to a significant tax bill, her children offered a collection of her belongings for sale after her death. The 2006 Christie’s auction attracted much attention and achieved over £ 14,000,000.

The two-day sale included furniture, silver, works of art, jewellery and decorative objects, all from the private collection of Her Royal Highness

The Princess Margaret Countess Of Snowdon. We are delighted to offer one of the seals that formed part of this auction.

It had been suggested at the time of the auction, but has not been proven since, that this seal was a personal gift from Queen Mary, Princess Margaret’s Grandmother, to her. The simple M could relate to either and the piece being made earlier than Margaret’s lifetime again would suggest a family piece. This seal therefore likely belonged to two generations of royals and the simple engraved italic M rather than a crest, or full armorial suggests that it was a much more personal seal and would have been used for intimate and personal correspondence.

For the full footnote, please visit www.lyonandturnbull.com

£6,000-8,000

127

THE SIR JAMES CLARK (1788-1870) DESK SEAL

A 19TH CENTURY MALACHITE, AGATE AND GOLD SEAL

The domed handle with scroll and floral detail, to a malachite set stem, the collar and mount of similar floral decoration, to a rectangular agate matrix, engraved with the arms of Sir James Clark, and motto ‘AMAT VICTORIA CURAM’ in a fitted case

Length: 5.7cm, matrix: 1.4cm x 1.5cm

Provenance: Anonymous vendor, Philips London, 27 October 1998, lot 16 For the full footnote, please visit www.lyonandturnbull.com

£600-800

128

A 19TH CENTURY CONTINENTAL VARIHARDSTONE SEAL, CIRCA 1865

The domed terminal with embossed cherubic motifs, the baluster handle set with alternating panels of varied hardstones, with ribbon partitions, the collar set with cherubs, the circular matrix engraved with crest and motto ‘Defessa non diffisa’

Length: 9.5cm, matrix diameter: 2.1cm

£600-900

129 Y

A EUROPEAN EARLY 19TH CENTURY CORAL, SILVER AND BLOODSTONE MOUNTED DESK

SEAL, CIRCA 1830

The coral handle finely carved as a roaring dragon in the Chinese taste, the open mouth grasping a flared silver mount engraved with scrolls and flower heads, with chased border, the canted rectangular bloodstone matrix with continental twin armorial shields with coronet above, in fitted leather case

Length: 8.4cm, matrix: 1.9cm x 2.0cm

£300-500

130

A MID-19TH CENTURY GOLD-MOUNTED MALACHITE AND AGATE SEAL, CIRCA 1860

The handle modelled as a hand with a mushroom terminal, to a gold mount with engraved foliate detail, the circular agate matrix with engraved coronet above initials ‘CAS’

Length: 9cm, matrix diameter: 1.3cm

£600-900

131

A FINE MID-19TH CENTURY MALACHITE, BLOODSTONE AND AGATE MULTI-MATRIX DESK SEAL

Modelled as an armoured arm, the scroll engraved gauntlet holding a scroll, the oval bloodstone terminal engraved with the arms of Salomoan and Cohen, the scroll set to each terminal, with initials and crest to each

Length: 8.5cm, matrix: 1.6cm x 1.3cm, smaller matrix diameter: 8mm

Literature: Matrix: A Collection of British Seals - David Morris 2012- Seal 45, page 102

For the full footnote, please visit www.lyonandturnbull.com

£1,000-1,500

132

THE SIR ROWLAND ERRINGTON DESK SEAL

A 19TH CENTURY BLOODSTONE, MOTHER OF PEARL, AMETHYST AND AGATE MULTI MATRIX DESK SEAL, CIRCA 1820

Modelled as a hand holding a scroll, the tapered bloodstone cuff set with applied gold floral detail, and oval chalcedony matrix to terminal engraved with the arms, the mother of pearl clasped hand set with a gem set ring to the pink, the scroll each set with a matrix to each terminal, the agate matrix engraved with initials and crest engraved to the amethyst matrix

Length: 7.3cm, matrix: 2.5cm x 2.2cm, smaller matrix diameter: 1cm

Provenance: Christie’s London, 27th November 1991, lot 3

For the full footnote, please visit www.lyonandturnbull.com

£1,000-1,500

133

A FINE FRENCH GOLD EMERALD AND DIAMOND-SET CLASSICAL FIGURE DESK SEAL, CIRCA 1920

Modelled naturalistically as pan with cabochon emerald eyes and ear cuffs and diamond-set hoofs, the circular matrix with engraved G, with French assay and indistinct maker’s marks

Length: 6.2cm, matrix diameter: 1.8cm

For the full footnote, please visit www.lyonandturnbull.com

£4,000-6,000

134

A MID-VICTORIAN SILVER-GILT AND MALACHITE FIGURAL DESK SEAL, CIRCA 1850

The upper handle formed as a half-length figure of Pan playing pipes wrapped in a foliate garland and draped in a cloak, set on a tapered malachite stem with stepped base, the rectangular silver gilt matrix set in a pierced and engraved foliate frame, engraved with a crest of a displayed eagle Length 13.4cm, matrix: 2.1cm x 2.5cm

£1,000-1,200

A VICTORIAN BLOODSTONE, AGATE AND GARNET MOUNTED GOLD DESK SEAL, CIRCA 1860

The gold baluster handle chased with rococo scrolls on a matt background, mounted with four five petalled rose heads with agate petals and garnet centre, the pommel similarly set, the lower collar of the stem with agate hearts, the domed scrolling base set with a shaped rectangular blank matrix

Length: 5.9cm, matrix: 1.8cm x 1.5cm

£700-900 136

THE PLUMMER FAMILY MULTI-HARDSTONE GOLD SEAL,

CIRCA 1860

The domed terminal set with an agate, with a gold foliate border, the tapered stem set with panels of hardstones, including lapis lazuli and banded agate, to an embossed scroll knop, the mount with embossed shell and floral decoration, the bloodstone matrix engraved with the arms and motto, presented in a fitted leather box

Length: 5.7cm, matrix: 1.3cm x 1.5cm

Provenance: David Lavender Works of Art

For the full footnote, please visit www.lyonandturnbull.com £800-1,200

THE GRAF SAWOROW

RIMINSKI SEAL

A FINE MID-19TH CENTURY CONTINENTAL AMETHYST AND GOLD SCULPTURAL DESK SEAL

The carved amethyst modelled as a Grecian female bust, to a stepped oval gold mount with gadrooned and fluted borders, the oval amethyst matrix with the coat of arms finely engraved

Length: 8cm, matrix: 2.6cm x 2cm

£1,200-1,800

THE CHARLES HENRY WYNDHAM À COURT DESK SEAL

A MID 18TH CENTURY AND LATER CONTINENTAL PERSONAL DESK SEAL

The carved coral modelled as a Classical male bust, to a late 19th century scroll pedestal with engraved foliate detail, the octagonal bloodstone matrix with engraved arms and motto

