LONDON JEWELLERY Ft. The Collection of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie by Lyon & Turnbull

FEATURING THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

22 OCTOBER 2025 LONDON

LONDON

JEWELLERY FEATURING THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

WEDNESDAY 22 OCTOBER 2025 AT 1PM

Printed by Park

Sale Number LT869

Lyon & Turnbull 22 Connaught Street LONDON W2 2AF

BIDDING AT THIS SALE

VIEWING

Online, telephone and commission bidding only - please see the guide to bidding on page 108

Thursday 16th October 5pm-8pm Friday 17th October 10am-4pm Saturday 18th October 12noon-4pm Monday 20th October 10am-4pm Tuesday 21st October 10am-4pm

Front Cover Lot 14

CONTACT

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Inside Front Cover Lot 250

LONDON +44 (0) 207 930 9115 EDINBURGH +44 (0) 131 557 8844 info@lyonandturnbull.com

BUYER'S GUIDE

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.

BUYER’S PREMIUM

REGISTRATION

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

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:

26% up 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.

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/imports-exports/ 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.

25.1

MEET THE SPECIALISTS

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

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

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

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

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

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

Lady Airlie A Life of Grace, Service, & Style

and three daughters. The couple became part of Queen Elizabeth II and Prince Philip’s social circle, often joining them at Sandringham and Balmoral. Lady Airlie was devoted to the Arts and served on the Royal Fine Art Commission, as a trustee of both the Friends of the Tate and the National Gallery, and as chair of the American Museum in Britain. She also sat on the board of the National Galleries of Scotland, reflecting her lifelong commitment to cultural life on both sides of the Atlantic.

Virginia Fortune Ogilvy, Countess of Airlie (1933 - 2024)

On 1 January 1973, she was appointed Lady of the

was a distinguished figure in the British royal household,

Bedchamber to Queen Elizabeth II—the first American ever

best remembered as the first American-born Lady of

to hold the role. Remarkably, her husband’s grandmother,

the Bedchamber to Queen Elizabeth II, a role she held

Mabell, Countess of Airlie, had also served in the same

with devotion and discretion from 1973 until the Queen’s

position to Queen Mary, making Virginia’s appointment a

death in 2022.

continuation of family tradition. Over the next five decades, she became one of the Queen’s most trusted companions, accompanying her on official overseas tours, engagements across the UK, and high-profile state occasions, including

Born Virginia Fortune Ryan on 9 February 1933, she was the daughter of John Barry Ryan Jr. and Margaret (Nin) Kahn. Her maternal grandfather was the renowned German-American financier and philanthropist Otto Kahn, a prominent figure in New York society and a leading patron of the Arts. Virginia spent her childhood between New York

visits from U.S. presidents. In 1984, her husband joined her in royal service when he was appointed Lord Chamberlain, overseeing the workings of the royal household. Together, they embodied loyalty and discretion at the heart of the monarchy.

City and Newport, Rhode Island, and was educated at the

Despite her noble marriage and high standing, Lady

Brearley School in Manhattan, later attending the James

Airlie was widely admired for her warmth, wit, and lack

Franklyn School of Professional Arts.

of pretension. The legendary photographer Cecil Beaton

From an early age, Virginia developed a fondness for England. Each year, her mother brought her to London, where they stayed in a flat overlooking St James’s Park.

once described her as “a paragon of gaiety and dignity,” a sentiment that captured her grace both in royal circles and in private life.

During one such visit, at the age of 16, she met David Ogilvy

She was appointed Dame Commander of the Royal Victorian

at a dance at the Savoy Hotel. Three years later, he proposed,

Order (DCVO) in 1995 in recognition of her service.

and in October 1952 they were married at St Margaret’s,

Following the death of her husband in 2023, Lady Airlie

Westminster, in a grand ceremony attended by Queen

remained at Cortachy until her own passing in August 2024

Elizabeth the Queen Mother and Princess Margaret.

at the age of 91. Upon her death, King Charles III paid tribute,

David Ogilvy came from a distinguished Scottish family with close ties to the monarchy. On succeeding as 13th Earl of Airlie in 1968, he and Virginia divided their time between their home in Chelsea and the family’s estates in Angus, Cortachy Castle, where they raised six children: three sons

noting her “immense devotion and dedicated service” to his late mother. Right: Virginia Ryan, débutante, wearing a tulle gown by Dior. Portrait by Cecil Beaton for Condé Nast, published in Vogue March 1951.

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

VERDURA: A DIAMOND UNICORN BROOCH, MID 20TH CENTURY

VERDURA: A PEARL, EMERALD AND DIAMOND DOVE BROOCH, MID 20TH CENTURY

The head of the unicorn carved of bone, issuing forth from a circular cabochon turquoise crown, with a pear-shaped diamond fringe, the horn set with brilliant-cut diamonds and a similarly-cut diamond flower grasped in the mouth, diamonds approx. 1.10 carats total, signed Verdura, length 4.2cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£2,000-3,000

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

Realistically modelled as a dove in flight, its body formed of a 13.4mm pearl, holding a single-cut diamond and circular-cut emerald sprig, signed Verdura, pearl untested, width 5.9cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£2,000-3,000

Nicolas de Grunzberg, Mrs. Alistair Mackintosh, Mrs. Margaret (Nin) Ryan, and Duke Fulco de Verdura in Florida for Vogue, 1935.

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

The Countess of Airlie wearing lot 1, with Queen Elizabeth II during her 2002 state visit to Canada.

Margaret (Nin) and Maud (Momo) Kahn (Virginia Ogilvy's mother and aunt), were friends of Duke Fulco di Verdura. The three would likely have met while summering in Venice in 1923 and remained friends. The Kahn sisters, being amongst the epitome of New World glamour were there, mingling with the young generation of Old World aristocrats, such as the Duke. It appears that their friendships continued for decades

“He’d put a baroque pearl onto a sheet of heavy tracing paper, and draw around it very quickly - a head, then a tail. It would become a camel, then he'd move the pearl and do a triton, followed by a swan, and finally, something completely different, like a mermaid. Then he'd set little stones all around." - Virgina Fortune Ryan Ogilvy

and the young Virgina Ryan, Margaret’s daughter, also

The Countess's unicorn brooch made by Verdura (lot 1) is

befriended Fulco. Fulco was famous for never letting clients

illustrated in Corbett, Patricia, Verdura; The Life and Work of a

into his studio. It is said that when an important client would

Master Jeweler, Thames & Hudson, London, 2002, page 145.

appear at his atelier, he would shout out “Tell them I’m dead!”

Corbett discusses that the inspiration for Verdura's unicorns,

so as to avoid having to meet them. In Verdura; The Life and

came surprisingly not from heraldic iconography, but were

Work of a Master Jeweler, Patricia Corbett writes “Nin Ryan's

“patterned after the robust folk carvings on early American

daughter Ginn (Virgina Ryan), who had special permission to

carousels".

visit Fulco on her way home after school, was one of the few people allowed to watch him work.”

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

A CULTURED PEARL AND DIAMOND MULTI-STRAND BRACELET, MID 20TH CENTURY

A MULTI-STRAND PEARL CHOKER, WITH A MID 19TH CENTURY DIAMOND CLASP / BROOCH

The five strands of 5.8-6.6mm cultured pearls, to a rectangular clasp set with 7.8mm pearls, brilliant and singlecut diamonds, diamonds approx. 0.90 carat total, length 17.0cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£1,000-1,500

The necklace formed of multiple strands of 5.0-6.9mm cultured pearls, with single-cut diamond bars, to a detachable mid 19th century old brilliant and cushion-shaped diamonds diamond clasp, diamonds approx. 7.05 carats total, clasp detachable with brooch fitting, length of shortest strand 33.5cm, Collingwood of Conduit St. case Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie Footnote: This necklace appears to have been one of the Dowager Countess’ favourites to wear along with the Airlie Tiara. On nearly every occasion where the she wore the Airlie Tiara, she did so also wearing this necklace, and also very frequently lot 5, the detachable mabé pearl and diamond earrings.

£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

5 A PAIR OF MABÉ PEARL AND DIAMOND PENDANT EARCLIPS, CIRCA 1955 Each stylised wisteria tendril set with mabé pearls and brilliant and single-cut diamonds, the lower drops detachable, diamonds approx. 12.30 carats total, one diamond deficient, clip fittings, length 5.8cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£2,000-3,000

6 VICTOR MAYER FOR FABERGÉ: AN ENAMEL AND DIAMOND HEART PENDANT The royal blue enamel heart pendant, adorned with scrolling lines of brilliant-cut diamonds, to a hinged bale, signed Fabergé, maker’s mark, enamel loss, length 2.9cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£500-700

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

A SHELL COMPACT

A GOLD, CORAL, TURQUOISE AND SHELL NECKLACE

A SET OF CITRINE BEE BROOCHES

The orange lion’s paw scallop shell, encased in a polished frame, with an oval carnelian pushpiece, and an internal compartment, width 7.4cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie Footnote: By family repute, this compact was made by Verdura.

£700-900

The two stands of coral, corallium rubrum, beads, centrally featuring a large seashell with an 18 carat gold wire drop suspending a coral and turquoise polished bead fringe, maker’s mark TH, London hallmark, length 50.2cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£100-200

Each stylised bumblebee set with a circular cabochon citrine thorax, with calibré-cut citrines to the abdomen and wings, and circular cabochon ruby eyes, one wing deficient, lengths 4.1cm, 2.6cm and 2.7cm (3) Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£1,000-1,500

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

10 FABERGÉ: A NEPHRITE AND RUBY LETTER OPENER, CIRCA 1900 The stylised pistol grip formed of carved nephrite, decorated with realistically formed four-leaf clovers, each inset with a circular cabochon ruby, to a polished blade, Cyrillic signature for Fabergé, workmaster’s marks for Michael Perchin, Russian assay marks, length 21.0cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie Footnote: Michael Perchin (1860-1903), sometimes spelt “Mikhail Perkhim”, became Carl Fabergé’s second workmaster at the age of just 26 in 1886. During his time as workmaster he oversaw the creation of numerous Imperial Eggs created for Emperor Nicholas II. Notably in 1902, Perchin created the “Clover Egg” an Imperial Egg decorated with clover leaves made of plique-à-jour enamel, diamonds and gold. The design of those clover leaves mirror the applied clovers on this letter opener. Following his untimely death in 1903, Perchin was succeeded by Henrick Wigström.

£10,000-15,000

11 VAN CLEEF & ARPELS: A MID 20TH CENTURY CASE Of elongated rectangular outline, cross-hatch interwoven design throughout, signed Van Cleef & Arpels NY, numbered, length 14.8cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

£4,500-5,500

12 CARTIER: AN ENAMEL CIGARETTE CASE, CIRCA 1925 The 18 carat gold case, decorated with a white and black enamel geometric pattern, to a baguette and single-cut diamond-set push piece, signed Cartier Made in France, sponsor’s mark JC, UK import marks, width 8.0cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie

Footnote: Several similarly decorated Cartier cigarette cases, all dated 1927, were part of the exhibition Cartier 1900-1939 at the British Museum in London and the Metropolitan Museum of Art in New York. See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, pages 123-125.

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

13 AN ART DECO DIAMOND-SET VANITY CASE, CIRCA 1925 The lid of the onyx case set with the rose-cut diamond initials “AKW”, with a single-cut diamond push piece, opening to reveal a mirror and two internal compartments, the lids finely engraved and with rose-cut diamond tabs, one diamond deficient, maker’s mark CH for Holl, numbered, French assay marks, width 7.2cm Provenance: Property from the Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie Likely a bespoke commission for Adelaide “Addie” Wolff Kahn (1875-1949) grandmother to Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie. Mrs Adelaide Kahn was the wife of the prominent New York financier Otto H. Kahn (1867-1934). Mrs Kahn was a leading figure in New York society and an avid collector and patron of the Arts, including being the Director of the Metropolitan Opera Association and President and Director of the Manhattan School of Music. She was also active in numerous philanthropic endeavours. Footnote: This case bears the French poinçon de fabricant (or maker’s mark) of the workshop Holl who were suppliers to Cartier. Although unsigned for Cartier, this example represents the quality and craftsmanship of Cartier boxes created at the time. The personalisation and simplicity of design indicate it was likely a specially commissioned work. See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 46.

