London Jewellery | Auction 22 April 2026

LONDON JEWELLERY

WEDNESDAY 22 APRIL 2026 AT 2PM

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Sale Number

Lyon & Turnbull 22 Connaught Street LONDON W2 2AF

BIDDING AT THIS SALE

Online, telephone and commission bidding only - please see the guide to bidding on page 88

VIEWING

Thursday 16th April 5pm-8pm

Friday 17th April 10am-4pm

Saturday 18th April 12noon-4pm

Monday 20th April 10am-4pm

Tuesday 21st April 10am-4pm

BUYER'S GUIDE

BUYER’S PREMIUM

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

27% up to £20,000

26% from £20,001 to £800,000

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

Collections can be made from Lyon & Turnbull, 22 Connaught Street, London W2 2AF. All collections will be by appointment only (this applies to both carriers and personal collections).

To make an appointment please email london@lyonandturnbull.com or call 0207 930 9115.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Stripe) - 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 current 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

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

1

A TURQUOISE BANGLE, CIRCA 1835 Of Royal Interest

The polished hinged bangle finely engraved with foliate detail throughout, the central repoussé motif set with an oval cabochon turquoise, between realistically modelled lizard decorations, inscribed “Given to me by her Majesty Queen Victoria, Nov. 15th 1837, R.E.R” to the inside, inner diameter 5.4cm

£1,000-1,500

Provenance: In her diary on Wednesday, 15th of November 1837, the young Queen Victoria wrote, “After breakfast… saw… Ly Tavistock with her little step sister-in-law, Ly Rachel Russell, a delightful child of 11, who sang a little Scotch song very nicely. I gave her a small bracelet.”

Acquired by the grandfather of the current vendor.

Footnote: Reptiles were prevalent in Victorian jewellery. Although snakes and salamanders (representing rebirth) are more frequently seen, lizards also featured in rare surviving Victorian examples from this period. Lizards held connotations of good fortune. Queen Victoria herself was famously gifted an ouroboros (a snake consuming it’s own tail) as an engagement ring designed by Prince Albert. The trend for naturalism in jewellery, lead by the Romantic movement, was just commencing at this time. It appears that the young Queen, who was a known prolific giver of jewellery, was very much at the forefront of this trend in jewellery design.

Lady Rachel Evelyn Russell (1826-1898) was the daughter of Georgiana, Duchess of Bedford. There is ambiguity as to who her father was. Her mother was married to John Russell, the 6th Duke of Bedford however she was known to have had an affair with the artist Edwin Landseer, 21 years her junior. Many contemporaries believed he was in fact Rachel’s father. There are several surviving works by Landseer featuring Lady Rachel as a young child. In 1856, Lady Rachel married James Butler, the 1st Marquess of Ormonde, they had four children together. Lady Rachel Butler became a novelist and wrote two books: Jessie Cameron: A Highland Story (1857) and The Prophecy (1862).

herAfterbreakfast…saw…LyTavistockwith Russell,littlestepsister-in-law,LyRacheladelightfulchildof11,whosangalittleScotchsongverynicely.Igavehera small bracelet.

Right: Study of Rachel Russell (1826-1898), daughter of Georgina, the second wife of John, sixth Duke of Bedford by Sir Edwin Henry Landseer, R.A. (London 1802-1873) signed: EL/Rachel/July 1835

2 Y

A LATE 19TH CENTURY NATURAL PEARL, CONCH PEARL AND DIAMOND BROOCH

Of openwork paisley design, set with graduated old brilliant-cut diamonds, centrally featuring a 7.2mm conch pearl, a 6.6mm natural pearl of brown body colour and a 7.9mm natural pearl, diamonds approx. 2.20 carats total, later brooch fitting, length 3.4cm The pearls have been examined by GCS and a verbal assessment given that they are all natural, saltwater.

£2,500-3,500

3

A DIAMOND PANEL BRACELET, CIRCA 1940

Composed of three bowed rectangular pierced panels, set throughout with old brilliant, brilliant and single-cut diamonds, to a concealed clasp, diamonds approx. 17.65 carats total, partially struck maker’s mark possibly for Désiré Herlin, French assay marks and import marks, length 18.3cm £7,000-9,000

4

A MOTHER-OF-PEARL DRESS SET, FIRST HALF OF THE 20TH CENTURY

Double-sided: Each cufflink terminal set with a circular mother-of-pearl plaque, within an engraved decorative surround, to a chain-link connector, accompanied by four buttons and two studs, terminal lengths: 0.7cm - 1.4cm, fitted case by The Goldsmiths & Silversmiths Company, Ltd. 112, Regent St., London, W (7) £300-500

5

CARTIER: A PLATINUM AND DIAMOND CROSS PENDANT NECKLACE, 2004

The platinum Latin cross set with brilliant-cut diamonds, suspended from a platinum belcher-link chain, diamonds approx. 0.65 carat total, signed Cartier, maker’s mark JC, numbered, London hallmark, lengths: pendant 2.5cm, chain 45.2cm, maker’s box and case Accompanied by a Cartier certificate of authenticity dated 2004.

£1,500-2,500

6

A FOUR-STONE DIAMOND PENDANT NECKLACE

The knife-wire pendant set with four graduated brilliant-cut diamonds, to an 18 carat white gold curb-link chain, principal diamond approx. 1.50 carats, remaining diamonds approx. 0.60 carat total, chain signed UnoAErre, partial UK hallmark, lengths: pendant 3.4cm, chain 47.4cm

£2,000-3,000

7

CHOPARD: A ‘HAPPY DIAMOND’ ‘I LOVE YOU’ PENDANT NECKLACE

The 18 carat white gold belcher-link chain with brilliant-cut diamond baton accents, a central heart-shaped glazed compartment containing a ‘floating’ diamond, suspending a pendant with the word ‘You”, diamonds approx. 0.30 carat total, signed Chopard, numbered, European convention mark, Swiss assay mark, lengths: pendent 8.0cm, necklace 43.7cm, maker’s case

£1,000-1,500

8

CARTIER (ATTRIBUTED): A DIAMOND ‘TRINITY’ RING

The three interlocking bands, set throughout with brilliant-cut diamonds, diamonds approx. 2.05 carats total, unsigned, ring size M½, Cartier case and box

Accompanied by a Cartier certificate of authenticity dated 2006 and the original receipt from Cartier.

£2,000-3,000

9

CARTIER: A PAIR OF DIAMOND ‘PAILLETTE’ EARSTUDS

Each 18 carat white gold square segmented plaque set with four brilliant-cut diamonds, diamonds approx. 0.60 carat total, signed Cartier, maker’s mark, numbered, partial London hallmarks, French assay marks, European convention marks, post fittings, length 0.6cm, maker’s case and box

£800-1,200 10

10

ELSA PERETTI FOR TIFFANY & CO.: A SILVER MESH SCARF NECKLACE

Large size; the wide mesh scarf, tapering towards the points, signed Peretti, maker’s mark T&Co., length 104.5cm, maker’s pouch and box

£500-700

11

A WHITE GOLD TEARDROP DIAMOND PENDANT NECKLACE

Centrally set with a cluster of princess, marquisecut and pear-shaped diamonds within a teardrop shaped pendant set with brilliant-cut diamonds, to an 18 carat white gold trace-link chain, diamonds approx. 1.55 carats total, partial London hallmarks, lengths: pendant 5.7cm, chain 40.7cm

£1,200-1,500

12

THEO FENNELL: A DIAMOND KEY PENDANT NECKLACE, 2013

The 18 carat white gold belcher-link chain suspending a brilliant-cut diamond key pendant, maker’s logo, maker’s mark TF, numbered, London hallmark, lengths: pendant 1.7cm, chain adjustable 42.9cm - 46.4cm

£300-500

13

THEO FENNELL: A DIAMOND PENDANT NECKLACE, 2013

The 18 carat white gold belcher-link chain, suspending an oval pendant pierced by a vertical line, set throughout with brilliantcut diamonds, maker’s logo, maker’s mark TF, London hallmark, lengths: pendant 1.9cm, chain 46.0cm

£300-500

14

CARTIER: A DIAMOND AND WHITE GOLD ‘LANIERES’ RING

The 18 carat white gold gallery with square segmented details, set throughout with brilliant-cut diamonds, diamonds approx. 1.50 carats total, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 53, maker’s case and box

£1,000-1,500

15

CARTIER: A WHITE GOLD ‘LANIERES’ RING

The 18 carat white gold band ring of square segmented design, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier ring size 54, maker’s case

£600-800

16

CARRERA Y CARRERA: A PINK SAPPHIRE AND RUBY RING

Of horizontal bombé style, pavé-set with circular-cut rubies and pink sapphires, within a sculptural surround of modelled roses, marker’s mark CyC, numbered, ring size N½