‘Grandescunt aucta labore’

Length: 7cm, matrix: 1.7cm x 1.7cm

For the full footnote, please visit www.lyonandturnbull.com

£1,000-1,200

139

A GRAND TOUR TRIPLE MATRIX GLASS AGATE AND GOLD MOUNTED DESK SEAL, CIRCA 1875

The facetted tapered baluster glass handle with openwork gothic mount, the lobed oval mount below with main oval cornelian matrix with a profile of a classical warrior goddess signed BURCH, hinges open to reveal a smaller matrix half gold, half carnelian depicting a classical god, hinging to reveal a small oval carnelian matrix of a helmeted warrior, the smaller two matrices of Roman origin, circa 4-6th century

Length: 9.5cm, matrix 2.0cm, 1.8cm, 1.0cm

Note: This triple matrix desk seal is likely an excellent example of a Grand Tour style souvenir. The Grand Tour was a custom, wherein young upper-class European men toured predominantly around Italy. This tradition was most popular between the 17th and 19th centuries and the young men would hopefully return home from their tour with a greater breadth of knowledge and experience with an emphasis on classical culture. However, what was more frequently the case was young English men traveling throughout Italy and taking the opportunity to learn about the newest fashions and finding great curiosities to return home with. As such, an item such as this triple desk seal may have been inspired by one such trip. As is evidenced on the outermost seal, there is a signature near the frame. This signature reads ‘BURCH’, which may refer directly to the renowned gem carver Edward Burch (1730-1814). Originally a water-man on the Thames, Burch became one of the most celebrated gem carvers of the 18th century and was later made a full Academician of the Royal Academy. Burch’s specialty was in historical portraits and figures of antiquity such as depictions of Greek and Roman gods as is viewable on this same desk seal. Burch would have been an ideal artisan to commission for a keepsake seal from a marvellous Grand Tour. In all possibility, this desk seal is an amalgamation of souvenirs capped by a commissioned intaglio by an expert artisan. To further this narrative, one may view the secondary intaglio, which is half gold, half matrix. Replacing a broken section with gold to match up the carving was a form of repair which would indicate that rather than replace this intaglio with a new one, its owner felt a deep enough sentimentality for this piece to commission an artisan to repair the missing work. Perhaps Burch was even the one who repaired the broken intaglio. What is certain is that this triple desk seal is not only unique in the quality of its construction but the same care for its mechanical components was carried into the artistry of the seals themselves. It is a beautiful example of the work of a master gem carver, an art form that is not commonly viewed today. For further examples of Edward Burch’s brilliant work, one may visit the British Museum and see not only his gem carving capabilities but some of the work he did for Wedgwood.

£1,200-1,800

141

A CONTINENTAL FIGURAL SILVER, GOLD AND AMETHYST DESK SEAL, CIRCA 1850

Modelled as a cherubic knight, holding a gold sword, raised on a plinth with gold swag decoration, the amethyst matrix with twin marital arms, below a coronet

Length: 8cm, matrix diameter: 2cm

£1,000-1,500

140

AN ENAMEL, SILVER AND GOLD FIGURAL DESK SEAL, CIRCA 1870

The domed terminal with black enamel decoration to both sides, the stem modelled as two Classical muses and one cherub, the plinth with embossed Classical scenes, the integral matrix engraved with a foliate M

Length: 9.7cm, matrix diameter: 2.2cm

£600-800

142

THE EARL OF MUNSTER DESK SEAL

A 19TH CENTURY CITRINE, BLOODSTONE AND GOLD SEAL, CIRCA 1831

The facetted citrine handle to a gold floral embossed collar, the mount with similar decoration to a bloodstone oval matrix, engraved with armorial, presented in a fitted case, retailed by Murcott Brooke, Jewellers & Silversmiths, 83 Duke Street, Grosvenor Square

Length: 8.5cm, matrix: 2.7cm x 2.4cm

For the full footnote, please visit www.lyonandturnbull.com

£1,000-1,500

143

THE HONOURABLE ADOLPHUS FREDERICK CAPELL SEAL

A VICTORIAN AGATE AND GOLD MUSICAL INTEREST SEAL, CIRCA 1860

The agate stem set with gold foliate mounts pierced and engraved to each terminal, the matrix engraved with coat of arms and motto to one terminal and the musical notes to the other terminal, in fitted case

Length: 8.1cm

For the full footnote, please visit www.lyonandturnbull.com

£400-600

144

144

A LARGE CARVED ROCK CRYSTAL DESK SEAL, CIRCA 1890

The large baluster handle carved with flowerhead and foliate borders in relief with frosted finish, the fluted lower section to an inswept stem and circular matrix, engraved with armorial shield, helm and supporters

Length: 9.0cm, matrix 3.9cm

£400-600

145

145

A LATE 19TH CENTURY ROCK CRYSTAL, HARDSTONE AND GOLD DESK SEAL, CIRCA 1815

The tapered facetted rock crystal handle to a hardstone engraved matrix, finely engraved with a depiction of three classical figures in profile, presented in an associated Cartier box

Length: 8cm, matrix: 2.2cm x 1.7cm

£1,500-2,500

THE BOYCE HARVEY COMBE F.S.A. (1816-1897) SEAL

A LATE 19TH CENTURY CORAL, ENAMEL AND GEM-SET DESK SEAL

The terminal formed of a pocket watch case with a painted scene of Roman Charity, the sides and interior with landscapes, the underside designed as an acanthus leaf border and a circle of cabochon rubies, the carved coral stem of baluster form with floral detail, to a foliate mount, the white chalcedony matrix with engraved arms, presented in a fitted case

Overall length: 11cm, matrix diameter: 2.2cm

Provenance: Mellors & Kirk, 5th February 2004 lot 382 - £7800

Literature: Matrix: A Collection of British Seals - David Morris 2012- Seal 64, page 133

For the full footnote, please visit www.lyonandturnbull.com £5,000-8,000 147

A EUROPEAN MID-19TH CENTURY REVERSE PAINTED CRYSTAL AND HARDSTONE GOLD MOUNTED SEAL, CIRCA 1860 LIKELY BY PRADIER

The tapered handle formed of two reverse painted panels decorated with wild flowers, including wild rose, speedwell, mallow and violet, backed onto mother-of-pearl, the socket mount set with oval hardstone intaglio after the antique engraved with cupid and a faun, in fitted read leather case by J Auner, Wein

