Cartier Curated | Auction 29 April 2025

TUESDAY 29 APRIL 2025 AT 2PM

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Sale Number LT855

Lyon & Turnbull

22 Connaught Street

LONDON W2 2AF

BIDDING AT THIS SALE

Online, telephone and commission bidding only - please see the guide to bidding on page 76

VIEWING

Wednesday 23rd April 10am-4pm

Thursday 24th April 10am-4pm

Friday 25th April 12 noon-4pm

Saturday 26th April 10am-4pm

Monday 28th April 10am-4pm

Front Cover Lots 26, 56 & 60

Inside Front Cover Lot 5

CONTACT

info@lyonandturnbull.com

BUYER'S GUIDE

BUYER’S PREMIUM

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

26% up to £20,000

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

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

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

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

Ω Standard rate of import VAT on the hammer price

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

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

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.

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

This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to help you.

REGISTRATION

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

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

2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT

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

REMOVAL OF PURCHASES

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

CATALOGUE DESCRIPTIONS

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

IMPORT/EXPORT

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

ENDANGERED SPECIES

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

COLLECTION OF PURCHASED LOTS

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 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 Opayo) - details will be shown on your invoice.

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

MEET THE SPECIALISTS

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

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

Head of Jewellery, Edinburgh ruth.davis@lyonandturnbull.com

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

veronica.olszowska@lyonandturnbull.com

Veronica Olszowska FGA Sale Coordinator

Ruth Davis FGA DGA PjDip

BEHIND THE CARTIER CURTAIN

Sarah Duncan G.G. Head of Jewellery, London

There are so many parts of the jewellery world which fascinate me. I have been lucky enough to handle and learn from both exceptional and ubiquitous items, both of which can teach the jewellery historian a substantial amount. It has been a constant that the study of jewellery has been dominated by the wear, the end user as it were, as through them we see the jewels shining in the limelight.

However more and more I’m drawn to what’s happened behind the “curtain” or more accurately behind the workshop door. The French firm of Cartier has made jewels for kings, queens, maharajas, dukes, sultans, princesses and the modern royalty of Hollywood. However its worth remembering that the vast majority of all Cartier items sold were “made for stock”. Although this phrase can be seen as devoid of the glamourous indications of the above, to me it illustrates the ingenious and magnificent skills of the individuals who made these works of art.

Today the creation of a new jewellery line is composed more of focus groups and market research than of artistry. Prior to the 1960s most jewels came from the imagination and technical know-how of an individual or a small group of designers and goldsmiths working together.

As the daughter of a craftsman, this speaks to me so much more than the alien lives of “A listers” and rocks the size of plums. More and more I’m fascinated by those tiny, sometimes frustratingly poorly struck, navette shaped marks or poinçon de fabricant. These “marker’s” or “workshop” marks were legally required to be stuck on jewels manufactured and sold in France. Basic information on workshops in

the UK which the Cartier London branch relied on are at times available from the London Assay office. However generally speaking, information is scarce and rarely enough to understand the person behind the mark. Who were the genius men and women who dreamt up the Mystery Clock or figured out how to make metal look like lace? Coming from a Classical archaeology background, I used to joke that we knew more about 2nd century BC Athenian potters than we do about late 19th century goldsmiths.

Information about these workshops has in the past been fiercely protected by those lucky enough to have factual references. Most of us in the industry will have encountered a team member with libraries they wouldn’t share and when one would naively ask “how do we know that?” the response would be simply “because I do.” However, I personally feel that we’re lucky enough to be living through a change in the winds. Information is starting to emerge both in published works and digitally, however sadly not from the big corporate firms who still keep their archives very much behind lock and key.

In this catalogue, wherever possible, I’ve given the names of the workshops or maker’s and as much context as I can. This is by no means a comprehensive study and I’m hopeful that should I be lucky enough to revisit a large collection such as this in the decades to come, my knowledge and contributions will be significantly enhanced. A personal thanks must go to individuals such as Francesca Cartier Brickell and Judy Rudoe whose published works have shared so much information on this subject in particular.

TIMELESS DESIGN

Charles Tearle Head of Watches

When I began this journey into the vintage and luxury watch industry in 1990, it was prior to the increased popularity of oversized, ultra complicated watches. Vintage Cartier, with their hand-made cases and elegant design, were king. A 1970’s Rolex Daytona was considered too young to be truly collectable, yet a 1970’s Cartier London Tank was immensely desirable and valuable. Some of my fondest memories in those early years was listening to various collectors or dealers discussing the merits of a Cartier watch as a watchmaker would open it for them examining the hallmarks, the stamps, how it was made, all fascinating.

I was fortunate enough to meet a watchmaker who created those watches in 1960’s London workshops and listen to his stories, which is possibly a reason I’ve become so fascinated and enthralled with the brand. How Cartier differed from regular vintage watches was in their method of production, or rather, lack of production. Each watch, certainly in London, was made by hand. It would commence with a movement, the casemaker then made a case to fit it before it went to the dial maker, who made a dial to fit the case, finally, a hand-made specially designed convex and concave square dial was made to fit and sealed into place with wax. As each part was hand-made, nothing was pre-produced as minor variations would mean they wouldn’t necessarily fit together. This is an art that isn’t generally used today due to the cost.

To understand the importance and value of Cartier in the 1960’s, John and Jacqueline Kennedy and Andy Warhol wore a Cartier Tank, Princess Diana wore a Tank Francaise and in recent years numerous celebrities, such as Kanye West and Tyler the Creator have been seen wearing Cartier. It’s a brand for the creative. Personally, Cartier represents timeless design. The first watch they made in 1904, the Santos Dumont, is still a line in production today, as is the famous and undeniably popular Tank. Although Cartier manged to break into the competitive market of mechanical complications in watches, this was never their forte. With a return in demand for watches with style, Cartier has again surged in popularity and is in 2025 now second only to Rolex in watches exported from Switzerland. Fashion is a fickle thing, yet classics never, truly, go out of style.

The collection of mechanical items presented to you within this catalogue were intended to represent the life of Cartier as a brand, from a unique barometer created in 1930 to the relatively inexpensive Le Must de Cartier range of the 1980’s. We wanted to offer something for everyone and present it with an opportunity to be seen, handled and possibly owned, rather than presented simply on a printed page or within a locked cabinet. It’s been a pleasure to have met so many of the original owners of these pieces, or friends and family of the owners who cherished them so much. Thank you for allowing me to present them to the market in this format.

NOTES FROM THE CURATORS

REDISCOVERING CARTIER

By Rachael Taylor

When I was approached by my publisher to write a book on Cartier, my reaction was, naturally, one of excitement, but also of caution. Of course, I knew the maison. Who doesn’t? It is the jeweller of kings, the originator of the Love bangle, the purveyor of those gold-edged, red boxes of dreams. But I wasn’t sure what new ground I could cover, or frankly, how excited I was to tread it. Cartier felt almost too famous. What could I possibly learn and write that hadn’t already been said? Quite a lot, as it turns out.

Writing the book, Cartier: The Story Behind the Style, gave me a reason to really dig into Cartier’s past for the first time in my career as a jewellery writer. I trawled archives, examined jewels, pored over old auction catalogues, and read family stories (I would certainly recommend The Cartiers: The Untold Story by Francesca Cartier Brickell for anyone who wants to know more about the family itself). And what I found was a story so rich, so human, that it was hard not to fall under the brand’s spell. Cartier’s rise wasn’t inevitable. It was scrappy, bold, and deeply personal.

Take Louis-François Cartier, the man who started it all. Most know his name today as a master of luxury, but he was once a struggling Parisian apprentice from an impoverished family. Buying a small jewellery workshop on Rue Montorgueil in Paris in 1847 from his master Adolphe Picard was a huge gamble; something reflected in the maker’s mark he created, which had his initials, L C, separated with an ace of hearts playing card.

From these humble beginnings grew a global empire – one that would seduce maharajas, style icons, and heads of state. During my continued research, I learned about his grandsons – Louis, Pierre and Jacques –each wildly ambitious in their own way. These successors would be responsible for turning Cartier into an international brand that defined jewellery in the 20th century. Their mantra? “Never copy, only create.” And they meant it.

I discovered that innovation has always been Cartier’s true luxury. This was a maison that dared to make platinum chic, using it to set diamonds when it was still considered an industrial metal. A brand that invented a watch for a man who was busy inventing flight, Alberto Santos-Dumont, and in doing so sparked a trend for men to wear wristwatches for the first time (it had up until that point been an accessory for women). A luxury jeweller that succeeded in turning a simple nail – of the toolbox variety – into a precious fashion icon.

Also innovative was Cartier’s work with Jeanne Toussaint, who joined the firm in 1913 and later became its longstanding creative director,

Taylor is a British freelance jewellery journalist and regular contributor to a wealth of titles across the globe including The Financial Times, Marie Claire and Retail Jeweller. She is the editor-in-chief at Rapaport Magazine, and the author of six books on jewellery and watches, including Cartier: The Story Behind the Style.

staying with the house until the 1970s. The appointment of socialite, who was a shimmering light in the Café Society scene in Paris, was unusual in that it was almost unheard of for a woman to hold such a role. And the risqué move paid off. Toussaint was a magnet for the rich and famous, and also the mother of one of Cartier’s most iconic symbols: the Panthère. Her legacy still prowls through everything the brand does today.