£600-800

17

A

ROSE QUARTZ AND DIAMOND COLLAR NECKLACE, ATTRIBUTED TO VALERIE LE HEUTRE

The articulated collar of faceted rose quartz links, interspersed with courses of brilliant-cut diamonds, to a multi-row clasp set with similarlycut diamonds, diamonds approx. 1.50 carats total, length 38.0cm

£700-900

18

A DIAMOND PLAQUE DRESS RING

The oval plaque set with multiple frames of baguette and tapered baguette-cut diamonds, between lines of brilliant-cut diamonds, diamonds approx. 2.00 carats total, a few diamonds deficient, ring size N½

£1,500-2,500

19

£700-900 17

TIFFANY & CO.: A PAIR OF DIAMOND AND PLATINUM EARSTUDS

Each square platinum plaque centrally featuring a square step-cut diamond, within a brilliant-cut diamond surround, diamonds approx. 1.95 carats total, signed Tiffany & Co., maker’s mark T&Co., London hallmark, post fittings, length 1.0cm

20

A 2.81 CARAT DIAMOND AND PLATINUM DRESS RING

The central step-cut diamond, weighing 2.81 carats, within an octagonal platinum surround of brilliant-cut diamonds, between pierced shoulders of collet-set step and baguette-cut diamonds, to a brilliant-cut diamond gallery, remaining diamonds approx. 2.65 carats total, maker’s mark LR, UK hallmark, ring size K

The principal diamond is accompanied by a report from GCS stating that the diamond is H colour, VS2 clarity. Report number 5786-1752, dated 13th March 2026.

£12,000-15,000

21

CARTIER: A TRI-STONE DIAMOND PENDANT NECKLACE

The 18 carat white gold belcher-link chain, to a triple heart-shaped diamond pendant of clover design, diamonds approx. 1.70 carats total, signed Cartier, maker’s mark JC, numbered, London hallmark, lengths: pendant 1.1cm, chain 45.0cm, maker’s case and box

£5,000-6,000

22

A STEP-CUT DIAMOND THREE-STONE RING

The central cut-cornered rectangular step-cut diamond, weighing 2.92 carats, between similarly-cut diamonds in partial collet-settings, mounted in 18 carat white gold, remaining diamonds approx. 0.95 carat total, London hallmark, ring size K½ (sizing beads)

£8,000-12,000

23

CARTIER: A WHITE GOLD AND DIAMOND RING

The 18 carat white gold band, pavé-set to the front with five courses of brilliant-cut diamonds, diamonds approx. 3.20 carats total, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 54, maker’s case and box

£2,000-3,000

24

A GOLD AND DIAMOND PENDANT NECKLACE

The central brilliant-cut diamond shaft accented with an 18 carat gold MacIntosh style motif, suspended from a gold barley-link chain, diamonds approx. 0.30 carat total, UK hallmarks, lengths: pendant 4.1cm, chain 46.8cm

£300-500

25

A RADIANT-CUT DIAMOND SINGLE-STONE RING

The radiant-cut diamond, weighing 1.06 carats, in a four-claw setting, ring size J½

Accompanied by a report from the GIA stating that the diamond is D colour, SI2 clarity. Report number 5403161740, dated 3rd September 2021.

£1,500-2,500

26

THEO FENNELL: A GOLD TORC BANGLE, 2005

The 18 carat gold reeded torc, of convex form, signed Theo Fennell, maker’s mark TF, London hallmark, inner diameter 5.7cm

£2,500-3,500

27

THEO FENNELL: A GOLD PALM PENDANT NECKLACE AND BRACELET

The 18 carat gold belcher-link chain suspending a circular openwork pendant containing a palm motif, accompanied by a bracelet en suite, pendant signed Theo Fennell, maker’s marks TF, London hallmarks, lengths: pendant 2.9cm, necklace chain adjustable 40.8cm - 45.5cm, bracelet 18.1cm (2)

£600-800

28

CARTIER:

A PAIR OF GOLD ‘PANTHÈRE’ CUFFLINKS

Each terminal realistically modelled as an 18 carat gold panther’s head, with marquise-cut tsavorite garnet eyes and an onyx nose, to spherical terminals, signed Cartier, maker’s mark JC, French maker’s mark, numbered, London hallmark, French assay mark, terminal length 2.7cm

£2,500-3,500

29

A GREEN TOURMALINE COLLAR NECKLACE

The collar necklace tapered to the front with modelled triangular segments, joined by a sugarloaf green tourmaline, indistinct maker’s mark, length 44.0cm

£3,000-5,000

30

A GREEN TOURMALINE AND DIAMOND DRESS RING

The collet-set circular cabochon green tourmaline, within an abstract flayed design with two collet-set brilliant-cut diamond highlights, indistinct maker’s mark, ring size L½

£2,000-3,000

Octavio Sardà (born 1932) founded his eponymous brand of jewellery in 1958 in Spain. He initially trained in the workshops of the regarded Spanish jewellers Josep Llovera before branching out with his own designs. Sardà’s designs are characterised by bold gold creations. “I have always found inspiration in nature. For example, in a leaf or a bird. I like to think that I am inspired by the same things that inspired Antoni Gaudí.”

One of Sardà’s significant contributions was the design of the coat of arms of Constitutional Spain which he presented, in person, to King Juan Carlos I in 1983. He also collaborated with Salvador Dalí on the creation of a series of forty two bronze sculptures, now part of the Reynolds Morse Foundation at the Dalí Museum in St Petersburg, Florida.

Despite not having their own stores, for a time they hosted exhibitions in their own homes, Sarda’s work became stocked at top jewellery retailers and exported throughout Europe, the U.S. and South America. Octavio is now retired, and the firm is run by his daughter Eulàlia Sardà.

31

OCTAVIO SARDÀ: A GOLD COLLAR, 1985

The 18 carat gold hinged collar realistically modelled as textured fabric, with a brushed finish, maker’s mark S, sponsor’s mark SJR, UK import mark, inner diameter 10.8cm

£5,000-7,000

32

OCTAVIO SARDÀ: A GOLD BANGLE, 1985

The 18 carat gold cuff, realistically designed as crumpled fabric, with a brushed finish, signed Octavio Sardà, maker’s mark S, sponsor’s mark SJR, UK import mark, inner diameter 5.3cm

£2,000-3,000

33

OCTAVIO SARDÀ: A PAIR OF GOLD AND DIAMOND EARRINGS

Each 18 carat gold undulating cluster, secured by a brilliant-cut diamond strap, signed Octavio Sardà, sponsor’s mark SJR, UK import marks, post and clip fittings, length 2.6cm

£500-700

34

HERMÈS: A MID TO LATE 20TH CENTURY BROOCH

The stylised wings of polished and engraved brushed finish, signed Hermès Paris, maker’s mark CF, French assay marks, width 6.5cm, maker’s case

£2,200-2,800

35

A PAIR OF EMERALD AND DIAMOND FRINGE EARRINGS

Each openwork surmount of graduated brilliantcut diamonds framing a line of channel-set calibré-cut emeralds, to a brilliant-cut diamond tassel, spaced by a tapered baguette-cut emerald cap and a trio of marquise-cut emeralds, diamonds approx. 7.50 carats total, unidentified maker’s mark, rotating post and clip fittings, length 4.4cm

£1,500-2,500

36

AN EMERALD AND DIAMOND SWAG NECKLACE

Set throughout with brilliant-cut diamonds, designed as a graduated double tennis necklace with swags of brilliant-cut diamonds, suspending a fringe of tassel diamond drops, accented by channel-set courses of calibré-cut emeralds, with marquise-cut emerald highlights, to a concealed clasp, diamonds approx. 37.10 carats total, one emerald deficient, unidentified maker’s mark, length 39.0cm

£8,000-12,000

AN EMERALD AND DIAMOND BRACELET

Of openwork design, the central cartouche of three graduated rows of brilliant-cut diamonds, with bowed courses of calibré-cut emeralds and fans of marquise-cut emeralds, between a double row of brilliant-cut diamonds, accented by further channel-set lines of calibré-cut emeralds with marquise-cut emerald highlights, to a concealed clasp, diamonds approx. 9.25 carats total, unidentified maker’s mark, length 19.1cm

£3,500-4,500

38

AN EMERALD AND DIAMOND DRESS RING

Of navette form, the oval-cut emerald within a channel-set surround of calibré-cut emeralds and graduated brilliant-cut diamonds, between channel-set emerald shoulders, diamonds approx. 1.50 carats total, unidentified maker’s mark, ring size M

£1,000-1,500

39

A CROSS PENDANT NECKLACE

The Latin cross consisting of imitation turquoise arms, accented at the edges and centrally with circular-cut black diamonds, to a brilliant-cut diamond bale, suspended from a triple belcher-link necklace, lengths: pendant 6.7cm, necklace maximum length 55.8cm