Length 6.5cm, matrix: 1.4cm £600-900

148

THE LIEUTENANT GENERAL SIR FRANCIS LLOYD GCVO, KCB, DSO (1853-1926) DESK SEAL

AN EARLY 20TH CENTURY ROCK CRYSTAL AND SILVER-GILT MOUNTED DESK SEAL

The baluster rock crystal handle with an engraved lion rampant, the domed terminal engraved ‘fecit Cecil Thomas 1914’ the silver-gilt mount to the neck with embossed Roman lettering HWY PERI CLOD

NA GOLUD’, the mount to the terminal modelled as a stylised coronet, above a laurel wreath, to a canted rock crystal matrix with engraved coat of arms

Length: 8cm, matrix: 2.6cm x 2.1cm

For the full footnote, please visit www.lyonandturnbull.com

£800-1,200

148

149

AN EARLY 20TH CENTURY FRENCH SILVER GILT AND TURQUOISE DESK SEAL, CIRCA 1925

The tapered glass stem with carved stylised fleur-de-lys, the pommel cap with engraved border around a cabochon turquoise, the lower mount with waisted short stem and engraved foliate and berry border, the applied oval brass matrix with twin armorial shields, with greyhound supporters and coronet above, French assay and maker’s marks

Length: 10.5cm, matrix: 2.0cm

£500-800

150

A 19TH CENTURY SCOTTISH CLAN FOB SEAL

The terminal modelled as a fleur-de-lys to a tapered panelled body with stylised foliate motifs, the integral matrix engraved with the motto ‘ VI AVT VIRTUTE’, around a crest of boar’s head, possibly for Clan Chisholm

Length: 7cm, matrix: diameter: 3.5cm

£500-700

151

A LATE 19TH CENTURY CHINESE EXPORT SILVER DESK SEAL, LIKELY CANTON, CIRCA 1880

The baluster handle with chased decoration of trailing foliage with butterflies and flowerheads, the pommel with eternal knot motifs, the simple square matrix with conjoined initials ‘CL’ within a beaded border

Length: 9.5cm, matrix: 1.9cm x 1.7cm

£300-500

The tapering facetted handle of mottled bonecolour and shadowy grey agate with gold button terminal, banded collar cast with flowering scrollwork, the rounded rectangular white chalcedony matrix engraved with a coat of arms, ‘The arms of Towers of Northampton impaling Yate of Wootton Wawen, Co. Warwick, descended from Richard Yate of Buckinghamshire’

Length: 8.5cm, matrix: 1.9cm x 1.8cm

£300-500

A NOVELTY VICTORIAN SILVER OWL DESK

BY WILLIAM F. WILLIAMS LONDON

The naturalistically formed owl with engraved feather detail and glass eyes, the body formed from a tooth, the oval bloodstone matrix with earls coronet surmounting conjoined initials ‘CL’

Length: 7.5cm, matrix: 3.0cm x 2.4cm

£200-300

THE BARON OF LLANGATTOCK FAMILY DESK SEAL

A 19TH CENTURY GOLD AND BLOODSTONE DESK SEAL,1890S

The tapered bloodstone handle with intricately carved scroll work and classical depictions, to a gold mount with a fluted collar, the bloodstone matrix with armorial for Rolls, 1st and 2nd Baron Llangattock of The Hendre, Monmouthshire, with the shield of Rolls quartering Allen and Barnett

Length:10.5cm, matrix: 2.5cm x 2.1cm

£2,000-3,000

AN EARLY 19TH CENTURY SILVER AND HARDSTONE DESK SEAL, CIRCA 1810

The banded agate handle of facetted baluster outline, to a silver collar with star border, to an integral oval matrix, with engraved initials with supporters, engraved motto ‘STRENUUS FIDELIS’ with five orders/medals suspended

Length: 7cm, matrix: 2.7cm x 2.3cm £300-500

156 157

156

THE PHILIPS FAMILY DESK SEAL

AN EARLY 20TH CENTURY AGATE DESK SEAL, CIRCA 1900

The facetted agate handle of baluster form, to an integral matrix, engraved with the armorials of the Phillips family and motto ‘Simplex Mundis’

Length: 7.7cm, matrix: 2.4cm x 2.7cm

£300-500

157

THE MORO PHILLIPS FAMILY DESK SEAL, CIRCA 1850

The bloodstone handle of baluster form, to an integral matrix engraved with the crest and armorial

Length: 8.1cm, matrix: 2.6cm x 2.3cm

For the full footnote, please visit www.lyonandturnbull.com

158

THE FIELD MARSHAL SIR PATRICK GRANT (1804 – 1895) DESK SEAL

A LATE VICTORIAN NOVELTY LABRADORITE, GARNET AND GOLD DESK SEAL, CIRCA 1860

The carved labradorite owl with cabochon garnet eyes in gold collet mounts, the owl resting on a labradorite socle base which forms the matrix, engraved with coat of arms within laurel garland suspending Grand Cross of the Order of the Bath

Length:12.2cm, matrix: 3.8cm

For the full footnote, please visit www.lyonandturnbull.com

£800-1,200

159 160

159

A LATE 19TH CENTURY CONTINENTAL BANDED AGATE DESK SEAL, CIRCA 1880

The tapered facetted agate handle to an integral matrix, with twin engraved armorial shields for Graf Heliodor Von Skorzewski and Grafin Emilie Von Grabrowsky Zu Grylewo

Length: 12cm, matrix: 4cm x 3.5cm

For the full footnote, please visit www.lyonandturnbull.com

£400-600

160

A CONSULATE DESK SEAL FOR THE ‘KINGDOM OF THE TWO SICILIES’

AN EARLY 19TH CENTURY AGATE DESK SEAL, CIRCA 1820S

The agate handle of baluster form, to an oval silver matrix, engraved with the arms of Francis I, King of the two Sicilies, and engraved ‘FRANCESCO

I RE DEI REGNO DELLE DUE SICILIE, VICECONSOLATO IN CHRISTIANIA’

Length: 12.2cm, matrix: 3.6cm x 3.1cm

161

161

AN EARLY 19TH CENTURY EUROPEAN MOTHER-OF-PEARL AND CARNELIAN GOLD MOUNTED DESK SEAL, CIRCA 1825

The tapered facetted rectangular mother-of-pearl handle with beaded lower collar, set with gold reeded column with foliate borders, to a domed fluted rectangular mount encasing carnelian matrix, engraved with European crest and armorial with belted garter Length 8.8cm matrix 1.8cm x 1.6cm

Provenance: Cranbrook Auction Rooms, 6th July 2002, lot 229

£300-500

162

THE MAJOR CHARLES NASMYTH (1825- 1861) DESK SEAL

A 19TH CENTURY GEM-SET, GOLD AND AGATE DESK SEAL

The domed agate handle to a figural collar, depicting three knights in armour, with turquoise fleur-delys spacers, the mount collet-set with pear-shaped garnets, to a circular agate matrix engraved with the armorial and orders suspended, presented in fitted case Length: 11.2cm, matrix: diameter: 2.1cm

