London Jewellery

WEDNESDAY 23 OCTOBER 2024 AT 2PM

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Sale Number LT820

BIDDING AT THIS SALE

Online, telephone and commission bidding only - please see the guide to bidding on page 112

Lyon & Turnbull 22 Connaught Street LONDON W2 2AF

VIEWING

Thursday 17th October 5-8pm

Friday 18th October 10am - 4pm

Saturday 19th October 10am - 4pm

Monday 21st October 10am - 4pm

Tuesday 22nd October 10am - 4pm

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.

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk.

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

If you have not bought at auction before we will be delighted to help you.

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 Great Britain. For more information visit http:// www.defra.gov.uk/ahvla-en/importsexports/cites

COLLECTION OF PURCHASED LOTS

All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com.

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.

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 condition of a lot, or just want to find out more about the auction process.

Sarah Duncan GG Head of Jewellery, London sarah.duncan@lyonandturnbull.com

Ruth Davis FGA DGA PjDip Head of Jewellery, Edinburgh ruth.davis@lyonandturnbull.com

Veronica Olszowska FGA Sale Coordinator veronica.olszowska@lyonandturnbull.com

Charles Tearle Head of Watches charles.tearle@lyonandturnbull.com

A MULTI-STRAND CULTURED PEARL NECKLACE WITH A LATE 19TH CENTURY SAPPHIRE AND DIAMOND CLASP

The detachable old brilliant-cut and cushion-shaped diamond clasp, centrally featuring a cushion-shaped sapphire, weighing 22.79 carats, to four later rows of cultured pearls, diamonds approx. 2.55 carat total, length of shortest strand 42.2cm

Accompanied by a report from GCS stating that the sapphire is of Sri Lankan origin, with no indications of heating. Report number 5784-3544, dated 9th September 2024.

£8,000-12,000

A SAPPHIRE AND DIAMOND TRIPLE CLUSTER RING

Contoured to the band, centrally-set with an oval-cut sapphire, between circular-cut sapphires, all within an old brilliant, single-cut and cushion-shaped diamond surround, diamonds approx. 0.35 carat total, principal sapphire approx. 0.75 carat, ring size P

£1,500-2,000

A SAPPHIRE AND DIAMOND CLUSTER RING, FIRST HALF OF THE 20TH CENTURY

The oval cabochon sapphire, within a cushion-shaped diamond surround, to a polished band, diamonds approx. 0.80 carat total, sapphire approx. 12.50 carats, ring size T½, case by J. Hardy & Co. Ltd., 7, Castle Street, Edinburgh, 2

The sapphire has been examined by GCS and a verbal assessment given that it is of Sri Lankan origin, with no indications of heating.

£3,000-5,000

AN EARLY 20TH CENTURY SEED PEARL AND DIAMOND MULTI-STRAND BRACELET

The seven rows of seed pearls, to a rectangular clasp millegrain set with single-cut diamonds throughout, and a central collet-set old brilliant-cut diamond, diamonds approx. 0.70 carat total, length 16.3cm

£700-900

BOUCHERON: A NATURAL PEARL, SEED PEARL AND DIAMOND NECKLACE

The single-strand of graduated 2.3-5.9mm pearls, spaced to the front with faceted diamond roundels, to a colletset oval-cut diamond clasp, principal diamond approx. 0.55 carat, clasp signed Boucheron Paris, numbered, French assay mark, length 39.0cm

Accompanied by a report from The Gem Testing Laboratory of Great Britain, stating the pearls are natural. Report dated 10th September 2007, numbered 0127452. This necklace has been examined by GCS and a verbal assessment given stating that the pearls are natural, saltwater.

Footnote: For a similar necklace which has sold at auction recently, please see Christie’s, Magnificent Jewels, 28 May 2019, Hong Kong, lot 1945.

£7,000-9,000

6 A SAPPHIRE AND DIAMOND CLUSTER RING

The oval-cut sapphire, within an old brilliant-cut diamond surround, diamonds approx. 0.95 carat total, sapphire approx. 4.45 carats, ring size R The sapphire has been examined by GCS and a verbal assessment given that it is of Sri Lankan origin, with no indications of heating.

£7,000-9,000

7 AN EARLY 20TH CENTURY SAPPHIRE AND DIAMOND RING

Centrally-set with a cushion-shaped sapphire, between old brilliant-cut diamonds, to a delicately pierced single-cut diamond gallery, principal diamonds approx. 1.00 carat total, sapphire approx. 0.80 carat, ring size M½

£1,200-1,500

8 A PAIR OF BELLE EPOQUE PEARL AND DIAMOND PENDENT EARRINGS, FIRST QUARTER OF THE 20TH CENTURY

Each bow surmount set with rose and old brilliant-cut diamonds, suspending an articulated line of similarlycut diamonds, to an openwork pear-shaped drop set with similarly-cut diamonds and suspending a 4.7mm pearl, old brilliant-cut diamonds approx. 0.40 carat total, pearls untested, post fittings, length 3.0cm

£500-700

9 AN AQUAMARINE AND DIAMOND BROOCH, CIRCA 1910

The cushion-shaped aquamarine, in an angled fourclaw setting, between tapering shoulders set with old brilliant-cut diamonds, and further pierced chevron lines, diamonds approx. 1.00 carat total, one diamond deficient, aquamarine approx. 15.40 carats, length 9.0cm

£1,000-1,500

10 A NATURAL PEARL AND DIAMOND SAUTOIR, CIRCA 1920

The longchain set with 4.4-6.5mm pearls, interspersed by fancy-links, accented by two rose-cut diamond conical spacers, with a central rose-cut diamond and 4.6mm pearl flowerhead, suspending a 2.3-3.5mm pearl tassel with a matching rose-cut diamond conical cap, lengths: pendant 10.9cm, necklace 148.5cm Accompanied by a report from The Gem & Pearl Laboratory stating that the pearls are natural, saltwater. Report number 10465, dated 14th November 2014.

£6,000-8,000

11 A FANCY-COLOURED SAPPHIRE RING

Centrally collet-set with a circularcut lavender grey sapphire, between matching French-cut sapphire shoulders, within a foliate engraved gallery, ring size N Accompanied by a report from GFCO Gem Lab, Switzerland stating that the principal grey sapphire, weighing approx. 1.15 carats, is of Sri Lankan origin, with no indications of heat treatment. Report number AAP29656, dated 19th December 2023.

£1,500-2,000

A PAIR OF DIAMOND BOW EARRINGS

Each designed as a stylised bow, with brilliant-cut diamond detail throughout, diamonds approx. 0.45 carat total, post and clip fittings, length 3.2cm

£600-800 13

JEAN SCHLUMBERGER FOR TIFFANY & CO: A PAIR OF MABÉ PEARL AND DIAMOND EARRINGS, CIRCA 1990

Each mabé-pearl within a rope-twist scroll, accented by brilliantcut diamonds, diamonds approx. 0.70 carat total, signed Tiffany & Co. Schlumberger Studios, post and clip fittings, length 2.2cm

£2,000-3,000

FEI LIU: A PAIR OF CITRINE AND DIAMOND ‘WHISPERING’ PENDENT EARRINGS

Each citrine briolette suspended from a brilliant-cut diamond foliate surmount, maker’s mark FL, partial UK hallmark, length 4.1cm

£600-800

VAN CLEEF & ARPELS: A ‘COSMOS’ YELLOW SAPPHIRE AND DIAMOND FLOWER RING

The central cluster of brilliant-cut diamonds, within a tiered petal surround pavé-set with circular-cut yellow sapphires, to a polished band, signed VCA, maker’s mark, numbered, French assay mark, ring size K

For a similar example which sold recently at auction, see Lyon & Turnbull, Select Jewellery & Watches, London, 22 October 2021, Lot 127.

£6,000-8,000

16 CARTIER: A GOLD COLLAR NECKLACE

The openwork collar of polished contoured 18 carat gold links, to a concealed clasp, signed Cartier, numbered, European convention mark, Swiss assay mark, length 36.5cm

£4,500-5,500

17 CARTIER: A FANCYLINK BRACELET

The wide articulated strap of opposing demi lunes, to a concealed

BOUCHERON: A DIAMOND RING

The central navette set with brilliantcut diamonds, between tapering reeded shoulders, signed Boucheron Paris, French export mark, ring size N½

£1,500-2,000

BULGARI: A CULTURED PEARL, AMETHYST AND DIAMOND NECKLACE, CIRCA 1985

Designed as a continuous row of 8.8-9.2mm cultured pearls with polished spacers, centrally featuring a lozenge-shaped reeded panel channel-set with courses of baguette-cut diamonds, centrally collet-set with a cushion-shaped amethyst, between brilliant-cut diamond lugs, to an octagonal clasp set with rows of similarlycut diamonds, diamonds approximately 3.40 carats total, amethyst approx. 2.80 carats, signed Bulgari, numbered, rubbed Italian assay mark, length 38.1cm, maker’s case

Footnote: Necklaces from this collection featured in Bulgari’s now iconic 1985-1986 “Dreams” advertising campaign. The campaign was shot by Jean-François Schlemmer and the imagery was inspired by the surrealist works of Belgian artist René Magritte (1898-1967). The campaign so encapsulated Bulgari’s legacy that in recent years, Bulgari has relaunched key design elements of the “Dreams” artwork for contemporary High Jewellery collections.

£15,000-20,000

CARRERA Y CARRERA: A DIAMOND-SET WRISTWATCH

The circular black dial with diamond accents, the lugs formed of realistically modelled prowling panthers, with rose-cut diamond eyes, to an embossed black leather strap, dial signed Carrera y Carrera, numbered, case size 24mm, maximum bracelet length 23.5cm

£400-600

21 BULGARI: A LAPIS LAZULI B.ZERO1 RING

The carved ringed lapis lazuli centre, within a frame engraved BVLGARI, numbered, ring size M (Bulgari size 53), maker’s case and box

£700-900

22

BULGARI: A B.ZERO.1 CERAMIC BANGLE

Of hinged design, centrally formed of matte black ceramic, the polished frame engraved BVLGARI, numbered, Italian assay mark, inner diameter 5.7cm (Bulgari size S/M), maker’s case

£1,800-2,200

22A

BOODLES: A ROSE GOLD AND DIAMOND ‘CIRCUS’ RING

The central line of polished 18 carat rose gold beads, between courses of brilliant-cut diamonds, diamonds approx. 0.45 carat total, signed Boodles, maker’s mark B&D, London hallmark, ring size L, maker’s case and box

£600-800

CARTIER, POSSIBLY BY JEANNE TOUSSAINT: AN ART DECO VELVET AND DIAMOND HANDBAG, CIRCA 1925

The black velvet exterior decorated with a rose-cut diamond tongue clasp, fed through a similarly-cut diamond rivet, the interior featuring several compartments including a removable pouch, the top strap adorned with courses of rose-cut diamonds, signed Cartier, makers’ marks, French assay marks, width 19.7cm £800-1,200

Footnote: This rare evening bag, in the envelope style, was made by Cartier in Paris in the mid 1920s. In 1919 Louis Cartier (1875-1942) made his lover, Jeanne Toussaint (1887-1976), an employee of Cartier in their handbag department to alleviate family pressure surrounding their affair. Within Rue de la Paix, Toussaint became famous for her stylish contributions not to mention her frugal use of valuable fabrics; not an unwelcome contribution in times of economic difficulties. In 1933 she was promoted to Artistic Director focusing on high jewellery.