£2,500-3,500

40 A DIAMOND AND BLACK DIAMOND DRESS RING AND EARRING SUITE

The ring centrally set with an oval cabochon imitation turquoise, within a double surround of circular-cut black diamonds and brilliant-cut diamonds, accompanied by a pair of earrings en suite, brilliant-cut diamonds approx. 2.10 carats total, post fittings, ring size M½, earring length 2.9cm (2)

£3,000-5,000

41

CHAUMET: A DIAMOND SALTIRE RING

The polished overlapping band, centrally featuring a brilliant-cut diamond saltire, signed Chaumet, maker’s mark, numbered, French assay mark, ring size G½ £400-600

42

A ZIRCON AND DIAMOND CLUSTER RING

The circular-cut zircon, within a single-cut diamond surround, diamonds 0.25 carat total, ring size J £500-700

43

A DIAMOND SINGLE-STONE PENDANT NECKLACE

The brilliant-cut diamond, in a four-claw platinum setting, suspended from an 18 carat white gold foxtail link chain, diamond approx. 2.20 carats, partial UK hallmarks, chain with European convention mark, lengths: pendant 1.8cm, chain 41.1cm

£4,000-6,000

44

FEI LIU: AN AQUAMARINE, DIAMOND AND EMERALD BRACELET

Centrally featuring an elongated step-cut aquamarine, between square step-cut emeralds, to a bracelet of rectangular links set with brilliant-cut diamonds, accented throughout with collet-set step-cut emeralds, mounted in platinum, aquamarine approx. 6.10 carats, emeralds approx. 1.50 carats total, diamonds approx. 0.95 carat total, maker’s mark FL, partial UK hallmark, length 18.5cm

£2,200-2,800

A CABOCHON EMERALD AND DIAMOND CLUSTER RING

The oval cabochon emerald, collet-set within a singlecut diamond surround, ring size L½

£500-700

46

A PAIR OF DIAMOND EARSTUDS

Each brilliant-cut diamond, in a four-claw setting, diamonds approx. 0.80 carat total, post fittings

£300-500

47

AN AQUAMARINE AND DIAMOND CLUSTER PENDANT NECKLACE

The step-cut aquamarine, in a four-claw setting, within a brilliant-cut diamond frame, suspended from a fancy-link platinum chain, aquamarine approx. 2.70 carats, partial UK hallmarks, chain with European convention mark, lengths: pendant 2.1cm, chain 41.1cm

£600-800

48

A DIAMOND THREE-STONE RING

The central brilliant-cut diamond, weighing 5.03 carats, between pear-shaped diamonds, the shoulders pavéset with brilliant-cut diamonds, to a platinum band, remaining diamonds approx. 1.70 carats total, partial UK hallmark, ring size M½

£20,000-30,000

49

A DIAMOND FLOWER RING

The central cluster of brilliant-cut diamonds, within a moveable surround, each hinged petal set with similarly-cut diamonds, diamonds approx. 3.35 carats total, ring size N

£2,000-3,000

50

CARTIER: A PLATINUM AND DIAMOND SINGLE-STONE RING

The brilliant-cut diamond, weighing 0.82 carat, in a four-claw setting, to a platinum band, signed Cartier, maker’s mark JC, numbered, partial London hallmark, French assay mark, European convention mark, Cartier ring size 54, maker’s case and box

£1,800-2,500

51

A PINK TOURMALINE AND DIAMOND DRESS RING, 2000

The horizontally-set oval cabochon pink tourmaline, to a tapered 18 carat white gold band featuring scrolling lines of brilliantcut diamonds, maker’s mark NCK, London hallmark, Millennium mark, ring size K

£300-500

52

A PAIR OF DIAMOND HOOP EARRINGS

Each hoop pavé-set with brilliant-cut diamonds, diamonds approx. 5.50 carats total, one diamond deficient, post fittings, length 2.8cm

£2,000-2,500

53

A RUBY AND DIAMOND RING

The partially collet-set oval-cut ruby, between courses of circular-cut rubies, within a brilliant-cut diamond frame, mounted in 18 carat white gold, diamonds approx. 0.25 carat total, London hallmark, ring size M

£600-800

54

THEO FENNELL: A DIAMOND CROSS NECKLACE AND BRACELET, 2013

The 18 carat white gold belcher-link chain, suspending a brilliant-cut diamond cross, accompanied by a bracelet en suite, maker’s logos, maker’s marks TF, numbered, London hallmarks, lengths: pendant 1.9cm, necklace chain adjustable 42.2cm - 45.5cm, bracelet adjustable 18.2cm - 19.7cm (2)

£600-800

55

CHOPARD: A SWIRLING DIAMOND PENDANT NECKLACE

The large swirling pendant, pavé-set throughout with brilliant-cut diamonds, with a central circular glazed compartment containing a single ‘floating’ diamond, with a similarly-designed surmount, suspended from an 18 carat white gold filed belcher-link chain collet-set at intervals with brilliant-cut diamonds, diamonds approx 1.70 carats total, one diamond deficient, signed Chopard, chain numbered with a European convention mark and Swiss assay mark, lengths: pendant 7.6cm, chain 43.1cm

£2,500-3,500

56

A DIAMOND TENNIS BRACELET

The uniform line of brilliant-cut diamonds, each in a four-claw setting, each gallery featuring heart motifs, to a concealed clasp, diamonds approx. 7.55 carats total, length 17.1cm

£4,000-6,000

57

CARTIER: A WHITE GOLD AND DIAMOND ‘TANK FRANÇAISE’ RING

The 18 carat white gold band set at intervals with trios of brilliant-cut diamonds, diamonds approx. 0.35 carat total, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, Cartier size 53, maker’s case and box

£800-1,200

58

CARTIER: A PAIR OF INTERCHANGEABLE NEPHRITE AND HAEMATITE CUFFLINKS

Double-sided: Each baton terminal, either of polished nephrite or haematite, to a rigid bar connector, signed Cartier, maker’s mark, numbered, French assay marks, terminal length 2.2cm, maker’s case, box and pouch

£1,800-2,200

59 §

WENDY RAMSHAW: A SET OF SIX GEM-SET GOLD RINGS, 2006-2011

Each 18 carat gold band collet-set with a circular or pear-shaped gemstone, including blue topaz, emerald and chrysoprase, on a turned perspex stand, maker’s marks WR, London hallmarks, ring size N (6)

Provenance: By repute, purchased as a set from Contemporary Applied Arts, London.

£1,500-2,500

60 §

WENDY RAMSHAW: A WHITE GOLD AND DIAMOND RING STACK

Each 18 carat white gold ring with a matte brush finish, set with a brilliant-cut diamond, on a white perspex stand, maker’s marks WR, London hallmarks, stand broken, ring sizes M½, N and N½ (7)

Provenance: By repute, purchased by the vendor from The Lesley Craze Gallery, London.

£1,500-2,500

61 §

WENDY RAMSHAW: A GOLD AND MOONSTONE RING STACK, 2013

Each 18 carat gold ring with matte brushed finish, each collet-set with a cabochon opal, on a white perspex stand, maker’s marks WR, London hallmarks, ring size N (6)

Provenance: By repute, purchased by the vendor from The Lesley Craze Gallery, London.

£1,200-1,500

62 §

WENDY RAMSHAW: A SILVER RING STACK, 1987-88

The five silver bands, each adorned with a single geometric accent, maker’s marks WR, London hallmarks, ring sizes L½ (5)

£500-700

63 §

WENDY RAMSHAW: A PAIR OF GOLD, ENAMEL AND GARNET EARRINGS, 2001

Wearable in four unique ways; each collet-set circular cabochon garnet stud, backed by a detachable roundel frame, suspending a detachable column pendent decorated with burgundy enamel and terminating in a collet-set pear-shaped cabochon garnet, with a further detachable bifurcated pendent with pear-shaped and circular cabochon garnet terminals, mounted in 18 carat yellow gold, maker’s mark WR, London hallmark, post fittings, maximum length 7.3cm

Provenance: By repute, commissioned by the vendor directly from Wendy Ramshaw. Artist’s design drawings provided.