For the full footnote, please visit www.lyonandturnbull.com

£3,000-5,000

162

164

163

THE MARITAL ARMS OF WOOD AND VALIANT FAMILY SEAL

A BLOODSTONE AND AGATE MULTI-MATRIX DESK SEAL, CIRCA 1840

The domed bloodstone handle to a stylised mount, the oval bloodstone matrix engraved with the arms, opens out to a smaller agate matrix with crest and motto, and a smaller banded agate matrix with engraved initials

Length: 10.6cm, matrices: 1.7cm x 1.9cm, 1.5cm x 1.8cm, 1.3cm x 1.6cm

For the full footnote, please visit www.lyonandturnbull.com

AN EARLY 19TH CENTURY NAPOLEONIC INTEREST SMOKY

QUARTZ AND AMETRINE SWIVEL DESK SEAL, CIRCA 1815

The tapered facetted smoky quartz stem to a gold beaded sphere terminal, with fleur-de-lys border, the engraved foliate mount with a three-sided ametrine swivel seal, engraved to one side, ‘N 1815’; ‘ML’ for Marie Louise to another and an engraved depiction of Napoleon as King and Emperor to the third

Length: 9cm, matrix: 1.7cm

For the full footnote, please visit www.lyonandturnbull.com

£800-1,200

163 91 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

165

165

THE MAJOR GENERAL SIR DENIS PACK K.C.B. (1772 – 1823) SEAL

A LATE 18TH CENTURY CITRINE, AMETHYST AND GOLD DOUBLE DESK SEAL

The tapered stem of scrolling foliate design, with arched floral chased mount to a rounded square citrine matrix with full armorial, the other similarly formed with a small amethyst matrix with crest engraved Length 3cm, matrices 2.0cm and 1.1cm

For the full footnote, please visit www.lyonandturnbull.com

£400-600

166

THE DALY AND OSBORNE FAMILY TRIPLE MATRIX FOB SEAL, CIRCA 1810

The fluted handle with loop bale, to an oval cornelian matrix engraved with the arms, opening to an agate matrix engraved with the crest, and a smaller matrix engraved with initials

Length: 4.5cm, matrices: 2.5cm x 1.9cm, 1.9cm x 1.3cm, 1.1cm x 0.6cm

For the full footnote, please visit www.lyonandturnbull.com

£500-800

167

A MID-19TH CENTURY LAPIS LAZULI AND TURQUOISE GOLD SWIVEL SEAL, CIRCA 1840

The facetted lapis lazuli handle to a foliate collar set with turquoise cabochons, the three-sided lapis lazuli swivel seal engraved with the crest and initials to one side, ‘SAUDADES’ to the second and ‘SIEMPRE’ to the third Overall length: 5cm, matrix: 1.5cm x 1.1cm

£500-700

166 167

168

168

THE 2ND DUKE OF WELLINGTON (1807-1884) DESK SEAL

A MID 19TH CENTURY LAPIS LAZULI AND BLOODSTONE DESK SEAL, CIRCA 1855

The facetted lapis lazuli handle to a fluted mount, the octagonal bloodstone matrix engraved with the Arms of Wellesley, the Dukes of Wellington

Length: 11.1cm, matrix: 3cm x 2.1cm

Note: Based on the arms engraved upon the matrix of this personal seal, it was most probably in the possession of Arthur Richard Wellesley, 2nd Duke of Wellington (1807-1884). The eldest son of the famous 1st Duke of Wellington the hero of 19th century British naval history. The seal can be tightly dated to a four-year period when Arthur had inherited the title of Duke from his father but before 1858 when he was appointed Knight of the Garter and his arms would have been augmented to show this. Known as Lord Douro between 1812-1814, before becoming the Marquess of Douro until he succeeded his father to the Dukedom in 1852. He followed his father, victor of Waterloo and former prime minister, into both a military and a political career, though never quite achieving anything like the 1st Duke successes. He was however, a keen collector of antique intaglios and an active patron of contemporary craftsmen in that field.

£2,000-3,000

169

169

THE EVERY FAMILY TRIPLE FOB SEAL

A 19TH CENTURY GOLD TRIPLE FOB SEAL

The reeded column with chased suspension ring, the oval matrix with ropetwist border enclosing the main armorial, hinging to reveal crest with motto within garter and smaller circular matrix with crest

Length 4.5cm, matrices: 1.8cm, 1.5cm and 0.9cm

For the full footnote, please visit www.lyonandturnbull.com

£800-1,200

170

170

THE MAJOR GENERAL SIR PATRICK ROSS GCMG, KCH (1778 – 1850) FOB SEAL

A FINE EARLY 19TH CENTURY SMOKY QUARTZ AND GOLD SWIVEL FOB SEAL

The open scrolling mount with integral suspension ring and reeded shoulders, enclosing a three sided smoky quartz swivel seal, each side bearing a full coat of arms

Length: 4.5cm, matrix: 30mm x 24mm

For the full footnote, please visit www.lyonandturnbull.com

£500-800

171

171

THE SIBBALD FAMILY FOB SEAL

A LATE 18TH CENTURY, SWIVEL GOLD FOB SEAL

The gold swivel oval mount with Bright-cut engraved detail, set with an oval agate, engraved to one side armorial, crest and motto, to the other crest, motto and initials ‘JS’, to a fluted sweeping handle with pear-shaped bale

Length: 5.5cm, matrix: 2.6cm x 2.1cm

£300-500

172

172

THE HAMILTON AND ARRAN DESK SEAL

A LATE 19TH CENTURY AGATE DESK SEAL

The tapered facetted agate handle with engraved armorial, crest and motto ‘THROUGH’ (above) and ‘SOLA NOBILITAS VIRTUS’ (below) to pommel and matching armorial to matrix

Length: 5.3cm, matrices: 2.1cm x 1.8cm and 1.8cm x 1.5cm

For the full footnote, please visit www.lyonandturnbull.com

£400-600

173

A

Matrix:

£400-600

174

THE

GIBSON OF YELLAND, LANCASHIRE DESK SEAL

A NOVELTY GOLD AND PURPURINE CROWN SEAL, ENGLISH CIRCA 1850

The gold crown-shaped mount, with finely chased ermine detail and beaded arches, the inner lining of carved and polished purpurine, the circular bloodstone matrix with crest and gothic initial ‘JMG’

Length: 3.5cm, matrix 2.1cm

£1,000-1,500

19TH CENTURY CONTINENTAL SILVER DESK SEAL

The oval matrix engraved with a crest of plume of feathers in a coronet, the border engraved with a motto, to a ball handle

7cm x 5.6cm

175

175

HRH ALBERT EDWARD, THE PRINCE OF WALES (1841 – 1910) LAPIS LAZULI SWIVEL SEAL, CIRCA 1860

The lapis lazuli handle of baluster form, to a gold mount with applied bow detail, the oval double-sided swivel seal with a bloodstone matrix engraved ‘MIZPAH’ to one side and the other a banded agate engraved with the British Royal Arms within a laurel wreath

Length: 7.5cm, matrix: 1.6cm x 1.3cm

Note: Due to the delicate nature of this seal, it has been suggested that it may have been originally made for a lady and was in fact a gift from Princess Alexandra of Denmark to the Prince of Wales during their 18th month engagement preceding their marriage in 1863.