I was also fascinated by Cartier’s relationship with India. Jacques Cartier didn’t just stumble across carved emeralds and Mughal motifs, he packed a Rolls-Royce, trekked through the Himalayas, and immersed himself in a culture that would radically reshape Western jewellery design. The Tutti Frutti style, now a collector’s dream, was born not from trend forecasts, but from curiosity and cultural exchange.

Perhaps most importantly, writing this book reminded me that even the most seemingly untouchable brands have beating hearts, complicated histories, and moments of reinvention. Cartier wasn’t always certain of its place in the world. But it consistently chose creativity over caution, and that is what made it iconic – something shines through in this dedicated auction, Cartier Curated, at Lyon & Turnbull.

So yes, I set out as a sceptic, but I finished enthralled. Cartier is not just a jeweller. It’s a storyteller. And as someone who tells stories for a living, that’s something I can very much get behind.

Rachael

1

CARTIER: AN AQUAMARINE AND DIAMOND BROOCH

CIRCA 1935

Designed as two demi-lunes, composed of oval-cut aquamarines and brilliant-cut diamonds, connected by a rectangular step-cut aquamarine, diamonds approx. 0.60 carat total, signed Cartier London, numbered, width 3.5cm

Provenance: Purchased in the 1930s from Cartier. The original owner was an English socialite who had a home in Kent and was good friends with Lady Vita Sackville-West, the well regarded author, who lived nearby at Knole House. Hence by descent.

£2,500-3,500

Following the US Stock Market Crash in 1929, the global economy felt the shockwaves. Although disproportionally affecting those in lower economic classes, the jewellery industry was not untouched. As prices, supply and demand for top coloured stones, such a rubies, sapphires and emeralds felt the repercussions, so to did the spending power of clients. Jacques Cartier chose to make a unique strategic move. For several years the three Cartier brothers subtly bought up the best quality aquamarines (as well as topaz) on the wholesale market. Jacques Cartier was particularly drawn to aquamarines, as well as topaz, as those stones lent themselves to the rectangular cuts which complimented the architectural style of Art Deco jewels. In order not to alert their competitors that they were planning new ranges of jewels featuring these “semi-precious” gemstones, they would acquire the best gems available, but never so much as to draw attention to themselves. Cartier’s aquamarine jewellery appears to have been predominantly produced from the London workshop starting in 1932. Several American clients ordered aquamarine jewellery specifically through the New Bond Street London premises. One of the most notable advocates for Cartier’s aquamarine collections was the famed American interior designer Elsie de Wolfe. She commissioned a striking aquamarine spiral halo tiara in 1935, and to complete the look, had her hair tinted blue to match. Due to their strategic gemstone buying in both London and Paris, when the Cartier store windows were filled with aquamarine and platinum jewels as well as topaz and yellow gold creations, their competitors found it almost impossible to find premium gemstones. If they were offered any, the gemstones would cost substantially more than the Cartier brothers had paid.

See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 263 and Cartier Brickell, Francesca, The Cartiers, Ballantine Books, New York, 2019, pages 323-325.

2

CARTIER: AN ART DECO ONYX AND DIAMOND COCKTAIL WATCH

CASE NO. 1532/5418/6133, CIRCA 1915-1920

Mechanical hand-wound 18 jewel movement adjusted to 8 positions, silvered dial with black numerals, tonneau-shaped platinum case, the bezel set with alternating borders of rose-cut diamonds and French-cut onyx, between collet-set old brilliantcut diamond lugs, with a diamond-set crown, gold reverse, later associated mesh bracelet with Swiss assay mark for 18 carat white gold, Dial signed Cartier, movement signed Cartier Paris, case numbered, French assay marks, Width 25mm, later bracelet adjustable

Provenance: From the property of an English Lady, a descendent of the original owner, this watch has remained in the same family from new and is offered for sale for the first time since purchased circa 1915.

Footnote: For a similar wristwatch which sold recently at auction, see Bonhams “Fine Watches”, London, 15 June 2022, Lot 37.

£6,000-8,000

3

CARTIER: AN ART DECO ONYX AND DIAMOND BROOCH

CIRCA 1920

Centrally set with a pyramidal-cut onyx, within an openwork geometric plaque set with single-cut diamonds, accented at the cardinal points with square step-cut diamonds, millegrain detail throughout, diamonds approx. 0.95 carat total, signed Cartier Paris Londres, numbered, French assay mark, length 2.6cm

Accompanied by a Cartier case.

£5,000-7,000

4 Y

CARTIER: A LARGE WHITE GOLD SQUARE WRISTWATCH “SANTOS DUMONT”, REF.2651, CIRCA 2008

Hand-wound mechanical movement, silvered dial with black Roman numerals, blued steel hands, 18 carat white gold square case, cabochon-set crown, on brown Cartier strap with 18 carat white gold Cartier adjustable deployant clasp. Case, dial and movement signed Cartier. Width 35mm. Accompanied by a Cartier case.

£3,500-4,500

5

CARTIER: AN AMETHYST AND DIAMOND CLUSTER RING EARLY 20TH CENTURY

The oval cabochon amethyst, within a single-cut diamond millegrain halo, between shoulders of similar design, to a thin band, diamonds approx. 0.30 carat total, amethyst very approx. 15.50 carats, signed Cartier, rubbed number, ring size Q

£5,000-7,000

6

CARTIER: A PAIR OF ART DECO DIAMOND EARCLIPS CIRCA 1930

In the Indian style, finely pierced and set with rows of baguette-cut diamonds, within a frame of brilliant, old brilliant and single-cut diamonds, diamonds approx. 5.20 carats total, signed Cartier London, clip fittings, length 1.9cm

£15,000-20,000

Footnote: The Indian and Islamic arts were a particular source of inspiration for all three of the Cartier brothers, Louis, Jacques and Pierre. They began integrating themes into their jewels and objects as early as 1910. Louis was a passionate collector of historical items and artefacts. Jacques’ enterprising travels throughout India, allowed him to develop a first hand understanding of the unique use of contrasting gemstones and traditional designs. In 1913 the New York branch created an exhibit of 50 items described as a “Catalogue of a Collection of Jewels Created by Messieurs Cartier from the Hindoo, Persian, Arab, Russian, and Chinese Arts”. Some of the firms most prestigious works come from the subsequent decades incorporating themes extrapolated from traditional designs found in Indian art.

See Tise-Isoré, Suzanne (editor), Cartier: The Power of Style, Flammarion, 2010, page 85.

Although Cartier mystery clocks are exceedingly rare and highly sought after, very few barometers are known to have been made. An almost identical example, very possibly the twin of this version, in the same design except with black dial text in French, was sold by Christie’s in 2011.

Following the early success with the Santos wristwatch, Louis Cartier began to focus more on the creation of wristwatches and clocks. In 1911 he hired Maurice Couët with whom he would go on to design and manufacture some of the most innovative clocks ever made.

Louis’ idea for the “Mystery Clock” was a transparent clock where the hands seemed to hover in mid-air devoid of an elaborate dial. It took over a year for the Parisian workshop to create a clock Louis was happy with. The first models appeared in 1912. They mystery of how they worked was a such a closely guarded secret that even the Cartier sales team were not informed; hence their genuine wonder was communicated to potential buyers. Couët’s team used fine rock crystal to created the see through dial and placed the mechanism in the base. By dedicating a whole year to the creation of an item, the final cost was understandably substantial. Unsurprisingly then J.P. Morgan, the American financier and banker, was one of the first to buy the new creations.

The technical difficulties of adapting a clock housing to suit the functionality of a barometer were notable and could explain why this example is a “demi mystery” with a thin line visible connecting the hands to the base. Cartier sourced barometer components from Europe to fit into the form of the mystery clocks being made at this time.

This particular barometer follows the form of the second type of clocks made. “The second type, with a central axle and a dial that was often hexagonal in shape… was made from 1920 to 1931.” see Chapman, Martin, Cartier and America, the Fine Art Museums of San Francisco, 2009, page 147. Therefore it’s plausible to suggest this barometer was made in the Couët workshop.

7 Y

CARTIER: A ROCK CRYSTAL, SILVER, CORALLIUM RUBRUM, BLACK AND RED LACQUER DEMIMYSTERY BAROMETER

ALMOST CERTAINLY UNIQUE. NO. 2725, 1930

Dodecagon shaped transparent dial with barometer readings in white, titled ‘Weather, Worse-Better’ with relevant arrows, further signed ‘Atmospheric Pressure relevant to Sea-Level’, central recording hand set via a coral corallium rubrum cabochon, atmospheric pressure displayed via a central hand connected via a chain through a rock-crystal pedestal to the aneroid barometer movement within the base. Brass bottomplate, black and red lacquer base and upper edge. Dial signed, baseplate signed Cartier Paris Londres New York, Made in France, and numbered. Height 15.2cm Accompanied by a later fitted case as well as a Cartier Certificate of Authenticity signed by Bernhard A. Berger stating that the barometer is a genuine Cartier item, sold by Cartier London, 1930. Certificate dated 2008.