£2,500-3,500

64

A DIAMOND DRESS RING, 1997

Pavé-set to the front with brilliant-cut diamonds, to a tapering 18 carat white gold band, between a fluted gold trim, diamonds approx. 1.00 carat total, London hallmark, ring size N

£300-500

65

THEO FENNELL: FOUR SINGLE-STONE PENDANT NECKLACES

Each 18 carat white gold belcher-link chain, suspending a single-stone pendant, of either circular-cut amethyst, peridot, blue topaz or pink tourmaline, within a bi-coloured gold floral setting with brilliant-cut diamond accents, maker’s mark TF, London hallmarks, lengths: pendants 0.7cm each, chains 39.9cm - 45.7cm (4)

£800-1,200

66

AN ENAMEL AND DIAMOND PARROT BROOCH, CIRCA 1975

The tufted head of white and royal blue enamel, set with blue enamel eyes with single and brilliant-cut diamond eyebrows, a red guilloché enamelled beak, the body of textured features, with green, white, red and blue enamelled wings and tail feathers, issuing a foxtail-link tassel highlighted by brilliant-cut diamonds, perched upon a single-cut diamond branch, length 10.1cm

£5,500-6,500

67

A CIRCULAR-CUT EMERALD CHOKER

The necklace designed as a continuous line of circularcut emeralds, each in a four-claw setting, emeralds approx. 6.90 carats total, length 33.5cm

£2,500-3,000

68

A COLLET-SET DIAMOND PENDANT

The brilliant-cut diamond, in a polished collet-setting, with a hinged bale, diamond approx. 2.70 carats, length 1.4cm

£5,000-7,000

69

AN EMERALD AND DIAMOND CLUSTER RING

The step-cut emerald, in a four-claw setting, within a millegrain collet-set surround of brilliant-cut diamonds, the similarly designed band pavé-set with brilliant-cut diamonds to the shoulders, emerald approx. 1.80 carats, diamonds approx. 1.00 carat total, ring size N

£1,500-2,000

70

THEO FENNELL: TWO SINGLE-STONE PENDANT NECKLACES

1st: The 18 carat white gold box-link chain suspending a circular-cut sapphire pendant in a four-claw floral setting accented by brilliantcut diamonds, 2nd: The 18 carat gold box-link chain suspending a circular-cut ruby pendant in a four-claw floral setting accented by brilliant-cut diamonds, maker’s logo, maker’s marks TF, London hallmarks, lengths: pendants 0.7cm each, chains adjustable 42.2cm - 45.8cm (2)

£400-600

71

CARTIER: A GEM-SET ‘TRINITY’ RING

The three interlocking bands set with circular-cut rubies and sapphires and brilliant-cut diamonds, signed Cartier, maker’s mark, numbered, French assay mark, Cartier size 52

£1,200-1,500

72

CHOPARD: TWO PAIRS OF ‘HAPPY DIAMOND’ EARSTUDS

Each of heart design containing a single ‘floating’ brilliant-cut diamond in a glazed compartment, one pair set in 18 carat yellow gold, one pair set in 18 carat white gold, signed Chopard, numbered, European convention marks, Swiss assay marks, post fittings, lengths 0.8cm (2)

£500-700

73

A 4.17 CARAT DIAMOND RING

The brilliant-cut diamond, weighing 4.17 carats, in an eight-claw setting, ring size K

£7,000-9,000

74

A PAIR OF SPINEL AND DIAMOND PENDENT EARRINGS

Each designed as a triple cluster of cushion-shaped spinels, each within a brilliant-cut diamond surround, accented at the cardinal points with similarly-cut diamonds in a granulation surround, spinels approx. 3.50 carats total, diamonds approx. 0.60 carat total, post fittings, length 3.7cm

£1,500-2,000

75

D. BACHET: A ‘SCROLL IN LOVE’ PINK SAPPHIRE AND DIAMOND PENDANT NECKLACE

The pendant of barrel design, the central line of circularcut pink sapphires, between raised courses of brilliant-cut diamonds, suspended from a belcher-link chain, signed Bachet, partially struck maker’s marks, numbered, French assay marks, lengths: pendant 0.9cm, chain 41.8cm

£300-500

76

CARTIER: A ROSE GOLD AND DIAMOND ‘ÉTINCELLE DE CARTIER’

ETERNITY RING

The 18 carat rose gold band set throughout with brilliant-cut diamonds, diamonds approx. 0.45 carat total, signed Cartier, maker’s mark, European convention mark, Swiss assay mark, Cartier size 54, maker’s case and box

Accompanied by a certificate of authenticity from Cartier dated 2015.

£800-1,200

77

A TOURMALINE AND DIAMOND MESH BRACELET

The wide bracelet designed of ropetwist circular linking, collet-set with brilliant-cut diamonds and cushion-shaped cabochon pink and green tourmalines, the clasp accented with circular cabochon sapphires, length 17.8cm

£5,000-7,000

78

A FANCY-LINK BRACELET, FIRST HALF OF THE 20TH CENTURY

Designed as a series of trios of reeded baton links, with spherical spacers, length 19.6cm

£800-1,200

79

VAN CLEEF & ARPELS: AN INTERCHANGEABLE SET OF EARRINGS AND A PENDANT, CIRCA 1980

Each undulating oval earring surmount, suspending either a polished hoop or a malachite hoop, accompanied by a pendant en suite, signed VCA, maker’s marks P&Fils, numbered, French assay marks, post and clip fittings, lengths: earring 2.5cm, pendent 2.2cm (5)

£5,500-6,500

80

DINH VAN FOR CARTIER: A ‘DOUBLE FACES’ SCULPTURAL RING, CIRCA 1970

Of square outline, pierced centrally, signed Dinh Van and Cartier, ring size I½

£1,000-1,500

Jean Dinh Van (b. 1927) was born to a French mother and a Vietnamese father. He studied drawing at the Arts Décoratifs, then the art of metalwork at École des Arts Décoratifs, Paris. In 1950, he joined Cartier in Paris like his father before him, where he worked alongside Jeanne Toussaint. His father had trained in Viet Nam in the traditional craft of lacquered furniture. After serving in the French Army in WWI, he settled in Paris and was hired by Cartier in the 1920s to bring those skills to their items, such as cigarette cases. After 10 years at Cartier Paris, Dinh Van started his own venues, initially working on a collaboration with Jean Schlumberger. In 1965, he founded his own eponymous brand. In 1967 his work was recognised at the World Fair in Montreal. This marked the starting point of a second period work with Cartier, this time with the New York branch, designing exclusively for them. Dinh Van became the first ever designer whom Cartier permitted to co-sign their creations for the firm, a collaboration which lasted for a decade. His innovative, sculptural designs brought a unique edge to the firm. This honour was followed in 1970 by Aldo Cipullo.

According to a New York Times article published 2nd of April 1970, “Cartier bills him as a designer of ‘young’ jewelry —meaning that prices (which start at $30 for a simple ring and are mainly in the less than-$500 range) put the collection in the boutique, rather than the multicarat diamond area of the store”.

By 1976,

81

PALOMA PICASSO FOR TIFFANY & CO.: A FANCY-LINK BRACELET

The uniform line of square segmented links of stylised flowers, with hammered finish, to a concealed clasp, signed Paloma Picasso and Tiffany & Co., length 18.9cm

£4,500-5,500

82

JOHN DONALD: A GOLD AND DIAMOND RING, 1992

The pear-shaped diamond, inset within an openwork 18 carat gold “nugget” surround, diamond approx. 0.40 carat, maker’s mark JAD, London hallmark, ring size I

£500-700

This design was first developed by John Donald in 1968. The gold “nugget” setting was originally created to enclose briolette-cut diamonds and later expanded to include other gemstones. See Donald, John and Elliott, Russell Cassleton, Precious Statements, McNidder & Grace, Carmarthen, 2015, pages 130-135.

83

CHAUMET: A DIAMONDSET RING

The polished band centrally split and connected by a brilliant-cut diamond arch, signed Chaumet, maker’s mark Ste CL, numbered, French assay mark, ring size K

£300-500

84

CUSI: AN EMERALD AND DIAMOND NECKLACE

The rigid hinged collar set to the front with graduated single and brilliantcut diamonds, to a central shamrock of pearshaped emeralds, diamonds approx. 1.45 carats total, emeralds approx. 5.45 carats total, signed Cusi, Italian assay marks, inner diameter 12.1cm

£7,500-8,500

85

CHOPARD: A ‘HAPPY DIAMOND’ RING

The horizontally-set oval glazed compartment contain three ‘floating’ brilliant-cut diamonds, signed Chopard, partial European convention mark, ring size H½

£400-600

86

CARTIER: A PAIR OF GOLD AND DIAMOND ‘MAILLON PANTHÈRE’ EARRINGS

Designed as three rows of 18 carat gold brick-linking, set to the front with brilliant-cut diamonds, signed Cartier, numbered, European convention mark, Swiss assay mark, post and clip fittings, length 1.9cm, maker’s case

Accompanied by a Cartier certificate of authenticity dated 2001.

£2,000-3,000

87

CARTIER: A GOLD AND DIAMOND ‘MAILLON PANTHÈRE’ BRACELET

The articulated series of 18 carat gold brick-links, set at intervals with brilliant-cut diamonds, to a concealed clasp, diamonds approx. 3.00 carats total, signed Cartier, maker’s mark, numbered, French and Swiss assay marks, European convention mark, length 18.9cm, maker’s pouch

Accompanied by a Cartier certificate of authenticity dated 2000.