Mizpah in Hebrew means watchtower and was a popular inscription to Victorian jewellery, as a token of love and friendship.

HRH ALBERT EDWARD, PRINCE OF WALES (1841 – 1910) THE IMPORTANT ‘ROYAL BACCARAT SCANDAL’ DESK SEAL

A LATE 19TH CENTURY AGATE, BLOODSTONE

AND GOLD MOUNTED DESK SEAL

The polished Saxon agate with twin bloodstone matrices, the larger set in a rose gold border with a hand holding playing cards engraved with motto ‘To err is human to forgive divine’, the smaller matrix with Prince of Wales feathers with motto within garter around and royal crown surmounting

Length: 6.4cm, matrices 2.2cm and 3.3cm diameter

Provenance: Christie’s London, 24th October 1990, lot 39

Literature: Matrix: A Collection of British Seals - David Morris 2012- Seal 20, page 58

Note: The Royal Baccarat Scandal seal, was originally in the possession of Albert Edward, Prince of Wales (later King Edward VII) the eldest son of Queen Victoria. Prince Albert had a reputation for womanising and gambling. Baccarat was technically illegal, but highly popular – especially with the Prince of Wales. It was also a game that would see him having to testify against his friend Sir William Gordon-Cumming, who had been accused of cheating, in London’s famous Old Bailey in 1891. Prince Edward was called as a witness, the first time an heir to the throne had been compelled to appear in court since 1411, and the last time, until Prince Harry’s recent foray as witness earlier this year.

The seal bearing the crest, crown and motto of the Prince of Wales as the main (although smaller) matrix is engraved in the later 19th century style, forgoing any question that the seal belonged to the Prince Regent – latterly King George IV – also known to enjoy cards in excess. The larger matrix with a hand of cards and the somewhat pointed motto ‘To err is human to forgive divine’ considered a nod to the case, where Sir William Gordon-Cumming, the friend of the Prince was found guilty of cheating. The motto has various connotations of either further damming Gordon-Cumming’s actions, offering support or indeed even asking for forgiveness for his actions.

For the full footnote, please visit www.lyonandturnbull.com

£6,000-8,000

ANTIQUITIES

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

177

A BYZANTINE GOLD AND AMETHYST PENDANT, 11TH - 12TH CENTURY A.D.

The circular amethyst cameo sculpted in high relief with a half-length bust of the Virgin orans, wearing tunic and maphorion, her hands raised, with the palms opened in front of her bust, framed by an identifying Greek inscription M-P ΘV, the gold mount with a circular bezel and integral loop for the attachment of a gold link chain

Lengths: pendant 2.8cm, necklace 34.0cm

Provenance: Private collection, United Kingdom, acquired from the below in 2007

Phoenix Ancient Art, New York, previously in a private US collection

Please note that this piece has been checked and cleared against the Interpol database

The present piece is an exceptional and rare depiction of the Virgin orans. A beautiful example of middle Byzantine gem cutting, in style it may be compared with another, made for the emperor Nicephorus III (1071-1081) and now residing in the Victoria and Albert Museum (accession no. A.1:1, 2-1927).

The practice of glyphic art, which was quite popular among Romans, persisted during the early Byzantine era. However, it experienced a hiatus in the East between the 7th and 10th centuries due to Arab invasions. During this time, stone cutting disappeared in the Levant. Interestingly, Western Carolingian workshops revived this specialized craft, discovering and adapting various techniques for working with rock crystal. This revival was significant as rock crystal had become scarce in the West following the fall of the Roman Empire. Byzantium, after overcoming the iconoclastic crisis, once again embraced glyptic art. However, this revival primarily focused on religious themes depicting Christ, the Virgin Mary, and the saints, often in half or full-length representations. Nevertheless, the range of stones used during this period was more limited compared to earlier centuries, with a particular emphasis on the use of softer and more manageable jasper. Sapphire and amethyst were reserved only for the most prestigious and luxurious objects.

£10,000-20,000

178

A MEDIEVAL VENETIAN GOLD ENAMEL AND PEARL RING, C.12TH - 13TH CENTURY A.D.

The four pearls set in gold, bordering a central blue, red and green cloisonné enamel bezel, the flanged edge fringed in granulation, the gold shank with recessed ridge

Width 2.9cm

Provenance: Private collection, United Kingdom, acquired October 2009

Private collection, France, since late 1970s

£4,000-6,000

The gold ring claw-set with amber, the shoulders with scrolling ornament

Width: 2.0cm

Provenance: Private collection, United Kingdom, acquired 1996 £2,000-3,000

The gold ring set with an oval rock crystal, with a quatrefoil bezel in the form of flower petals and shoulders moulded in form of scrolls

Width: 2.2cm

Provenance: Private collection, United Kingdom, acquired from Ariadne Gallery in May 2010 Private collection, France, acquired 1960s

£1,000-2,000

179

A LATE MEDIEVAL GOLD RING, 15TH CENTURY A.D.

180

A FRENCH RENAISSANCE GOLD AND ROCK CRYSTAL RING, 16TH CENTURY A.D.

181

AN ISLAMIC GOLD RING WITH CABOCHON, 7TH - 9TH CENTURY A.D.

In gold with a centrally set cabochon garnet, the bezel fringed with granulation and bordered by eight architectural turrets each with applied Muqarnas style decoration, the band of twisted design

Width: 2.2cm

Provenance: Private collection, United Kingdom, acquired from the below September 2009

Rupert Wace, London, United Kingdom, acquired K.J.Hewitt, London

£3,000-5,000

182

AN ISLAMIC GOLD BIRD EARRING, 7TH - 9TH CENTURY A.D.

In the form of a bird, the body decorated throughout with granulated roundels, a small flattened foot at the base, an applied loop to the back on which is affixed the hook which loops to the head, terminating in the form of a crest

Length: 3.2cm

Provenance: Private collection, United Kingdom, acquired Ariadne Galleries May 2010

Private Collection UK, acquired from George Zacos 1960s

Exhibited: TREASURY, IFAE, Palm Beach, February 5, 2005

Moscow World Fine Art Fair, September 19, 2005

Salon des Grands Antiquaries, Brussels, November 10, 2006.