AN ART DECO DIAMOND COCKTAIL WATCH, CIRCA 1930

The bowed rectangular dial, with Arabic numerals, the case set with single-cut diamonds, between graduated channel-set baguette-cut diamond lugs, the fine millegrain bracelet of splayed design set with geometric links of single and brilliant-cut diamonds, to a concealed clasp, diamonds approx. 2.05 carats total, case and movement numbered, length 17.7cm

£800-1,200 25

AN ART DECO SAPPHIRE AND DIAMOND COCKTAIL WATCH, CIRCA 1935

The rectangular dial with Arabic numerals, within a rose-cut diamond surround, to a tapered bracelet set with courses of similarlycut diamonds and calibrè-cut sapphires, to a sprung bracelet, maker’s mark BB, numbered, French assay mark, length 17.4cm

£700-900

MAUBOUSSIN: A SAPPHIRE BROOCH, CIRCA 1940

Of bulbous undulating design, channel-set with calibré-cut sapphires, signed Mauboussin Paris, maker’s mark, numbered, French export mark, length 3.3cm

£3,200-3,500

A PAIR OF SAPPHIRE AND DIAMOND EARRINGS

Each circular cabochon sapphire surmount, suspending a pendant of geometric design set throughout with brilliant-cut diamonds, accented by a circular cabochon sapphire, to a baguette-cut diamond three-stone finial, post fittings, length 5.5cm

£2,000-3,000

28 A DIAMOND BOMBÉ RING

The domed form set throughout with single-cut diamonds, centrally featuring an old brilliant-cut diamond, mounted in 18 carat white gold, diamonds approx. 0.50 carat total, sponsor’s mark DT, UK hallmark, ring size G

£800-1,200

A PAIR OF SAPPHIRE AND DIAMOND CLUSTER EARRINGS

Each oval-cut sapphire, within a surround of brilliant-cut diamonds, diamonds approx. 0.80 carat total, post fittings, length 1.2cm

£1,500-2,000

30 A WOVEN DIAMOND BRACELET, CIRCA 1960

The interwoven bracelet accented throughout with trios of brilliantcut diamonds, diamonds approx. 3.60 carats total, French export marks, length 18.7cm

£2,000-3,000

31

A PAIR OF CULTURED PEARL AND DIAMOND ‘DAY AND NIGHT’ EARRINGS

Each detachable 10.9-11.0mm cultured pearl drop, suspended from a scroll surmount set with old brilliant, single and baguette-cut diamonds, diamonds approx. 1.50 carats total, post fittings, length 3.5cm

£1,500-2,000

A PAIR OF DIAMOND PENDENT EARRINGS

Each graduated surmount collet-set with a trio of brilliant-cut diamonds, suspending an openwork oval drop highlighted throughout with similarlycut diamonds, post fittings, diamonds approx. 1.75 carats total, post fittings, length 3.7cm

£2,000-3,000

A SAPPHIRE AND DIAMOND FLOWER BROOCH

The cluster of sapphire beads, to a single-cut diamond stem with scrolling leaves, diamonds approx. 0.95 carat total, one diamond deficient, length 6.8cm

£700-900

A SAPPHIRE AND DIAMOND TOI ET MOI RING

The circular-cut sapphire and old brilliantcut diamond in a crossover setting, between similarly-cut diamond shoulders, principal diamond approx. 0.60 carat, sapphire approx. 0.90 carat, remaining diamonds approx. 0.25 carat total, ring size R

£500-700

A DIAMOND BROOCH, CIRCA 1945

The pierced and openwork plaque millegrain set throughout with single-cut diamonds, with a collet-set old brilliantcut diamond to the centre, diamonds approx. 1.60 carats total, width 5.9cm

£1,000-1,500

A BELLE ÉPOQUE DIAMOND BROOCH / NECKLACE, CIRCA 1910

Millegrain set throughout with old brilliant, rose-cut and cushionshaped diamonds, the central segment of finely pierced plumage design, suspending a tassel of collet-set diamonds, to splayed twisted diamond-set suspensory lines, with a diamond-set fan spacer and a trace-link chain, old brilliant and cushion-shaped diamonds approx. 10.90 carats total, lengths: pendant 8.9cm, necklace 42.0cm, fitted case with detachable brooch fitting and screwdriver by Lowe, Successors to Frank Hyams Ld from Dunedin New Zealand, 20 Grafton Street, New Bond St W.

£4,000-6,000

Footnote: This necklace was retailed and possibly made by Ernest J. Lowe of London who in 1905 took over the business of Frank Hyams formerly of Dunedin, New Zealand. Hyams introduced silver and decorative objects set with “Maori Greenstone” (nephrite jade or “pounamu”) into London society. Amongst Hyams clients was Leopold de Rothschild (1845- 1917) who’s public appreciation for “greenstone” help propel it to international demand.

Ernest J. Lowe took over the Hyam firm, now based at 128 New Bond Street, in 1905. Even by the mid 1930s Lowe’s letterhead listed the firm as “Specialists in Pearls, Diamonds, Precious Stones, New Zealand Greenstone, Oriental Jades”. The exotic nature of this pendant would be fitting for a designer specialising in international taste and gemstones.

The design of this jewel represents the influx of Indian motifs and themes into the highest pedigree of European and British jewellery in the first decades of the 20th century.

37 AN EMERALD AND DIAMOND DOUBLE CLIP BROOCH, CIRCA 1950

Designed as cascading swatches of brilliantcut diamond fabric, with channel-set lines of baguette-cut diamonds and step-cut emeralds interwoven throughout, diamonds approx. 13.60 carats total, width 6.6cm

£7,000-9,000

38 AN ART DECO EMERALD AND DIAMOND PLAQUE RING, CIRCA 1930

Designed as a double target ring, each millegrain collet-set brilliant-cut diamond, within a tapered French-cut emerald surround, centrally featuring an oval-cut emerald, all within a single-cut diamond border, between pierced single-cut diamond and triangular-cut emerald shoulders, mounted in platinum, diamonds approx. 1.50 carats total, later sponsor’s mark B&S and London hallmark, ring size M

£2,500-3,000

A YELLOW SAPPHIRE AND DIAMOND PENDANT NECKLACE

The cushion-shaped yellow sapphire drop, suspended from a trio of cushion-shaped diamonds, to a trace-link chain with a pair of similarly-cut diamond accents, diamonds approx. 0.60 carat total, yellow sapphire approx. 2.70 carats, lengths: pendant 4.6cm, chain 46.7cm

£800-1,200 40 A DIAMOND CLUSTER RING

The brilliant-cut diamond, in a ten-claw setting, within a scalloped similarly-cut diamond surround, between shoulders accented by baguette-cut diamonds, principal diamond approx. 1.35 carats, remaining diamonds approx. 1.20 carats total, ring size approx. L (hoop misshapen)

£1,000-2,000

A PAIR OF DIAMOND AND JADE PENDENT EARRINGS, FIRST HALF OF THE 20TH CENTURY

Each jade plaque, carved to depict a jardinière, suspended from a line of millegrain-set single-cut diamonds, screwback fittings, jade untested, length 5.1cm

£600-800

AN EMERALD FIVE-STONE RING

Set with oval-cut and cushion-shaped emeralds, the largest to the centre, ring size P

£400-600

MELLERIO DITS MELLER: A REVERSABLE EMERALD AND DIAMOND RING

The wide tapered band centrally featuring a collet-set swivel containing a double-sided emerald, one side cut to an oval cabochon, the reverse a faceted oval-cut, set within a surround of brilliant-cut diamonds, circular cabochon sapphire accents to the gallery, diamonds approx. 0.35 carat total, signed Mellerio, maker’s mark MM, numbered, French assay mark, ring size N½, maker’s case

Please note that the emerald has been examined by GCS and a verbal assessment given that it is of Colombian origin, with indications of significant clarity enhancement.

£5,000-7,000

A PAIR OF EMERALD AND DIAMOND “DAY AND NIGHT” PENDENT EARRINGS

Each cluster surmount set with step-cut emeralds, suspending a detachable pear-shaped pendent drop set throughout with step-cut emeralds, single and brilliant-cut diamonds, post fittings, length 4.4cm

£1,500-2,000

A CARVED EMERALD BEAD NECKLACE

The single strand of fluted carved emerald beads, each of oblong form, between fluted polished bead spacers, partially struck maker’s marks, length 39.5cm

The principal emerald has been examined by GCS and a verbal assessment given that the emerald is of Colombian origin, with significant clarity enhancement.

Provenance: Previously acquired at Christie’s, Indian Jewellery, London, 6 October 1999, Lot 104.

£3,000-5,000

46 A FANCY-LINK BRACELET

Designed as three contoured ropetwist links, Italian assay mark, length 19.2cm £700-900

47 AN AMETHYST NÉGLIGÉE NECKLACE

The line of spectacle-set oval cabochon amethysts, terminating in uneven drops, maximum lengths: necklace 54.1cm, drop 5.1cm

£1,000-1,500

A GREEN TOURMALINE AND DIAMOND PENDANT NECKLACE

The collet-set pear-shaped green tourmaline, within a wide polished surround gypsy-set with brilliant-cut diamonds, to a similarly designed surmount, suspended from an 18 carat yellow gold trace-link chain, diamonds approx. 0.35 carat total, green tourmaline approx. 9.30 carats, French import marks, chain with partial UK hallmark and European convention mark, lengths: pendant 4.2cm, chain 46.1cm

£800-1,200

A PAIR OF PERIDOT AND DIAMOND EARRINGS

Each collet-set step-cut peridot within a bi-coloured surround of brilliant-cut diamonds, diamonds approx. 0.70 carat total, peridots approx. 3.00 carats total, post fittings, length 1.5cm

£1,500-2,000

50 AN EMERALD RIVIÈRE NECKLACE

The tennis choker necklace set with a uniform line of circular-cut emeralds, to a concealed clasp, emeralds approx. 8.20 carats total, length 38.1cm

£2,000-3,000

A COLOMBIAN EMERALD AND DIAMOND RING

The step-cut emerald, weighing 7.67 carats, in a double four-claw setting, between trillion-cut diamond shoulders, to an 18 carat yellow gold band, diamonds approx. 1.15 carats total, maker’s mark AKLd, London hallmark, ring size M

Accompanied by a report from Gubelin stating that the emerald is natural, of Colombian origin. Report number 9608059, dated 26th August 1996.