£1,000-1,500

Adelaide Wolff Kahn (1875-1949)

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

The

Airlie Tiara

By the 19th century, despite rises and falls in fashion, the

Latterly the Airlie Tiara was regularly seen worn by Mabell’s

tiara had firmly found it’s place in European court life, in

granddaughter-in-law, Virginia Fortune Ryan Ogilvy,

part thanks to the international trends created by the self-

Countess of Airlie, in particular in her role as Lady of the

crowned Emperor Napoleon and his Empress Josephine. In

Bedchamber to Queen Elizabeth II. Virginia Ogilvy had the

Britain court life was much more secure and stable than that

unique distinction of being the first ever American-born

of their European counterparts and this allowed the tiara to

Lady in Waiting to a British monarch. She held this role from

become a regular fixture of royal fashions.

1973 until the death of Queen Elizabeth in 2022.

In the latter half of the 19th century, British court

The Airlie Tiara was worn with a high degree of regularity.

entertainments were generally overseen by the Prince

It could be seen at numerous State Openings of Parliament,

of Wales, later Edward VII, and his Danish wife Princess

official overseas visits, State Banquets and Gala Receptions

Alexandra. The Prince of Wales insisted on tiaras being worn

at Windsor Castle and Buckingham Palace, amongst other

at court, without exception. The wearing of one to nearly any

high profile events.

event of note became de rigueur for women in high society. By 1901, the coronation of Edward VII created a flurry of interest and demand for tiaras. At this time there was a transition between the traditional 19th century silver and gold mounts and the finely worked platinum settings which came to dominate the first decades of the 20th century. Not long thereafter, in 1910, the demand for tiaras surged again with the next coronation, that of King George V. The Airlie Tiara was made towards the end of the 19th century and was first worn by Mabell, Countess of Airlie. In 1901 she was made Lady of the Bedchamber to the then Princess of Wales, later to become Queen Mary. Queen Mary had a particularly notable jewellery collection, including several significant tiaras and diadems. Some of which were inherited, others she commissioned, including from Garrard, the Crown Jewellers. The presence of daisies and ivy in this tiara, accompanied by pearls, could suggest a gift for a bride. In the ‘Language of Flowers’, a daisy represents innocence, loyal love and purity while ivy is believed to be “an aid to love”. In society, the first official time a woman would wear a tiara is on her wedding day, an English tradition with roots back to the end of the 15th century.

Mabell, the Countess of Airlie (1866-1956), a lifelong friend and Lady of the Bedchamber to Queen Mary, wearing the Airlie Tiara.

THE COLLECTION OF VIRGINIA FORTUNE RYAN OGILVY, DOWAGER COUNTESS OF AIRLIE

14 THE AIRLIE TIARA: A LATE 19TH CENTURY PEARL AND DIAMOND TIARA Set throughout with cushion-shaped, old brilliant and rose-cut diamonds, the pierced tapered form decorated with daisies, each centrally featuring a 5.1-9.4mm pearl, with cushion-shaped diamond ivy leaves, adorned by alternating 4.0-8.0mm pearls and clovers across the crest, coming to a central apex with a 9.6mm natural pearl, cushion-shaped and old brilliant-cut diamonds approx. 34.75 carats total, inner diameter 15.4cm, cased by R&S Garrard & Co., 25 Haymarket, London Accompanied by a report from The Gem & Pearl Laboratory stating that the two principal pearls are both natural, saltwater. Report number 25930, dated 13th May 2025. Remaining pearls untested. £50,000-70,000

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

London Jewellery

15 AN EARLY 19TH CENTURY AMETHYST AND DIAMOND CLUSTER RING The octagonal-cut amethyst, in a foiled closed button-back setting, within a singlecut diamond surround, between fluer-de-lys shoulders, ring size O, cased £600-800

Verso

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

19 16

16 A MID 19TH CENTURY EMERALD AND DIAMOND RING The horizontally-set rectangularcut emerald, within a tiered cushion-shaped diamond double surround, all in pinched collet-settings, between bifurcated foliate shoulders to an engraved shank, ring size L (sizing beads) Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

£500-700

18 Y

A DIAMOND CLUSTER RING, CIRCA 1825

A MID 19TH CENTURY CORAL BRACELET

The central oval rose-cut diamond, within a surround of rose-cut diamonds, between engraved foliate shoulders, ring size J½ Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

£600-800

The articulated series of rectangular coral, corallium rubrum, gate-linking, to an oval cameo buckle clasp of a coral cherub within a floral and foliate surround, with a tassel finial, length adjustable Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

£800-1,200

A GARNET HAIRWORK RING, CIRCA 1800

A PAIR OF 19TH CENTURY ROSECUT DIAMOND EARRINGS

The pear-shaped plaque, with a central glazed compartment containing hairwork, within a table-cut garnet surround, to a twisted shank, ring size K½, cased £300-500

Each circular cluster of rose-cut diamonds, the largest to the centre, all in closed-back settings, possibly converted, post fittings, length 1.7cm Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

21 Y A CARVED CORAL NECKLACE AND EARRINGS, EARLY TO MID 19TH CENTURY The necklace designed as multiple strands of sciacca coral, corallium rubrum, to a latticework bead clasp suspending two similarlydesigned spacers, accompanied by a pair of tassel earrings en suite, earrings with later hook fittings, lengths: necklace 45.4cm, earring 6.0cm (2) Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

£500-700

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

24 23

22 Y A MID 19TH CENTURY CORAL CAMEO BRACELET The multiple stands of sciacca coral corallium rubrum, to an elongated clasp of an oval carved coral cameo depicting Fortitude, the profile of a woman with a lion headdress, lengths: cameo 4.7x1.5cm, bracelet 17.2cm Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent. Footnote: This cameo features a depiction of Fortitude, one of the four “Cardinal Virtues”. Fortitude signifies courage, endurance and strength. The iconography of the lion, borrowed from the myth of Hercules, is also a symbol of strength.

£300-500

25 Y

A PEARL AND DIAMOND DRESS RING

A TOPAZ CANNETILLE PENDANT, CIRCA 1835

A COLLECTION OF EARLY 20TH CENTURY STICK PINS

The stylised S motif set with single-cut diamonds and 8.3-8.5mm pearls, pearls untested, ring size R £300-500

With granulation detail throughout, the oval-cut topaz horizontallyset surmount, suspending a pear-shaped topaz cluster flowerhead, centrally highlighted by a seed pearl, to a later trace-link chain, lengths: pendant 4.6cm, chain 48.3cm, cased by E.H Lewis, 83 East St Chichester £400-600

Including a pearl and diamond clover, a coral, corallium rubrum, clover, a blister pearl and rose-cut diamond acorn, a coral and rose-cut diamond pin, and an 8.1mm pearl and rose-cut diamond pin, pearls untested, lengths: 7.3cm, 6.1cm, 7.5cm, 7.2cm and 7.5cm, cased (5) £400-600

AN EARLY 19TH CENTURY SHELL CAMEO NECKLACE

A PAIR OF MALACHITE CUFFLINKS, CIRCA 1870

The series of oval shell cameos, carved to depict scenes from classical antiquity, including Helios driving the chariot of the sun, Venus and Cupid, and the centaur Chiron playing a lyre, connected by double trace-link chains, damage to one cameo, length 46.2cm, cased by Carrington & Co., 130 Regent St., W.

Double-sided: Each oval cabochon malachite, within a finely reeded collet-setting, accented at the cardinal points by saltires, maker’s marks J.G., Austro-Hungarian hallmarks, possibly converted from buttons, terminal length 1.6cm, cased by Asprey & Co. Ltd

£400-600

AN EARLY 19TH CENTURY DIAMOND, GARNET AND EMERALD CLUSTER RING

A MALACHITE CAMEO BROOCH, 19TH CENTURY

The central step-cut emerald, within a cushionshaped diamond surround, between step-cut garnet accents to the shoulders, all in foiled closed-back settings, with granulation details throughout, ring size R £400-600

The carved oval malachite cameo, depicting a woman, possibly a Maenad, her hair adorned with grapes and grape leaves, to a polished gallery accented at the cardinal points with ivy leaf decorations, cameo: 3.7x2.8cm, length 5.3cm, fitted case £700-900

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

30 31

A GOLD AND DIAMOND SNAKE RING, 1902-3

A PEARL AND DIAMOND RING

A SCARAB BRACELET

The 18 carat gold serpent’s head inset with an old brilliant-cut diamond and circular paste eyes, maker’s mark for E.V Edward Vaughton, Chester hallmark, ring size P, cased

Set with three half pearls, of silver tint, spaced by pairs of cushion-shaped diamonds, to an engraved gallery, ring size K½

£500-700

Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

Designed as a series of carved scarabs, some ancient Egyptian, each in a wirework surround, between circular links, length 20.2cm £300-500

£300-500

A RUBY AND DIAMOND DOUBLE-HEADED SNAKE RING, 1900-01

A FANCY VIVID GREENISH YELLOW DIAMOND STICK PIN

A 19TH CENTURY DIAMOND STICKPIN

Designed as two entwined serpents, the head of each snake set with either a cushion-shaped ruby or an old brilliant-cut diamond, maker’s mark A. Bros. for Ahronsberg Brothers, UK hallmark, ring size O½, cased £300-500

The Fancy Vivid Greenish Yellow diamond, weighing 0.41 carat, in an eight-claw setting, length 6.8cm, cased by F. Hoskin, Bridge St., Newport Accompanied by a report from GCS stating that the diamond is natural, Fancy Vivid Greenish Yellow colour, VS2 clarity. Report number 5785-3692, dated 26th August 2025. £600-800

The oval-cut diamond, within a scrolling gallery, diamond approx. 0.95 carat, length 6.0cm, cased £500-700

36 37

36 Y

A LAVA AND CORAL CAMEO BRACELET

A RUBY AND DIAMOND DRESS RING

The articulated series of oval horizontal lava cameos, the clasp set with an oval coral, corallium rubrum, cameo of a woman, length 17.9cm, cased by F. Hoskin, 43 Bridge St. Newport, Mon.

The collet-set cushion-shaped ruby, within a pierced single-cut diamond surround, one diamond deficient, ring size O½, cased by Sims & Co., 57 East St, Southampton £500-700

£300-500

A PAIR OF ENAMEL FRINGE EARRINGS, SECOND HALF OF THE 19TH CENTURY

TWO 19TH CENTURY STICK PINS

Each flattened pear-shaped drop decorated with a blue enamel star motif, a central seed pearl, ropetwist and beaded detail, suspending an articulated fringe, later gold plated screwback fittings, length 6.3cm

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)

£300-500

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

A LONGCHAIN NECKLACE, CIRCA 1810

A FANCY-LINK LONGCHAIN

Each belcher-link decorated throughout with fine star motifs, to a barrel clasp featuring wirework flowerheads, length 78.3cm

Each belcher-link decorated with minute circular details throughout, Portuguese assay mark, length 71.7cm £1,500-2,500

£1,000-1,500

42 A REPOUSSÉ NECKLACE, CIRCA 1820 Of multi-link twisted form, each link finely worked, to a repoussé barrel clasp, length 41.6cm £1,800-2,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

43 AN AGATE PENDANT Set with five oval cabochon agates, decorated with ropetwist details throughout, length 11.1cm £2,200-2,800

44 A HARDSTONE CAMEO BROOCH, CIRCA 1865 The hardstone onyx cameo of a woman in profile, looking left, in Renaissance attire, within a delicate granulation and wirework frame, cameo 1.9x1.4cm, brooch length 3.0cm, fitted case by Rowlands & Frazer, 146 Regent Street, London

£250-350

45 A DIAMOND FIVE-STONE RING Set with a graduated line of old brilliant-cut diamonds, with rose-cut diamond accents, to a scrolling gallery, old brilliant-cut diamonds approx. 1.50 carats total, a few rose-cut diamonds deficient, ring size O½, cased by W.J. Lees, 28 Wheelergate, Nottingham £300-500