£1,500-2,500

183

A VIKING GOLD BANGLE, EARLY 2ND MILLENNIUM A.D.

Formed of solid gold, the exterior stamped with alternating bands of circular and triangular decoration, terminating in dual loops 8.2cm diameter

Provenance: Simon Bendall, London, United Kingdom

The Hall Family Collection, acquired from the above Fortuna Fine Arts

Private collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the item

Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York.

During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.

Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.

£2,500-3,500

184

184

A MIGRATION PERIOD

SILVER AND GILT ANIMAL HEAD BRACELET, 5TH CENTURY A.D.

The solid silver bracelet featuring twin flattened terminals, both embellished with gilt engravings in the Salin’s style, portraying the heads of animals, most likely horses

Inner diameter: 6.2 x 5.1cm

Private collection, United Kingdom, acquired from the below Torkom Demirjian Collection, since 1979

Published: Treasures of The Dark Ages In Europe, November 1991, Tesoros del la Edad Oscura, Fundacion Bancaja, 2002; Valencia, and Alicante, Spain

£2,000-3,000

SELECT WATCHES

185

CARTIER: A GOLD WRISTWATCH

Tank Americaine model 1725, originally purchased 1995 from papers, 18ct gold case, automatic movement, rectangular dial with Roman numerals in black, date aperture at 6, inner railroad seconds track in black, blued steel hand, centre seconds hand, caseback with model and serial numbers, on a bracelet strap with signed concealed 18ct gold clasp, European Convention mark, in box, with swing tag, papers and booklets

Case: 22.5mm excluding crown

£5,000-7,000

186

CARTIER: A GOLD WRISTWATCH

Cougar model, 18ct gold case, quartz movement, round buff dial with Roman numerals in black, date aperture at 3, railroad outer seconds track in black, riveted bezel, cabochon-set crown, caseback with serial number, on a brick link bracelet with signed 18ct gold concealed clasp, European Convention mark, no box and papers

Case: 35.5mm including crown

£5,000-7,000

187

CARTIER: AN 18CT GOLD WRISTWATCH

Model 10702, 18ct gold case, rounded square buff dial with Roman numerals in black, railroad inner seconds track in black, blued steel sword hands, riveted bezel, caseback with model and serial numbers, on a brick link bracelet strap with Cartier signed deployant clasp, European Convention mark, in box, with papers

Case: 25mm including crown

£2,500-3,500

188 Y

MUST DE CARTIER: A GOLD-PLATED WRISTWATCH

Tank model, 1985 from guarantee card, gold-plated case, quartz movement, rectangular silver-coloured dial with grey accents, Roman numerals in black, railroad outer seconds track in black, blued steel pencil hands, cabochon gem-set crown, on a signed black strap, possibly lizard, generic clasp, in box, with guarantee card

Case: 25.5mm excluding crown

£500-700

189

CARTIER: AN 18CT GOLD WRISTWATCH

Panthere Ronde model, 18ct gold case, quartz movement, round buff dial with Roman numerals in black, railroad outer seconds track in black, blued steel sword hands, bezel with pinhead motifs, signed caseback with serial number, cabochon gem-set crown, on an integral 18ct gold bracelet strap to concealed clasp, with additional links, no box or papers

Case diameter: 22mm excluding crown

£2,500-3,500

190 Y

MUST DE CARTIER: A GOLDPLATED WRISTWATCH

c.1993 from papers, round goldplated case, quartz movement, round white dial with 12, 3, 6 and 9 in black and baton hour markers in grey, gold pencil hands, blue cabochon gem-set winder, caseback with serial number and hallmarks, on a Cartier signed black strap, possibly alligator, with a Cartier signed deployant clasp, in service pouch, with papers, no box

Case: 28mm excluding crown £500-700

191

PIAGET: A DIAMOND-SET WRISTWATCH

Manual wind movement, round black dial with circular band of diamonds towards the centre, lacking numerals, gold sword hands, caseback with serial number, on a generic black strap, no box and papers

Case: 20mm excluding crown £400-600

192 Y

ROGER DUBUIS: A ROSE GOLD WRIST WATCH

Follow Me model, 289/888, 18ct rose gold cruciform case, quartz movement, guilloche cruciform enamel dial with Roman black lumefilled numerals to the arms of the cross, central circular section formed by railroad seconds track around the blued steel leaf hands, crown with cross motif, caseback with model name and edition number, on a broad spilt black strap, possibly lizard, with two signed 18ct rose gold buckles, European Convention mark, in a travel pouch, no box and papers

Case: 38.5mm excluding crown

£3,000-5,000

193 Y

BULGARI: AN 18CT GOLD AUTOMATIC DIVER’S WATCH

Diagono model, ref SD38G, black round dial with lumen filled Arabic 12 and 6 and dot markers, date aperture at 3, lumen filled arrow hands, in a brushed tonneau form18ct gold case, unidirectional rotating bezel, case back numbered SD 38 G, L388, to maker’s crocodile leather strap and gold deployant clasp, maker’s box and papers, Swiss assay and European Convention marks

Case: 38mm excluding crown

£2,500-3,000

194

HUBLOT: AN 18CT GOLD WRISTWATCH

Big Bang Classic Fusion model 501.PX.1680.RX, originally purchased c.2010, 18ct gold case, automatic movement, signed round black dial with applied rectangular hour markers, broad skeleton pencil hands, centre seconds hand with Hublot H logo terminal, outer seconds track, crown with Hublot H logo, caseback with model and serial numbers, on a black rubber strap with signed Hublot gold and black ceramic deployant clasp, European Convention mark, in box, with booklet and guarantee card, in outer box

Case: 45mm excluding crown

£5,000-7,000

195 Y

BOVET:

AN 18CT GOLD WRISTWATCH

0801.0 model, 18ct gold case pocket watchstyle case with blue cabochon gem crown at 12, automatic movement, round black dial with applied gold Roman numerals, serpentine hands, outer seconds track, movement and serial numbers to the back of the lower lug, on a black alligator strap with a Bovet signed buckle, European Convention mark, in box, with outer box, with papers

Case: 33mm

£2,000-3,000

196 Y

PATEK PHILIPPE: A FINE 18CT GOLD WRISTWATCH

Calatrava model, ref:3919, movement No.1831437, circa 1992, 18-jewel Cal.215 manual wind movement adjusted to heat, cold, isochronism and 5 positions, signed white dial with black Roman numerals, black leaf hands, subsidiary dial at 6 for constant seconds, brushed and polished round case with snap on back, hobnail engraved bezel, fitted black crocodile leather strap with maker’s gold buckle, European Convention mark, Patek Philippe case, card outer, certificate of origin and service papers