The emerald has been examined by GCS and a verbal assessment given that the emerald is of Colombian origin, with moderate clarity enhancement.

£15,000-20,000

A PINK SAPPHIRE AND DIAMOND RING

The cushion-shaped pink sapphire, in a four-claw setting, between trios of old brilliant-cut diamonds, ring size P Accompanied by a report from GCS stating that the pink sapphire, weighing approx. 2.20 carats, is natural, of Sri Lankan origin, with no indications of heating. Report number 5784-3163, dated 31st July 2024.

£1,200-1,500

53 A PAIR OF EGYPTIAN REVIVAL CULTURED PEARL,

EMERALD, RUBY AND DIAMOND PENDENT EARRINGS

The stylised lotus flower surmount set with rose-cut diamonds, a circular cabochon ruby and emeralds, and circular-cut emeralds, suspending a further two stylised drops of similarly-cut diamonds, cushion-shaped rubies and triangular-cut sapphires, with a 4.6-6.6mm cultured pearl and ruby bead fringe, post and clip fittings, length 9.1cm

£1,200-1,500

AN EGYPTIAN REVIVAL CULTURED PEARL, RUBY, EMERALD AND DIAMOND NECKLACE

The twelve strands of seed pearls, punctuated by 5.45.8mm cultured pearls, with a stylised lotus flower centre, set with circular-cut and circular cabochon emeralds, oval cabochon rubies, with lines of old brilliant-cut and cushionshaped diamonds, connected by a rose-cut diamond in a closed-back setting, old brilliant-cut and cushion-shaped diamonds approx. 1.05 carats total, length 40.0cm

£1,200-1,500

A RUBY AND DIAMOND CLUSTER PENDANT NECKLACE, 1990

The pear-shaped ruby, within a brilliant-cut diamond surround, to a marquise-cut diamond fan surmount, mounted in 18 carat white gold, suspended from a white gold Venetian-link chain, diamonds approx. 1.30 carats total, ruby approx. 0.70 carat, pendant with partially struck maker’s mark and London hallmark, chain with UK import marks, lengths: pendant 2.2cm, chain 45.4cm

Lengths: pendant 2.2cm, chain 45.4cm

£800-1,200

A PAIR OF PINK TOURMALINE AND DIAMOND LEAF EARRINGS

Set with pear-shaped pink tourmaline leaves to a brilliant-cut diamond stem and accents, diamonds approx. 0.90 carat total, clip and post fittings, length 3.1cm

£3,200-3,500

A DIAMOND SOLITAIRE RING

The brilliant-cut diamond, in an eight-claw setting, to a polished band, diamond approx. 2.10 carats, ring size O½

£3,500-4,500

A DIAMOND STAR PENDANT

The eight-point star, pavéset with graduated brilliant-cut diamonds throughout, diamonds approx. 3.30 carats total, one diamond deficient, length 4.2cm

£1,000-1,500

A RUBY AND DIAMOND PENDENT NECKLACE

Composed of graduated brilliant-cut diamond oval links, centring on a collet-set brilliant-cut diamond in a border of smaller similarly-cut diamonds, suspending a detachable oval baguette and brilliant-cut diamond pendant containing a collet-set oval-cut ruby, diamonds approx. 4.70 carats total, ruby approx. 1.50 carats, lengths: pendant 4.0cm, necklace 48.6cm

£3,200-3,800

A PAIR OF CULTURED PEARL AND DIAMOND CLUSTER EARRINGS

Each 13.5mm cultured pearl of grey bodycolour, within a border of brilliant-cut diamonds, diamonds approx. 0.45 carat total, post and clip fittings, length 1.8cm

£600-800

LONGINES: A ‘LE GRANDE CLASSIQUE’ WHITE GOLD AND DIAMOND WRISTWATCH

The circular dial with baton hourmarkers, within a brilliant-cut diamond bezel, to an 18 carat white gold bracelet, signed Longines, numbered, European convention mark, Swiss assay mark, quartz movement, case size 24mm, bracelet length 19.5cm

Case size 24mm, bracelet length 19.5cm

£700-900

A PAIR OF CULTURED PEARL AND DIAMOND FLOWER EARRINGS, 2005

Each 11.4mm cultured pearl, within a sculptural floral design, accented by brilliant-cut diamond scrolls, above blackened petals pave-set with brilliant-cut diamonds of brown tint, mounted in 18 carat white gold, diamonds approx. 5.05 carats total, maker’s marks D&E, London hallmarks, post and clip fittings, length 2.7cm

£1,800-2,200

A CUSHION-SHAPED DIAMOND SINGLE-STONE RING

The cushion-shaped diamond, in a wide four-claw setting, to a square gallery on a tapered band, diamond approx. 1.20 carats, ring size K

£1,000-1,500

VHERNIER: A DIAMOND ‘DISCO’ PENDANT

The circular disc, pavé-set with brilliant-cut diamonds, suspended from a black rubber cord necklace with double-sided brilliant-cut diamond circular adjusters, signed Vhernier, diamonds approximately 6.90 carats total, Italian assay mark, pendant length 3.1cm, necklace length adjustable

£4,000-6,000

PONIROS: A DIAMOND AND COLOURED DIAMOND RING

Of oval bombé design, centrally pavé-set with circular-cut black diamonds and brilliant-cut diamonds of brown tint, within a surround of brilliant-cut diamonds, signature rubbed, ring size M

£400-600

A PAIR OF CULTURED PEARL AND DIAMOND PINWHEEL EARRINGS

Each centrally featuring a 12.0-12.3mm cultured pearl of grey bodycolour, in a stylised pinwheel border of brilliant-cut diamonds, diamonds approx. 0.90 carat total, post and clip fittings, length 2.0cm

£700-900

67 FEI LIU: A ROCK CRYSTAL, CULTURED PEARL AND DIAMOND BRACELET

The series of striated frosted rock crystal panels, within a brilliant-cut diamond platinum frame, each panel centrally set with an alternating graduated series of baroque cultured pearls of grey tint, the largest in the centre, or collet-set brilliant-cut diamonds, to a concealed clasp, diamonds approx. 1.45 carats total, length 17.7cm

£2,800-3,200

68 AN ENAMEL AND DIAMOND TORC RING

The white enamel band decorated with lines of rose-cut diamonds, each terminal featuring a collet-set rose-cut diamond, mounted in silver gilt, ring size M

£300-500

A SINGLE-STONE MARQUISE-CUT DIAMOND RING

The horizontally-set marquise-cut diamond, to an 18 carat white gold band, diamond approx. 1.10 carat, partial UK hallmark, European convention mark, ring size M

£700-900

A BRILLIANT-CUT DIAMOND SINGLESTONE RING

The brilliant-cut diamond, in a raised six-claw setting, to a polished band, diamond approx. 2.10 carats, ring size O½

£3,000-4,000

CARTIER: A ‘C DE CARTIER’ WHITE GOLD AND DIAMOND RING

Designed as a continuous row of overlapping 18 carat white gold wide ‘C’ motifs, one motif pavè-set with brilliant-cut diamonds, signed Cartier, maker’s mark, numbered, later UK hallmark, French assay mark, ring size L½ (Cartier size 52), maker’s pouch

£1,500-2,000

VICTOR MAYER FOR FABERGÉ: AN ENAMEL, CITRINE, SMOKY QUARTZ AND DIAMOND ‘SURPRISE’ EGG

The yellow guilloché enamelled egg decorated with applied pink enamel and circularcut citrine flowers, a bi-coloured honeybee with brilliant-cut diamond eyes and enamel wings perched atop, opening to reveal a bear eating from a honey-pot, mounted on a polished smoky quartz base, signed FABERGE, edition number 57/75, maker’s mark for Victor Mayer, height 10.5cm, maker’s presentation case and box

£4,000-6,000

Footnote: The jewellery manufacturer Victor Mayer was founded in Germany by Victor Mayer (1857-1946) in 1890. The firm designed and created jewellery in line with contemporary trend from the late 1800s onward. Mayer himself was designing well into his late 80s.

From 1989-2009 Victor Mayer held the licence to create Fabergé jewellery and works of art. Mayer’s great grandson, Marcus Oliver Mohr, was appointed a workmaster for Fabergé Ltd. In 1996, Fabergé jewellery by Victor Mayer was shown together with the works of Peter Carl Fabergé at the Metropolitan Museum of Art, New York.

A DIAMOND NECKLACE, CIRCA 1900

The line of rectangular rose-cut diamond links, interspersed with old brilliant-cut diamonds, suspending a graduated rose-cut diamond fringe of stylised fleur-de-lys, each with an old brilliant-cut diamond drop, to a contoured removable backchain accented by rose-cut diamonds, old brilliant-cut diamonds approx. 4.40 carats total, converted from a tiara, French assay marks, partially struck maker’s mark, numbered, length 39.4cm

£3,000-5,000

A TUDOR ROSE DIAMOND BROOCH

The stylised openwork Tudor rose, set throughout with old brilliantcut and cushion-shaped diamonds, diamonds approx. 5.15 carats total, length 3.8cm

£800-1,200

A THREE-STONE DIAMOND RING

The old brilliant-cut diamonds, the largest to the centre, in pinched collet-settings, principal diamond approx. 1.20 carats, remaining diamonds approx. 1.35 carats total, ring size M½

£1,500-2,000

A LATE 19TH CENTURY DIAMOND BOW BROOCH

The central old brilliant-cut diamond in a pinched collet-setting, between looping lines of old brilliant and cushion-shaped diamonds, diamonds approx. 1.85 carats total, later brooch fitting, possibly adapted from a larger piece, Austro-Hungarian assay mark, width 3.4cm

£1,000-1,500

A PRIVATE COLLECTION OF ANTIQUE RINGS

A SAPPHIRE INTAGLIO RING, LATE 19TH / EARLY 20TH CENTURY

The faceted sapphire, carved to depict Athena in profile looking right, in a bezel-setting, intaglio measures approx. 11.0x10.0mm, ring size P½

For a similar lot that sold recently at auction see Bonhams, Knightsbridge, London, 13 October 2016, lot 136.

Provenance: By repute, from the private collection of a late well known London-based art historian. Hence by descent.