£4,000-6,000

88

A DIAMOND CROSSOVER RING

The three rows of graduated marquise-cut diamonds, spaced by two rows of baguette-cut diamonds, diamonds approx. 3.10 carats total, ring size P½

£1,000-1,500

89

CARTIER: A HEART RING, CIRCA 1995

The flexible band designed as two rows of interlocking heart motifs, signed Cartier, numbered, Cartier size 52 £1,200-1,500

90

A BIB NECKLACE, POSSIBLY 19TH / EARLY 20TH CENTURY

In the Archaeological Revival style, with figurative and floral applied decoration, glass bead accents and a black glass baton fringe, to a double fancy twisted-link backchain, length 54.2cm, width of bib 14.0cm

£4,000-6,000

91

TWO 19TH CENTURY STICK PINS

1st: The realistically designed claw clasping a cushion-shaped diamond, diamond approx. 0.60 carat, 2nd: The pair of entwined serpents, supporting a collet-set cushion-shaped emerald, with an old brilliant-cut diamond accent atop, lengths: 6.7cm and 7.2cm, both cased (2)

£400-600

92

AN AMETHYST PEARL AND DIAMOND BROOCH / PENDENT, CIRCA 1875

The hexagonal-shaped amethyst, within a floriate surround adorned with half seed pearls and rose-cut diamonds, amethyst approx. 40.40 carats, length 4.4cm

£400-600

93

AN ENAMEL, DEMANTOID GARNET AND AMETHYST PENDANT NECKLACE, CIRCA 1910

The central oval-cut amethyst, within a pierced surround of c-shaped enamel accents, with alternating circular-cut demantoid garnets and seed pearls, suspended from a bi-coloured double fiagro-link chain with further seed pearl accents, one pearl deficient, lengths: pendant 1.7cm, chain 43.1cm

£500-700

94

A PAIR OF BLOODSTONE, RUBY AND DIAMOND EARRINGS

Each circular cabochon bloodstone, centrally featuring a cushion-shaped ruby and rose-cut diamond flowerhead, within a cushion-shaped and oval-cut ruby frame, accented at the cardinal points with rose-cut diamonds, post fittings, length 2.2cm

£500-700

95

A RUBY AND DIAMOND CRESCENT MOON BROOCH, CIRCA 1890

The knife-wire bar featuring a cushion-shaped ruby and old brilliant-cut diamond crescent moon, accented at each finial by a similarly-cut diamond and ruby, centrally highlighted by a seed pearl, width 4.7cm, fitted case by John Mason, Rotherham and at Barnsley

£1,000-1,500

97

A FANCY LIGHT PINK DIAMOND PENDANT

The old cushion-shaped Fancy Light Pink diamond, weighing 0.65 carat, in a four-claw pendant setting, length 0.9cm (illustrated unmounted)

Accompanied by a report from GCS stating that the diamond is natural, Light Pink colour, SI1 clarity. Report number 5786-0390, dated 6th November 2025.

£2,000-4,000

98

A CULTURED PEARL NECKLACE WITH DIAMOND PENDANT

The single strand of 6.4mm-6.8mm cultured pearls, suspending a pierced circular pendant set with cushion-shaped and old-brilliant-cut diamonds, to an 18 carat white gold oval clasp, diamonds approx. 4.55 carats total, clasp with partial London hallmark, lengths: necklace 45.0cm, pendant 4.8cm

£700-900

96

A NATURAL PEARL AND DIAMOND NECKLACE

Composed of a single strand of graduated 4.6mm8.5mm natural pearls, the cluster clasp collet-set with an oval-cut diamond, within a border of cushion-shaped diamonds, length 38.7cm

Accompanied by a report by The Gem & Pearl Laboratory stating that the pearls are natural, of saltwater origin. Report number 26566, dated 7th November 2025.

£4,000-6,000

99

A MID 19TH CENTURY SAPPHIRE, DIAMOND AND PEARL PENDANT NECKLACE

Centrally-set with a pearshaped sapphire, in a ribbon border of rose-cut diamonds, in closed-back settings, surmounted by seven graduated old cushion-shaped diamonds, suspending a 5.1mm pearl drop, to a later belcher-link chain, diamonds approx. 0.70 carat total, pearl untested, lengths: pendant 4.6cm, chain 41.4cm, fitted case by Carrington & Co. Ltd., 130 Regent Street. W.

Accompanied by a report from GCS stating that the sapphire, weighing approx. 2.60 carats, is natural, of Sri Lankan origin, with no indications of heating. Report number 5786-1215, dated 21st January 2026.

£3,500-4,000

100

A DIAMOND AND PEARL TIARA / NECKLACE, CIRCA 1900

The graduated line of knife-wire bars, each set with a 2.7mm - 4.8mm bouton pearl, rose and old brilliant-cut diamonds, terminating in a tulip gallery set with a rose-cut diamond, the lower line of circular and navette-shaped links, each set with a rose-cut diamond, convertible into the back chain, old brilliant-cut diamonds approx. 0.75 carat total, pearls untested, tiara inner diameter 13.5cm, necklace length 37.5cm, fitted necklace case by Collingwood

£10,000-15,000

Provenance: By repute, this tiara was a gift to the mother of the vendor, Lady Elizabeth Denholm, the wife of Sir Ian Denholm of J&J Denholm Ltd.

The tiara was given to Lady Denholm to commemorate the launch of the GTS Euroliner container ship. A pioneering, gas-turbine-powered container ship, the GTS Euroliner launched in 1971 for Seatrain Lines, servicing the Atlantic route.

The June 1971, Maritime Reporter magazine reported on the maiden east bound Atlantic voyage the GTS Euroliner, then the world’s largest container ship.

101

A DIAMOND AND RUBY NAUTICAL BROOCH / PENDANT, CIRCA 1960

Modelled as a ship’s anchor, set throughout with brilliant-cut diamonds, overlaid by a square step and triangular-cut ruby flag, featuring a calibré-cut sapphire ‘N’ on a field of single-cut diamonds, diamonds approx. 1.65 carats total, length 4.7cm

Provenance: By repute, this brooch was gifted to the vendor’s grandmother, Lady Dorothy Denholm, by the shipowners Norness Shipping, on the occasion of the launch of the SS Naess Sovereign in June 1960.

£2,000-4,000

102

A NAUTICAL FLAG PENDANT, CIRCA 1960

The circular medallion, decorated to the obverse with a crossed pair of nautical flags, one featuring an enamel dolphin, the other the letter N, the reverse inscribed in blue enamel “Naess Favorita Flensburgh 18 - V - 61”, length 3.5cm, fitted case by P. Johnson, Milano

Provenance: Presented to the vendor’s family on the occasion of the launch of Naess Favorita of London. She was a bulk carrier built in 1961 by Flensburger Schiffbau Gesellschaft, Flensburg, Germany.

£500-700

103

A NATURAL PEARL NECKLACE WITH A DIAMOND CLASP

Composed of a single strand of graduated 2.2mm9.4mm natural pearls, the clasp collet-set with an oval rose-cut diamond within a border of similarly-cut diamonds, length 46.5cm

Accompanied by a report from The Gem & Pearl Laboratory stating that the pearls are natural, of saltwater origin. Report number 26565, dated 7th November 2025.

£2,500-3,500

104

A TURQUOISE AND DIAMOND CLUSTER RING

The oval cabochon turquoise, within an old brilliantcut diamond surround, between engraved shoulders, diamonds approx. 1.35 carats total, ring size Q

£300-500

105

AN AQUAMARINE AND SEED PEARL PENDENT NECKLACE, CIRCA 1910

The cushion-shaped aquamarine capped by a cluster of seed pearls, to a knife-wire bar and circular-cut aquamarine surmount, both in millegrain collet-settings, suspended from a tracelink chain, principal aquamarine approx. 3.10 carats, lengths: pendant 4.5cm, chain 41.1cm, cased by Mappin & Webb Ltd, Queen Victoria Street, London E.C.