Case diameter: 33mm

£6,000-8,000

197

ROLEX: A GOLD WRISTWATCH

Oyster Perpetual Day-date model 118208, c.2002 from papers, 18ct gold case, automatic movement, round white dial with applied gold Roman numerals, day aperture at 12, date aperture at 3, gold hands, screwdown crown with coronet, on an Oyster bracelet strap with signed Rolex clasp, European Convention mark, in box, with papers, with outer box

Case: 35mm excluding crown

£10,000-15,000

198 Y

ROLEX: AN 18CT GOLD WRISTWATCH

Cellini model 5115, 18ct gold case, manual wind movement, white dial with ‘Rolex’ in repeat, applied gold Roman numerals, gold sword hands, crown with coronet, caseback with model and serial numbers, on a brown alligator strap with Rolex signed 18ct gold buckle, European Convention mark, in box, with outer box, with guarantee card and booklet

Case: 30mm excluding crown

£2,000-3,000

199 Y

URBAN JURGENSEN & SONNER: A ROSE GOLD WRISTWATCH

Jule model 2240, 18ct rose gold case, signed manual wind movement, grenage dial with Arabic Breguet-style numerals in black, date aperture at 3, outer seconds track in black, blued steel pencil hands, centre seconds hand, signed crown, exhibiton caseback, on a signed brown strap, possibly alligator, with a signed 18ct gold buckle, European Convention mark, in box, with outer box, no papers

Case: 40mm excluding crown £10,000-15,000

200 ROLEX: A DIAMOND-SET WRISTWATCH

Oyster Perpetual Datejust model 69138, c.1987 from serial number between lugs, 18ct gold case, Rolex signed 2135 Perpetual movement, round gold-coloured dial with diamond dot hour markers, date aperture at 3, outer seconds track in black, gold pencil hands with lume inserts, centre seconds hand, diamond bezel, screw-down crown with coronet, on a President bracelet with concealed clasp marked 8570F, European Convention mark, no box and papers

Case: 25mm excluding crown

£2,500-3,500

201 VACHERON CONSTANTIN: A DIAMOND-SET GOLD WRISTWATCH

Overseas model 42040/423J-846, 18ct gold case, automatic movement, dark blue dial with applied bevelled gold indices, date aperture at 3, outer seconds track, gold pencil hands with lume inserts, centre seconds hand, bezel with after-market set diamonds, screw-down crown with VC cross logo, caseback with Overseas ship logo in relief, on an 18ct gold strap with signed deployant clasp, European Convention mark, in box, with booklet, lacking papers

Case: 37mm excluding crown and guards

£15,000-20,000

202 Y

BREITLING: A STAINLESS STEEL WRISTWATCH

Chronometre Automatic model B35312, stainless steel case, automatic movement, round black dial with applied gold baton hour markers, subsidiary dials at 3, 6, and 9, gold pencil hands with lume inserts, centre seconds hand with Skeleton B logo terminal, tachymetre scale to rehaut, stainless steel bezel with count-up scale and gold accents, gold onion crown, caseback with model and serial numbers, on a black leather strap with a Breitling signed stainless steel deployant clasp, no box and papers

Case: 43mm excluding crown

£800-1,200

203 ROLEX: A BI-COLOUR WRISTWATCH

Oyster Perpetual Date Submariner model 16613, 2006 from papers, stainless steel case, automatic movement, round blue dial with applied gold-edge lume plots, date aperture at 3, lume-filled Mercedes hands, centre seconds hand with lume plot, 18ct gold bezel with blue insert and count-up scale, gold screwdown crown with coronet, caseback with sticker intact, on a bi-colour Oyster bracelet strap with signed Oysterlock clasp numbered OP2 3253, in box, with outer box and sleeve, with papers

Case: 45mm excluding crown

£8,000-12,000

204

ROLEX: A STAINLESS STEEL WRISTWATCH

Oyster Perpetual Submariner model 5513, c.1966 from serial number, stainless steel case, automatic movement, service replacement ‘metres first’ round black dial with SWISS - T < 25 below 6, lume plots and baton hour markers, outer seconds track, stainless steel lume-filled Mercedes hands, centre seconds hand with lume plot, later service replacement crown, on a folded link Oyster bracelet strap with 6636 to the end links, Rolex signed clasp, no box and papers

Case: 38.5mm excluding crown

£7,000-9,000

205

ROLEX: A STAINLESS STEEL ‘BATMAN’ WRISTWATCH

GMT Master II model 116710, stainless steel case, Rolex signed calibre 3186 Perpetual movement, c.2011-23 from serial number, round black dial with applied stainless steel-edged lume plots and rectangular hour markers, date aperture at 3, lume-filled stainless steel Mercedes hands, centre seconds hand with lume plot, outer seconds track in white, stainless steel Cerachrom bezel in blue and black with 24 hour GMT markers, with 2350 to the caseback interior, screw-down crown with Rolex coronet logo, on a stainless steel Oyster bracelet with D3F 78200 to the interior of the end link, with Rolex signed Oysterlock clasp, no box and papers

Case: 40mm excluding crown and guards

£8,000-12,000

206

BREITLING: A STAINLESS STEEL WRISTWATCH

Sprint model 2212, stainless steel case, manual wind movement, round silver dial, central ovoid black section, applied stainless steel hour markers, ovoid subsidiary dials at 3 and 9, orange hands, orange centre seconds hand, outer pulsimeter scale in red and black, black bezel with 12 hour scale, crown with B logo flanked by twin cylindrical push buttons, caseback with model and serial numbers, on a later bracelet, no box and papers

Case: 38mm excluding crown

£700-1,000

207

OMEGA: A STAINLESS STEEL WRISTWATCH

Speedmaster Automatic Racing limited edition Schumacher World Champion 2002, numbered 2741/5555, c.2002, stainless steel case, automatic movement, round black dial with baton hour markers in white, three sunken subsidiary dials at 12, 6 and 9 for 30 minute register, 12 hour register and 24 hour time respectively, day and date apertures within 30 minute register, outer date scale in white, white lume-filled pencil hands, centre chronograph hand, central red date pointer hand, black ceramic bezel with tachymeter scale, crown with Omega logo flanked by two cylindrical push-buttons, caseback with edition number, on a stainless steel bracelet strap with 850 to the end links, Omega signed deployant clasp, in box, lacking guarantee card

Case: 38mm excluding crown

£1,500-2,000

208

ROLEX: A STAINLESS STEEL ‘BATMAN’ WRISTWATCH

GMT Master II model 126710, stainless steel case, Rolex signed calibre 3285Perpetual movement, c.2011-23 from serial number, round black dial with applied stainless steel-edged lume plots and rectangular hour markers, date aperture at 3, lume-filled stainless steel Mercedes hands, centre seconds hand with lume plot, outer seconds track in white, stainless steel Cerachrom bezel in blue and black with 24 hour GMT markers, with 2520 to the caseback interior, screw-down crown with Rolex coronet logo, on a stainless steel Jubilee bracelet, with Rolex signed Oysterlock clasp with H6H, no box and papers