£25,000-35,000

April Matteini, GG

April is the Senior Vice President and Head of the Jewelry Department for Freeman’s Hindman Auctioneers in the United States of America. April has more than 25 years of jewelry appraisal and auction house experience. Previously she served as Bonhams Vice President for the Florida region and as the Regional Director for Skinner Auctioneers.

Dianne Batista

Dianne is the is Senior Vice President of Jewelry & Watches at Freeman’s Hindman Auctioneers in the United States of America. Dianne has 30 years experience in fine jewelry. She was the Director of Jewelry & Watches and Senior Specialist at Rago/ Wright Auction House. Prior to that she consulted independently as Archive Manager at David Webb, and was a Senior Jewelry Specialist at Christie’s. In the retail jewelry sector, she was the US Head of Dior Fine Jewelry and Cinta Jewelry Director at John Hardy. She has lectured extensively and has appeared as an original jewelry expert on PBS’s Antiques Roadshow.

CARTIER ACROSS THE POND

A RECENT AUCTION FOCUS

The American love of Cartier jewelry predates the legendary 1917 acquisition of the company’s landmark home on Fifth Avenue in New York, which was made in a trade for a natural pearl necklace. Today’s jewelry collector has a fondness for Cartier, which might not be a strong enough word to convey the desirability of the famed jewelry house. It may manifest itself in the extraordinary prices paid at auction for a whimsical stick pin, the ubiquitous “Love” bracelet, or a “Trinity” rolling ring, which recently celebrated its 100th anniversary. However, when unique, period pieces come across the block, true excitement starts to build. The recent Freeman’s Hindman Important Jewelry auction had two such lots, which were a privilege to bring to market. At the heart of it all is the Cartier style, known as ‘a la Cartier’, characterized by unparalleled attention to detail.

Cartier, Art Deco, Platinum, Diamond, Pearl, and Enamel Crane earrings

Estimate: $30,000 - 50,000

Price Realized: $76,700 (inc. prem.) March 2025

The Belle Epoque (1871 – 1914) ‘Garland’ jewels are some of the rarest and earliest Cartier pieces and seldomly seen at auction. When supported by a known provenance, they are even rarer. This Cartier ‘Plaque de Cou’ is a textbook example of the period epitomizing Belle Epoque design. The plaque delicately threads on a black velvet ribbon to be worn as a dog collar necklace. The Cartier ‘Garland Style’ is so elegantly defined by diamond wreaths, foliage, and swags set in platinum. Unique to this piece and telling of early Cartier, is the use of white enamel along the border. This necklace dates circa 1905. The influx of diamonds and the advent of platinum use allowed jewelers to craft jewelry that resembled delicate lace with an emphasis on lightness and intricacy. This necklace also has pedigree provenance, from the Collection of Sarah Helen Frelinghuysen Davis McCawley, thus by descent. The Frelinghuysen family traveled in the elite circles of American Gilded Age society with the Vanderbilts, Astors and in this case even with the Pulitzer Prize winning author Edith Wharton. From a Northern California collection, the Cartier Art Deco Crane earrings exemplify the characteristics of jewelry from the first

quarter of the 20th century, marking a notable transition away from the garland style of the early century. The length and shape of the earrings, intended to be worn with the short bob haircut popular at the time, are in line with the prevailing black and white jewelry designs of the era. They are primarily composed of white diamonds and platinum, with delicate black enamel accents, and the craftsmanship was just as fine on the back of the earrings as on the front. Displaying a distinctly Asian influence, which was popular in design immediately after World War I. The cranes, symbols of good fortune, delicately dangle from the ear, and the pearl drops sway elegantly in tandem with the body of the earring, like a bird in flight. Jewels like these are found today in the secondary market and are rare finds on a good day. The scholarship and appreciation for the Cartier legacy will only continue to widen and will be seen this spring with the important exhibition at the Victoria & Albert Museum titled “Cartier.” We are grateful to our partners at Lyon & Turnbull, especially Sarah Duncan, for the invitation to share Freeman’s Hindman recent successes selling these two exquisite jewels.

Cartier, Belle Époque, Diamond, Enamel, and Platinum ‘Plaque de Cou’, circa 1905

Estimate: $15,000 - 25,000

Price Realized: $102,100 (inc. prem.) March 2025

8 Y

CARTIER: A BLACK SUEDE HANDBAG WITH A CORAL AND DIAMOND CLASP CIRCA 1935

In the envelope style, the rose-cut diamond keyhole in an Indian motif, to a coral corallium rubrum bead, carved with a geometric pattern and inset with a rose-cut diamond, signed Cartier Paris, partially struck maker’s mark, French assay mark, width 19.2cm

£3,000-5,000

In 2012, a similar style of handbag appeared at auction in California from the Estate of Hazel Forbes Richmond, a star of the silver screen. According to family repute, the Cartier bag was a gift from Ambassador Joseph P. Kennedy sometime after 1938. That bag had a hand and flower clasp in the style of lot 9. See Bonhams, Fine Jewellery, San Francisco, 19th April 2012, lot 120.

Handbags have been made by Cartier since the start of the 20th century; at times of solid gold or heavily diamond-set, perhaps made of exotic brocades and even just timelessly chic in classic black. When Louis Cartier asked Jeanne Toussaint to come to work for him within Rue de la Paix, she worked in the handbag department and was respected for her ingenious and economical use of expensive fabrics.

9 Y

CARTIER: A CORAL AND DIAMOND FLOWER BROOCH CIRCA 1940

The coral corallium rubrum hand, adorned with a rose-cut diamond cuff and a collet-set brilliant-cut diamond ring, grasping the black enamel stem of a daisy, the pistil composed of an onyx bead inset with a brilliant-cut diamond, signed Cartier Paris, maker’s mark RM, numbered, French assay mark, length 4.6cm, Accompanied by a Cartier case.

A brooch of similar design is illustrated in Chaille, François, The Cartier Collection; Jewelry, Flammarion, 2004, page 364.

£6,000-8,000

CARTIER: A SILVER AND ROSE GOLD TRAVEL CLOCK

CIRCA 1930

Jewelled mechanical hand-wound movement, white enamel dial with painted numerals and inner red 24 hours, painted skeleton hands, hinged inner, hinged clam-form silver case with inlayed contrasting stripes, blank cartouche, dial and movement signed Cartier, maker’s mark GD, dimensions when closed 82mm wide x 89mm deep x 18mm high. Accompanied by a fitted Cartier case.

£2,000-3,000

11 Y

CARTIER: A WHITE GOLD SELF-WINDING RECTANGULAR WRISTWATCH WITH DATE “TANK AMERICAINE”, REF.2490, CIRCA 2000 Automatic movement, guilloché silvered dial, 18 carat white gold rectangular case with cabochonset winding crown, on black strap with 18 carat white gold Cartier buckle. Dimensions 23 x 42mm.

£3,000-5,000

CARTIER: A GOLD SELF-WINDING RECTANGULAR WRISTWATCH WITH DATE

“TANK AMERICAINE”, REF.2438, CIRCA 2000

Automatic movement, guilloché silvered dial, 18 carat yellow gold rectangular case with cabochon-set winding crown, on black strap with 18 carat yellow gold Cartier deployant buckle. Dimensions 23 x 42mm.

Accompanied by a Cartier case.

£3,000-5,000

13 Y

CARTIER: A GOLD TONNEAU SHAPE WRISTWATCH

LOUIS CARTIER COLLECTION “SQUARE INCURVEE”, REF.78101, CIRCA 1980

Mechanical hand-wound movement, white dial with black Roman numerals, blued steel hands, 18 carat yellow gold tonneau shape case, cabochon-set crown, on black Cartier strap with yellow gold deployant buckle. Case, dial and movement signed Cartier. Dimensions 27 x 32mm.

£2,500-3,500

Launched in 1973 as part of the ‘Louis Cartier’ collection of twelve new watches, the Square Incuvee Ref.78101 is also referenced popularly as the ‘Cartier Faberge’, although this moniker is not noted in literature on the subject.

The same model can be found in the Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 471, listed as being made by Cartier Paris in 1973 and labelled as a ‘Square Incurvee’.

14 Y

CARTIER: AN OVERSIZED GOLD SQUARE WRISTWATCH

LOUIS CARTIER COLLECTION “SQUARE”, REF. 97051, CIRCA 1977

Cal.978 mechanical hand-wound movement, white dial signed Cartier Paris, rectangular 18 carat yellow gold case with stepped bezel, cabochon-set winding crown, on green strap with 18 carat gold Cartier buckle. Dimensions 38 x 34mm.

Accompanied by a Cartier service pouch.