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

AN ENAMEL AND AMETHYST PENDANT, CIRCA 1875

AN ETRUSCAN REVIVAL PEARL BANGLE, CIRCA 1865

The circular pendant decorated with lobes of lavender enamel, within ropetwist frames, centrally collet-set with a circular cabochon amethyst, suspending an oval-cut amethyst drop, to a later fancylink chain, lengths: pendant 3.5cm, chain 46.0cm

The hinged bangle set with a raised line of half pearls, between fine granulation and wirework decoration, inner diameter 5.5cm

48 A PAIR OF LOCKET CUFFLINKS Each finely chased oval terminal, containing a locket, between oval connectors, terminal length 1.5cm, cased by J. Perry, 40 Oxford Street £400-600

£1,800-2,500

£300-500

49 A MID 19TH CENTURY CIRCULAR DIAMOND-SET BROOCH AND EARRING SUITE The circular pierced brooch with ropetwist and granulation detail, centrally-set with a cushion-shaped diamond, glazed compartment to the reverse, accompanied by a pair of pendent earrings en suite, diamonds approx. 0.50 carat total, hook fittings, lengths: brooch 3.5cm, earring 3.8cm, cased by W.W. Kemp & Son, Regent House, High Street, Bristol (2) £500-700

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

CARTIER: A GOLD “TRINITY” RING

LALAOUNIS: AN ONYX BANGLE

Formed of three interconnected 18 carat tricoloured gold bands, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, Cartier size 45, maker’s case

Of torc design, each onyx finial, connected by a hammered hinged bangle, signed Ilias Lalaounis, maker’s mark, inner diameter 5.8cm £2,000-3,000

£700-900

KUTCHINSKY: A GOLD RABBIT BROOCH, 1968

AN ANTIQUE COIN RING

The 18 carat gold rabbit, set with an oval cabochon onyx body, a collet-set circular-cut ruby nose and circular-cut sapphire eyes, signed Kutchinsky, maker’s mark KLd, London hallmark, length 4.3cm £1,800-2,500

The antique coin, depicting Victory on the bow of a ship, collet-set to a reeded band, ring size K½ Footnote: This coin was minted in 330AD by the Roman Emperor Constantine I in Turkey. The coin was designed to celebrate the founding of the city of Constantinople. The obverse features the goddess Victory on the bow of a ship, while the reverse depicts Tyche, the goddess of luck. Her sceptre is a symbol of her power but also a representation of the city itself.

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

BOUCHERON: A PAIR OF LEAF EARCLIPS

A CITRINE AND DIAMOND RING

AN EMERALD AND DIAMOND CLUSTER RING, 1988

Each contoured curved leaf, within a pierced triple frame, signed Boucheron Paris, numbered, French export marks, clip fittings, length 2.5cm

The oval-cut citrine, within a raised sculptural setting of nude figures entwined, citrine approx. 18.30 carats, signed P. Morodes, ring size R½

£2,800-3,200

£2,000-3,000

The oval-cut emerald, within a brilliant-cut diamond surround, mounted in 18 carat gold, diamonds approx. 1.65 carats total, London hallmark, ring size N½ £800-1,200

A PAIR OF EMERALD AND DIAMOND CLUSTER EARSTUDS

A ROPETWIST NECKLACE

A POLISHED CIGARETTE CASE, MID 20TH CENTURY

Each oval-cut emerald within a brilliant-cut diamond surround, diamonds approx. 1.15 carats total, post fittings, length 1.1cm £400-600

The single-strand of ropetwist-linking, to an S-clasp, length 61.0cm £6,000-8,000

The polished rectangular hinged case, maker’s mark RT, Hungarian assay marks, width 8.3cm £5,000-7,000

AN EMERALD AND DIAMOND DRESS RING

DENNIS CHARLES SMITH: A PAIR OF EMERALD EARRINGS, 1977

Set with four square step-cut emeralds, spaced by baguette-cut diamonds, within a brilliant and squarecut diamond surround, diamonds approx. 1.45 carats total, ring size L (sizing beads)

Each 18 carat yellow gold circlet, with finely worked foliate motifs, accented by circular-cut emeralds, maker’s mark DCS, London hallmark, post fittings, length 1.6cm

£800-1,200

£400-600

62 A CARVED JADE LETTER OPENER, CIRCA 1960 The handle of carved pierced jade, the terminal set with a circular cabochon ruby, to a polished pointed blade, length 17.9cm, fitted Bulgari case £800-1,200

AN OPENWORK BICOLOURED BRACELET

ALAN MARTIN GARD: AN OPAL AND GOLD BROOCH, 1979

ROY KING FOR BUECHEGIROD: A GOLD WRISTWATCH, 1967

The series of contoured brushed finish openwork cushion-shaped links, to bi-coloured connectors, with a concealed clasp, maker’s mark AK for Allison-Kaufman, length 18.6cm

The pierced 18 carat gold openwork pendant, set with three cabochon opals, maker’s mark AMG, London hallmark, length 4.3cm £1,000-2,000

£1,200-1,500

The bracelet of textured 18 carat gold oval links, centrally featuring an oval textured dial, with Roman numeral hour markers, to a concealed clasp, dial and mechanical movement signed Bueche-Girod, maker’s marks RCK, London hallmarks, case width 20mm, length 19.0cm, cased by Bueche-Girod £2,000-3,000

A PAIR OF DIAMOND CLUSTER EARSTUDS

A DIAMOND AND GEMSET CUBE RING, CIRCA 1975

Each brilliant-cut diamond, of brown tint, set within a surround of brilliant-cut diamonds, principal diamonds approx. 4.20 carats total, remaining diamonds approx. 0.30 carat total, post fittings, length 1.2cm

Of rectangular form, the brilliant-cut diamond split frame containing a rotating cube, each side set with panels of tiger’s eye, lapis lazuli, onyx or similarly-cut diamonds, diamonds approx. 1.30 carats total, ring size K½ (sizing band)

£1,500-2,500

£700-900

68 A TIGER’S EYE AND CITRINE CLUSTER RING The pear-shaped citrine, within a brilliant-cut diamond halo, inset into a pear-shaped carved tiger’s eye plaque, citrine approx. 10.10 carats, ring size N½ 70

£800-1,200

JOHN DONALD: AN AQUAMARINE AND DIAMOND ‘CUBE’ RING

A MULTI-GEM BRACELET

The oval-cut aquamarine, accented by brilliant-cut diamonds, within a textured cube design setting and band, maker’s mark JAD, ring size K½ Footnote: This ring features two of John Donald’s more characteristic designs: the textured cubes which he used to form the gallery and bands of works, as well as the raised “crown” design for the setting of the aquamarine and diamonds. Both designs were emblematic to Donald’s style. For a ring of similar design, see Donald, John and Elliott, Russell Cassleton, Precious Statements, McNidder & Grace, Carmarthen, 2015, page 182.

The series of oval textured links, each set with an ovalcut gem, including peridot, amethyst, garnet, aquamarine and green tourmaline, length 18.7cm £1,000-1,500

£1,000-1,500

71 A GOLD AND EMERALD BRACELET, 1973

The textured 18 carat gold strap, with Brutalist and granulation details, accented throughout by circular-cut emeralds, each in a three-claw setting, to a concealed clasp, sponsor’s marks RHB, UK Import marks, length 18.3cm £1,000-1,500

BURLE MARX: AN OPAL DRESS RING

BURLE MARX: A DRESS RING

The pear-shaped cabochon opal, collet-set to a tapered band with burnished patina, signed Burle Marx, ring size L

Of sculptural rectangular form, with a contrasting textured and polished finish, between tapering shoulders, signed Burle Marx, numbered, ring size J

£800-1,200

Haroldo Burle Marx (1911-1991), was one of Brazil’s most famous jewellery designers. Haroldo was known for his freeform fantasy gemstone carving, predominately of Brazilian gemstones, having trained in Idar-Oberstein, Germany. His modern and pioneering take on jewellery encompasses a feeling of movement and vitality, 72

championing the soul of his homeland. In the mid 20th century, Marx was frequently asked by the Brazilian government to create unique works as gifts for visiting dignities, as his work so powerfully encapsulated contemporary Brazilian design. Works by Marx are in the

collections of Queen Margrethe of Denmark, Empress Nagako of Japan and the actress Natalie Wood.

Lot 74 showing second set of terminals

74 VAN CLEEF & ARPELS: A PAIR OF INTERCHANGEABLE CUFFLINKS Double-sided: Each reeded baton, within a ropetwist frame, interchangeable with polished rock crystal batons, signed VCA, numbered, terminal length 2.2cm, maker’s case £1,800-2,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

A ROPETWIST BRACELET

A ROPETWIST NECKLACE, MID 20TH CENTURY

A RUBY AND DIAMOND DRESS RING, CIRCA 1950

The articulated brushed ropetwist strand, to a concealed clasp, Italian assay mark, length 41.1cm

Of scrolling form, channel-set with two rows of calibrè-cut rubies, within a frame of single-cut diamonds, one shoulder accented with similarly, old brilliant and baguette-cut diamonds, the shoulders collet-set with circular cabochon rubies, diamonds approx. 0.70 carat total, ring size P

A PAIR OF SCROLLWORK RUBY AND DIAMOND EARRINGS, CIRCA 1950

The articulated double ropetwist, to a concealed clasp, Italian assay mark, length 20.2cm £1,500-2,500

£1,500-2,000

£700-900

Each single-cut diamond roundel, centrally highlighted by a circularcut ruby and brilliant-cut diamond cluster, with bi-coloured scrolling finials, diamonds approx. 0.25 carat total, post fittings, length 3.2cm £400-600

A GOLD, SAPPHIRE AND DIAMOND LEOPARD BROOCH

A MID 20TH CENTURY SAPPHIRE AND DIAMOND BRACELET

A PAIR OF SAPPHIRE CLUSTER EARSTUDS

A CULTURED PEARL BANGLE

Of prowling form, the 18 carat gold body set with circular-cut sapphires and brilliant-cut diamonds, with circular-cut ruby eyes, diamonds approx. 0.60 carat total, UK import marks, width 3.9cm £500-700

The multiple lines of burnished integral foxtail linking, centrally featuring a double cluster of circular-cut sapphires, with a single-cut diamond line, to a concealed clasp, Italian assay mark, length 18.2cm

Each cushion-shaped sapphire, within an old brilliant-cut diamond surround, diamonds approx. 1.05 carats total, later post fittings, length 1.1cm

Designed as two rows of cultured pearls in openwork roundel surrounds, flanking a central line of leaf motifs, indistinct assay marks, length 19.5cm £2,800-3,200

£1,200-1,500

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

KUTCHINSKY: A PAIR OF GOLD AND DIAMOND EARRINGS, 1971

GEORGES LENFANT: A BICOLOURED BRACELET, CIRCA 1965

AN AMETHYST DRESS RING, CIRCA 1970

Each hoop of 18 carat gold twisted form, accented by lines of graduated brilliant-cut diamonds, diamonds approx. 1.85 carats total, signed Kutchinsky, maker’s marks, London hallmarks, post and clip fittings, length 3.2cm

The series of oversized circular loops, linked by bi-coloured wide connectors, to a concealed clasp, maker’s mark GL for Georges Lenfant, French export mark, length 20.8cm

Set with a circular-cut amethyst, weighing 8.14 carats, within a raised crown and setting of openwork design, indistinct assay mark, ring size I½ (hoop misshapen)

£18,000-22,000

£300-600

£1,500-2,500

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

OLIVIA GRACE: AN AMETHYST AND DIAMOND DRESS RING

A TOPAZ PENDANT NECKLACE

The cushion-shaped amethyst, in a flayed setting highlighted by lines of brilliant-cut diamonds of brown tint, amethyst approx. 14.50 carats, diamonds approx. 0.40 carat total, maker’s mark OG, ring size L

The pear-shaped topaz drop, to a polished spacer, surmounted by a circularcut topaz, suspended from a belcher-link chain, lengths: pendant 3.8cm, chain 43.1cm, cased by W. Michael & J.H. Bailey, Dolphins Street, Bristol

£1,200-1,500

£500-700

89 88

H. STERN: A DIAMOND, ROSE AND SMOKY QUARTZ RING

H. STERN: A ROSE QUARTZ, SMOKY QUARTZ AND AMETHYST BRACELET

SCHEFFEL: AN AMETHYST DRESS RING

Set with rectangular scissor-cut rose and smoky quartz, accented on the shoulders with brilliant-cut diamonds, maker’s mark S, Portuguese assay marks, ring size K½ £700-900

The wide bracelet set with fancy vari-cut rose quartz, amethysts and smoky quartz, to a concealed clasp, maker’s mark, Portuguese assay mark, length 18.2cm, maker’s case and box £1,000-2,000

The circular-cut amethyst, within a wide polished collet-setting, amethyst approx. 3.65 carats, maker’s mark, ring size M½ £600-800

94 92

POLLY GASSTON (ATTRIBUTED): A GARNET AND DIAMOND FLOWER RING

POLLY GASSTON (ATTRIBUTED): AN AMETHYST AND DIAMOND COCKTAIL RING

VAN CLEEF & ARPELS: A GREY MOTHER-OFPEARL AND ROSE GOLD “VINTAGE ALHAMBRA” PENDANT NECKLACE

The elongated flowerhead set with pearshaped garnets, a step-cut amethyst and single-cut diamonds, between bifurcated shoulders, unsigned, ring size L½ Provenance: By repute, from the personal collection of the late jewellery designer Polly Gasston. Also see lot 92.