£300-500

106

A SAPPHIRE AND DIAMOND CRESCENT BROOCH / PENDANT, CIRCA 1900

The elongated crescent moon set with lines of circular and oval-cut sapphires and old brilliant-cut diamonds, diamonds approx. 0.75 carat total, later brooch fitting, length 6.4cm, fitted case

£600-800

107

AN AQUAMARINE AND DIAMOND BROOCH

The collet-set oval-cut aquamarine, within a bi-coloured floral setting accented by rose-cut diamonds, aquamarine approx. 20.55 carats, length 4.3cm

£1,000-1,500

109

A FANCY-LINK BRACELET, FIRST HALF OF THE 20TH CENTURY

The articulated line of polished baton links of various size, numbered, length 19.0cm

£800-1,200

108

A TURQUOISE AND SEED PEARL FRINGE NECKLACE, CIRCA 1910

The figaro-link chain, set to the front with a graduated fringe of oval cabochon turquoise and seed pearls, lengths: longest pendant

2.5cm, necklace 41.3cm

£300-500

110

A SAPPHIRE AND PEARL CRESCENT BAR BROOCH, CIRCA 1895

The knife-wire bar, with 4.5mm - 4.8mm pearl and old brilliant-cut diamond terminals, to a central crescent moon set with oval and circular-cut sapphires and old brilliant-cut diamonds, with a central similarly-cut diamond flowerhead, diamonds approx. 0.50 carat total, width 5.2cm

£700-900

111

A SAPPHIRE AND DIAMOND DRESS RING

The cushion-shaped sapphire, within a square openwork surround set with tapered baguette and brilliantcut diamonds, to a bifurcated band with pavé-set similarly-cut diamond shoulders, diamonds approx. 0.55 carat total, sapphire approx. 1.05 carats, ring size M½ £700-900

112

A TRIPLE-STRAND CULTURED PEARL NECKLACE WITH A SAPPHIRE AND DIAMOND CLASP

The rows of 6.5mm - 6.8mm cultured pearls, to an oval clasp of pierced Greek key design, set with cushion-shaped and old brilliantcut diamonds, surrounding a central oval cabochon sapphire, diamonds approx. 3.25 carats total, length of shortest strand 41.3cm

£1,500-2,500

113

A PAIR OF SAPPHIRE AND DIAMOND PENDENT EARRINGS

Each step-cut sapphire, within a geometric openwork frame, set throughout with brilliant-cut diamonds, to a similarly-cut diamond hoop surmount, diamonds approx. 0.85 carat total, sapphires approx. 1.30 carats total, post fittings, length 5.0cm

£2,000-2,500

114

A GOLD CIGARETTE CASE, 1928

The rectangular 9 carat gold case with a foxhead engine turned pattern to a foliate frame, with applied monogram JW to top left corner, smooth tension-slide closing mechanism, maker’s mark GEM, London hallmark, length 8.3cm

£2,500-3,500

115

A DIAMOND DRESS RING

Centrally collet-set with brilliant-cut diamonds within a scrolling motif, between bifurcated shoulders set throughout with graduated similarly-cut diamonds, diamonds approx. 1.00 carat total, maker’s mark, ring size J½

£1,000-1,500

116

A DIAMOND QUATREFOIL NECKLACE

The belcher-link chain suspending a series of brilliantcut diamond quatrefoils, diamonds approx. 0.65 carat total, length adjustable 40.0cm - 41.9cm

£1,000-1,500

117

AN EMERALD AND DIAMOND DRESS RING

The openwork navette plaque set throughout with brilliant-cut diamonds, centrally featuring a circular-cut emerald, diamonds approx. 1.05 carats total, emerald approx. 1.45 carats, ring size O

£800-1,200

118

A PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS

Each 16.8mm - 16.9mm cultured pearl, with a brilliantcut diamond cap, suspended from a line of similarly-cut diamonds, each in a four-claw setting, diamonds approx. 2.50 carats total, hook fittings, length 4.6cm

£2,000-3,000

119

A DIAMOND STAR HAIRPIN

The five point star centrally set with a brilliant-cut diamond, within a radiating tapered baguette-cut diamond surround, mounted on an undulating hairpin, diamonds approx. 0.30 carat total, length 4.9cm

£100-200

Lot offered with no reserve.

120

ASPREY: A COLLET-SET DIAMOND NECKLACE

The series of collet-set brilliant-cut diamonds, each link connected by a polished curved spacer, diamonds approx. 3.00 carats total, maker’s mark A, length 42.4cm

£2,500-3,500

121

A BLUE TOPAZ, SAPPHIRE AND DIAMOND TARGET RING

The cushion-shaped blue topaz, collet-set within a tiered surround of brilliant-cut diamonds and French-cut sapphires, blue topaz approx. 7.30 carats, maker’s mark BK, ring size N½

£1,200-1,500

122

TIFFANY

& CO.: A PLATINUM AND DIAMOND SINGLE-STONE RING, 2009

The brilliant-cut diamond, weighing 0.55 carats, in a six-claw setting, to a knife-edge platinum band, signed Tiffany & Co., maker’s mark T&Co., numbered, London hallmark, ring size J½ Accompanied by a report from Tiffany & Co. stating that the diamond is H colour, IF clarity. Report number 24892514, crown inscription number J11120403.

£500-700

123

KORLOFF: A SMOKY QUARTZ AND DIAMOND DRESS RING

The sugarloaf smoky quartz, within a brilliant-cut diamond surround and scrolling motifs, between tapering shoulders set with similarly-cut diamonds of brown tint, diamonds approx. 2.30 carats total, signed Korloff, French assay mark, ring size N½

£500-700

124

THEO FENNELL: A YELLOW BERYL, DIAMOND AND BLACK DIAMOND PENDANT NECKLACE, 2006-7

The 18 carat white gold cross pattée set throughout with brilliant-cut diamonds, centrally collet-set with an oval-cut yellow beryl, entwined by a pavé-set circular-cut black diamond serpent, suspended from a fancy-link chain featuring barrel links set with brilliant-cut diamonds, brilliant-cut diamonds approx. 10.40 carats total, pendant signed Fennell, maker’s marks TF, London hallmarks, extra links provided, lengths: pendant 7.0cm, chain 42.5cm, maker’s case

£6,000-8,000

125

A RUBY AND DIAMOND DRESS RING

The oval cabochon ruby horizontally set within a brilliant-cut diamond frame, to a tapered band of brushed finish, ruby approx. 14.35 carats, diamonds approx. 0.25 carat total, ring size N

£1,500-2,000

126

THEO FENNELL: A PAIR OF BLACK DIAMOND HEART EARSTUDS

Each domed heart pavé-set with circular-cut black diamonds, mounted in 18 carat white gold, signed Theo Fennell, maker’s mark TF, London hallmark, post fittings, length 1.0cm

£600-800

127

FEI LIU: AN ONYX, RUBY AND DIAMOND BRACELET

Each carved cut-corner rectangular onyx link inset with a square or rectangular step-cut ruby, within a brilliant-cut diamond surround, connected by oval plaques set with similarly-cut diamonds, to a concealed clasp, mounted in platinum, rubies approx. 10.50 carats total, diamonds approx. 1.30 carats total, partial UK hallmark, length 17.6cm

£3,000-5,000

128

THEO FENNELL: A STAR PENDANT NECKLACE AND BRACELET, 2013

The 18 carat white gold belcher-link chain necklace suspending a brilliant-cut diamond Star of David pendant, accompanied by a bracelet en suite, maker’s logos, maker’s mark TF, numbered, London hallmarks, lengths: pendant 1.8cm, necklace adjustable 41.8cm - 45.1cm, bracelet adjustable 17.5cm - 19.2cm (2)

£600-800

129

A DIAMOND AND BLACK DIAMOND DRESS RING

The central latticework of circular-cut black diamonds, inset by brilliant-cut diamonds, mounted in 18 carat white gold, brilliant-cut diamonds approx. 0.85 carat total, London hallmark, ring size M½

£1,000-1,500

130

A PAIR OF OLD BRILLIANT-CUT DIAMOND EARSTUDS

Each old brilliant-cut diamond, in a six-claw setting, diamonds approx. 4.00 carats total, post fittings

£3,000-5,000

131

THEO FENNELL: TWO BLACK DIAMOND BRACELETS, 2013

1st: The 18 carat white gold belcher-link chain centrally featuring a circular-cut black diamond key, 2nd: The 18 carat white gold belcher-link chain centrally featuring a circular-cut black diamond elongated Latin cross, signed Theo Fennell, maker’s logos, maker’s mark TF, London hallmarks, maximum lengths 19.1cm (2)

£500-700

132

A DIAMOND FLORAL COLLAR NECKLACE

Of contoured form, designed as a line of brilliantcut diamond flowerheads, suspending a fringe of alternating diamond floral clusters and heart-shaped drops, to a concealed clasp, diamonds approx. 46.70 carats total, length 40.0cm

£12,000-15,000

133

A PAIR OF DIAMOND GIRANDOLE PENDENT EARRINGS

Each of girandole design, the pear-shaped surmount set with brilliant-cut diamonds, suspending three drops set with floral clusters of similarly-cut diamonds, diamonds approx. 13.70 carats total, maker’s mark M, post and clip fittings, length 4.0cm

£3,000-5,000

134

JAR: A PAIR OF SILVER PANSY EARCLIPS

Each anodised aluminium silver pansy, with a central lavender and yellow highlight, signed JAR, clip fittings, length 3.3cm, maker’s pouch

£3,000-5,000

135

JAR: A PAIR OF PURPLE FLOWER EARCLIPS

Each deep purple pansy of anodised aluminium, signed JAR, clip fittings, length 3.0cm, maker’s pouch

£3,000-5,000

From 2002 to early 2003 the Gilbert Collection at Somerset House, London hosted the exhibition ‘The Jewels of JAR, Paris’. The exhibition consisted of 400 pieces created by the American born, French based master jeweller Joel Arthur Rosenthal. At the time of the exhibition, it was estimated that only around 250 people worldwide actually owned a work created by JAR. 145 of them lent their pieces to the exhibition. So secretive was the source of many of the jewels that photography was not permitted on at least half the exhibits.