£10,000-15,000

The Cartier ‘Square’, Ref.97051 is known by many names including the Jumbo, TV and Gondole Horizontale. Launched in 1973 as part of Cartier’s ‘Louis Cartier’ collection of twelve new models, the line-up also included the Tank Normale Ref.78092 (see lot 32) and the Square Incuvee Ref.78101 (see lot 13). The large proportions of the Square model, measuring 38 x 34mm, was by far the largest sized watch within the twelve piece collection. Research of case numbers that have subsequently appeared publicly, would suggest limited numbers were manufactured. Possibly due to its large size and limited appeal when released, the model today represents the almost eccentric style of the 1970s.

The same model, titled ‘Square Wristwatch’ and attributed to 1973 is illustrated in Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 470.

Louis

is “a subtle magician who captures fragments of the moon on a thread of the sun”

Jean Cocteau

15

CARTIER: A ‘TRINITY’ RING

The three interconnecting 18 carat tri-coloured gold bands, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, Cartier size 50 Accompanied by a Cartier case.

£300-500

Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.

As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger.

The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.

16

CARTIER: A ‘TRINITY’ BANGLE

Designed as three interconnecting tri-coloured gold bands, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, inner diameter 6.0cm Accompanied by a Cartier case.

£2,000-3,000

In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.

Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (tripleringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.

17

CARTIER: A DIAMOND ‘TRINITY’ RING

Each tri-coloured band set throughout with brilliant-cut diamonds, diamonds approx. 1.80 carats total, signed Cartier, maker’s marks CJ, numbered, French assay marks, Cartier size 48

£3,000-5,000

18

CARTIER: A SEVEN-BAND ‘TRINITY’ RING

The seven interlocking tri-coloured bands, signed Cartier, ring size M

£400-600

In 1925 American Vogue ran editorial on Cartier’s new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York’s top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base.

Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.

Edward VIII wearing his Cartier Trinity ring, seen here with Wallis Simpson wearing her Cartier cross bracelet. Summer 1936.

Image: Classic Image / Alamy Stock Photo

CARTIER: A GOLD NECKLACE BY GEORGES LENFANT WITH A DETACHABLE IMPERIAL TOPAZ AND DIAMOND CLUSTER

1960

The 18 carat gold necklace of polished and matte woven design in a herringbone pattern, featuring a detachable spacer that converts into a brooch, centrally set with a step-cut topaz, each of the four claws buttressed by a baguette-cut diamond, within an oval angled surround pavé-set with brilliant-cut diamonds, diamonds approx. 4.50 carats total, topaz approx. 24.50 carats, necklace signed Cartier, maker’s mark GL for Georges Lenfant, numbered, maker’s mark JC and London import mark, brooch unsigned, lengths: necklace 37.3cm, brooch 3.3cm

Accompanied by a fitted Cartier case.

Footnote: The design of this brooch is identical to two which featured in a Cartier necklace previously sold at Christie’s sentinel auction “Jewellery and Objects by Cartier” held in Geneva on the 25 May 1993, lot 799. As with this example, that necklace was unsigned but was presented with a catalogue footnote “Although not signed, this necklace was purchased by the present owner at Cartier, London in July 1962”.

£30,000-40,000

Please note this lot will be subject to VAT of 5% on the hammer price.

Georges Lenfant (sometimes seen as “L’Enfant”) and his son Jacques Lenfant are regarded as some of the most skilled goldsmiths of the 20th century. Their distinctive work is now highly sought after by collectors. However, throughout their careers they operated behind the scenes, making exquisite jewellery for the famous Parisian jewellers of the Place Vendôme and Rue de la Paix. He was a workmaster for Cartier, as well as making creations for Mellerio, Hermès, and Van Cleef & Arpels amongst others.

Born into the jewellery trade, Georges Lenfant set up his own workshop around the turn of the last century. In 1903 he was listed in the ‘Revue de la Bijouterie, Joaillerie, Orfèvrerie’. By 1909 he had registered his distinctive maker’s mark.

In 1915 Jacques Lenfant began helping in his father’s workshop at just 11 years old. He continued his education studying in France, Germany, Austria and England before formerly joining the company in 1927. Following the Second World War, Jacques took over control of the company. It was Jacques who in the late 1950s pioneered the now iconic woven and textured goldsmithing techniques for which the house became world famous.

Jacques Lenfant died in 1996 and the company was subsequently purchased by Benjamin Leneman in 1998, thereafter becoming the Bouder workshop. Jacques teaching roles at the Chambre Syndicale de la Joaillerie, Bijouterie et Orfèvrerie were testament to his dedication to goldsmithing education. In 1980 he created an award to celebrate top students, which is still awarded today. He also wrote the book Le Livre de la Chaîne, which was commissioned by the Chambre Syndicale, but was sadly only published posthumously in 1996.

The pattern of this necklace is identified in Le Livre du Chaine as “Tissu Polonais Presse Empire Relief” or Polish Press Empire Relief Fabric, see page 90. This was a term Lenfant used to describe a distinct type of woven gold chain designed as an homage to patterns in traditional Polish and Milanese fabric.

20

CARTIER: A STAINLESS STEEL AND GOLD TONNEAU SHAPE QUARTZ WRISTWATCH WITH DATE “ROADSTER”, REF.2675, CIRCA 2010

Quartz movement, two-tone silvered dial, with black Roman numerals, luminous hands, date aperture, stainless steel tonneau shape case with gold bezel, on steel and gold Cartier bracelet with double folding clasp. Case, dial and movement signed. Dimensions 31 x 37mm.

£1,200-1,700

21

CARTIER: A PAIR OF TRI-COLOURED CUFFLINKS

Each rectangular plaque composed of tri-coloured batons, to a T-bar terminal, signed Cartier, numbered, Swiss assay marks, width of plaque 1.7cm

Accompanied by a Cartier pouch.

£500-700

22

CARTIER: TWO GEM-SET BIRD BROOCHES

CIRCA 1990

Both designed as a bird in flight, 1st: Set with coral corallium rubrum wings, an oval cabochon chrysoprase body, blue enamel tail and head collet-set with a circular-cut ruby eye, 2nd: The body formed of an oval cabochon lapis lazuli, a green enamel head collet-set with a circular-cut ruby eye, to polished wings and tail, both signed Cartier, maker’s marks, numbered, French assay marks, lengths 2.3cm and 2.3cm (2)

Accompanied by a Cartier box and one brooch has a Cartier certificate of authenticity dated 1993.

£10,000-15,000

Cartier has a long history of the use of birds in their creations. One of the most famous examples was of a caged bird created in the Paris workshops during the German occupation in the Second World War. A large number of Cartier’s employees in France, England and America served in the war, but the Paris branch remained open or risked financial ruin. As a subliminal form of protest against the Nazi occupation, they created a bejewelled bird within a golden cage. Following the liberation of Paris in August of 1944, the brooch was transformed into a oiseau libéreé or a freed bird released from a cage. Cartier continued to produce stylised bird brooches throughout the 20th century.

23

CARTIER: A GOLD QUARTZ BRACELET WATCH

“COLISEE”, REF.8057911, CIRCA 1990

Quartz movement, silvered dial with black Roman numerals, blued steel hands, cabochon-set crown, 18 carat yellow gold circular case, on 18 carat yellow gold Cartier bracelet with folding clasp. Case, dial, movement and clasp signed. Diameter 24mm.

Accompanied by a Cartier case.

£2,000-3,000

24

CARTIER: A GOLD ‘C DE CARTIER’ CUFF

CIRCA 1985

The rigid cuff of 18 carat white, yellow and rose gold, to terminals of polished gold ‘C’s, signed Cartier, numbered, European assay mark, Swiss assay mark, inner diameter 5.8cm Accompanied by a Cartier case and certificate of authenticity dated 1988.

£1,200-2,500

25

CARTIER: A PAIR OF LAPIS LAZULI CUFFLINKS

Each designed as a stylised “Y”, featuring circular cabochon lapis lazuli, within a tiered bezel of geometric decoration, signed Cartier, numbered, length 3.1cm Accompanied by a Cartier case.

£1,000-1,500

The Cartier Tank was “France’s greatest gift to America since the Statue of Liberty”

John

F. Kennedy

The Tank model is without doubt Cartier’s most famous wristwatch. The original design, created in Paris around 1918, invokes what would have been the all too fresh vision of tracks from a First World War Tank. Allied Tanks first appeared in 1916 and the famous Renault FT (a French light tank) came into service in 1917. Louis Cartier served in the First World War, and although his connections kept him from infantry service in the trenches, he did make frequent trips to the front line as part of his military duty. He would have witnessed these tanks in action first hand and they allegedly were the inspiration for Cartier second line of wristwatches.

It is claimed that Cartier made the first gentleman’s wristwatch in 1904: the Santos Dumont. Prior to the 20th century, a gentleman would carry a pocket watch while wristwatches were actually made for women; effectively a bracelet with a tiny clock positioned inside. The idea of a man wearing this type of “jewellery” was largely frowned upon, until war leant the necessity of strapping your pocket watch to your wrist. Early wristwatches were even marketed as military watches. The difference between those early military watches, which were basically small pocket watches, and Cartier’s output, was the way the case was made. Using a jeweller’s eye and creative thinking, Cartier approached how to build a watch case very differently. The upper and lower cases were created by master jewellers to fit snugly together, with gold blocks at in the corners. The two pieces are then secured via gold screws holding them together with a further two long screws used to attach the strap. This technique remained unchanged until recently. The relevance of the cabochon sapphire set winding crown, an unnecessary dedicant touch, was presumedly an elegant way to remind the wearer that they were wearing a Cartier watch, the work of a jeweller.

The Tank model can be credited with being instrumental in changing public perception of the wristwatch. With its powerful military connotations and masculine inspiration, its very design made watches more appealing to men.

In 1929 Rudolph Valentino, a devoted fan of the Tank, stared in the movie ‘Son of the Sheik’. He reportedly refused to remove his own Cartier Tank in the movie, pure marketing gold for Cartier. However, close examination of photographs suggest it may not have been a Cartier Tank he was wearing afterall.

In 1922 the Tank Louis was launched, with narrower, more rounded sides and slightly, softer, dimensions. This would became possibly the most popular and famous version of the Tank, especially favoured by women. Jacquline Kennedy Onassis regularly wore a Tank model from 1965 until the early 1970’s. Later, Princess Diana famously wore a Cartier Tank Francaise on a bracelet. Another famous figure who helped reinforce Cartier, and the Tank, as the preferred option for those who defined style was Andy Warhol, who once said, “I don’t wear a Tank to tell the time. In fact, I never wind it. I wear a Tank because it’s the watch to wear.”

In 1973 Cartier sought to reach a whole new demographic by expanding its offerings with the creation of the ‘les Must de Cartier’ range, including a more cost effective gold plated option Tank, set with a quartz movement (See lots 28 and 29). In London this range was originally even sold out of a separate entrance on Albemarle Street to allow for a more informal shopping experience. The original 1918 design, with heavy sides and rounded profile, would also be reissued in 1973 and thereafter referred to as the Tank Normale (see lot 32).

The Tank has become central to the popularity of the Cartier brand. Watch trends have moved towards smaller, more elegant and stylish designs over recent years. The Tank’s appeal is due to its proportions, suiting both men and women equally. It is somehow able to suit wrists large or small in equal measure and looks just as good with jeans and a sweater as with evening wear.

Charles Tearle Head of Watches

“I don’t wear a Tank to tell the time. In fact, I never wind it. I wear a Tank because it’s the watch to wear.” Andy Warhol

Jackie Kennedy, 1965. Image: Album - Alamy Stock Photo

CARTIER: A GOLD RECTANGULAR WRISTWATCH

“TANK”, NUMBERED 10311, 7746, HALLMARKED LONDON 1964

Hand-wound mechanical movement, white dial with black Roman numerals, blued steel hands, 18 carat yellow gold rectangular case hallmarked to the inside, on black strap with 18 carat yellow gold Cartier deployant buckle numbered 1138 and hallmarked London 1964. Dial signed, case stamped JC and numbered, movement signed Jaeger LeCoultre. Dimensions 18.5 x 26mm.

Accompanied by a Cartier London insurance document dated 1978.

Provenance: From the family of the original owner, London based British actress and model Julie Alexander (1938-2003)

£4,000-6,000

Julie Alexander (1938-2003) was a British model and actress in the late 1950s and early 1960s. On leaving school she undertook clerical work to pay for drama lessons and then began her career as a model and in TV advertising. By the late 50s she was working in films and amongst other glamourous roles, she was probably best known for playing Rosalie Dawn, in The Pure Hell of St Trinian’s (1960). She retired from acting in 1962.

In 1979 Alexander married Robert Breckman, a theatrical accountant. The couple founded and funded the Julie and Robert Breckman Centre at the PDSA PetAid hospital in Romford which opened in 1999. The Romford centre held memorabilia from Julie Alexander’s modelling and acting career as well as a collection of specially commissioned artwork. In 2000, Julie and Robert Breckman donated the most important examples from their collection of prints by Francesco Bartolozzi as well as their collection of Staffordshire ceramics, to the Victoria & Albert Museum. The Julie and Robert Breckman Staffordshire and Print Fund was also established at the V&A. Their donation included an example of a print in its original frame, Bartolozzi’s ‘Apotheosis of a Beautiful Female’ of 1797 (V&A Accession no: E.933-2000). The Julie and Robert Breckman Prints and Drawings Gallery at the V&A Museum opened in 2005.

Julie Alexander on the set of The Pure Hell of St Trinian’s, 1960. Image: Everett Collection Inc - Alamy Stock Photo

27 Y

CARTIER: A RECTANGULAR GOLD WRISTWATCH

“TANK”, NUMBERED 9906, 6976, HALLMARKED LONDON 1965

Hand-wound mechanical movement, white dial with black Roman numerals, blued steel hands, 18 carat yellow gold rectangular case, cabochon-set crown, on brown strap with 18 carat yellow gold Cartier deployant buckle numbered 0789 and hallmarked London 1965.

Dial signed, case stamped JC and numbered, movement signed Cartier.

Dimensions 23.5 x 31.5mm.

£8,000-12,000

This watch has never been offered for sale since purchased by the original owner from Cartier London in 1965.

28 Y

LES MUST DE CARTIER: A RECTANGULAR QUARTZ WRISTWATCH

“TANK”, REF.366001, CIRCA 1980

Quartz movement, burgundy coloured dial with gilt hands and double C logo, rectangular silver and gold-plated case, cabochon-set crown, on burgundy Les Must de Cartier strap with gilt buckle. Case, dial and movement signed Cartier. Width 21mm.

Accompanied by a Cartier service pouch and Cartier service receipts dated 1999 and 2004.

£500-700

The Les Must de Cartier Tank with entwined double C logo on a burgundy dial has become one of the most classic examples of the Les Must de Cartier range. Launched in 1973 the gilt silver range was created to appeal to a larger clientele at a lower price point. A similar example dated to 1977 is illustrated in Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 473.

29 Y

LES MUST DE CARTIER: A LARGE RECTANGULAR QUARTZ WRISTWATCH WITH DATE

“MUST TANK XL”, REF.2413, CIRCA 2000

Quartz movement, white dial with repeated double C logo, plain white chapter ring with grey numerals, date aperture, blued steel hands, centre seconds, gold-plated silver rectangular case, cabochon-set crown, on brown strap with gilt stainless steel adjustable Cartier deployant buckle. Case, dial and movement signed Cartier. Width 26mm.

Accompanied by a Cartier box.

£1,000-1,500

The oversized Les Must de Cartier Tank with centre seconds and date is one of the rarest examples of Tank model from the series.

CARTIER: A STAINLESS STEEL AND GOLD QUARTZ WRISTWATCH

“TANK FRANCAISE”, REF.2384, CIRCA 2000

Quartz movement, silvered dial with black Roman numerals, blued steel hands, stainless steel case with cabochon-set crown, on two-tone steel and gold Cartier bracelet with double-folding clasp. Case, dial and movement signed. Width 20.5mm.

Accompanied by a Cartier case, instructions, service booklet and Cartier service warranties dated 2004 and 2010.

£1,200-1,700

31 Y

CARTIER: A YELLOW GOLD RECTANGULAR WRISTWATCH

“TANK LOUIS”, REF.78086, CIRCA 1980

Mechanical hand-wound movement, silvered dial with black Roman numerals, blued steel hands, 18 carat yellow gold rectangular case, cabochon-set crown, black Cartier strap, 18 carat yellow gold Cartier deployant buckle. Case, dial and movement signed Cartier. Dimensions 23.5 x 30mm.

£3,000-5,000

32 Y

CARTIER: A GOLD MECHANICAL RECTANGULAR WRISTWATCH

LOUIS CARTIER COLLECTION “TANK NORMALE”, REF.78092, CIRCA 1975

Hand-wound mechanical movement, white dial with black Roman numerals, blued steel hands, 18 carat yellow gold rectangular case with French assay marks, cabochonset crown, on strap with 18 carat yellow gold Cartier deployant buckle. Case, dial and movement signed Cartier. Dimensions 23 x 30mm.

£15,000-20,000

Launched in 1973 as part of the Louis Cartier Collection of twelve watches as the ‘Tank Normale,’ Ref.78092.

The model was based on the original Cartier Paris Tank with a slightly thicker case and wider sides, more closely resembling the proportions of a Tank land craft that inspired the original design. Made in very limited numbers, it is plausible the Tank Normale wasn’t as popular as the more refined Tank Louis, hence their rarity today.

The same model, titled ‘Tank Normale Wristwatch’ and attributed to 1973 is illustrated in Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 467.

WATCHING CARTIER

By Chris Hall

Chris Hall is a freelance writer and editor specialising in watches. His work has been published in the New York Times, Financial Times, Esquire, Wired, Wallpaper and many other titles.

He is also the founder of The Fourth Wheel, a weekly newsletter dedicated to the world of watches.