£300-500

The oval-cut amethyst, accented by single-cut diamonds in a realistic grape leaf surround, unsigned, ring size I Provenance: By repute from the private collection of the late jewellery artist Polly Gasston, made for her personal collection. Also see lot 91.

£400-600

The grey mother-of-pearl quatrefoil pendant set in an 18 carat rose gold perlée surround, to a filed belcher-link rose gold chain, signed VCA, maker’s mark, numbered, European convention mark, lengths: pendant 1.5cm, necklace 42.1cm, maker’s case, box and bag Accompanied by a certificate of authenticity from VCA dated 2022. £1,000-2,000

A GOLD AND DIAMOND THREE-STONE RING

A YELLOW SAPPHIRE AND DIAMOND CLUSTER RING

A PLIQUE-À-JOUR ENAMEL AND GEM-SET DRAGONFLY BROOCH

The princess-cut diamond, weighing 2.21 carats, in a four-claw setting, between trilliant-cut diamonds, to an 18 carat gold shank, remaining diamonds approx. 0.40 carat total, maker’s mark EF, London hallmark, ring size M½ Accompanied by an EGL report stating that the principal diamond is G colour, VVS2 clarity. Report number 2306110013, dated 16th June 2003.

The pear-shaped yellow sapphire, to a brilliant-cut diamond halo, gallery and shoulders, mounted in 18 carat yellow gold, yellow sapphire approx. 9.40 carats, diamonds approx. 1.25 carats total, maker’s mark JMS, UK hallmark, ring size N £800-1,200

The articulated long abdomen set with brilliant-cut diamonds, to an oval cabochon sapphire thorax and circular-cut ruby eyes, the yellow plique-à-jour enamel moveable wings with brilliant-cut diamond lines, diamonds approx. 1.05 carats total, wingspan 9.6cm £1,000-1,500

£8,000-10,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

101

100 97

A NÉGLIGÉE DIAMOND NECKLACE

A PAIR OF PINK TOURMALINE AND DIAMOND PENDENT EARRINGS

A DIAMOND SCROLLWORK BANGLE

The courses of brilliantcut diamonds, with a central stylised knot, suspending two uneven drops, one terminal set with a larger similarly-cut diamond, to a polished brick-link backchain, diamonds approx. 5.15 carats total, length 43.1cm £2,500-3,500

Each contoured brilliant-cut diamond surmount suspending a heart-shaped pink tourmaline, tourmalines approx. 3.25 carats total, diamonds approx. 1.95 carats total, signed Leo Pizzo, post fittings, length 3.0cm

Decorated throughout with scrollwork motifs, pavé-set to the front with brilliant-cut diamonds, hinged to the reverse, diamonds approx. 13.05 carats, inner diameter 6.0cm £3,500-4,500

£1,000-1,500

100

101

102

A DIAMOND SCROLLWORK RING

A PAIR OF SCROLLING DIAMOND PENDENT EARRINGS

AN UNHEATED PINK SAPPHIRE AND DIAMOND RING

Of pierced scrollwork form, set throughout with brilliant-cut diamonds, diamonds approx. 1.10 carats total, ring size M £1,000-1,500

Each graduated series of brilliant-cut diamond scrolls, surmounted and suspending pearshaped diamonds, diamonds approx 2.00 carats total, post fittings, length 2.8cm

The cushion-shaped pink sapphire, in an openwork brilliant-cut diamond surround, pink sapphire approx. 2.20 carats, diamonds approx. 0.55 carat total, ring size M½

£1,800-2,200

The pink sapphire has been examined by GCS and a verbal assessment given that it is natural, of Madagascan origin, with no indications of heating. £1,500-2,500

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

103

104

105

A PAIR OF PINK SAPPHIRE AND DIAMOND CLUSTER EARSTUDS

TIFFANY & CO.: A PINK SAPPHIRE AND DIAMOND HALF-HOOP

A PINK SAPPHIRE AND DIAMOND LINE BRACELET

RING

Each oval-cut pink sapphire, within a brilliantcut diamond surround, pink sapphires approx. 2.35 carats total, diamonds approx. 0.35 carat total, post fittings, length 1.0cm

Set with circular-cut pink sapphires and brilliant-cut diamonds, mounted in platinum, signed Tiffany & Co., maker’s mark T&Co., London hallmark, ring size K

£800-1,200

£500-700

The graduated series of oval-cut pink sapphires, each within a brilliant-cut diamond halo setting, mounted in 18 carat white gold, pink sapphires approx. 9.10 carats total, diamonds approx. 2.55 carats total, sponsor’s mark LA, partial UK hallmark, length 18.0cm £3,500-4,500

106

107

108

TIFFANY & CO.: A 1.23 CARAT DIAMOND CLUSTER RING

A PAIR OF DIAMOND EARSTUDS

PAUL PICOT: A WHITE GOLD AND DIAMOND WRISTWATCH

Collet-set with a cushion-shaped diamond, weighing 1.23 carats, to a halo surround, gallery and shoulders of brilliant-cut diamonds, remaining diamonds approx. 0.35 carat total, signed Tiffany & Co., numbered, ring size J, maker’s case

Each brilliant-cut diamond, in six-claw closed-back setting, diamonds approx. 1.20 carats total, post fittings £700-900

Accompanied by a report from Tiffany & Co. stating that the principal diamond is F colour, VVS1 clarity. Report number 31324696/ O01180425.

The white circular dial, with single-cut diamond hour markers, to a brilliant-cut diamond bezel, the 18 carat white gold bracelet set throughout with similarly-cut diamonds, diamonds approx. 6.90 carats total, dial and case signed Paul Picot, one diamond deficient, numbered, French assay mark, Swiss assay mark, European convention mark, maker’s case and blank certificate of authenticity £2,500-3,500

£2,000-3,000

107

105 106

103

104

108 102

109

111

110 112

109

110

A PEAR-SHAPED DIAMOND PENDANT NECKLACE

A TOPAZ AND DIAMOND CLUSTER RING

The pear-shaped diamond, weighing 1.52 carats, in a four-claw setting, to a platinum trace-link chain, with a later replacement magnetic clasp, partial UK hallmark, European convention mark, lengths: pendant 1.7cm, chain 47.4cm Accompanied by a report from EGL stating that the diamond is F colour, SI2 clarity. Report number 2561713530, dated 8th November 2005.

The elongated step-cut topaz, within a raised brilliant-cut diamond surround, topaz very approx. 6.25 carats, diamonds approx. 1.25 carats total, ring size approx. N (sizing beads) £1,500-2,500

£1,500-2,000

111

112

A DIAMOND TASSEL BROOCH / PENDANT, CIRCA 1965

A 5.01 CARAT DIAMOND SINGLE-STONE RING

Of scrolling form, the tapered baguette-cut diamond loop, suspending a baguette and brilliant-cut diamond tassel terminating in pear-shaped diamonds, diamonds approx. 7.05 carats total, length 7.2cm £1,000-1,500

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

The old brilliant-cut diamond, weighing 5.01 carats, in a six-claw setting, between baguette-cut diamond shoulders, ring size R £8,000-12,000

115

113

116

113

114

A PAIR OF ONYX STUDS, FIRST HALF OF THE 20TH CENTURY

A DIAMOND COCKTAIL WATCH, CIRCA 1930

Each circular onyx stud, within a central reeded plaque, maker’s marks R&G, French assay marks, length 0.9cm, Cartier case £250-350

The oval dial featuring blue enamel Arabic numerals, within an octagonal surround set with calibré-cut synthetic sapphires and old brilliant, brilliant and single-cut diamonds, with a synthetic sapphire crown, to a mesh strap, diamonds approx. 3.15 carats total, mechanical movement signed Redpearl Geneve Swiss, strap with maker’s mark GF, Swiss assay mark, cased by W.A. Perry & Co., 4 Snow Hill, Birmingham £700-900

115 A PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS Each 8.2-8.7mm cultured pearl, within a single and old brilliant-cut hoop surround and surmount, millegrain detail throughout, diamonds approx. 0.60 carat total, post fittings, length 2.4cm, cased by Mappin & Webb Ltd., Queen Victoria Street, London E.C.4 £700-900

116 A DIAMOND LINE BRACELET The articulated line of old brilliant-cut diamonds, each in a millegrain box setting, to a foliate engraved gallery, diamonds approx. 6.25 carats total, length 18.7cm £2,200-2,800

114

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

117

118

121

119

117

118

A PAIR OF DIAMOND EARRINGS

A PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS

Each designed as a double circle with foliate accents, pavéset throughout with single-cut diamonds, diamonds approx. 0.65 carat total, later post fittings, length 1.8cm £600-800

Each 13.3-13.6mm cultured pearl, capped by brilliant-cut diamonds and suspended from a graduated trio of collet-set similarly-cut diamonds, diamonds approx. 3.25 carats total, post fittings, length 4.5cm

120

£1,200-1,500

119

120

121

A CUSHION-SHAPED DIAMOND SINGLESTONE RING

A DIAMOND COCKTAIL WATCH, CIRCA 1930

A DIAMOND BROOCH, CIRCA 1955

The old cushion-shaped diamond, in a fourclaw setting, to a platinum band, diamond approx. 2.20 carats, UK hallmark, ring size P, cased by A. Fattorini, 10 Parliament St., Harrogate £1,800-2,200

The rectangular dial with baton hour markers, the bezel formed of lines of baguette and single-cut diamonds, between openwork lugs staggered with single-cut diamonds, to a later mesh strap, diamonds approx. 1.60 carats total, mechanical movement, length 17.4cm (maximum length) £1,500-2,000

Designed as radiating courses of baguette and single-cut diamonds, to a central navette-shaped single-cut diamond curved plaque, diamonds approx. 1.65 carats total, likely converted from a double-clip brooch, width 5.4cm £700-900

122

126

124

122 AN OVAL-CUT DIAMOND CLUSTER RING, 1988 Centrally collet-set with an oval-cut diamond, within a brilliant and single-cut diamond scalloped surround, between similarly-cut diamond shoulders, mounted in 18 carat gold, principal diamond approx. 0.40 carat, London hallmark, ring size M 123

£400-600

123

124

A MULTI-STRAND PEARL BRACELET WITH DIAMOND CLASP

A DIAMOND DRESS RING

The seven strands of 2.8-4.9mm pearls, to a pierced navette-shaped clasp set with rose and brilliant-cut diamonds, brilliant-cut diamonds approx. 0.60 carat total, length 16.6cm Accompanied by a report from The Gem & Pearl Laboratory stating that the pearls are natural, saltwater, with the exception of two beaded cultured pearls. Report number 26176, dated 22nd July 2025. Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