£1,000-1,500

A BANDED AGATE INTAGLIO RING, CIRCA 1840, DEPICTING PRINCE FREDERICK DUKE OF YORK AND ALBANY (1763-1827)

The circular banded agate, carved to depict the profile of Prince Frederick Duke of York and Albany (1763-1827), looking right, dressed in classical military attire, engraved to the reverse HRH Fredk, Duke of York, within an oversized claw setting to a polished band, ring size R½ (band misshapen)

Provenance: By repute, from the private collection of a late well known London-based art historian. Hence by descent.

Footnote: Prince Frederick Duke of York and Albany (1763-1827) was the second of fifteen children of King George III and Queen Charlotte. Now known as “the Grand old Duke of York”, he is most famous for his military career, both the highs and lows. In 1799 as a young commander he suffered military setbacks which led to the creation of the nursery rhyme “Grand old Duke of York”. However spurned on by these difficulties, when he became Commander-in-Chief of the British Army shortly thereafter, he instigated wide sweeping reforms which transformed the efficiency of the British military. Moved by the plight of orphaned children during the Napoleonic Wars, he took on humanitarian endeavours including the foundation of the Royal Military Asylum in Chelsea, London (now the Duke of York’s Headquarters).

The carving of this intaglio is based on a marble bust by Sir Francis Chantrey (1781-1841). The bust was commissioned for the Junior United Service Club in 1835-36, demonstrating the Duke’s remarkable legacy.

£800-1,200

A GREEN HARDSTONE INTAGLIO SIGNET RING

Engraved with the crest of a lion rampant above a coronet, the reverse carved with hieroglyphs, possibly an ancient Egyptian bead set into a late 19th century ring mount, ring size approx. K

Provenance: By repute, from the private collection of a late well known London-based art historian. Hence by descent.

80 A JERUSALEM CROSS RING, POSSIBLY LATE MEDIEVAL

The central disc featuring an engraved Jerusalem cross, to a polished band with evidence of a lost inscription, ring size P

Provenance: By repute, from the private collection of a late well known London-based art historian. Hence by descent.

£500-700

£600-800 81

AN ANTIQUE CHALCEDONY CAMEO RING

The oval chalcedony intaglio, carved to depict a Dutch schuttersstuk scene, collet-set to a polished band, ring size P½

Provenance: By repute, from the private collection of a late well known London-based art historian. Hence by descent.

£600-800

A MULTI GEM-SET AND ENAMEL PENDENT NECKLACE, CIRCA 1905

The longchain formed of red enamel openwork oval links with green enamel foliate accents, spaced by polished ruby beads, centring on blue and green intertwined serpents, suspending a navette-shaped pierced scrolling pendant decorated with yellow, red, white, green and blue enamel with step and circular-cut emerald highlights, surrounding an oval moonstone cameo of a regal lady, with a triangular-shaped sapphire drop, closed-back settings throughout, lengths: pendant 8.1cm, chain 76.8cm, fitted case by J.W. Benson Ltd., 25 Old Bond Street, London

£4,000-6,000

A MOSS AGATE BRACELET

The graduated series of oval cabochon moss agates, each within a bi-coloured floral and floriate surround, length 17.4cm

Provenance: Previously acquired at Bonhams, Jewellery, Oxford, 11 November 2014, Lot 279.

£600-800

A MID 19TH CENTURY DIAMOND BROOCH / PENDANT

The stylised Catherine wheel, set throughout with graduated old brilliant-cut diamonds, the largest to the centre, with rose-cut diamond accents throughout, principal diamond approx. 0.80 carat, remaining old brilliant-cut diamonds approx. 5.50 carats total, length 3.1cm, fitted case by Harvey & Gore, 1 Vigo Street, London

£2,500-4,000

A PAIR OF 19TH CENTURY DIAMOND PENDENT EARRINGS

Each with a central double bow, set throughout with cushion-shaped diamonds, between a rose-cut diamond surmount and drop, all in closed-back settings, cushionshaped diamonds approx. 0.80 carat total, hook fittings, composite, length 3.5cm, cased

£3,000-4,000

A FLEUR DE LYS DIAMOND PENDANT / BROOCH

The fleur de lys overlaid by a crown, the blackened mount set throughout with single-cut diamonds, with brilliant-cut diamond highlights, diamonds approx. 1.35 carats total, length 4.6cm

£600-800

87 Y

ARTHUR THOMAS PENNIALL: A PAIR OF ETRUSCAN REVIVAL PENDENT EARRINGS, CIRCA 1865

Set with a line of white coral beads, within a tubular framework decorated with fine wirework detailing, suspending a trio of spherical accents, unsigned, UK registry marks, post fittings, length 5.4cm

Footnote: These earrings rather unusually bear UK Registry Marks allowing us to attribute them to the goldsmith and jeweller Arthur Thomas Penniall of 53 Frederick Street, Gray’s Inn Road, London. Penniall’s registry submission list this design as “ornamental design for an earring, or other articles of jewellery”.

The Design Copyright Act of 1939 allowed designers to protect their designs for three years from being reproduced. Although previously used for textile patterns and sculptural elements, in 1842 jewellery was incorporated into this protection through the Ornamental Designs Act. The system was in place from 1842 to 1883 and the records are all now held by the National Archives in Kew, London.

£600-800

WILHELM SCHMIDT: A BOULDER OPAL CAMEO PENDANT/ BROOCH, LATE 19TH CENTURY

The large oval opal and opal matrix cameo, carved to depict a warrior in profile looking right, within an engraved border with geometric detailing, unsigned, cameo 7.0 x 4.2cm, pendant length 9.6cm

Footnote: Wilhelm Schmidt (1845-1938) was a German cameo carver, born in the global centre of gem cutting, Idar Oberstein. In 1874 he pioneered a novel new technique of carving opal cameos to also display the natural gem matrix. This use of the original opal matrix, traditionally discarded by carvers, allows for depth of field in the cameos. This technique lets the opal’s play of colour spring forth against a dark background. The first example of Schmidt’s opal carvings was exhibited by John Brogden at the Paris Exhibition in 1878. Although by this time the trend for cameos was in decline, the admiration for Schmidt’s unique work garnered him many high profile patrons and admirers such as the late Victorian art critic John Ruskin. Schmidt very rarely signed his work but this cameo is highly representative of his style. In particular the imagery of various exotic and classical warriors, and the delicate carving of feathers.

£1,500-2,000

A PAIR OF PENDENT EARRINGS, CIRCA 1850

Each surmount formed of linear lines, centrally claw-set with a seed pearl, to a similarly designed drop featuring a raised vine leaf and tendrils decorated with seed pearls, suspending a fine tassel, post fittings, length 5.2cm

Footnote: The central vine motif is similar in style to the “new and ingenious” vine brooches retailed by J.W. Benson of Cornwall and exhibited at the 1851 Great Exhibition in London.

See British Museum, London, museum number 1978,1002.848.a

£800-1,200

90 AN ARCHAEOLOGICAL REVIVAL FRINGE NECKLACE, CIRCA 1870

The foxtail link chain threaded with polished edged beads, realistically modelled duos of oak leaves and acorns with granulation detail, the central pendant of a baby Hercules grasping a snake, later clasp, length 40.5cm

Footnote: This necklace is inspired by an ancient Etruscan necklace found in Ruvo di Puglia, Italy in the early 19th century and exhibited at the Archaeological Museum (previously known as the Museo Borbonico) in Naples. The original necklace was one of the most famous jewels in the collection and was widely copied by contemporary jewellers. A 19th century version of that Etruscan necklace is part of the permanent collection at the British Museum, London.

For further reading see Charlotte Gere & Judy Rudoe Jewellery in the Age of Queen Victoria, London, 2010, page 429.

£2,000-3,000

MURRLE BENNET & CO.: AN ART NOUVEAU ENAMEL BROOCH, CIRCA 1905

The central enamel plaque depicting a black ship on a green sea to a red and yellow enamel sunset, collet-set within a scrolling foliate surround, maker’s mark MB&Co., reverse of enamel plaque numbered VIII, width 1.8cm, length 3.7cm, fitted case by the Tadema Gallery

Footnote: The enamel scene is likely by Charles Fleetwood Varley (1874-1959)

£400-600

AN ARTS & CRAFTS PENDANT NECKLACE, POSSIBLY BY SIBYL DUNLOP, CIRCA 1910

The elongated pendant set with circular and oval cabochon opal doublets, moonstones and mother-of-pearl, the central pendant decorated with foliate scrollwork and beaded details, suspended from a fancy-link silver chain, unsigned, lengths: pendant 11.0cm, chain 46.6cm

£400-600

AN ARTS & CRAFTS OPAL BRACELET, FIRST QUARTER OF THE 20TH CENTURY

Designed as a graduated line of oval cabochon opals, each in a closed-back collet setting, spaced by elaborate figure of eight links, length 19.8cm, fitted case by the Tadema Gallery

Provenance: Purchased in approximately 2010 from the Tadema Gallery, London who attributed the bracelet to the Artificer Guild.

£1,500-2,000

95 CARTIER: A DIAMOND ‘TRINITY’ RING

The 18 carat tri-coloured gold bands, each gypsy-set throughout with brilliant-cut diamonds, signed Cartier, numbered, European convention mark, Swiss assay mark, ring size M (Cartier size 52), maker’s case

£1,000-1,500

96 CARTIER: A PAIR OF ‘TRINITY’ EARRINGS

Each formed of intertwined 18 carat white, yellow and rose gold hoops, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, post and clip fittings, length 2.0cm, maker’s case

£800-1,200

94 BOODLES: A GOLD AND DIAMOND TENNIS BRACELET, 2019

The articulated line of brilliant-cut diamonds, each in an 18 carat yellow gold setting, the clasp modelled as a ‘B’, diamonds approx. 4.85 carats total, signed Boodles, maker’s mark B&D, London hallmark, length 20.4cm

£2,000-3,000

97

INGEBORG BRATMAN: A GOLD AND DIAMOND BROOCH, 1976

The stylised 18 carat gold lotus root, with a brushed finish, centrally set with brilliant-cut diamonds, each in a four-claw setting, diamonds approx. 0.80 carat total, indistinct marks, London hallmark, width 4.8cm

£700-1,000

99 §

INGEBORG BRATMAN: A PEARL AND MULTI GEM-

SET FRINGE NECKLACE

Set throughout with freshwater pearls, the fringe accented by facetted gemstone beads, including peridot, citrine and pink tourmaline, unsigned, length 42.0cm

£600-800

GEORGINA FOLLETT: A PAIR OF ENAMEL FLORAL EARRINGS, 1981-82

Each designed as a cascading line of plique-à-jour enamel flowerheads, with ruby beads and seed pearls, to a wirework gingko leaf finial, hook fittings, unsigned, length 3.5cm

Footnote: Ingeborg Bratman (1935-2015) was born in Vienna but fled Nazi occupation when she was just a small child. Her family settled in Huddersfield, Yorkshire in 1940 and established a successful textile business. Initially Bratman joined the family business as a textile designer but later she retrained as a jeweller at Hornsey School of Art under Gerda Flöckinger in the mid 1960s. She then progressed to selling her jewellery through the famed London shop Cameo Corner amongst other artist fine jewellery retailers. Her work is particularly notable for its use of unusual materials such as tantalum, an incredibly demanding material to work with, but that allows a unique display of colour.