Collecting vintage Cartier watches is quite far removed from the socalled ‘typical’ watch collecting experience. It does not lend itself to an obsession with reference numbers, for example, and while details do always matter, vintage Cartier enthusiasm has not given rise to the kind of extreme focus on dial design that can add one or two zeroes to the price of a Rolex or Patek Philippe.

Perhaps most significantly, for the vast majority of its history Cartier has not been feted for its movements. It is not so much the fact that for the entirety of the 20th century it relied on calibres from other watchmakers - it frequently drew on the best movements available, from the likes of Jaeger-LeCoultre (and its predecessor, Jaeger, with whom Cartier teamed up to make the prosaically named European Watch & Clock Company), Vacheron Constantin, Audemars Piguet and so on. It is more that for Cartier, mechanical excellence was never the primary narrative. It did not concern itself with perfecting the perpetual calendar or the tourbillon, but with something far more universal: style. Once you have accepted that, the truth is that Cartier watches hold phenomenal attributes for the vintage collector. In the Santos-Dumont and Tank it has the two oldest wristwatch designs in production. It has the depth and history to reward the true perfectionist, willing to hunt for ‘the one’, and it has sufficient variety to appeal to newcomers or more eclectic collectors. With its unique history of operating in three almost-independent divisions in Paris, London and New York it has a glamour, intrigue and subtlety to its back catalogue that entices veteran collectors, who will appreciate the individual narratives that gave rise to such well-known designs: the Tank and Santos-Dumont from Paris; the Crash, Pebble and Maxi Oval from London. Most of all, vintage Cartier is represented by a modern brand that is operating at the absolute height

of its powers, impeccably aware of its place in horological history and a careful custodian of its iconic designs.

And yet there is a paradoxical nature to the modern-day brand, in that it has mastered the most difficult of tasks: remaining extremely desirable while achieving widespread commercial success. Ranked by Morgan Stanley as the second-largest watchmaker in the world, after Rolex, the availability of Cartier’s staple designs has done nothing to diminish its lustre. In fact, you could argue it has only intensified the appeal of vintage Cartier, which is vastly rarer. Until the 1960s, annual production for wristwatches is estimated to have been fewer than 1,000 pieces a year.

At this point, led by the energetic Jean-Jaques Cartier in London, Cartier watchmaking - as opposed to jewellery, which remained its primary business - really began to take off, both creatively and commercially as the brand repositioned itself to cater to a new clientele of actors, rock stars and socialites of the Swinging Sixties. The designs that have captured the imagination in recent years were actually a bit too daring for most - but the Tank Louis Cartier achieved new levels of popularity. It became the ‘it’ watch for artists and aristocrats alike, from Andy Warhol to Jackie Kennedy - and one look at our example from 1964 and 655 (See lots 26 and 27) is enough to understand why.

Cartier Paris was not to be outdone, responding with its own designs that yet again epitomised the brand’s ability to play with shapes and create elegant dress watches. In a surprising turn - no pun intended - for anyone believing that Jaeger-LeCoultre has something of a monopoly on rotating cases, Cartier made its own reversible pieces in the 1970s. Less idiosyncratic perhaps than the Tank Basculante of the 1930s, but less fragile and more wearable as a result. Alain Delon was a fan. With a second display on its underside, the watch could display two different time zones; you can characterise it as a design in Cartier’s classic tradition or as a reaction to the turmoil that had begun to affect the entire watch industry, depending on your perspective. It was undeniably a tumultuous time for Cartier: the fourth generation of the family had sold the business, and in the 1970s all three ‘temples’ were reunited under the same ownership. At the same time, manufacturing operations for Cartier watches moved to Switzerland, never to return. The next decade would see remarkable shifts for the business, which was ultimately kept afloat by licensing deals for everything from cigarette lighters to sunglasses and even the Lincoln Continental coupé. On a horological front, it introduced the Must de Cartier range, which brought the Tank’s familiar lines to new audience and eventually proved successful enough for the brand to reign in the widespread use of its name and consolidate its business on watches and jewellery once more.

For the collector, however, the 1970s holds perhaps the richest seam of Cartier designs - certainly the most characteristic and individual. The brand’s ability to introduce new shapes over the decades has been one of its enduring strengths - take for example the Pasha, Ballon Bleu or even the Roadster, a 21st-century spin on its timeless tonneau silhouette - but the 1970s collections push things into more polarising territory. In today’s market, that bold character is in high demand, be it in the form of the fluid organic lines of the Coussin “Bamboo” or the more approachable Gondolo, which came in both ‘portrait’ and ‘landscape’ iterations. The wider version, an example of which can be found in this auction (See lot 14) is a perfect bridge between Cartier old and new - at once entirely of its age, and also entirely timeless. And that really is Cartier in its essence.

“I wanted something no one could take away from me. I was searching for a permanent symbol of love.”

Aldo Cipullo

CARTIER: A ‘LOVE’ BRACELET

The polished bangle, decorated throughout with screwhead motifs, signed Cartier, numbered, Cartier size 16 Accompanied by a Cartier case and screwdriver.

£3,000-4,000

Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created.

In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.

When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.

Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially.

To market the Love Bangle’s release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.

Gary Bernstein’s photograph of Aldo Cipullo’s Love Bracelet at the Museum of Modern Art, New York City.

34

CARTIER: A PLATINUM “LOVE” RING

Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59

£400-600

35

CARTIER: A DIAMOND ‘LOVE’ BANGLE

The polished bangle accented at intervals with alternating screwhead motif and brilliant-cut diamonds, signed Cartier, maker’s mark, numbered, Cartier size 19 Accompanied by a Cartier case, box and screwdriver as well as a certificate of authenticity dated 2016.

£4,000-6,000

The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamondset versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it’s popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide.

It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles’ design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.

For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.

Elizabeth Taylor wearing her Love Bangle, 1972 Image: Everett Collection Inc / Alamy Stock Photo

36

CARTIER: A GOLD AND SILK HANDBAG

1966-67

The reeded 9 carat gold spine featuring two ropetwist loops, to a ribbed black silk exterior, several compartments to the interior and a coin purse, signed Cartier Ltd. London, maker’s mark JC, London hallmark, handle detached, width 22.8cm Accompanied by a Cartier case.

£2,000-3,000

Handbags have been made by Cartier since the start of the 20th century; at times of solid gold or heavily diamond-set, perhaps made of exotic brocades and or even just timelessly chic in classic black. When Louis Cartier asked Jeanne Toussaint to come to work for him in Rue de la Paix, she worked in the handbag department and was respected for her ingenious and economical use of expensive fabrics. In the 1960s Cartier London, under the changing tastes of clients at the time, created a range of bags for the first time featuring detachable gold chain straps, these were frequently made in both 9 carat as well as 18 carat gold. The bags were available in three versions, all in black; one in leather, one in ribbed silk and another in plain black silk. More premium examples included exotic skins such as crocodile. Princess Margaret and Elizabeth Taylor were amongst the many wealthy fashionable owners of such bags.

37

CARTIER: A GOLD TIE PIN

1978

Designed as a 9 carat gold safety pin, signed Cartier, maker’s mark C&F for Cropp & Farr, London hallmark, length 4.5cm

Accompanied by a Cartier case.

£100-200

Croop & Farr were known suppliers to Cartier’s London store beginning in the 1920-30s. Jacques Cartier set up English Art Works in 1922 to train goldsmiths and craftsmen in London who could work to the exacting standards set by the Pairs workshops. However, they still relied on a variety of local suppliers thereafter for certain items. Each supplier had a speciality, such as Wright & Davis on Rosebery Avenue who supplied Cartier with cigarette cases and lighters. Cropp & Farr were known to supply studs and links.

See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 43.

38

CARTIER: A NOVELTY FOX BROOCH

CIRCA 1960

Realistically modelled as a fox, mid stride, its bushy tail aloft, set with circular-cut ruby eyes, signed Cartier, numbered, French import mark, width 3.3cm

Footnote: For a similar example see Bonhams, Jewellery, Knightsbridge London, 10th June 2015, lot 195.

£3,000-5,000

39

CARTIER: A RUBY AND DIAMOND BROOCH

MID 20TH CENTURY

Set with courses of brilliant-cut diamonds and circular-cut rubies, within a scrolling pierced motif, diamonds approx. 0.95 carat total, signed Cartier Paris, rubbed maker’s mark, French assay marks, length 5.7cm

£5,000-7,000

40

CARTIER: A ‘GENTIANE’ COLLAR NECKLACE CIRCA 1990

A three-row contoured necklace of polished navette-shaped links, to a concealed clasp, signed Cartier, numbered, French import mark, length 39.0cm

£6,000-7,000

41

CARTIER: AN EMERALD AND DIAMOND ‘DAPHNE’ RING CIRCA 1985

Gypsy-set with a brilliant-cut diamond between circular-cut emeralds to a polished band, signed Cartier, maker’s mark, numbered, Cartier ring size 52

Accompanied by a Cartier certificate of authenticity dated 1988.