£700-900

125

A CULTURED PEARL AND DIAMOND NECKLACE The graduated strand of 4.2-10.2mm cultured pearls, to a single-cut diamond clasp, length 53.3cm £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Centrally collet-set with old brilliant-cut diamonds, between scrolling foliate motifs, set with single and rose-cut diamonds, old brilliant and single-cut diamonds approx. 0.40 carat total, composite with early 20th century elements, ring size K½ Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent. Lot offered at No Reserve

£300-500

128 127

126 A DIAMOND ‘TOI ET MOI’ RING Set with two old brilliant-cut diamonds, in a crossover eight-claw setting, diamonds approx. 2.00 carats total, ring size M (sizing beads) £1,200-1,500

127 A PAIR OF EARLY 20TH CENTURY DIAMOND AND PEARL PENDENT EARRINGS Millegrain detail throughout, each surmount of two old brilliant-cut diamonds, suspending a later wire rung pair of seed pearls, to lines of single-cut diamonds, with uneven drops of collet-set old brilliantcut diamonds and 4.6mm pearls, diamonds approx. 1.00 carat total, French assay mark, pearls untested, composite, later post fittings, length 4.5cm, cased by Mappin & Webb Ltd, Queen Victoria Street., London E.C. £800-1,200

128 Y A PORTRAIT MINIATURE PENDANT, CIRCA 1905 Of navette form, the miniature depicting a young woman in profile looking left, wearing a white blouse and jewellery, within a seed pearl frame, glazed compartment containing hairwork to the reverse, miniature signed Sydy. Slade 1904, pendant length 5.7cm, miniature 4.7x3.0cm, cased £300-500

129 A WHITE GOLD AND BLACK MOTHER-OF-PEARL DRESS-SET, 1961 Each 9 carat white gold terminal inset with a black mother-of-pearl square plaque, cufflinks with chain-link connectors, maker’s marks S&LU, UK hallmarks, terminal width 1.2cm, cased by Carrington & Co., 130 Regent St., W1 (7) £300-500

129

130

132

131

130

131

132

A SAPPHIRE PENDANT

AN OPAL, ENAMEL AND DIAMOND PENDANT, CIRCA 1870

A DIAMOND BANGLE, CIRCA 1895

The cushion-shaped sapphire, weighing 15.61 carats, in a double four-claw setting, length 1.8cm The sapphire has been examined by The Gem & Pearl Laboratory and a verbal assessment given that it is natural, of Sri Lankan origin, with no indications of heating. The sapphire has been examined by GCS and a verbal assessment given that it is natural, of Burmese origin, with no indications of heating.

The royal blue enamel frame, set throughout with rose-cut diamonds, circular and oval cabochon opals, with a central star motif and a pear-shaped cabochon opal drop, length 4.7cm, cased by Wilson & Gill, 139 Regent Street, London

The hinged polished bangle, centrally-set with a cluster of cushion-shaped diamonds, between trifurcated shoulders set with trios of collet-set old brilliant-cut diamonds, principal diamond approx. 1.55 carats, remaining diamonds approx. 2.05 carats total, inner diameter 5.7cm

£400-600

£3,500-4,500

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

136

133

137

135

133

134

135

SCHEFFEL: A GEM-SET REVERSIBLE PENDANT NECKLACE

SCHEFFEL: TWO GEMSET RINGS

AN AQUAMARINE AND DIAMOND FLEUR-DE-LYS RING

The reversible pendant set on either side with a circular cabochon blue topaz or prasiolite, with a brilliant-cut diamond bale, suspended from a trace-link chain accented at intervals with polished discs gypsy-set with brilliantcut diamonds, maker’s mark, lengths: pendant 1.8cm, chain 43.3cm

Each polished band set with either a circular cabochon blue topaz or prasiolite, in a closed-back setting, maker’s marks, ring sizes M and M½ (2) £1,200-1,500

£500-700

£800-1,200

136

137

A PAIR OF AQUAMARINE AND DIAMOND PENDENT EARRINGS

AN AQUAMARINE AND DIAMOND PENDANT NECKLACE

Each articulated line of pear-shaped aquamarines, each within a brilliant-cut diamond halo surround, diamonds approx. 1.60 carats total, London hallmarks, post fittings, length 6.0cm 134

The rectangular scissor-cut aquamarine, in a double four-claw setting, between fleur-delys shoulders set with single-cut diamonds, aquamarine approx. 14.50 carats, ring size P½

£1,200-1,500

The step-cut aquamarine, collet-set within a rectangular rock crystal setting, within a brilliant-cut diamond framework, mounted in 18 carat white gold, suspended from a platinum fancy-link chain, diamonds approx. 0.30 carat total, UK hallmarks, chain with European convention mark, lengths: pendant 3.0cm, chain 46.1cm £600-800

141

139 143

140

138

142

138

139

140

A MULTI-GEM AND DIAMOND BOMBÉ RING

TIFFANY & CO.: A PAIR OF DIAMOND EARSTUDS

AN AQUAMARINE AND DIAMOND CLUSTER RING

Set throughout with ovalcut gems including multi-coloured sapphires, pink tourmaline and brilliant-cut diamond accents, mounted in 18 carat white gold, London hallmark, ring size M £1,200-1,500

Each brilliant-cut diamond, in a four-claw setting, diamonds approx. 0.60 carat total, maker’s mark T&Co., numbered, partial London hallmark, European convention mark, maker’s pouch

The step-cut aquamarine, within a brilliantcut diamond surround, aquamarine approx. 3.30 carats, diamonds approx. 0.40 carat total, mounted in 18 carat white gold, London hallmark, ring size O

£1,000-1,500

£800-1,200

141

142

143

TIFFANY & CO.: A DIAMOND THREESTONE RING, 2004

AN AQUAMARINE AND DIAMOND THREE-STONE RING

AN OCTAGONAL DIAMOND ETERNITY RING

Centrally-set with a brilliant-cut diamond, weighing 0.51 carat, between pear-shaped diamonds, mounted in platinum, remaining diamonds approx. 0.25 carat total, signed Tiffany & Co., maker’s mark T&Co., numbered, London hallmark, ring size J½

The fancy cushion-shaped aquamarine, in a four-claw setting, between trilliant-cut aquamarine shoulders, all within a brilliant-cut diamond surround, principal aquamarine very approx. 16.00 carats, diamonds approx. 0.30 carat total, French import mark, ring size N½

Accompanied by a report from Tiffany & Co. stating that the principal diamond, weighing 0.51 carat, is E colour, VS1 clarity. Report number 18849739/F04060144.

£1,500-2,000

The band of octagonal form, channel-set with a central line of baguette-cut diamonds, flanked by rows of horizontally-set similarlycut diamonds, diamonds approx. 2.30 carats total, ring size M £800-1,200

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

145

149

144

148

146

147

144

145

146

A SAPPHIRE AND DIAMOND THREE-STONE RING

A MARQUISECUT DIAMOND PENDANT NECKLACE

A SAPPHIRE AND DIAMOND LINE BRACELET

The central brilliant-cut diamond, weighing 1.16 carats, in a four-claw setting, flanked by circular-cut sapphires, between brilliant-cut diamond shoulders, mounted in platinum, sapphires approx. 1.30 carats total, European convention mark, ring size K½ Accompanied by a printout of a GIA report stating that the diamond is E colour, VVS1 clarity. Report and laser inscription number 2165029785, dated 7th April 2014.

The marquise-cut diamond, suspended from a platinum trace-link chain, diamond approx. 0.70 carat, London hallmark, European convention mark, lengths: pendant 1.1cm, chain 41.3cm

Channel-set with French-cut sapphires and princess-cut diamonds, to a concealed clasp, sapphires approx. 5.40 carats total, diamonds approx. 2.30 carats total, length 18.1cm £2,500-3,500

£500-700

£3,500-4,500

147

148

149

VAN CLEEF & ARPELS: A SAPPHIRE AND DIAMOND FLOWER RING

VAN CLEEF & ARPELS: A PAIR OF SAPPHIRE AND DIAMOND FLOWER EARRINGS

MONTURE DE CARTIER: A SAPPHIRE AND DIAMOND THREE-STONE RING

Centrally featuring a circular cabochon sapphire, within a brilliant-cut diamond surround, signed VCA, rubbed maker’s mark, numbered, rubbed French assay mark, VCA size 53

Each brilliant-cut diamond flowerhead, centrally-set with a circular cabochon sapphire, signed VCA, maker’s mark, numbered, French assay mark, posts and Omega clips, length 1.4cm

£800-1,200

£1,000-1,500

The oval-cut sapphire, in a four-claw setting, between collet-set baguette-cut diamonds, sapphire approx. 1.00 carat, signed Monture Cartier, maker’s mark, numbered, indistinct assay marks, ring size J½ Footnote: The term “Monture Cartier” implies that a jewel was mounted by Cartier, not necessarily designed by the firm. Typically a client would supply the gemstones and Cartier would mount them for the client.

£1,200-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

150

151

152

A TANZANITE AND DIAMOND DRESS RING

A SAPPHIRE AND DIAMOND SPRUNG BANGLE

A DIAMOND CLUSTER RING

The pear-shaped tanzanite within an elaborate openwork brilliant-cut diamond surround, between trifurcated shoulders set with similarly-cut diamonds, mounted in 18 carat white gold, tanzanite approx. 3.40 carats, diamonds approx. 1.70 carats total, partial UK hallmark, ring size L½

The series of flattened circular links, pavéset to the front with circular-cut sapphires, spaced by marquise-shaped diamonds, diamonds approx. 1.95 carats total, inner diameter 5.8cm

The oval-cut diamond, in a four-claw setting, within a double brilliant-cut diamond tiered halo, between similarly-cut diamond shoulders, diamonds approx. 2.30 carats total, ring size N £1,500-2,500

£1,800-2,200

£1,200-1,500

153

154

155

A DIAMOND HEART PENDANT

AN UNHEATED SAPPHIRE AND DIAMOND RING

A SAPPHIRE AND DIAMOND BAR BROOCH

Pavé-set throughout with brilliant-cut diamonds, to a similarly-cut diamond bale, diamonds approx. 4.75 carats total, length 3.0cm

The oval-cut sapphire, weighing 1.49 carats, to a brilliant-cut diamond halo and shoulders, diamonds approx. 0.85 carat total, ring size K½ Accompanied by a report from the GIA stating that the sapphire shows no indications of heating. Report number 7516158434, dated 15th January 2025.

£1,500-2,500

The oval-cut sapphire, within an old brilliantcut diamond surround, to a later polished bar brooch, sapphire approx. 2.80 carats, diamonds approx. 1.10 carats total, width 5.0cm, cased £700-900

Please note, no geographic origin was given for the sapphire. £1,500-2,000

154 155

152 153

150 151

159

157

156

158

156

157

A DIAMOND RIVIÈRE NECKLACE

VACHERON CONSTANTIN: A WHITE GOLD AND DIAMOND WRISTWATCH, 1974

The graduated row of brilliant-cut diamonds, each in a three-claw setting, to a concealed clasp, diamonds approx. 17.25 carats total, length 42.0cm £6,000-8,000

The oval black dial, with Dauphine hands, within a brilliant-cut diamond halo bezel, to a tapered similarly-cut diamond white gold bracelet and a concealed clasp, diamonds approx. 11.65 carats total, dial, case and mechanical movement signed Vacheron Constantin, numbered, bracelet with sponsor’s mark B&C, UK import marks, Swiss assay marks, French assay mark, length 15.9cm £4,000-6,000

158

159

A THREE-ROW DIAMOND ETERNITY RING

A DIAMOND BROOCH, CIRCA 1965

Set throughout with brilliant-cut diamonds, all in claw-settings, diamonds approx. 10.45 carats total, ring size N (hoop misshapen) £1,000-1,500

Of swirling design, set with courses of graduated brilliant and baguette-cut diamonds, with a wirework brilliant-cut diamond spray accent, diamonds approx. 7.85 carats total, French assay marks, length 6.5cm £1,000-1,500

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

160 A DIAMOND HEART PENDANT, CIRCA 1900 The bulbous heart, set throughout with old brilliant-cut diamonds, to a detachable bale, glazed compartment to the reverse, diamonds approx. 4.25 carats total, length 3.6cm £1,000-1,500 164

161 A PEARL AND DIAMOND BROOCH / PENDANT, LATE 19TH CENTURY

162

The horizontally-set pierced oval cartouche set throughout with cushion-shaped diamonds, centrally highlighted by a 6.0x7.6mm pearl, suspending a contoured detachable drop, set with similarly-cut diamonds and an 8.4mm pearl, diamonds approx. 2.80 carats total, one diamond deficient, pearls untested, later pin fitting, length 5.7cm Provenance: From the estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent.