Provenance: These earrings were retailed as part of a selling exhibition of the artist Georgina Follett’s work at the Victoria & Albert Museum, London from 26th January to 1 May 1983. Accompanied by the original V&A catalogue.

Footnote: Georgina Follett (b. 1949) trained at the Central School of Art & Design and Royal College of Art. Follett took part in the Goldsmiths’ Hall exhibition “Loot” in 1980, collaborated with the fashion designer Thea Porter for her show at Covent Garden in 1975, and has been exhibited widely ever since. Follett’s pieces use the challenging plique-à-jour enamelling technique, a practiced that saw its peek in the early 20th century with artists such as Lalique, Feuillâtre and Prytz. This technically demanding method, where the enamel doesn’t have a solid metal ground, making it completely translucent, is most similar to stained glass in a church window. She believes in meticulous craftsmanship, and makes every element by hand. The firing process is repeated up to five times and ultimately the fine suspension of enamel in water is what provides the strength that supports the fragile gold framework. Her work can be found in the permanent collection of the V&A Museum, London. (M.46&A-1982)

£400-600

100

JACQUELINE MINA: A DIAMOND “PLATINUM FUSION INLAY” BROOCH, CIRCA 1990

The oval undulating plaque, centrally revealing a finely woven platinum “gauze”, between curved brilliantcut diamond lines, diamonds approx. 0.35 carats total, signed Mina, length 6.5cm

£1,000-1,500

101

JACQUELINE MINA: A PAIR OF DIAMOND ‘PLATINUM FUSIONINLAY’ EARRINGS 1989

Each curved brilliant-cut diamond line, suspending an oval undulating 18 carat gold plaque, centrally revealing a finely woven platinum “gauze”, signed Mina, maker’s mark JKM, London hallmark, post fittings, length 5.8cm

£1,200-1,800

Footnote: Jacqueline Mina OBE (b. 1942) is a celebrated British artist jeweller. She’s been an innovator in the use of mix metals, particularly the fusion of platinum and gold, since the late 1980s. Examples of her work can be found in the permanent collections of the National Museum of Scotland, the Victoria & Albert Museum and The Goldsmith Company in London and the Smithsonian Design Museum in New York.

In 2000, Mina won the Jerwood Prize for Applied Arts: Jewellery for her “consistent innovation and significant contribution to contemporary jewellery … for subverting and taking precious metal techniques to the extreme.”

Mina attributes the origin of this ‘platinum fusion-inlay’ to visiting the Fortuny Palazzo in Venice, Italy where she took inspiration from the faded dévoré velvet drapes.

102 LIZ TYLER: A PAIR OF GOLD EARRINGS, 1992

Each polished 18 carat yellow gold undulating navette, maker’s mark EVT, UK hallmark, post fittings, length 2.5cm

£300-500

103 §

KEVIN COATES: A SUNSTONE AND FIRE AGATE CRAB RING

Set with a cabochon sunstone and fire agate, encased in a styled exoskeleton with prominent claws, to a trifurcated band, signed Coates, ring size L/M

Please note, this lot is sold subject to Artist’s Resale rights.

£4,000-6,000

Footnote: Born in Surrey, England Kevin Coates (b. 1950) studied his Foundation Studies at West Sussex College of Design from 1969 to 1970. He then received a degree from Central School of Art and Design in London (1970 -1973), an MA in jewellery design at the Royal College of Art in London (1976 -1979), and a PhD the Royal College of Art, London. Coates was appointed Liveryman by the Goldsmiths’ Company and also made a Fellow of the Royal College of Art.

A mathematician, musician, an artist and a goldsmith, Kevin Coates work is steeped in imagery and symbolism. His mixed media work incorporates gold, precious stones and organic materials. His work can be found in the permanent collection of the V&A Museum, London.

A PAIR OF RUBY AND DIAMOND RAM’S HEAD EARRINGS

Each realistically modelled as a ram’s head with circular-cut ruby eyes and a single-cut diamond collar, to a pierced scrolling form with circular-cut ruby accents, post and clip fittings, length 2.3cm

£500-700

105 A PINK TOURMALINE AND DIAMOND RING

The sugarloaf pink tourmaline, in a brilliant-cut diamond triangular four-claw setting, to geometric shoulders set with similar and baguettecut diamonds, diamonds approx. 0.30 carat total, ring size N

£1,500-2,000

106

ELIZABETH GAGE: A GOLD COIN PENDANT, 1990

The 18 carat gold pear-shaped pendant, decorated with swirling detail and granulation throughout, with a oval cabochon ruby, centrally collet-set with an ancient coin of Constantine II (337-361 AD), signed GAGE, maker’s mark EG, London hallmark, length 5.1cm

£800-1,200

A PAIR OF SPINEL

EARRINGS

Each circular cabochon spinel, in a six-claw setting, within a swirl surround, spinels approx 10.50 carats total, post fittings, length 2.1cm

£1,500-2,000

108

A PAIR OF ROPETWIST BANGLES

Each hinged bangle of ropetwist design, to a concealed clasp, inner diameter 6.3cm £2,200-2,800

109

A ROSE GOLD, RUBY AND DIAMOND DOUBLE-CLIP BROOCH, CIRCA 1950

The pair of highly polished 9 carat rose gold scrolling clips, millegrain collet-set with old brilliant and brilliant-cut diamonds, highlighted by courses of circular-cut rubies and single-cut diamonds, with a detachable frame, diamonds approx. 1.20 carats total, later sponsor’s marks B&S, later London hallmarks, width 6.3cm

£1,200-1,500

110

A SAPPHIRE AND DIAMOND DOUBLE CLIP BROOCH, CIRCA 1950

Each opposing clip set with courses of circular-cut sapphires, a collet-set brilliantcut diamond and a line of old brilliant-cut diamonds, to a removable frame, diamonds approx. 1.20 carats total, width 5.7cm

£1,500-2,000

111

MELLERIO: A PAIR OF DIAMOND EARCLIPS, MID 20TH CENTURY

Each earclip set with a pair of stylised pierced leaves, accented by a trio of brilliant-cut diamonds, signed Mellerio, maker’s mark, numbered, French assay marks, clip fittings, length 4.0cm

£2,800-3,200

112 A

FLORAL ENAMEL, RUBY, EMERALD AND SAPPHIRE

RING, MID 20TH CENTURY

Set with a trio of white enamel daisies, each centrally set with a single-cut diamond, within a circular-cut ruby, emerald or sapphire surround, with ropetwist accents, ring size J

£1,000-1,500

113 AN EMERALD AND DIAMOND BROOCH AND PENDENT EARRING SUITE

Each radiating swirl of polished spokes terminating in a collet-set circular-cut emerald, suspending a similarly designed drop with single-cut diamond accent lines, accompanied by a brooch en suite set with single and brilliant-cut diamonds, diamonds approx. 0.50 carat total, maker’s marks S&F, clip and post fittings, lengths: brooch 5.0cm, earring 6.0cm (2)

£800-1,200

114 A MULTI-GEM AND DIAMOND BOW BROOCH, CIRCA 1950

Modelled as a stylised bow, with mesh sections collet-set with circular-cut rubies, sapphires and emeralds, centrally featuring a panel pavéset with single and old brilliant-cut diamonds, diamonds approx. 0.25 carat total, maker’s marks RM, French assay marks, length 6.9cm

£800-1,200

GEORGES LENFANT: A DIAMOND NECKLACE

The highly articulated collar of matte finish central linking, within a polished woven framework, highlighted to the centre with a series of brilliant-cut diamonds, each in a four-claw setting, diamonds approx. 1.50 carats total, maker’s mark GL, French assay marks, length 35.0cm

£15,000-20,000

116

VAN CLEEF & ARPELS: A FEATHER BROOCH, SECOND HALF OF THE 20TH CENTURY

Of sinuous twisting design, signed VCA, maker’s marks P&Fils for Péry et Cie, numbered, French assay marks, length 6.5cm

Footnote: The workshop of Péry et Cie began making jewellery in 1875. However it was the founder’s son Albert Péry that propelled the firm into the world of high fine jewellery.

Amongst the many jewellers of the Place Vendôme that Albert developed relationships with, including Boucheron and Chaumet, Van Cleef & Arpels was the most significant. Péry’s first work for VCA was a bracelet made in 1925.

The Péry workshop was highly regarded within the high jewellery manufacturing industry, not just for their suburb artistry but also their technical innovations. None of which is better exemplified than their collaborative creation of the Zip necklace. Originally requested by Wallis Simpson, the project took years to perfect the technical creation. Other exceptional VCA projects to come from the Péry workshops include the Ludo bracelets, the ‘passe-partout’ jewels and many of the La Boutique animal brooches.

£3,200-3,800

117 Y

CARTIER: A CORAL AND DIAMOND FLOWER BROOCH, CIRCA 1955

The central stamen of brilliant-cut diamonds, each within a ropetwist frame, the petals formed of naturalistic polished coral corallium rubrum branches, to a highly textured stem, the ropetwist leaves set with courses of similarly-cut diamonds, diamonds approx. 1.80 carats total, signed Cartier Inc., maker’s mark, length 6.6cm, maker’s case

Footnote: By 1922, the formal registration of all three of the main Cartier branches had been solidified by the family. Cartier New York was officially “Cartier Inc.”, Cartier London was “Cartier Ltd.” and Cartier Paris was reformed from Cartier Frères to Cartier S.A. For further reading see Cartier Brickell, Francesca The Cartiers, Ballantine Books, New York, 2019, page 189.