£1,800-2,500

42

CARTIER: A PAIR OF MOTHER-OF-PEARL ‘AMULETTE DE CARTIER’ EARSTUDS

Each 18 carat gold disc, set with mother-of-pearl and centrally highlighted by a brilliant-cut diamond in a tiered collet-setting, signed Cartier, numbered, rubbed European convention marks, post fittings, length 1.1cm

Accompanied by a Cartier case.

£800-1,200

43

CARTIER: A GOLD AND MOTHER-OF-PEARL ‘AMULETTE DE CARTIER’ NECKLACE

The circular 18 carat gold pendant /clasp centrally featuring a brilliantcut diamond in a tiered collet-setting, within a mother-of-pearl surround, suspended from a filed trace-link gold chain, signed Cartier, numbered, European convention mark, Swiss assay mark, lengths: pendant 1.7cm, chain 50.2cm

Accompanied by a Cartier case and box.

£1,200-1,500

Released in 2014, originally the Amulette de Cartier collection included just pendants and necklaces of various designs. The collection was expanded to include earrings, bracelets and rings in subsequent years. However, it is understood that Cartier is phasing out the collection with minimal offerings currently available at retail.

44

CARTIER: A WHITE GOLD AND DIAMOND QUARTZ BRACELET WATCH WITH MOTHER-OF-PEARL DIAL

“RUBAN”, REF.2422, CIRCA 2000

Quartz reverse-set movement, mother-of-pearl dial with black Roman numerals, 18 carat white gold case and integrated bracelet with diamond-set bezel, double folding clasp. Case, dial and movement signed Cartier. Width 17mm. Accompanied by a Cartier case.

£4,000-6,000

45 Y

CARTIER: A WHITE GOLD AND DIAMOND-SET SELFWINDING WRISTWATCH

“PASHA”, REF.2528, 2004

Mechanical automatic movement, two-tone silvered dial with guilloché pattern, alternate numerals and diamond indexes, feuille hands, centre seconds, date aperture, 18 carat white gold circular case with diamond-set screw-down crown cover, on black Cartier strap with 18 carat white gold Cartier buckle. Case, dial and movement signed Cartier. Diameter 32.5mm. Accompanied by a Cartier service pouch with spare strap as well as a Cartier case, booklet, stamped warranty dated 2004 and Cartier London insurance valuation dated 2011.

£2,500-3,500

CARTIER AND GEMS

By Eric Emms

Few people would not recognise the name Cartier. The international luxury jeweller is renowned for offering jewels and other luxury items of the finest design and quality.

Founded in 1847 by the French watch-maker and jeweller Louis François Cartier. The firm grew prolifically under his three grandsons who established a network of jewellers in Paris, London and New York retailing exceptionally crafted jewellery of exquisite design mounted with magnificent diamonds, coloured gemstones and natural pearls. Cartier jewels soon attracted the patronage of royalty, aristocracy and celebrities throughout the world.

In the early 20th century Jacques Cartier visited India meeting Maharajas, interested in acquiring western designed jewels. There he marvelled at the diamonds, natural pearls and carved emeralds, sapphires and rubies he was shown. Exposed to such beauty he brought back to Cartier gem influences, incorporating the finest gems and pearls in complementary and contrasting hues of blues and blacks, and greens and pinks within Cartier jewels. Today this tradition of employing striking precious stones continues in jewellery collections Cartier offers through their network of global stores.

During its history Cartier have bought, handled and sold the most spectacular gemstones. The firm has always loved sapphires; in 1933 in London, it sold a magnificent Kashmir sapphire of more than ten carats. Set into a ring for Prince George, son of King George V, as an engagement ring for his fiancé Princess Marina. In the same decade it acquired a great Mughal emerald, “the size of a bird’s egg”. Surprisingly divided into two, one part was sold to King Edward VII to be set in the engagement ring for Wallis Simpson.

Cartier has also sold some of the most famous diamonds in the world. In 1912 the New York establishment sold the world’s most famous blue diamond, the 45.52 carat Hope Diamond, to the American heiress Evalyn Walsh McLean. Around the same time it mounted the historic Indian fancy yellow diamond, the Sancy of 55.23 carats, in a tiara gifted to Nancy Astor. Then in the early 1970s Cartier acquired a 69.42 carat diamond which they sold to the actor Richard Burton who gifted it to his wife the film star and jewellery lover Elizabeth Taylor, now known as the Burton-Taylor Diamond.

The maison is not only famed for its precious stones, gold luxury items have always been offered by Cartier. Just over a century ago it introduced a locking ring of interlinking slender bands of white, rose and yellow gold known at the time as the Trois Ors and now as the Carrier Trinity ring it finds favour among wearers of both sexes. And in 1970 it offered for the first time the Love bracelet, a gold bangle displaying industrial type screw heads. The Trinity ring and Love bangle continue to be popular purchases today and second hand examples are sought after by jewellery lovers as evidenced by a strong secondary market at auctions.

Eric Emms FGA DGA.

Eric is a professional gemmologist, gem educator and trader of rare precious stones. The former director of London Precious Stone Laboratory, he is based in Hatton Garden, London.

46

CARTIER: A GUILLOCHÉ OVAL LIGHTER, CIRCA 1990

Of oval columnal form, with a concealed hinge, engraved throughout with a wave guilloché pattern, signed Cartier, numbered, length 6.9cm

Accompanied by a Cartier fitted case as well as a Cartier International Repair Guarantee valid from 1992-1993, extra Cartier flints and an information booklet.

Lot offered at no reserve.

£80-120

47

CARTIER: A PAIR OF ‘HAPPY BIRTHDAY’ DIAMOND EARRINGS CIRCA 2010

Each polished hoop, engraved with the double C logo, gypsy-set with brilliant-cut diamonds, signed Cartier, numbered, post and rotating clip fittings, length 1.9cm

£800-1,200

The “Happy Birthday” collection was released in 2009. The collection was created to celebrate the 100th anniversary of Cartier opening its first branch in America, at 712 Fifth Avenue, New York City in 1909. The design of the collection features the distinctive Cartier monogram, usually repeatedly decorated throughout the item. That version of the Cartier logo was designed by Pierre Cartier and introduced at the 1900 World’s Fair in Paris. The collection was multidisciplinary and included jewellery, clocks, pens and leather goods.

48

CARTIER: A WHITE GOLD AND DIAMOND ‘SYMBOLS’ BRACELET

The fine 18 carat white gold trace-link chain, horizontally featuring a brilliant-cut diamond Latin cross, suspending a Cartier logo charm, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, length adjustable 16.3-18.5cm

Accompanied by a Cartier case.

£1,000-1,500

49

CARTIER: A WHITE GOLD ‘MENOTTE’ BANGLE

The 18 carat white gold tapered bangle, hinged at the base and connected centrally by a pair of raised flathead screwheads, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, inner diameter 6.6cm Accompanied by a Cartier box, case and screwdriver as well as a Cartier certificate of authenticity dated 2004.

£4,000-6,000

The “Menotte” collection is one of Cartier’s more limited collections. Menotte is the French word for handcuff, referencing the locking mechanism securing the bangle. Research suggests that this collection was an extrapolation on an original gem-set design created by Jeanne Toussaint for Cartier Paris in 1939. See Fornas, Bernard and Gagarina, Elena (eds) Cartier; Innovation Through the 20th Century, Paris, 2007, page 222.

The contemporary collection was released in 2003, initially as just a bracelet, but the collection expanded shortly thereafter.

It has been suggested that Aldo Cipullo’s 1970 Love bangle (See lots 33, 34 and 35) was an homage to the original Menotte design. However, as the versions made in the very late 1930s were heavily gem-set and devoid of

50

CARTIER: A WHITE GOLD ‘MENOTTE’ RING

The 18 carat white gold tapering band, centrally joined with screwhead motifs, signed Cartier, maker’s mark, numbered, European convention mark, Swiss assay mark, Cartier size 57 Accompanied by a Cartier case.

£1,000-1,500

the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo would have had access to the French archives. Cipullo was employed by Cartier in New York , at that time the branches were all under separate ownership. The more likely archival inspiration integrated into both the contemporary Menotte and the Love bangle’s designs was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.

51

CARTIER: A STAINLESS STEEL QUARTZ TRAVEL ALARM CLOCK

REF.2754, CIRCA 2010

Quartz movement, matte black dial, circular case with hinged stand, diameter 50mm.

Accompanied by a Cartier fitted case.

£250-350

52

CARTIER: A STAINLESS STEEL AND RUBBER QUARTZ CHRONOGRAPH WRISTWATCH WITH DATE “21 CHRONOSCAPH”, REF.2996, 2007

Quartz movement, black dial with repeated double C logo, subsidiary dials for running seconds, 30 minute and 12 hour registers, luminous hands, date aperture, stainless steel case with Roman numerals to the bezel, cabochon-set crown, on stainless steel and rubber Cartier strap with stainless steel Cartier deployant buckle. Case, dial and movement signed Cartier. Diameter 32mm. Accompanied by a Cartier case, booklet, certificate of authenticity dated 2007 and a 2007 Cartier sales receipt.