£700-900

162

163

164

AN OPAL AND DIAMOND HEART PENDANT, CIRCA 1890

AN ENAMEL, PEARL AND DIAMOND BROOCH, CIRCA 1875

A MOONSTONE AND DIAMOND PENDANT NECKLACE, CIRCA 1910

The oval cabochon opal within a rose cut diamond surround, glazed compartment to the reverse, length 3.2cm, cased

The navette panel of turquoise blue guilloché enamel, centrally adorned with a double heart motif of rose-cut diamonds and pearls, within a white enamel frame with similarly-cut diamonds, all within a seed pearl border, glazed compartment to the reverse, width 3.5cm, cased by Perrett & Joyner, Weston Super Mare

The oval cabochon moonstone drop, to a rosecut diamond cap and pendant, surmounted by a collet-set old brilliant-cut diamond, to a later fancy-link chain, lengths: pendant 5.8cm, chain 39.0cm, fitted case by James R. Ogden & Sons Ltd., Harrowgate and at 41 & 41A Duke St., Piccadilly, London, S.W.1

£400-600

£300-500

£400-600

161 163 160

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

165

169

167 166

165

166

167

A DIAMOND CRESCENT BROOCH, CIRCA 1890

A DIAMOND PINWHEEL BROOCH / PENDANT

A DIAMOND PINWHEEL BROOCH

Set with a graduated course of old brilliant-cut diamonds, diamonds approx. 1.30 carats total, length 5.2cm

Set throughout with old brilliant-cut diamonds, diamonds approx. 3.55 carats total, detachable brooch fitting, length 2.9cm

Centrally-set with brilliantcut diamonds, within a single-cut diamond frame, mounted in 18 carat gold, diamonds approx. 0.90 carat total, London hallmark, length 2.4cm

£400-600

£700-900

£300-500

168 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 similarlycut 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

169 A GEM-SET BUTTERFLY BROOCH, CIRCA 1900 168

The wings set with rose-cut diamonds, oval-cut rubies and sapphires, the body featuring a line of half pearls, width 4.3cm £700-900

170 AN OPAL BANGLE AND A PAIR OF OPAL AND DIAMOND PENDENT EARRINGS

170

The hinged bangle set with a graduated line of oval cabochon opals, accompanied by a pair of pendent earrings each designed as a line of collet-set cushion-shaped and rose-cut diamonds, terminating in an oval cabochon opal, earrings with hook fittings, bangle inner diameter 5.8cm, earring length 3.8cm, bangle cased (2) £300-500

171 AN OPAL AND DIAMOND RING Set with three oval cabochon opals, spaced by old brilliant and single-cut diamonds, to a scrolling gallery, maker’s mark JBs, ring size Q½, cased by J.W. Benson, 25 Old Bond St., London £300-500

172 AN EARLY 20TH CENTURY DIAMOND HAIRCLIP

172

The contoured elongated oval barrette, set with rose-cut diamonds, all in closed-back settings, illegibly struck French maker’s mark, French assay mark, width 5.0cm, cased by J.W. Benson, Ludgate Hill, London £250-350

171

173

175

174

173

174

175

A PERIDOT AND DIAMOND PENDANT NECKLACE

AN EMERALD AND DIAMOND CLUSTER RING

AN EMERALD, DIAMOND AND SEED PEARL BRACELET, CIRCA 1910

The fine bi-coloured chain, suspending a stepcut peridot in a collet-setting, spaced by a pair of old brilliant-cut diamonds, to a fancy-cut elongated triangular peridot drop, lengths: pendant 3.3cm, chain 40.1cm

The step-cut emerald, within a brilliant-cut diamond surround, between pear-shaped diamond shoulders, mounted in 18 carat gold, emerald approx. 1.05 carats, diamonds approx. 1.10 carats total, London hallmark, ring size L½

£300-500

£800-1,200

Set to the front with undulating lines of calibré-cut emeralds and single-cut diamonds, accented at central points by seed pearls, illegibly struck French maker’s mark, French assay marks, length 18.4cm, fitted case £1,000-1,500

176 AN EMERALD, RUBY AND DIAMOND BAR BROOCH, CIRCA 1900 The polished bar, set with a circular-cut ruby, emerald and an old brilliant-cut diamond, width 3.9cm, cased £300-500

176

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

178

177 CHARLES DE TEMPLE: A GOLD BRACELET, 1989 Formed of a wide openwork mesh of 18 carat gold links of various forms, signed Charles de Temple, maker’s mark CdeT, London hallmark, length 18.3cm, maker’s pouch Provenance: From the Private Collection of Lady Jacqueline Laker. Footnote: For a similar suite of jewels by Charles de Temple to appear at auction, see Bonhams, Fine Jewellery, London, 7 April 2005, lot 191.

£3,500-4,500

177

178 CHARLES DE TEMPLE: A PAIR OF EMERALD, SAPPHIRE AND DIAMOND “BASKET” EARRINGS, 1990 Each 18 carat gold openwork hoop, adorned with “caviar” granulation, circular-cut emeralds and sapphires and brilliantcut diamonds, diamonds approx. 1.25 carats total, maker’s mark CdeT, London hallmark, post fittings, length 4.0cm Provenance: From the Private Collection of Lady Jacqueline Laker.

£1,200-1,500

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

Provenance: Lots 177 to 188 are from the Private Collection of Lady Jacqueline Laker. Jacqueline Laker was the fourth wife of the late Sir Freddie Laker, the British airlines entrepreneur. Freddie Laker founded Laker Airways in 1966 which revolutionised commercial airline travel with their transatlantic ‘Skytrain’ flights. Jacqueline Harvey married Sir Freddie in 1985. Laker had been a longstanding client of Charles de Temple and introduced his wife to the artist. Together they collaborated on many bespoke commissions and one-off creations. Charles de Temple effectively vanished from the London jewellery scene around 1992. His presence whereabouts is unknown. This collection encapsulates a unique snapshot of the last working years of his career.

179

180

CHARLES DE TEMPLE: AN EMERALD, SAPPHIRE AND DIAMOND BROOCH, 1986

CHARLES DE TEMPLE (ATTRIBUTED): A PEARL AND SAPPHIRE BRACELET

The elongated 18 carat gold brooch, the shaft of sandblasted finish, with white gold granulation “caviar” decoration and brilliant-cut diamonds, to a wide contoured rod finish, with a central circular-cut sapphire and emerald cluster, suspending a pear-shaped sapphire drop, maker’s mark CdeT, London hallmark, length 6.4cm Provenance: From the Private Collection of Lady Jacqueline Laker.

The multiple strands of freshwater pearls, the clasp applied with contoured rods and granulation details, featuring a colletset oval cabochon sapphire, unsigned, length 17.7cm, maker’s pouch Provenance: From the Private Collection of Lady Jacqueline Laker.

£800-1,200

£1,500-2,500

182

179

181

180

181

182

CHARLES DE TEMPLE (ATTRIBUTED): A SAPPHIRE SPACER / PENDANT

CHARLES DE TEMPLE (ATTRIBUTED): A PAIR OF PEARL AND DIAMOND EARRINGS

The hinged tubular spacer, decorated with contoured rods and granulation detail, centrally-set with an oval cabochon sapphire, unsigned, width 2.2cm Provenance: From the Private Collection of Lady Jacqueline Laker.

£800-1,200

Each contoured surmount, adorned with “caviar” detail throughout, accented by brilliant-cut diamonds, suspending two sets of freshwater pearl and polished nugget tassels, unsigned, length 7.0cm Provenance: From the Private Collection of Lady Jacqueline Laker.

£1,000-1,500

184

183

184

185

CHARLES DE TEMPLE (ATTRIBUTED): A PAIR OF DIAMOND “CLOUD” EARRINGS

CHARLES DE TEMPLE (ATTRIBUTED): A PAIR OF RED SPINEL AND DIAMOND EARRINGS

CHARLES DE TEMPLE: A RUBY AND DIAMOND PENDANT, 1982

The elongated drops of organically pierced form, bi-coloured detail throughout, accented with brilliant-cut diamonds, diamonds approx. 0.90 carat total, unsigned, illegible marks, post fittings, length 3.4cm

Each of tapered form, the oval-cut red spinels, in a four-claw setting, with brilliantcut diamond accents, decorated throughout with ‘caviar’ granulation detail, unsigned, post fittings, length 2.4cm, maker’s pouch

Provenance: From the Private Collection of Lady Jacqueline Laker.

The pear-shaped drop of pierced textured 18 carat white and yellow gold form, set with a central oval-cut ruby, surrounded by circular-cut rubies and brilliant-cut diamonds, to a hinged bale, diamonds approx. 1.00 carat total, maker’s mark CdeT, London hallmark, length 5.1cm, maker’s pouch

£1,200-1,500

£1,000-1,500

Provenance: From the Private Collection of Lady Jacqueline Laker.

£1,500-2,500

185

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

186

186 CHARLES DE TEMPLE: A GOLD LIMPETS PENDANT / BROOCH, 1991 Realistically designed as a cluster of 18 carat gold limpets, adorned with granulation detail and brilliant-cut diamonds, diamonds approx. 0.45 carat total, maker’s mark CdeT, London hallmark, length 5.0cm Provenance: From the Private Collection of Lady Jacqueline Laker.

£1,200-1,500

187 CHARLES DE TEMPLE: A PAIR OF GOLD AND DIAMOND EARRINGS, 1991 Each realistically designed as an 18 carat gold limpet, accented by brilliant-cut diamonds, diamonds approx. 0.45 carat total, maker’s mark CdeT, London hallmark, post fittings, length 2.7cm

187

Provenance: From the Private Collection of Lady Jacqueline Laker.

£1,200-1,500

188 CHARLES DE TEMPLE: A BAROQUE PEARL AND DIAMOND PENDANT, 1991 The baroque pearl, encased within an 18 carat gold and white gold tendrils mount, accented by brilliant-cut diamonds, maker’s mark CdeT, London hallmark, length 3.9cm Provenance: From the Private Collection of Lady Jacqueline Laker.

£800-1,200

188

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

189

190

189

190

191

AN EMERALD AND DIAMOND NECKLACE

AN EMERALD AND DIAMOND LINE BRACELET

A PAIR OF GOLD FLORAL EARRINGS, 2000

The step-cut emerald, between graduated courses of baguette-cut diamonds, to a flattened curb-link chain, emerald approx. 1.30 carats, diamonds approx. 4.25 carats total, length 37.4cm

The articulated line of circular-cut emeralds and brilliant-cut diamonds, each in a four-claw setting, emeralds approx. 2.70 carats total, diamonds approx. 0.45 carat total, length 17.1cm

£3,000-5,000

£1,200-1,500

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

Each 18 carat yellow gold stylised hoop of connected floral motifs, maker’s mark PD, London hallmark, post fittings, length 3.2cm £350-450

192

194

195

191

193

192

193

A CULTURED PEARL, PINK TOURMALINE AND EMERALD BRACELET

AN OPAL DRESS RING

Set with a graduated series of 9.5-5.3mm freshwater cultured pearls, centrally accented by pink tourmaline beads and a collet-set step-cut emerald, to an cord bracelet, size adjustable

The oval cabochon opal, collet-set in a closed-back setting, to a Brutalist gallery, raised on a polished shank, size T½ (leading edge) £3,000-5,000

£400-600

194

195

A PAIR OF GOLD, EMERALD AND DIAMOND PENDENT EARRINGS

A PAIR OF EMERALD EARRINGS

Each pear-shaped emerald, within a brilliant-cut diamond surround, suspended from a line of similarly-cut diamonds and a circularcut emerald accent, mounted in 18 carat gold, diamonds approx. 1.90 carats total, illegible maker’s mark, London hallmark, post fittings, length 2.3cm £500-700

The line of horizontally set oval-cut emeralds, in an elongated hoop design, post fittings, length 2.3cm £700-900

196

196 A PAIR OF LOOPING EARCLIPS Each looping bi-coloured ropetwist clip, of brushed finish, maker’s mark AK for Allison-Kaufman Co., clip fittings, length 3.0cm £600-800

197 A BI-COLOURED ROPETWIST BRACELET The articulated line of double flattened ropetwist bi-coloured links, to a concealed clasp, unidentified assay marks, length 20.1cm £3,000-4,000

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

197

199

198

198 A BI-COLOURED ROPETWIST LONGCHAIN The articulated necklace of double flattened ropetwist bi-coloured links, to a concealed clasp, length 62.3cm £6,000-8,000

199 MASSIMO MARIA MELIS: A BI-COLOURED BRACELET The series of alternating bicoloured circular links with applied roundel and granulation decoration, maker’s mark, Italian assay mark, length 18.8cm £500-700

200

201

CARTIER: A ‘DRAPERIE DE DÉCOLLETÉ NECKLACE, CIRCA 2005

CARTIER: A DIAMOND “TRINITY” RING

Accompanied by a Cartier certificate of authenticity dated 2005.