£10,000-15,000

118 A FANCY-LINK BRACELET

Of sprung angular form, wrapped throughout with a textured line, sporadically set with spherical accents, length 20.5cm

£1,500-2,500

119 A PAIR OF CITRINE AND DIAMOND TASSEL EARRINGS

Each square fancy-cut citrine, within a brilliant-cut diamond surround, suspending a fringe of pear-shaped citrines, post fittings, length 3.1cm

£800-1,200

120 A DIAMOND SWIRL RING

The central brilliant-cut diamond, within a swirling surround of similar, tapered baguette and baguette-cut diamonds, diamonds approx. 0.90 carat total, signed Diafini, ring size L

£1,000-1,500

121 AN AQUAMARINE AND DIAMOND PENDANT NECKLACE

The oval-cut aquamarine, within a pavé-set surround of brilliant-cut diamonds, suspended from a similarly designed surmount, to a trace-link chain, spectacle-set with brilliant-cut diamonds to the front, diamonds approx. 1.10 carats total, aquamarines approx. 7.80 carats total, lengths: pendant 3.9cm, chain 43.5cm

£3,000-4,000

122 A PEAR-SHAPED DIAMOND SINGLE-STONE RING

The pear-shaped diamond, in a six-claw setting, between bifurcated shoulders, diamond approx. 1.10 carats, ring size N½

£700-900

123

The fancy pear-shaped blue topaz, offset by a pear-shaped bombé terminal of swirling openwork design, set with circular-cut sapphires and brilliantcut diamonds, mounted in a darkened 18 carat white gold, maker’s mark FL, partial UK hallmark, ring size O

£700-900

FEI LIU: A TOI ET MOI BLUE TOPAZ, DIAMOND AND SAPPHIRE ‘WHISPERING’ RING

124 BULGARI: A DIAMOND RING

The collet-set heart-shaped diamond, weighing 0.54 carat, to a wide band pavè-set with brilliant-cut diamonds, remaining diamonds approx. 0.60 carat total, signed Bulgari, Italian assay mark, ring size N½, maker’s case

£1,000-1,500

125 A DIAMOND BRACELET

Each baguette-cut diamond, in a four-claw setting, within an openwork surround of brilliant-cut diamonds, each spaced by a similarly-cut diamond roundel, to a concealed clasp, diamonds approx. 4.50 carats total, length 17.3cm

£3,000-5,000

126

FEI LIU: A CARVED EMERALD, ONYX AND DIAMOND PENDANT NECKLACE

The negligée style pendant suspending two emeralds, carved to depict leaves, each in a brilliant-cut diamond surround, to a stylised onyx branch and a channel-set baguette-cut diamond bale suspended from an 18 carat white gold trace-link chain, diamonds approx. 0.70 carat total, pendant with maker’s mark FL, partial UK hallmarks, chain with European convention mark, lengths: pendant 5.0cm, chain 40.5cm Accompanied by a report from The Gem & Pearl Laboratory stating that the emeralds, weighing 3.46 carats total, are of Zambian origin, with evidence of minor clarity enhancement. Report number 25073, dated 6th September 2024.

£1,200-1,500

127

FEI LIU: A PAIR OF CARVED EMERALD, ONYX AND DIAMOND PENDENT EARRINGS

Each earring set with a pair of carved emerald leaves, in a brilliant-cut diamond surround, connected by a carved onyx twig with similarly-cut diamond accents, mounted in 18 carat white and yellow gold, diamonds approx. 0.55 carat total, maker’s mark FL, partial UK hallmark, French export marks, post fittings, length 4.3cm Accompanied by a report from The Gem & Pearl Laboratory stating that the emeralds, weighing 6.99 carats total, are of Zambian origin, with evidence of minor clarity enhancement. Report number 25072, dated 6th September 2024.

£2,000-3,000

128

A DEMANTOID GARNET AND DIAMOND CLUSTER RING, 1978

Centrally set with a square step-cut demantoid garnet, in a four-claw settings, within a brilliant-cut diamond surround, to an 18 carat white gold band, one diamond deficient, demantoid garnet approx. 0.45 carat, UK import mark, ring size N

£500-700

A TANZANITE, EMERALD AND DIAMOND FLOWERHEAD PENDENT/BROOCH

The circular cabochon tanzanite, within a surround of carved emeralds leaves, to a baguette-cut diamond stem, diamonds approx. 0.40 carat total, length 4.4cm

£2,200-2,800 130 AN EMERALD AND DIAMOND PENDANT NECKLACE

The openwork rectangular plaque with a geometric motif, set throughout with brilliant-cut diamonds, suspending an emerald drop, surmounted by a single circular cabochon emerald, to a trace-link chain bezel-set to the front with brilliantcut diamonds, diamonds approx. 0.90 carat total, lengths: pendant 4.9cm, chain 42.4cm

£1,800-2,200

† AN UNMOUNTED AQUAMARINE

The step-cut green blue aquamarine, weighing 132.82 carats Please note VAT will be applicable on both the hammer price and the buyer’s premium for this lot.

£1,200-1,500

A DIAMOND AND WHITE GOLD HEART PENDANT NECKLACE

The 18 carat white gold trace-link chain, with three openwork double-sided brilliant-cut diamond hearts, suspending a larger similarly designed pendant drop, diamonds approx. 1.70 carats total, partial UK hallmark, lengths: pendant 3.4cm, necklace 46.2cm £600-800

133

A CUSHION-SHAPED SAPPHIRE AND DIAMOND DRESS RING

The cushion-shaped sapphire, within a brilliant-cut diamond halo surround, with baguette-cut diamond accents, to a brilliant-cut diamond openwork floral gallery, between tri-furcated shoulders set with lines of similarly-cut diamonds, diamonds approx. 1.10 carats total, sapphire approx. 4.15 carats, ring size N

£2,500-3,000

A PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGS

Each amethyst briolette, suspended from a line of brilliant-cut diamonds, the largest at the surmount, mounted in 18 carat white gold, diamonds approx. 0.90 carat total, UK hallmarks, post fittings, length 2.8cm £600-800

135

A TANZANITE, DIAMOND AND WHITE GOLD DRESS RING

Claw-set with an oval-cut tanzanite in an open border set with brilliant-cut diamonds, mounted in 18 carat white gold, diamonds approx. 1.10 carats total, tanzanite approx. 4.40 carats, rubbed maker’s mark, London hallmark, ring size R

£1,500-2,000

136

A TANZANITE AND DIAMOND SWIRLING PENDANT

Of scrolling brilliant-cut diamond openwork design, surrounding an ovalcut tanzanite, in a four-claw setting, diamonds approx. 0.75 carat total, tanzanite approx. 9.50 carats, length 5.4cm

£1,500-2,000

AN ENAMEL SEAL, CIRCA 1910-1930

FORMERLY OWNED BY JOSEPHINE BAKER

Of bulbous form, decorated throughout with royal blue guilloché enamel, highlighted towards the base by a single band of red enamel, the stamper engraved “Josephine Baker”, unidentified assay mark, height 6.2cm

Provenance: Gifted to Josephine Baker from an admirer. Then in the private collection of a well-known Munich Consul General who was a personal friend of Baker. Josephine Baker made her debut in Berlin as the “Black Venus” in 1926 and that is likely where the relationship formed. From his personal collection sold at auction in 1996 in Munich, Lot 3408.

£2,500-3,000

Footnote: Josephine Baker (1906-1975) was born Freda Josephine McDonald in St. Louis, Missouri. Her mother worked as a washerwoman and the identity of her father has never been confirmed. Her childhood was one of great hardship and deprivation. At the age of 8 she worked as a domestic servant, a role in which she was abused. By the age of 12 she was living on the streets and working as a dancer, at times just on street corners. She married at just 13 but the marriage didn’t last a full year. At that time she began a performance touring career as a dancer and comic. She remarried in 1921, aged 15, to William Howard Baker, and despite their divorce in 1925, Josephine retained the name Baker for the remainder of her life.

By 1923 Baker had appeared as part of the chorus in her first Broadway production, Shuffle Along. However her career did not really take off until she travelled to France in 1925. Her performances at the Théatre des Champs-Elysees caused a sensation. She became amongst the highest paid performers in Europe. Her career continued to escalate and in 1934 she stared in the French film Zouzou, the first major film with a black woman in the leading role.

Baker’s career became solidified in France. The racial injustices she witnessed in her home country of the United States ultimately led her to give up her U.S. citizenship and became a naturalised French citizen. From very early on in her career Baker undertook philanthropic giving, particularly around the plight of children.

Image reversed

At the outbreak of World War II in France, Baker entertained French troops, was a member of the Red Cross and ultimately became a member of the French Resistance. She was a valued member of the Deuxième Bureau, the French military intelligence agency. Her role as an entertainer allowed her to mix in wide social circles and travel internationally without arousing suspicion. Following the war she was highly decorated for her services.

In the 1950s Baker continued her work as an internationally acclaimed entertainer although she was never to reach the level of fame in the United States as she did throughout Europe and North Africa. She refused to preform to segregated crowds and fought against racism both as a performer and as a member of society. She was awarded a lifetime membership to the NAACP. In 1963 she spoke alongside Dr Martin Luther King Jr. as part of the March on Washington, the only female speaker at the event.

Her quest to end racism, coupled with her own personal inability to have children, led her to form her “Rainbow Tribe” at her home, the Château des Milandes, in the Dordogne area of France. Baker adopted twelve children, two girls and ten boys, from various nationalities and religions to prove that “children of different ethnicities and religions could still be brothers.”

Late in life, from 1968 to 1975, Baker returned to the stage performing in Paris, Carnegie Hall in New York and the Royal Variety Performance in London. Her final performance was a retrospective show in Paris, financed by Prince Rainer, Princess Grace, and Jacqueline Kennedy Onassis. She was found unconscious in bed four days later, surrounded by newspapers containing rave reviews for her performance. Josephine Baker died a few days later from a brain haemorrhage while in hospital.

138

AN ABSTRACT DIAMOND RING, 1973

Designed as a continuous double row of openwork gold circular links, set with brilliant-cut diamonds, diamonds approx. 1.60 carats total, maker’s mark LAB, partial UK hallmark, ring size N

£400-600

139

JOHN DONALD: AN INTERCHANGEABLE GOLD ‘CUBE’ NECKLACE AND BRACELET SUITE, 1970

Both designed as a series of clusters of 18 carat yellow gold “cubes” of both textured and polished form, each with a concealed clasp, maker’s mark JAD, London hallmarks, lengths: necklace 34.1cm, bracelet 16.2cm, maker’s bracelet case (2)

£2,500-3,500

140 AN ABSTRACT RING, CIRCA 1975

Of graduated openwork freeform linking, ring size H½

£300-500

142

JOHN DONALD: A GOLD AND CULTURED PEARL ‘DRUM’ RING, 1969

The 11.4mm cultured pearl, within a textured 18 carat gold surround and band, maker’s mark JAD, London hallmark, ring size L½

Footnote: John Donald (1928-2023) pioneered many techniques throughout his ground-breaking career. The organic form of the “Drum” ring was developed from the use of what he referred to as “nugget flakes”. The unique segments came from dropping molten gold into cold water. The “flakes” were then soldered together to form a series and then rolled to form the segments of the ring. An exceptional combination of artistry and craftsmanship.

A similar, but later, ring is illustrated in John Donald & Russell Cassleton Elliott’s Precious Statements; John Donald, designer . jeweller, McNidder & Grace, Carmarthen, 2015, page 211. Another similar ring, made by Donald in 1976, is part of the V&A Museum’s permanent collection (V&A ref: M.17-2006).

£1,200-1,800

143 Y

VAN CLEEF & ARPELS: A DIAMOND AND WHITE CORAL ‘PHILIPPINE’ RING

The central brilliant-cut diamond panel, within a ropetwist frame, between carved white coral shoulders, signed VCA, maker’s mark, numbered, French assay mark, ring size F

Footnote: Introduced in 1968, the Philippine ring was part of the now famous La Boutique range of “everyday jewels” from Van Cleef & Arpels.

The collection included various jewels set with “semiprecious” gems, hardstones and organic material, such as coral, which would make the collection more accessible and suitable for daytime wear. The most famous jewel to debut from this range was the Alhambra collection.

Literature: See Possémé, E., ‘Van Cleef & Arpels, The Art of High Jewelry’, Les Arts Decoratifs, 2012, page 211 for an examination of VCA’s use of white coral.

£1,800-2,200

141

JOHN DONALD: A GOLD ‘CUBE’ BRACELET, 1970

The large circular double-sided clasp consisting of small striated 18 carat gold cubes, to an articulated bracelet set with similarly designed textured links, alternating with polished square gold links, maker’s mark JAD, London hallmark, length 20.1cm £800-1,200

Designed as an articulated uniform line of striated 9 carat yellow gold rectangular-linking, maker’s mark AMG, London hallmark, length 65.2cm

£800-1,200

144

ALAN MARTIN GARD: A GOLD FANCY-LINK NECKLACE

145 BURLE MARX FOR KIM POOR: A GREEN TOURMALINE RING

The elongated oval fantasy-cut green tourmaline, within a tiered collect setting, between bi-furcated shoulders, signed Kim Poor, ring size L

Footnote: Haroldo Burle Marx (1911-1991), was one of the most famous Brazilian jewellery designers. Haroldo was known for his freeform fantasy gemstone carving, predominately of Brazilian gemstones, having trained in Idar-Oberstein, Germany. His modern and pioneering take on jewellery encompasses a feeling of movement and vitality championing the soul of his homeland. In the mid 20th century, Marx was frequently asked by the Brazilian government to create unique works as gifts for visiting dignities, so much so did his work encapsulate contemporary Brazilian design. Works by Marx were in the collections of Queen Margrethe of Denmark, Empress Nagako of Japan and the actress Natalie Wood. In 2011, contemporary Brazilian artist and goldsmith Kim Poor (b. 1954) was asked to create a new collection making use of a selection for over forty gems carved by Marx. “This collection is known to be the very last of his gems, discovered years after his death in a box under his bed by his grand-daughter and passed to Kim Poor to honour Burle Marx’s memory.” Like Marx, Poor created a one off unique setting for each gemstone, reflecting its unique shape and vitality.

£800-1,200

146

A FANCY-LINK BRACELET, CIRCA 1975

Designed as a series of stylised “wooden” linking, Italian and Middle Eastern assay marks, length 19.6cm

£800-1,200

147

FEI LIU: AN AMETHYST GEODE, SEED PEARL AND DIAMOND BROOCH / PENDANT

The amethyst geode, secured by brilliant-cut diamond claws, within a radiating border of seed pearls and brilliant-cut diamonds, mounted in 18 carat gold, maker’s mark FL, diamonds approx. 0.25 carat total, partial UK hallmark, length 6.2cm

£800-1,200

DAVID MORRIS: A GOLD NECKLACE, 1972

The longchain, designed as a continuous row of 9 carat gold stylised figureof-eight linking, partially struck maker’s mark, London hallmark, length 86.6cm, maker’s case

£1,000-1,500

JEWELLERY FROM THE PRIVATE COLLECTION OF THE FORMER FIRST LADY YOLETTE LECONTE MAGLOIRE

149 Y A FANCY-LINK GEM-SET CHARM BRACELET, CIRCA 1950

The elaborate oval interwoven links with coiled and floral details, suspending a large orb charm with various gemstones, including citrine, coral corallium rubrum, amethyst and turquoise, all in pinched collect closed-back settings, Italian assay marks, lengths: charm 4.2cm, bracelet 19.8cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£1,500-2,000

150 A PAIR OF HARDSTONE PENDENT EARRINGS, CIRCA 1950

Each agate sphere contained within a segmented cap, suspending a curb-link tassel, post fittings, length 4.3cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£300-500

151 A GARNET DRESS RING, CIRCA 1950

The two rows of circular-cut garnets, spaced by flowerhead accents, between wirework, ropetwist and beadwork shoulders, partial Italian assay mark, ring size M½

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£400-600

Footnote: This portrait of Yolette Leconte Magloire was painted by the African-American artist Lois Mailou Jones (1905-1998), an important figure in the Harlem Renaissance movement. Her connection with Haiti developed through her husband, Louis Vergniaud PierreNoel, who was a prominent Haitian artist whom she meet while they were both studying at Columbia University, New York.

Already an established artist, in 1954 she was a guest professor at the Centre D’Art and Foyer des Artes Plastiques in Portau-Prince, Haiti. While there, she was invited by the Haitian government to capture the local people and the country’s landscapes through her painting. She completed over forty two paintings there, which became representative of her most well known works. Yolette Leconte Magloire sponsored Jones’ exhibition Oeuvres des Loïs Mailou Jones Pierre-Noël where the breadth of her work was shown.

The portrait of Leconte featuring these earrings (lot 150) as well as the bracelet (lot 149) was one of a pair, the other being of her husband President Paul Magloire and was actually commissioned by US President Dwight D. Eisenhower in 1955.

Painting reproduced with thanks to the family.

Provenance: Yolette Leconte Magloire was First Lady of Haiti from 1950 to 1956. She was a direct descendant of Jean-Jacques Dessalines (17581806), the former slave who ultimately became leader of the Haitian Revolution, founder and leader of an independent Haiti.

At just 19 years old, Yolette Leconte married Paul Eugene Magloire (1907-2001) who would become the 30th President of Haiti. The election in 1950 was the first in the nation’s history where all adult males had a right to vote. After gaining office, Magloire oversaw women’s suffrage being granted. During his presidency, Haiti became one of the most popular Caribbean destinations for American and European tourists. Magloire and Leconte

emphasised public works and cultural projects during this time. In 1951, the Madame Paul E. Magloire Foundation was created to establish two solid educational and professional training institutions for young girls in Haiti, L’ecoles des arts menagers of Saint Martin and Cap-Haitien. Yolette Leconte Magloire was also known for her charity banquets and balls, the proceeds of which were used to fund hospitals and orphanages. Magloire’s anti-communist position helped create close ties with the U.S. In early 1955, Leconte and Magloire were invited on a State Visit to Washington D.C. They were welcomed by then Vice President Richard Nixon and were received by President Eisenhower at the White House.

152 A SMALL COLLECTION OF STICK PINS

Including a horseshoe set with brilliant and single-cut diamonds, a 9.2mm cultured pearl, and three small coins mounted on pins, one with French maker’s mark ELBCo., various lengths (5)

Provenance: From the Private Collection of Paul Eugene Magloire (1907-2001). Hence by descent

£300-500

Paul Magloire (1907-2001) was the 30th President of Haiti. The election in 1950 was the first in the nation’s history where all adult males had a right to vote; Magloire won by a landslide victory. After gaining office, Magloire oversaw women’s suffrage being granted. Unusually Magloire focused on long term infrastructure projects, not short term wins during his presidency, including the building of roads, the country’s first damn and the development of electricity networks. These works and a buoyant economy helped make Haiti one of the most popular Caribbean destinations for American and European tourists during this period. Truman Capote, Irving Berlin and Noel Coward all visited during the period.

Magloire’s anti-communist position helped build close ties with the U.S. and he was very popular with American media. In 1954 he was on the front cover of Time magazine in a lengthy article titled “Bon Papa”. In early 1955, Magloire and Leconte were invited for a State Visit to Washington D.C. They were welcomed by then Vice President Richard Nixon and were received by President Eisenhower at the White House. In addition to various social engagements, Magloire also addressed a joint session of Congress.

Magloire had to leave his homeland after his term in office came to an end and lived in New York in exile for decades. The political dictatorship which followed his peaceful, free term as presidency made it impossible for him to return until 1986. Ultimately he was able to return to Haiti, where at the age of 91 he was even made an unofficial military advisor. Following his death in 2001, he was awarded a state funeral. The Guardian’s obituary described his presidency “as Haiti’s last golden age”. 152

VAN CLEEF & ARPELS: A COMMEMORATIVE DIAMOND PENDANT / BROOCH, 1956

Featuring the coat of arms of the Republic of Panama surmounted by an arched line of nine stars, corresponding to the nine provinces into which the country is divided, the central star set with a singlecut diamond, within a ropetwist frame, engraved YL de Magloire, Congreso de Panama 1826 - 1956 to the reverse, signed Van Cleef & Arpels NY, length 2.8cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

Footnote: In 1956, thirty five countries were invited to be part of the 130th anniversary of the Panamanian Congress, originally held in 1826. Nineteen countries took part in what was ultimately mostly a ceremonial event.

It’s likely that these pendants were personalised for each First Lady, meaning that in total only nineteen were ever made by VCA in New York. Currently there is no record of any other of these pendants coming on to the open market.

£800-1,200

154

A FANCY-LINK COIN PENDANT BRACELET, MID 20TH CENTURY

The flattened curb-link bracelet, suspending a large 50 Pesos coin, dated 1821-1947, within a pierced frame, lengths: pendant 6.1cm, bracelet 19.3cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£4,500-5,500

A FANCY-LINK NECKLACE, CIRCA 1970

The highly articulated line of circular concave links, with lozenge spacers, length 42.0cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent £2,200-2,800

156 A WIDE FANCYLINK BRACELET, CIRCA 1970

The wide articulated bracelet designed as a pattern of square and circular linking, length 19.3cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£3,200-3,800

157 A CITRINE ROPETWIST RING, CIRCA 1960

The collet-set oval-cut citrine, within a finely plated ropetwist surround, to a polished band, citrine approx. 5.40 carats, rubbed Italian assay mark, ring size I

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£500-700

158

A FANCY-LINK BRACELET, CIRCA 1950

The articulated series of chevron links, to a concealed clasp, inscription to the reverse Heureux Anniverssaire 25-7-51 Officiers Dept Mil Pal Nat (Happy Anniversary 25-7-51 Officers Military Department National Palace), Italian assay mark, length 20.5cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£1,200-1,500

159 Y

A CONCH PEARL RING

Set with a 16.8x11.4x12.1mm conch pearl, mounted on a polished band, ring size K

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£600-800

160 Y

A PAIR OF CONCH PEARL PENDENT EARRINGS

Each conch pearl surmount 8.6x7.0mm or 8.5x6.7mm, suspending a bar spacer with a capped conch pearl drop, 8.9x6.7mm or 7.7x7.1mm, post fittings, length 3.6cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£700-900

161

A DOUBLE STRAND FANCY-LINK BRACELET

Two rows of fancy-linking, to a large polished clasp, length 21.0cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£5,500-6,500 162

AN AQUAMARINE AND DIAMOND DRESS RING, CIRCA 1955

The rectangular scissor-cut aquamarine, in a double-four claw setting, to a looping wirework gallery, between courses of single-cut diamonds, aquamarine very approx. 33.90 carats, ring size K½ (sizing band)

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£600-800

163 A PAIR OF AQUAMARINE EARRINGS, CIRCA 1955

Each cluster of single-cut diamonds, surmounted by a rectangular step-cut aquamarine, in a double four-claw setting, with an openwork spray to one side, post and clip fittings, length 2.8cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£500-700 162

164

A PEARL AND DIAMOND BAR BROOCH, CIRCA 1905

The central 7.7mm bouton pearl, mounted on a knifewire bar collect-set with old brilliant-cut diamonds to either side, diamonds approx. 2.60 carats total, maker’s mark, French assay marks, pearl untested, length 6.8cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£700-900

165

A SAPPHIRE AND DIAMOND TENNIS BRACELET, FIRST HALF OF THE 20TH CENTURY

Set throughout with alternating sections of French-cut sapphires and old brilliant-cut diamonds, to an engraved foliate gallery throughout, diamonds approx. 3.55 carats total, length 17.5cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£2,000-3,000

166

A DIAMOND TASSEL BROOCH AND EARRING SUITE, CIRCA 1960

Each undulating surmount pavè-set with brilliant-cut diamonds, issuing forth a foxtail-link tassel, several tipped by a brilliant-cut diamond, accompanied by a brooch en suite, diamonds approx. 5.35 carats total, French assay marks, earrings with clip and post fittings, lengths: brooch 7.2cm, earring 6.3cm (2)

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

£4,000-6,000

Paul and Yolette Magloire, wearing lot 165, with Consul General David Thomas and others at a reception in New York during the early 1960s.

Yolette Magloire wearing lot 166 at home in New York with her family in the early 1960s.

CARTIER: A DIAMOND TASSEL BRACELET, CIRCA 1950

The five graduated ropetwist strands, to a bombè scrolling centre set with brilliant-cut diamonds, suspending a trio of matching foxtail-link tassels, each with a brilliant-cut diamond collar within a thin ropetwist frame, diamonds approx. 9.50 carats total, signed Cartier CA, partial number, maker’s mark GL for Georges Lenfant, length 18.2cm

Provenance: From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descent

Footnote: This bracelet appears to have been a favourite of Leconte’s for State Visits and formal political occasions. Amongst other events, newsreel footage from 1955 shows Leconte wearing this Cartier bracelet while with U.S. President Eisenhower and his wife Mamie at a formal occasion.

£12,000-15,000

168 A DIAMOND PENDANT NECKLACE

The central cluster of baguette-cut diamonds, within a pierced halo surround of brilliant-cut diamonds, to a trace-link chain, diamonds approx. 0.85 carat total, lengths: pendant 2.2cm, chain 42.6cm

£1,200-1,500

169 A TRIPLE-ROW DIAMOND BRACELET

The three lines of brilliantcut diamonds, highlighted at intervals with baguette and brilliant-cut diamond pierced clusters, to a concealed clasp, diamonds approx. 6.40 carats total, length 18.0cm

£4,500-5,500

170

A 5.02 CARAT DIAMOND RING

Centrally featuring a pear-shaped diamond, weighing 5.02 carats, between baguette-cut diamond shoulders, ring size N Accompanied by a report from HRD stating that the diamond is J colour, VVS2 clarity. Report number 12017545003, dated 21st June 2012.

£32,000-38,000

171

A PLATINUM AND DIAMOND NECKLACE, CIRCA 1955

Designed as a graduated series of brilliant-cut diamond flowerheads, connected by channelset baguette and tapered baguette-cut diamond swags, mounted in platinum, diamonds approx. 22.50 carats total, Austrian assay marks, later sponsor’s mark B&S and UK hallmark, length 47.3cm

£8,000-10,000

172

A PAIR OF DIAMOND SCROLLWORK PENDENT EARRINGS, CIRCA 1965

Each brilliant-cut diamond stylised cornucopia, suspending a graduated tassel of baguette and brilliant-cut diamonds, diamonds approx. 4.75 carats total, post fittings, length 3.3cm

£1,500-2,500

173

A DIAMOND DOUBLE-CLIP BROOCH, CIRCA 1950

Each clip of swirling design set with brilliant and old brilliant-cut diamonds, accented by courses of baguette-cut diamonds, to a detachable frame, diamonds approx. 11.30 carats total, width 7.7cm

£5,000-7,000

174

A DIAMOND AND COLOURED DIAMOND PENDANT NECKLACE

The rivière necklace of knife-wire linking, set with clusters of circular-cut diamonds of pink tint, spaced by single brilliant-cut diamonds, each in a four-claw setting, to a detachable triple halo cluster drop, featuring a pear-shaped diamond, weighing 1.00 carat, of yellow tint, remaining brilliant-cut diamonds approx. 8.65 carats total, lengths: pendant 4.5cm, necklace 45.1cm Please contact the department for further gemmological information.

£8,000-12,000

£5,000-7,000 174

175

BOODLES: A WHITE GOLD AND DIAMOND TENNIS BRACELET

The articulated uniform line of brilliantcut diamonds, each in a four-claw 18 carat white gold setting, diamonds approx. 8.40 carats total, signed Boodles, maker’s mark B&D, London hallmark, length 17.1cm

176

BOODLES: A PAIR OF DIAMOND ‘BLOSSOM’ PENDENT EARRINGS, 2013

Each designed as a stylised 18 carat white gold cherry blossom, set with brilliant-cut diamonds to a cloud surmount, and a collet-set brilliant-cut diamond stud, diamonds approx. 1.30 carats total, signed Boodles, maker’s marks B&D, London hallmarks, post fittings, length 2.7cm, maker’s case and box

Footnote: For an example of a similar pair of Boodles earrings which sold at auction recently see Lyon & Turnbull, Select Jewellery, London, 16 April 2024, Lot 60.

£2,000-3,000

177 A DIAMOND SINGLE-STONE RING

The brilliant-cut diamond, weighing 3.27 carats, in a six-claw setting, ring size R

£12,000-15,000

178

A DIAMOND AND FANCY COLOURED PURPLISH PINK DIAMOND COMET BROOCH

The Fancy Intense Purplish Pink brilliant-cut diamond, weighing 0.70 carat, within cascading lines of brilliant-cut diamonds, with similarly-cut diamond star highlights, mounted in 18 carat white gold, remaining diamonds approx. 1.50 carats total, maker’s mark EW&Co. for Wolfe & Co., London hallmark, length 3.9cm Accompanied by a report from the GIA stating that the diamond is natural, Fancy Intense Purplish Pink. Report number 12747178, dated 10th June 2008.

£25,000-35,000

Alan Martin Gard 144

Arthur Thomas Penniall 87

Boodles 22A, 94, 175, 176

Boucheron 5, 19

Bulgari 18, 21, 22, 124

Burle Marx 145

Cartier 16, 17, 23, 71, 95, 96, 117, 167

Carrera y Carrera 20

David Morris 148

Elizabeth Gage 106

Fabergé 72

Fei Liu 14, 67, 123, 126, 127, 147

Georges Lenfant 115, 167

Georgina Follett 99

Ingeborg Bratman 97, 98

Jacqueline Mina 100, 101

Jean Schlumberger 13

Jeanne Toussaint 23

John Donald 139, 141, 142

Kevin Coates 103

Kim Poor 145

Liz Tyler 102

Longines 61

Mauboussin 26

Mellerio 43, 111

Murrle Bennet & Co. 91

Poniros 65

Tiffany & Co. 13

Van Cleef & Arpels 15, 116, 143, 153

Vhernier 64

Victor Mayer 72

Wilhelm Schmidt 88

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

DIAMOND COLOUR

GIA CIBJO

Exceptional White + (EW+)

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.

EXPLANATION

Face up colourless - Face down colourless

E Exceptional White (EW) -

F Rare White + (RW+) -

G Rare White (RW) -

H White (W)

Face up colourless - Face down slightly tinted

I / J Slightly Tinted White (STW) -

K / L Tinted White (TW)

M to Z Tinted Colour (TC)

Face up slightly tinted - Face down obviously tinted

Face up obviously tinted - Face down obviously tinted Fancy Fancy Colour

Face up definite colour

DIAMOND CLARITY GIA

Flawless (FL) Loupe Clean (LC)

Internally Flawless (IF)

Very Very Slightly Included Very Very Small Inclusions

(VVS) VVS1 / VVS2 (VVS) VVS1 / VVS2

Very Slightly Included Very Small Inclusions

(VS) VS1 / VS2 (VS) VS1 / VS2

Slightly Included Small Inclusions

Included Pique

(SI) SI1 / SI2 (SI) SI1 / SI2 (I) I1 / I2 / I3 (P) P1 / P2 / P3

EXPLANATION

Shows no inclusions or blemishes under 10x magnification

Shows no inclusions and only insignificant blemishes under 10x magnification

Minute inclusions, which are difficult, even for an experienced grader, to locate under 10x magnification

Minor inclusions, observable with effort under 10x magnification

Noticeable inclusions under 10x magnification

Obvious inclusions, visible to the unaided eye, face up. These may affect the stone’s beauty and durability.

WENDY RAMSHAW

C.B.E. R.D.I. (BRITISH 1939-2018)

CHAIN OF TEARS FOR 'WEEPING WOMAN' NECKLACE, 1998

£2,000-3,000 + fees

AUCTION 31 OCTOBER & 01 NOVEMBER 2024 MALL GALLERIES LONDON & LIVE ONLINE

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.

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.

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.

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 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;

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.

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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, 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. 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 antimoney 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 payment whichever is later. Please note we do not accept cheques. 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/imports-

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.

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

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

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

Registered bidders will be assigned a non-transferable bidder number. 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 during your registration.

There will be no in-room bidding for this auction.

BIDDING OUTSIDE THE SALEROOM

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 the sale and/ or the back of the catalogue. 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 continue to 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.