Guests of the exhibition toured rooms in complete darkness making their way with a torch in hand. To view the displays, the viewer must literally shine their light on them, making each viewing experience unique and private. A series of four styles of aluminium and gold floral earclips were specially created for the exhibition for purchase. Retailing then at just £250 each. Both of these earrings were purchased by the vendor.

136

CARRERA Y CARRERA: A PAIR OF SAPPHIRE AND DIAMOND EARRINGS

Each realistically modelled as a hand projecting from a brilliant-cut diamond cuff, the fingers grasping a dangling pear-shaped sapphire, diamonds approx. 0.35 carat total, maker’s marks CC, numbered, Spanish assay marks, post fittings, length 2.4cm

£400-600

137

CARRERA Y CARRERA: A DIAMOND HAND NECKLACE AND EARRING SUITE

1st: Each earring realistically designed as a hand projecting from a brilliant-cut diamond ruffled cuff, the fingers clasping a colletset similarly-cut diamond, 2nd: The curbed anchor chain centrally featuring a pair of realistically modelled hands with ruffed cuffs set with brilliant-cut diamonds, joined by a collet-set brilliant-cut diamond, diamonds approx. 0.80 carat total, signed Carrera y Carrera, maker’s marks, numbered, Spanish assay marks, post fittings, lengths: earring 2.3cm, necklace 45.5cm (2)

£800-1,200

138

A MATTE GOLD AND DIAMOND DRESS RING

The 18 carat gold band of matte blush finish, gypsy-set throughout with vari rose-cut diamonds, London hallmark, ring size M½

£1,800-2,200

139

UNO A ERRE: A GOLD NECKLACE, 1978

Designed as a continuous line of elongated polished 18 carat gold links, signed Uno A Erre, Italian assay mark, UK import mark, length 80.3cm

£3,000-5,000

140

A GOLD, SAPPHIRE AND DIAMOND RING, 1995

The oval-cut sapphire, centrally-set between an openwork 18 carat gold latticework accented throughout with brilliant-cut diamonds, diamonds approx. 0.45 carat total, sapphire approx. 0.80 carat, maker’s mark RT, London hallmark, ring size N

£700-900

141

CARTIER: A GOLD ‘C DE CARTIER’ BRACELET

The articulated series of 18 carat gold ‘C’ shaped links, to a concealed clasp, signed Cartier, maker’s mark JC, numbered, French assay mark, partial UK hallmark, European convention mark, length 17.8cm, maker’s case and box

£4,000-6,000

142

A SAPPHIRE AND DIAMOND DRESS RING

The oval-cut sapphire, in a four-claw setting, between fanned shoulders of tapered baguette-cut diamonds, to a hinged band, sapphire approx. 6.80 carats, diamonds approx. 0.80 carat total, ring size T½

The sapphire has been assessed by GCS and a verbal result given that the sapphire is of Sri Lankan origin, showing some indications of heat treatment.

£4,000-6,000

143

A DIAMOND BRACELET

Of Celtic knotwork design, set throughout with brilliant-cut diamonds, to a concealed clasp, diamonds approx. 3.80 carats total, length 17.3cm

£2,000-3,000

145

A PLATINUM AND 3.00 CARAT DIAMOND DRESS RING

The step-cut diamond, weighing 3.00 carats, within a platinum surround of brilliant-cut diamonds, to a trifurcated band set with similarly-cut diamonds, remaining diamonds approx. 0.50 carat total, maker’s mark GL, partial UK hallmark, European convention mark, ring size L The principal diamond is accompanied by a report from GCS stating that it is L colour, VS2 clarity. Report number 5786-1817, dated 13th March 2026.

£12,000-15,000

144

A SAPPHIRE AND DIAMOND THREE-STONE RING

The central cushion-shaped sapphire, between two old brilliant-cut diamonds, sapphire approx. 2.20 carats, diamonds approx. 2.15 carats total, ring size N½ (sizing beads)

£1,500-2,500

146

A PAIR OF DIAMOND DROP EARRINGS

Each spherical stud suspending a brilliant-cut diamond, in a four-claw setting, diamonds approx. 3.80 carats total, post fittings, length 1.8cm

£5,000-7,000

147

CARTIER: A WHITE GOLD AND DIAMOND ‘LOVE’ RING

The 18 carat white gold polished band set with alternating brilliant-cut diamonds and screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier ring size 56, maker’s case and box Accompanied by a Cartier certificate of authenticity dated 2002.

£1,000-1,500

148

A DIAMOND ETERNITY RING

The continuous line of brilliantcut diamonds, diamonds approx. 1.00 carat total, ring size M

£400-600

149

CARTIER: A WHITE GOLD AND DIAMOND ‘LOVE’ NECKLACE

The two interlocking 18 carat white gold hoops, one pavé-set with brilliant-cut diamonds, signed Cartier, numbered, Swiss assay mark, European convention mark, length 43.3cm

£1,500-2,500

150

A

TANZANITE AND DIAMOND CLUSTER RING

The circular-cut tanzanite, weighing 7.48 carats, within a border of brilliantcut diamonds, the raised 18 carat white gold gallery above shoulders set with similarly-cut diamonds, diamonds approx. 2.20 carats total, partial UK hallmark, ring size M½

Accompanied by a report from IGI stating that the tanzanite is from Merelani, Northern Tanzania. Report dated 28th March 2013, numbered GT12357102.

£5,000-7,000

151

LONGMIRE: A WHITE GOLD AND ENAMEL DRESS SET

Double-sided: Each 18 carat white gold oval terminal with a central sunburst engraved pattern, within a royal blue enamel frame, to a chain-link connector, accompanied by four studs en suite, cufflinks signed Longmire, maker’s marks PL, partial UK hallmarks, European convention marks, lengths: 0.9cm - 1.9cm, maker’s case (5)

£600-800

152

A TANZANITE AND DIAMOND PENDANT NECKLACE

The pear-shaped tanzanite, in a pavé-set brilliant-cut diamond double border and surmount, suspended from an 18 carat white gold trace-link chain, diamonds approx. 0.80 carat total, tanzanite approx. 4.50 carats, partial UK hallmark, European convention mark, lengths: pendant 3.8cm, chain 46.6cm

£3,000-5,000

155

A SAPPHIRE AND DIAMOND DRESS RING

The central oval-cut sapphire, within a triple brilliant-cut diamond cluster design, mounted in 18 carat white gold, diamonds approx. 0.90 carat total, sapphire approx. 1.45 carats, London hallmark, ring size L½

£1,000-1,500

153

CARTIER: A DIAMOND ‘LOVE’ PENDANT NECKLACE

The circular pendant set with six brilliant-cut diamonds, suspended from an 18 carat white gold Boston-link chain, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, lengths: pendant 2.4cm, chain 42.2cm, maker’s case and box

£1,500-2,500

154

CARTIER: A WHITE GOLD AND DIAMOND ‘LOVE’ BANGLE

The polished white gold bangle inset at intervals with ten brilliant-cut diamonds, signed Cartier, maker’s mark, numbered, Cartier size 19, maker’s case and screwdriver

£6,000-8,000

157

CARTIER: A WHITE GOLD ‘LOVE’ BANGLE

The 18 carat white gold bangle featuring screwhead motifs, signed Cartier, numbered, European convention marks, Swiss and Italian assay marks, Cartier size 18, maker’s case and screwdriver

Accompanied by a Cartier certificate of authenticity dated 2002.

£2,000-3,000

156

CARTIER: A WHITE GOLD INTERLOCKING ‘LOVE’ BRACELET

The 18 carat white gold belcher-link chain centrally connected by two oval polished loops, each decorated with screwhead motifs, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, length 18.8cm

£1,000-1,500

FOPE was founded in Vicenza, Italy in 1929, by Umberto Cazzola. In 1948 Umberto and his son Odino helped organise the Fiera dell’Oro (Gold Trade Fair) in Vicenza, where they exhibited their invention – an extendible watch strap. In the post war years Odino focused on exporting their gold watch straps, which they were producing for leading Swiss brands. In the 1960s, the company changed its name to FOPE (Fabbrica Oreficeria Preziosi per l’Esportazione).

By the 1970s the business was being run by Umberto Cazzola’s grandchildren, Umberto and Ines. FOPE’s most recognised designs are the Novecento mesh and the patented Flex’it technology, where tiny 18 carat gold springs are hidden between the gold links.

158

FOPE: A BRICK-LINK NECKLACE

The contoured collar of five rows of polished brinklinking, to a concealed clasp, signed FOPE, Italian assay mark, length 40.5cm

£5,000-7,000

159

FOPE: A GOLD AND MABÉ PEARL ‘FLEX’IT’ BANGLE

Of torc design, the 18 carat gold polished links, to collet-set mabé pearl terminals, signed FOPE, UK import mark, Italian assay mark, inner diameter 5.6cm

£2,000-3,000

160

CROPP & FARR: A GOLD, ONYX AND DIAMOND DRESS SET, 1995-96

Double-sided: Each circular onyx terminal, centrally collet-set with a brilliant-cut diamond, within a 9 carat gold reeded frame adorned with saltires, accompanied by four studs en suite, maker’s marks C&F, London hallmarks, terminal lengths 0.8cm - 1.3cm, cased (5) £400-600

161

CARTIER: A ROSE GOLD AND DIAMOND ‘LOVE’ BANGLE

The 18 carat rose gold polished bracelet set at intervals with brilliant-cut diamonds and alternating screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 18, maker’s case and box and screwdriver

Accompanied by a Cartier certificate of authenticity dated 2014.

£4,000-6,000

162

VAN CLEEF & ARPELS: AN ONYX AND GOLD ‘VINTAGE ALHAMBRA’ BRACELET

The 18 carat yellow gold filed belcher-link chain set at intervals with five onyx quatrefoils, each in a perlée surround, signed VCA, numbered, French and Swiss assay marks, European convention mark, length 20.2cm

£3,000-5,000

163

A PAIR OF ANCIENT GREEK COIN EARRINGS

Each curved twisted mount containing an ancient Greek coin (325-315 BC), the obverse featuring the head of Hercules wearing a lion’s skin, the reverse with a quiver, club and owl, maker’s mark GT, post fittings, length 2.2cm

£300-500

164

A PAIR OF MABÉ PEARL EARRINGS

Each collet-set mabé pearl, the surround highlighted at the cardinal points, post and clip fittings, length 2.8cm

£300-500

165

CARTIER:

A THIN GOLD ‘LOVE’ BANGLE

Small model; the 18 carat yellow gold polished band set at intervals with screwhead motifs, signed Cartier, maker’s mark, numbered, Swiss assay mark, European convention mark, Cartier size 18, maker’s box, case and screwdriver

Accompanied by a Cartier certificate of authenticity dated 2018.

£1,800-2,200

166

BOUCHERON: A MESH EVENING BAG, CIRCA 1925

The mesh woven bag with chevron detail, to a rigid frame set with a raised oval cabochon sapphire clasp, the inside frame engraved Jean R. Stewart 4-7-28, suspended from a cable-link strap, signed Boucheron Paris, illegible maker’s mark, French assay marks, frame width 11.1cm, Boucheron case

£15,000-20,000

167

TIFFANY & CO.: A PAIR OF BRACELETS, CIRCA 1965

Both designed as an articulated series of finely engraved palmettes, with an applied polished floral accent, signed Tiffany & Co., extra links provided, lengths 17.1cm and 19.0cm (2)

£4,000-6,000

168

A DIAMOND RING, FIRST HALF OF THE 20TH CENTURY

The Asscher-cut diamond, in a millegrain collet-setting, within a pierced surround of single-cut diamonds, numbered, ring size K Accompanied by a report from EGL stating that the diamond has been assessed mounted as approx. 1.51 carats, H colour, VS1 clarity. Report number 941206A/RVH, dated 6th December 1994.

£4,000-6,000

169

TRABERT, HOEFFER & MAUBOUSSIN: A DIAMOND BANGLE, CIRCA 1940

The buckle style bangle, scattered with brilliant-cut diamonds, each in a four-claw setting, within a bi-coloured frame, signed TH&M, diamonds approx. 0.70 carat total, inner diameter 5.3cm

£3,000-5,000

In 1924 Mauboussin, the historic French jewellery maison, expanded into the US opening a boutique on Park Avenue, New York and then shortly thereafter in Palm Beach, Florida. However following the Stock Market crash of 1929, the aggressively expanding firm found itself having to contract and by 1935 they had closed all their US premises.

Randolph J. Trabert & William Howard Hoeffer were young gemstone and jewellery buyers. Hoeffer believed Mauboussin’s situation represented a unique opportunity to form a partnership within the US. Together they applied French jewellery design to American manufacturing and marketing techniques. One of their key designers was Gustave Toth who developed “the first truly American jewel style”. The ‘Reflection’ line was introduced in 1938 and featured a distinctive move away from Art Deco jewellery to embrace a much bolder aesthetic. Ultimately, the seventeen year partnership ended in 1953. By that point Mauboussin had recovered from its financial difficulties of the 1930 and the impact of WWII. Hoeffer had also shifted away from the firm to focus on other projects and the collaboration suffered. The legacy of the joint venture was one of a dynamic reimaging of American jewellery and a unique output reflective of changing jewellery tastes.

170

AN AQUAMARINE AND DIAMOND NECKLACE, CIRCA 1940

Set to the front with a graduated line of step-cut aquamarines, each in a four-claw setting, spaced by brilliant-cut diamonds in square settings, between openwork single-cut diamond links, and a detachable polished cushion-shaped link backchain, aquamarines approx. 303.00 carats total, diamonds approx. 2.25 carats total, backchain convertible to a bracelet, length 41.1cm

Provenance: By repute, purchased by the vendor at Christie’s, “Fine Jewellery”, London, 7th June 2005, Lot 375.

£10,000-15,000

INDEX

Asprey 120

Boucheron 166

Carrera y Carrera 16, 136, 137

Cartier 5, 8, 9, 14, 15, 21, 23, 28, 50, 57, 58, 71, 76, 80, 86, 87, 89, 141, 147, 149, 153, 154, 156, 157, 161, 165

Chaumet 41, 83

Chopard 7, 55, 72, 85

Cropp & Farr 160

Cusi 84

D. Bachet 75

Dinh Van 80

Elsa Peretti 10

Fei Liu 44, 127

FOPE 158, 159

Hermès 34

JAR 134, 135

John Donald 82

Korloff 123

Longmire 151

Octavio Sardà 31, 32, 33

Paloma Picasso 81

Theo Fennell 12, 13, 26, 27, 54, 65, 70, 124, 126, 128, 131

Tiffany & Co. 10, 19, 81, 122, 167

Trabert, Hoeffer & Mauboussin: 169

Uno A Erre 139

Wendy Ramshaw 59, 60, 61, 62, 63

& Arpels 79, 162

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

D

Exceptional White + (EW+)

E 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

F Rare White + (RW+) -

G Rare White (RW)

H White (W)

I / J Slightly Tinted White (STW)

K / L Tinted White (TW)

M to Z Tinted Colour (TC)

Face up colourless - Face down slightly tinted

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.

CONDITIONS OF SALE 26.1

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

A1. 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.

A2. 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.

A3.

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.

A4. 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

B1. 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.

B2. 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.

B3. 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.

B4.

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.

B5. 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.

B6. BIDDING SERVICES

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

(a) Phone bids

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

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept

liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(c) Written Bids

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

C1. 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.

C2. 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.

C3. 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.

C4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

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

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

C5. BIDDING INCREMENTS

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

C6. 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.

C7.

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.

C8. 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

D1.

THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 27% of the Hammer Price of each Lot up to and including £20,000, plus 26% from £20,001 to £800,000, plus 20% from £800,001 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.

D2.

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.

D3.

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

E1. 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.

E2. 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.

E3. 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

F1. 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.

F2. IN THE EVENT OF NON-PAYMENT

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. We will assume your authority to release your item(s) to a recognised shipper providing they can provide your invoice details.

(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

H1. 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.

H2.

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.

H3.

CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

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

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

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

I. OUR LIABILITY TO YOU

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

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

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

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

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

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

J. OTHER TERMS

J1.

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.

J2. 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.

J3. 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.

J4. 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.

J5. 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.

J6. REPORTING ON 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.

J7. 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.

J8.

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.

J9. 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.

J10.

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.

J11. LAW AND JURISDICTION

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

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

K. DEFINITIONS & GLOSSARY

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

K1. 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

K2. GLOSSARY

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

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

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

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

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

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

GUIDE TO BIDDING & PAYMENT

REGISTRATION

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

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

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

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

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

BIDDING IN THE SALEROOM

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

BIDDING OUTSIDE THE SALEROOM

BY PHONE

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

IN WRITING

Bid forms are available at 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 Stripe).

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 4 of this catalogue.