The three 18 carat tricoloured gold bands, one band pavé-set throughout with brilliant-cut diamonds, diamonds approx. 1.00 carat total, signed Cartier, maker’s marks, numbered, French assay marks, European convention marks, Cartier size 47

£7,500-8,500

£2,200-2,800

The six lines of polished beadwork linking, to a double button clasp, signed Cartier, numbered, length of shortest strand 37.0cm, maker’s pouch

200 201

203

202

203

A ‘TOI ET MOI’ DIAMOND RING

OMEGA: A DIAMOND WRISTWATCH, CIRCA 1965

Each terminal set with a pear-shaped diamond, of yellow tint, within a brilliant-cut diamond surround, all in closedback settings, pear-shaped diamonds very approx. 1.40 carats total, remaining diamonds approx. 1.00 carat total, ring size K £2,500-3,500

The brushed dial, with baton hour markers, within a brilliant-cut diamond bezel, to an integral bracelet, diamonds approx. 0.30 carat total, dial, case and mechanical movement signed Omega, Swiss assay mark, case width 24.1mm, bracelet length 16.8cm £1,800-2,500

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

Lifestyle shot of 200 worn PYRUS0033 (Although I’m working if we should change the colour of her jumper…)

205 206

208

209

207

204

205

206

A NÉGLIGÉE DIAMOND NECKLACE

A DIAMOND PENDANT NECKLACE

A PAIR OF DIAMOND HALO EARRINGS

The articulated lines of brilliant-cut diamonds, each in a three-claw setting, one drop terminating lower than the other, to a polished flattened circular-link backchain, diamonds approx. 6.10 carats total, indistinct assay mark, length 52.1cm

The pendant designed as three princess-cut diamonds, each within a circular brilliant-cut diamond halo closedback surround, suspended from a trace-link chain, diamonds approx. 2.30 carats total, lengths: pendent 3.7cm, chain 40.8cm

£1,800-2,200

£1,200-1,500

Each princess-cut diamond, within a brilliant-cut diamond halo surround, diamonds approx. 0.90 carat total, post fittings, length 1.1cm £700-900

207

208

209

AN EMERALD AND DIAMOND CLUSTER RING

TIFFANY & CO.: A PLATINUM AND DIAMOND ETERNITY RING, 2013

A SINGLE-STONE DIAMOND RING

The oval-cut emerald, weighing 6.28 carats, within a double brilliant-cut diamond surround, between similarly-cut diamond shoulders, diamonds approx. 2.05 carats total, maker’s mark AJ, ring size L½

Channel-set throughout with brilliant-cut diamonds, mounted in platinum, diamonds approx. 1.50 carats total, signed Tiffany & Co., maker’s mark T&Co., London hallmark, ring size J½

£3,800-4,200

£500-700

The cushion-shaped diamond, weighing 1.00 carat, in a four-claw setting, ring size K½ Accompanied by a report from the GIA stating that the diamond is I colour, VVS2 clarity. Report and laser inscription number 6405510259, dated 27th September 2021. £1,200-1,500

210

211

212

TIFFANY & CO.: A ‘SOLESTE’ DOUBLE HALO DIAMOND RING

A WHITE GOLD AND DIAMOND TENNIS BRACELET

A DIAMOND TENNIS BRACELET

Centrally-set with a brilliant-cut diamond, within a double similarly-cut diamond halo and shoulders, mounted in platinum, diamonds approx. 0.60 carat total, signed Tiffany & Co., maker’s mark T&Co., London hallmark, ring size J

Consisting of a single articulated line of brilliant-cut diamonds, each in an 18 carat white gold four-claw setting, to a concealed clasp, diamonds approx. 5.45 carats total, partial UK hallmark, length 17.8cm

£600-800

£2,000-2,500

The line of alternating brilliant-cut diamonds and pairs of baguettecut diamonds, to a concealed clasp, diamonds approx. 3.85 carats total, length 18.2cm £1,000-1,500

213

214

215

A PAIR OF PLATINUM AND DIAMOND EARSTUDS

A FIVE-STONE EMERALD AND DIAMOND RING

A DIAMOND BANGLE

Each brilliant-cut diamond, in a four-claw platinum setting, diamonds approx. 1.00 carat total, UK import marks £500-700

The square step-cut emerald, within a four-claw setting, between pairs of baguette-cut diamonds, mounted in platinum, emerald approx. 1.10 carats, diamonds approx. 0.90 carat total, partial UK hallmark, European convention mark, ring size O½

The rigid hinged bangle set with a line of brilliant-cut diamonds, diamonds approx. 4.80 carats total, inner diameter 6.0cm £3,000-5,000

The emerald has been assessed by GCS and a verbal result given that it is of Colombian origin, with indications of moderate clarity enhancement with oil. 210

£2,000-3,000

213

211

215

214 212

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

217

220 216 218

221

219

216

217

218

A SPINEL AND DIAMOND PENDANT NECKLACE

VAN CLEEF & ARPELS: A PAIR OF “SWEET ALHAMBRA” MOTHEROF-PEARL EARSTUDS

CHOPARD AND MAPPIN & WEBB: A GEM-SET CROSS PENDANT NECKLACE

Each white mother-of-pearl quatrefoil, within a perlée surround, signed VCA, maker’s marks, numbered, French and Swiss assay marks, length 0.9cm, maker’s pouch

The 18 carat white gold cross inlaid with mother-of-pearl, pink tourmaline and brilliantcut diamonds, suspended from an oversized belcher-link chain, diamonds approx. 0.65 carat total, cross with maker’s mark M&W and London hallmark, chain signed Chopard, lengths: pendant 5.5cm, chain 42.6cm, Mappin & Webb box

The square carved rock crystal setting, centrally containing a cushion-shaped spinel within a brilliant-cut diamond halo surround, suspended from an 18 carat white gold trace-link chain, partial UK hallmark, European convention mark, lengths: pendant 2.0cm, chain 40.0cm £800-1,200

Accompanied by a certificate of authenticity from Van Cleef & Arpels dated 2010. £1,000-1,500

£1,800-2,200

219

220

221

NARDELLI: A DIAMOND DRESS RING

KUTCHINKSY: A GARNET AND DIAMOND DRESS RING

FEI LIU: A MOTHER-OFPEARL AND DIAMOND BANGLE

Of scrolling design, set with courses of brilliant-cut diamonds, between scrolling shoulders, diamonds approx. 1.60 carats total, signed Nardelli, ring size N £800-1,200

The oval-cut spessartine garnet, within a raised contoured setting, pavé-set with circular-cut orange garnets and brilliant-cut diamonds, principal garnet approx. 8.50 carats, diamonds approx. 2.60 carats total, signed Kutchinsky, ring size N £1,500-2,500

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

The hinged openwork 18 carat white gold bangle adorned with carved mother-of-pearl flowerheads and brilliant-cut diamonds, diamonds approx. 1.75 carats total, maker’s mark FL, UK hallmark, inner diameter 6.2cm £2,500-3,500

224

226

222 223

225

222

223

224 Ω

CHOPARD: A ‘HAPPY SPIRIT’ DIAMOND PENDANT NECKLACE

A PAIR OF DIAMOND QUATREFOIL EARSTUDS

A DIAMOND AND FANCY YELLOW DIAMOND PENDANT NECKLACE

The series of concentric circles set with brilliant-cut diamonds, several within a glazed compartment, suspended from a double filed belcher-link chain, to an unassociated later clasp, diamonds approx. 2.15 carats total, signed Chopard, numbered, lengths: pendant 3.0cm, chain 41.5cm

Each set with a central cluster of oval and brilliant-cut diamonds of yellow tint, within a brilliant-cut diamond border, diamonds approx. 1.65 carats total, post fittings, length 1.1cm £1,500-2,000

The pear-shaped Fancy Yellow diamond, weighing 2.27 carats, within a brilliantcut diamond surround, suspended from a trace-link chain, lengths: pendant 1.5cm, chain 39.8cm Accompanied by a report from the GIA stating that the diamond is natural, Fancy Yellow colour. Report number 16175644, dated 4th June 2007.

£1,500-2,000

225

226

A PLATINUM AND DIAMOND CLUSTER RING

A PAIR OF DIAMOND PENDENT EARRINGS

The undulating cluster centrally-set with three brilliant-cut diamonds of brown tint, within a surround of similarly and marquisecut diamonds, mounted in platinum, maker’s mark EW&Co. for Wolfe & Co., partial London hallmark, diamonds approx. 4.30 carats total, ring size L (sizing beads)

Each pear-shaped diamond of yellow tint, within a brilliant-cut diamond halo, suspended from a line and surmount of similarly-cut diamonds, mounted in 18 carat white gold, principal diamonds approx. 1.45 carats total, remaining diamonds approx. 0.55 carat total, partial London hallmark, post fittings, length 3.5cm

£1,500-2,500

£2,000-3,000

Please note that VAT will be applicable on the prevailing rate on both the hammer price and the buyer’s premium. £2,800-3,200

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

227

229 231

230

228 232

227

228

229

A DIAMOND SPIDERWEB PENDANT

THEO FENNELL: A WHITE GOLD AND DIAMOND SPIDER CHARM

THEO FENNELL: A WHITE GOLD AND DIAMOND HEART CHARM

The circular pendant forming an openwork spiderweb, set throughout with brilliant-cut diamonds, to a circular halo surmount, diamonds approx. 0.90 carat total, length 3.4cm £700-900

The double-sided 18 carat white gold heart pavé-set with brilliant-cut diamonds, with a gold ropetwist ribbon and tag, diamonds approx. 0.75 carat total, maker’s mark, London hallmark, length 2.4cm, maker’s case

£500-700

230

231

232

THEO FENNELL: A WHITE GOLD AND DIAMOND BRACELET, 2007

GARRARD: A DIAMOND ORB PENDANT NECKLACE

A FANCY LIGHT YELLOW DIAMOND CLUSTER RING

The articulated series of large belcher-linking, each 18 carat white gold link pavé-set with brilliant-cut diamonds, diamonds approx. 6.80 carats total, maker’s mark TF, London hallmark, length 19.3cm, maker’s case and box £2,000-3,000

The 18 carat white gold double-sided heart pavé-set with brilliant-cut diamonds, adorned with a pair of crawling spiders, diamonds approx. 0.60 carat total, maker’s mark, London hallmark, length 2.4cm, maker’s case

The figaro-link chain, suspending an openwork orb pendant set with brilliant-cut diamonds, diamonds approx. 1.15 carats total, signed Garrard, maker’s mark, lengths: pendant 2.3cm, chain 40.5cm

Centrally featuring a Fancy Light Yellow diamond, weighing 2.27 carats, within a double border of graduated brilliant-cut diamonds, remaining diamonds approx. 1.10 carats total, ring size M

£800-1,200

Accompanied by a report from GCS stating that the principal diamond is Fancy Light Yellow colour, VS1 clarity. Report number 5785-1407, dated 26th February 2025. £5,000-7,000