£600-800

53

CARTIER: A ROSE GOLD AND DIAMOND-SET WRISTWATCH

“TANK FRANCAISE”, REF.2793, CIRCA 2010

Quartz movement, silvered dial, rectangular 18 carat rose gold case with diamond-set shoulders, diamond-set crown, with 18 carat rose gold Cartier deployant buckle. Dimensions 20 x 25mm.

£4,000-6,000

54

CARTIER: A GOLD QUARTZ WRISTWATCH WITH DATE “COUGAR”, REF.887904 , CIRCA 1990

Quartz movement, silvered textured dial with black Roman numerals, blued steel hands, centre seconds, circular 18 carat yellow gold case, cabochonset crown. Case, dial and movement signed Cartier. Diameter 33mm.

£1,000-1,500

CARTIER: A GOLD QUARTZ BRACELET WATCH WITH DATE “PANTHERE”, CIRCA 1990

Quartz movement, silvered dial with black Roman numerals, blued steel hands, centre seconds, date aperture, 18 carat yellow gold case with Swiss gold assay, cabochon-set crown, on 18 carat yellow gold Cartier bracelet with concealed double-folding buckle. Case, dial and movement signed Cartier. Case dimensions 27 x 36mm. Approx. bracelet diameter 200mm. Accompanied by a Cartier case.

£4,000-6,000

CARTIER: A SAPPHIRE LINE BRACELET

CIRCA 1910

The line of French-cut sapphires, each in a tension-setting, signed Cartier Paris, maker’s mark GA for Andrey, French assay marks, numbered, length 18.4cm Accompanied by a Cartier case.

The sapphires have been examined by GCS and a random sample has been assessed as being of mixed origin, Burmese and Basaltic, with no indications of heating. Accompanied by a Cartier case.

Provenance: Purchased by the vendor’s family directly from Cartier in the early 20th century, hence by descent.

£10,000-15,000

Footnote: The Parisian workshop of Andrey was one of the primary suppliers to Cartier, particularly of gem-set and platinum jewellery from 1900-into the 1920s.

57

CARTIER: A DIAMOND LINE BRACELET

CIRCA 1910

Set with an articulated line of old brilliant-cut diamonds, each in millegrain box setting, to a concealed clasp, diamonds approx. 6.50 carats total, signed Cartier Paris, maker’s mark dH, numbered, French assay mark, length 17.8cm

Provenance: Purchased by the vendor’s family directly from Cartier in the early 20th century, hence by descent.

£10,000-15,000

Footnote: Interestingly this bracelet is stamped with an unusual French “census mark” of a rhino’s head which was normally reserved exclusively for gold bracelets. However, for one month only, from the 8th of April to the 8th of May 1910, it was used as a transitional mark for platinum before the introduction of the dog’s head mark in 1912.

58

CARTIER: A 5.08 CARAT DIAMOND SINGLE-STONE RING

CIRCA 1925

Set with a cut cornered, step-cut diamond, weighing 5.08 carats, in a four-claw setting, signed Cartier, numbered, ring size P

Accompanied a later Cartier case as well as a Letter of Expertise from IAJA Expertise stating that the ring is a genuine Cartier New York item from circa 1925. Letter numbered XP2197-290125, dated 29th January 2025.

The diamond has been assessed unmounted by GCS and a verbal result given that the diamond is L colour, VS1 clarity.

£35,000-40,000

It is rarely discussed in jewellery history who actually cut the diamonds and gemstones which find themselves adorning fabulous jewels. The role of the lapidary is even further removed from the limelight than that of the goldsmith.

However one name in diamond cutting has managed to carve out a well deserved reputation. The Amsterdam based firm of I J Asscher Diamond Company has cut some of the most famous diamonds in history, including the 3,106 carat Cullinan Diamond.

Founded in 1854 by Joseph Asscher, its global headquarters are still located on the original site Tolstraat 127, Amsterdam, The Netherlands. In 1904 they patented a cut of diamond unlike anything else at the time. The Asscher-cut is almost square and was composed of 50 or 58 facets. The geometric style meant that it perfectly suited the Art Deco jewels made in the coming decades.

Asscher was well known to be a preferred diamond supplier to Cartier. A diamond of similar appearance to this one is centrally set in the Patiala necklace made by Cartier in 1928.

Sadly a large amount of the Asscher firm’s archives were lost in the Nazi occupation during WWII. Like the vast majority of other diamonds, it is not possible to know for sure who cut this particular diamond but the style and angular facet arrangement are indicative of the firm’s output.

CARTIER: A GOLD DUAL-DIAL REVERSIBLE WRISTWATCH

CIRCA 1975

Dual Cal.21 Piguet hand-wound mechanical 17 jewel movements, white dial with black Roman numerals and blued steel hands, champagne dial with black Roman numerals and gold hands, 18 carat yellow gold rectangular case with reversible centre, on black strap with 18 carat yellow gold Cartier deployant buckle. Dials, strap and clasp signed Cartier, case numbered, case with French and Swiss assay marks, case width 24mm.

Accompanied by a Cartier box and photocopy of Cartier service papers dated 2023.

£25,000-35,000

Manufactured by Cartier Paris, the reversible model remains one of the most advanced constructed, and rarest models of the era. Believed to have debuted in 1972 to celebrate Cartier Paris being sold, it was intended to launch a new era of quality and design, and was only made in very small quantity until the late 1970’s. Unlike other models of the era that were stamped with both a reference number and unique serial number, the reversible model is only stamped with a serial number, perhaps due to its low production run and limited availability. The identical model can be found in Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 449. The same model is also illustrated in J. Barracca, G. Negretti & F. Nencini, Le Temp de Cartier, page 250.

Both dials illustrated

60

CARTIER: A MULTI-GEM AND DIAMOND FLORAL BROOCH

CIRCA 1950

The posy of flowers, one set with cushion and pear-shaped sapphires, with an old brilliant-cut diamond pistil, within an oval and circular-cut ruby stamen, the other flower set with cushion-shaped yellow sapphires, with an old brilliant-cut diamond pistil, within a circular-cut sapphire stamen, accented by pierced leaves set with old brilliant and single-cut diamonds, diamonds approx. 1.70 carats total, principal sapphires approx. 42.20 carats total, yellow sapphires approx. 22.60 carats total, signed Cartier London, length 7.3cm

The principal sapphires and yellow sapphires have been examined by GCS and a verbal assessment given that they are of Sri Lankan origin, with no indications of heating.

£15,000-20,000

The trend for large flower brooches set in yellow gold with large multi-coloured gems began in the late 1930s. The fame of these large floral brooches was undoubtedly propelled by one of the most influential jewellery style icons of the 20th century, Wallis Simpson, the Duchess of Windsor. In November 1939 the Duke of Windsor commissioned a sizable example for Simpson from Van Cleef & Arpels. Similar examples were made by Tiffany & Co., Trabert & Hoeffer Mauboussin and of course, by Cartier.

A near identical brooch to this one, also signed Cartier London, appeared at Christie’s, Geneva Magnificent Jewels, 10 November 2015, lot 155

RENÉ LALIQUE (1860-1945)

VICTOIRE CAR MASCOT, NO. 1147

£6,000-8,000 + fees

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)

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

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance

reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

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

4. BIDDING ON BEHALF OF ANOTHER PERSON

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

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

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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.

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

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

2. VALUE ADDED TAX

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

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

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

outwit the European Union. This reduced rate is applicable to Antique items.

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

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

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

E. WARRANTIES

1. SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the

Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if:

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

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

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and

Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

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

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

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

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

F. PAYMENT

1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

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

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

(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us

of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

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

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

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

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

2. IN THE EVENT OF NONPAYMENT

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

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

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

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

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

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

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

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

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your

property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

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

G. COLLECTION & STORAGE

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

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

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

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

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

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

H. TRANSPORT & SHIPPING

1. TRANSPORT AND SHIPPING

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

2. EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

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

3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/imports-

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

I. OUR LIABILITY TO YOU

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

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

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

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

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

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

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

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

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

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

2. RECORDINGS

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

3. COPYRIGHT

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

4. ENFORCING THIS AGREEMENT

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

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

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

6. REPORTING ON WWW.LYONANDTURNBULL.COM

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

7. SALE BY PRIVATE TREATY

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

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

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

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

8. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security

arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION

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

10. FORCE MAJEURE

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

11. LAW AND JURISDICTION

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

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

K.

DEFINITIONS & GLOSSARY

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

1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

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

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

“You” and “Your”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

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

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

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

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

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

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

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

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

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

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

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

2.

GLOSSARY

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

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

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

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

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

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

GUIDE TO BIDDING & PAYMENT

REGISTRATION

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

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

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

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

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

BIDDING

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

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

BIDDING OUTSIDE THE SALEROOM

BY PHONE

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

IN WRITING

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

ON THE INTERNET

- ABSENTEE BIDDING

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

- BID LIVE ONLINE

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

PAYMENT

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

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

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH

No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS

Please refer to page 2 of this catalogue.