Case: 40mm excluding crown and guards

£8,000-12,000

209

URBAN JURGENSEN & SONNER: A STAINLESS STEEL WRIST WATCH

Model 5241, stainless steel case, signed automatic movement, round white dial with central guilloche enamel section, applied baton hour markers, date aperture at 3, outer seconds track in black, black skeleton hands, hour hand with lume insert, centre seconds hand, signed screw-down crown, exhibition caseback, on stainless steel bracelet with central polished elliptial links and brushed rectangular links, with a deployant clasp, in box, with outer box, with certificate of authenticity

Case: 41mm excluding crown

£12,000-16,000

210

BREMONT: A STAINLESS STEEL WRISTWATCH

Boeing 247 Chronometer model, stainless steel case, automatic movement signed Bremont to the rotor, round black dial with Arabic numerals in white, sunken subsidiary dials at 3 and 9 for 30 minute register and small seconds respectively, outer seconds track in white, black pencil hands with lume inserts, centre chronograph seconds hand with lume terminal, black bezel with count up scale, screw-down crown flanked by twin screwdown push-buttons, exhibition caseback, on a polymer strap with signed stainless steel clasp, in a leather watch roll-style box, in outer box, no papers

Case: 42mm excluding crown

£1,500-2,000

211

CHANEL: A CHRONOGRAPH WRISTWATCH

J12 model, black ceramic case, automatic movement, round black dial with Arabic numerals in white, recessed central section within white railroad outer seconds track, with three sunken subsidiary dials at 3, 6 and 9 for small seconds, 12 hour register and 30 minute register, white pencil hands with lume inserts central seconds hand arrowhead terminal, uni-directional bezel with black ceramic insert showing count-up scale, screw-down crown flanked by two cylindrical pushbuttons, on a black ceramic bracelet with concealed clasp, in box, with outer box, with booklets and chronometre testing certificates, no guarantee card

Case: 40mm excluding crown

£2,500-3,500

212 ZENITH: A STAINLESS STEEL WRISTWATCH

2000 Chronometre model, stainless steel case, Zenith signed manual wind movement, round silver-coloured dial with applied bevelled wedge hour markers, small seconds at 6, outer minutes track in black, pencil hands, crown with Zenith star logo, on a generic strap, no box and papers, serviced 2023

Case: 35mm excluding crown

£1,200-1,500

213

MIDO: A SILVER WHEEL MOTIF TRAVEL CLOCK

Made for Bugatti and signed Mido Verynew, round silver dial with black-eged lume Arabic numerals, sunken small seconds at 6, dot outer seconds track, lume-filled Mercedes hands, casefront interior signed Brevet and marked Sterling Silver 935, the case edge with tyre tread motif texture, casefront with wheel motif and signed Mido

Case: 30mm, overall width 44mm

£3,000-4,000

214

ROLEX: A STAINLESS STEEL POCKET WATCH

Snowite model, open face, keyless wind, unsigned movement, round white enamel dial with Arabic numerals in black, 30 minute register, small seconds at 6, outer seconds track in black with Arabic numerals, with SNOWITE 300145 to the caseback interior

Case: 42mm

£800-1,200

DIAMOND GUIDE

Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Certain enhancements, such as heating, are commonly used to improve colour or transparency in rubies and sapphires.

Emeralds are also frequently treated, usually with oils or resin, for the same purpose. Other methods, including staining, dyeing, coating or irradiation, may have been used on other gemstones including Jade and associated hardstone that may have been bleached (usually in acid), polymer/resin filled or dyed, or a combination of any of these treatments. The international jewellery trade has generally accepted these methods.

Heat enhancement of colour is usually permanent, however, in some cases; this may have an impact on the durability of the gemstone. Gemstones that have been oiled may require reoiling after a number of years in order to retain their optimum appearance.

It is, in suitable cases, Lyon & Turnbull’s policy to obtain gemmological reports from internationally recognised gemmological laboratories describing certain gemstones sold by Lyon & Turnbull. In

the event that Lyon & Turnbull have been given, or have obtained, reports for any lot in the sale these reports will be mentioned in the catalogue description. However, it is not feasible for Lyon & Turnbull to obtain a gemmological report for each gemstone offered for sale by Lyon & Turnbull. If no report is published in the catalogue prospective buyers should assume that the gemstones may have been enhanced by some method. However, please note that there may not be consensus between different laboratories on the degrees or types of treatment for any particular gemstone. Prospective buyers should be aware that Lyon & Turnbull’s pre-sale estimates assume that gemstones may have been subjected to such treatments.

ALL DIMENSIONS, WEIGHTS ARE APPROXIMATE.

DIAMOND GRADING TERMS

Where printed in the catalogue, estimated diamond grades for colour and clarity are intended as guides for prospective buyers. Lyon & Turnbull do not guarantee these estimated grades due to the limitations of mounts and settings.

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol ( ) next to its lot number.

A. BEFORE THE SALE

1. DESCRIPTIONS OF LOTS

Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. OUR RESPONSIBILITY FOR OUR

DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot

is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.

(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general

service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID

1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please

contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her.

(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone bids

Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(c) Written Bids

While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps

TERMS & CONDITIONS FOR BUYERS 22.3

to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE

1. ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

2. RESERVES

Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;

(c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7. SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

8. RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate

is charged on the Buyer’s Premium.

No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction.

Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

2. VALUE ADDED TAX

Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.

(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)

This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

1. SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller;

(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and;

(b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense.

The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if:

(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or

(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and

(b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with

or convicted of money laundering, terrorist activities or other crimes.

(b) Where You are bidding on behalf of another person You warrant that:

(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold

You will pay to us the Total Amount

Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

2. IN THE EVENT OF NONPAYMENT

If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(a) To proceed against You for damages for breach of contract;

(b) To rescind the contract for sale of that Lot and/or any other Lots sold

by us to You;

(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

(i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website

(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;

(i) Charge You storage costs at the rates set out on our Website.

(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

(iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING

1. TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

2. EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting

these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3,

(ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that

You will gain any copyright or other reproductions to the Lot.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

10. FORCE MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions

to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY

The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd

(Registered in Scotland No: 191166

| Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

“Bidding Form” our Bidding

Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words

“You” and “Your”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

“High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull; Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“

Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING

Please note that in-room bidding is not available for this auction.

At the Sale Registered bidders will be assigned a bidder number for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given at registration, which is non-transferable.

HOW TO BID BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

Bid forms are available at all offices. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET

- ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

Our accounts teams will be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment. Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH

No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS

Please refer to page 2 of this catalogue.

Right Lots 201 & 168