234

233

235

233

234

235

A HEART-SHAPED DIAMOND CLUSTER RING

A PAIR OF HEARTSHAPED DIAMOND EARSTUDS

A 1.97 CARAT EMERALD AND DIAMOND BALLERINA RING

The heart-shaped diamond, weighing 2.05 carats, within a brilliant-cut diamond surround, remaining diamonds approx. 0.30 carat total, ring size P½ Accompanied by a report from the GIA stating that the diamond is M colour, Internally Flawless. Report and laser inscription number 1182898436, dated 5th December 2017. £2,200-2,800

Each heart-shaped diamond, weighing 2.01 carats and 2.01 carats, in a three-claw setting, post fittings Accompanied by a report from the GIA stating that the diamond, weighing 2.01 carats, is L colour, SI1 clarity. Report and laser inscription number 1182632368, dated 28th July 2017. Accompanied by a report from HRD Antwerp stating that the diamond, weighing 2.01 carats, is L colour, VVS2 clarity. Report and laser inscription number 170003071786, dated 13th September 2017. £4,500-5,500

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

The step-cut emerald, weighing 1.97 carats, within an undulating tapered baguette-cut diamond surround, diamonds approx. 1.30 carats total, ring size P The emerald has been assessed by GCS, and a verbal result given that it is of Colombian origin, with indications of minor oil in fissures. £3,500-4,500

238

237

239

236

237

A SAPPHIRE AND DIAMOND CLUSTER RING

TIFFANY & CO.: A DIAMOND CROSS NECKLACE, 1999

The circular-cut sapphire, within a surround of old brilliant-cut diamonds, to an 18 carat gold band, sapphire approx. 5.75 carats, diamonds approx. 2.40 carats total, UK hallmark, ring size K (hoop off-round) £5,000-7,000

The Latin cross set with brilliant-cut diamonds, suspended from an 18 carat gold trace-link chain, diamonds approx. 1.85 carats total, signed Tiffany & Co., maker’s mark T&Co., London hallmark, lengths: pendant 2.6cm, chain 40.7cm, maker’s case and box

240

£2,000-3,000

238

239

240

VAN CLEEF & ARPELS: A BLUE AGATE “VINTAGE ALHAMBRA” BRACELET

CARTIER: A GOLD AND DIAMOND ‘LOVE’ BANGLE

CARTIER: A DIAMOND “LOVE” BANGLE

The five blue agate motifs, each in a perlée surround, connected by a filed trace-link chain, signed VCA, maker’s mark, numbered, French assay mark, length 19.3cm, maker’s case and box

Small model, the 18 carat yellow gold polished bangle set throughout with ten brilliantcut diamonds, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, Cartier size 17

Accompanied by a certificate of authenticity from VCA dated 2022.

£3,000-5,000

£3,500-4,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

The polished bangle inset at intervals with ten brilliant-cut diamonds, signed Cartier, maker’s mark, numbered, Cartier size 18, maker’s case and screwdriver £6,000-8,000

ROLEX: GMT Master II ‘Batman’ to be offered in London Watches 20 November 2025

LONDON WATCHES

241 DORRIE NOSSITER (ATTRIBUTED): A PAIR OF GEM-SET EARCLIPS

241

Of mismatched design, each circular cluster decorated with seed pearls forming clusters of stylised grapes, with polished applied grape leaves, accented throughout with oval and circular cabochon gems, including pink and green tourmalines, one with a pearl and gem-set drop, unsigned, clip fittings, lengths: 5.0cm and 3.1cm £600-800 244

242 DORRIE NOSSITER (ATTRIBUTED): A GEMSET NECKLACE The necklace formed of pink tourmaline oblong beads, spaced by seed pearls and green tourmaline spherical beads, to a circular cartouche collect-set with green and pink tourmalines, clusters of seed pearls forming grapes and realistically modelled grape leaves, unsigned, possibly adapted, lengths: clasp 2.9cm, necklace 38.1cm £600-800

242

243 DORRIE NOSSITER (ATTRIBUTED): A MULTIGEM PLAQUE CLIP Of rectangular openwork form, collet-set with circular and oval-cut gemstones, including green tourmaline and zircon, and oval cabochon emeralds, step-cut paste, adorned with applied stylised grape leaves and tendrils, unsigned, length 4.7cm

Provenance: Lots 241-244 are from the Estate of Lady Phyllis Mary Coryndon (née Worthington) (1880-1961) Hence by descent. Footnote: Dorrie Nossiter (1893-1977) was a goldsmith and jewellery designer working in England in the Arts & Crafts style. She studied at the Municipal School of Art in Birmingham and later regularly exhibited in London. From 1935 to 1939 she was featured as part of the ”Art by Four Women” exhibition at the Walker’s Gallery in London. Her recognisable style features naturalist details coupled with densely packed colourful gemstones. Nossiter’s work is frequently misattributed to another female contemporary designer Sybil Dunlop. Neither designer signed their works regularly. This collection represents a rare link to the artist directly through the original owner who acquired the jewels from Nossiter. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

£400-600

244 DORRIE NOSSITER (ATTRIBUTED): A SILVER AND TURQUOISE BROOCH

243

Of circular form, decorated with a stylised grape leaf and accented by oval and circular cabochon turquoise, unsigned, pin deficient, length 2.3cm £100-200

245

245 JAR: A PAIR OF GREEN ALUMINIUM “VALERIE” EARRINGS Each green anodized aluminium contoured hoop, signed JAR Paris, clip fittings, length 4.0cm, maker’s pouch Provenance: By repute purchased directly by the vendor from JAR in Paris. Footnote: This design was introduced by JAR in 2010, initially in very limited numbers. Their versatility and ability to be worn in multiple ways has made them extremely popular amongst collectors, including Princess Firyal of Jordan.

£3,000-5,000

246 AN EMERALD AND SEED PEARL RING The step-cut emerald, to a raised rectangular setting accented by courses of seed pearls, emerald approx. 8.00 carats, ring size N £3,000-5,000

246

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

247 A 4.92 CARAT DIAMOND SOLITAIRE RING The pear-shaped diamond, weighing 4.92 carats, in a double three-claw setting, ring size approx. M½ (sizing beads) Accompanied by a report from the GIA stating that the diamond is D colour, IF clarity. Report number 11912336, dated 8th March 2002. Please note this report is more then 20 years old and may require updating. £50,000-70,000

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

248 A DIAMOND SINGLE-STONE RING

248

The old pear-shaped diamond, weighing 3.21 carats, in a seven-claw setting, to a bifurcated platinum mount, maker’s mark CG&S, partial UK hallmark, ring size K½ £7,000-9,000

249 A DIAMOND BRACELET, CIRCA 1930 Each openwork elongated oval link, connected by tapered connectors, set throughout with old brilliant, brilliant and single-cut diamonds, to a concealed clasp, diamonds approx. 14.50 carats total, numbered, length 17.7cm £3,000-5,000

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

249

100

250 A COLOMBIAN EMERALD AND DIAMOND RING, FIRST HALF OF THE 20TH CENTURY The step-cut emerald, in a four-claw setting, between curved single and baguette-cut diamond shoulders, diamonds approx. 0.60 carat total, ring size N½ Accompanied by a report from GCS stating that the emerald, weighing approx. 3.30 carats, is of Colombian origin, with none to insignificant amounts of oil in fissures. Report number 5785-2943, dated 4th July 2025. £20,000-30,000

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

101

INDEX

Alan Martin Gard

Boucheron

Bueche-Girod

Burle Marx

72, 73

Cartier 12, 13, 50, 149, 200, 201, 239, 240 Charles de Temple 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188 Chopard

218, 222

Dennis Charles Smith 61 Dorrie Nossiter 241, 242, 243, 244 Fabergé

6, 10

Fei Liu

221

Garrard

14, 231

Georges Lenfant

H. Stern

88, 89

JAR

245

John Donald

Kutchinsky

52, 83, 220

Lalaounis

Mappin & Webb

218

Massimo Maria Melis 199 Nardelli

219

Olivia Grace

Omega

203

Paul Picot

108

Polly Gasston

91, 92

Roy King

Scheffel

90, 133, 134

Theo Fennell

228, 229, 230

Tiffany & Co. 104, 106, 139, 141, 208, 210, 237 Vacheron Constantin 157 Van Cleef & Arpels 11, 74, 93, 147, 148, 217, 238 Verdura

1, 2

Victor Mayer

DIAMOND GUIDE Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Certain enhancements, such as heating, are commonly used to improve colour or transparency in rubies and sapphires. Emeralds are also frequently treated, usually with oils or resin, for the same purpose. Other methods, including staining, dyeing, coating or irradiation, may have been used on other gemstones including Jade and associated hardstone that may have been bleached (usually in acid), polymer/resin filled or dyed, or a combination of any of these treatments. The international jewellery trade has generally accepted these methods. Heat enhancement of colour is usually permanent, however, in some cases; this may have an impact on the durability of the gemstone. Gemstones that have been oiled may require reoiling after a number of years in order to retain their optimum appearance. It is, in suitable cases, Lyon & Turnbull’s policy to obtain gemmological reports from internationally recognised gemmological laboratories describing certain gemstones sold

by Lyon & Turnbull. In the event that Lyon & Turnbull have been given, or have obtained, reports for any lot in the sale these reports will be mentioned in the catalogue description. However, it is not feasible for Lyon & Turnbull to obtain a gemmological report for each gemstone offered for sale by Lyon & Turnbull. If no report is published in the catalogue prospective buyers should assume that the gemstones may have been enhanced by some method. However, please note that there may not be consensus between different laboratories on the degrees or types of treatment for any particular gemstone. Prospective buyers should be aware that Lyon & Turnbull’s pre-sale estimates assume that gemstones may have been subjected to such treatments. ALL DIMENSIONS, WEIGHTS ARE APPROXIMATE. DIAMOND GRADING TERMS Where printed in the catalogue, estimated diamond grades for colour and clarity are intended as guides for prospective buyers. Lyon & Turnbull do not guarantee these estimated grades due to the limitations of mounts and settings.

DIAMOND COLOUR GIA

CIBJO

EXPLANATION

D E F G H I/J K/L M to Z Fancy

Exceptional White + (EW+) Exceptional White (EW) Rare White + (RW+) Rare White (RW) White (W) Slightly Tinted White (STW) Tinted White (TW) Tinted Colour (TC) Fancy Colour

Face up colourless - Face down colourless Face up colourless - Face down slightly tinted Face up slightly tinted - Face down obviously tinted Face up obviously tinted - Face down obviously tinted Face up definite colour

GIA

CIBJO

EXPLANATION

Flawless (FL)

Loupe Clean (LC) Shows no inclusions or blemishes under 10x magnification

DIAMOND CLARITY

Internally Flawless (IF) Shows no inclusions and only insignificant blemishes under 10x magnification Very Very Slightly Included (VVS) VVS1 / VVS2

Very Very Small Inclusions Minute inclusions, which are difficult, even for an experienced grader, to locate under 10x magnification (VVS) VVS1 / VVS2

Very Slightly Included (VS) VS1 / VS2

Very Small Inclusions Minor inclusions, observable with effort under 10x magnification (VS) VS1 / VS2

Slightly Included (SI) SI1 / SI2

Small Inclusions Noticeable inclusions under 10x magnification (SI) SI1 / SI2

Included (I) I1 / I2 / I3

Pique Obvious inclusions, visible to the unaided eye, face up. These may affect the stone’s beauty and durability. (P) P1 / P2 / P3

104

CONDITIONS OF SALE 25.1 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 1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. 3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report

if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844. 2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition

105 of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844. 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction. 2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction. 5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services. 7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges. 8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above. 3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www.dacs.org.uk.

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

1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded. 2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make

1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £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. 2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

E. WARRANTIES

106 no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in

lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the

date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. 2. IN THE EVENT OF NONPAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any

way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

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

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale. 9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull. com. 10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. 1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

25.1

108

GUIDE TO BIDDING & PAYMENT

REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

BY PHONE

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.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof 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.

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

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 2 of this catalogue.

- 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.

Inside Back Cover: Lots 69 & 177

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM