Issuu

21ST OCTOBER 2026 LONDON

LONDON

JEWELLERY

WEDNESDAY 21 OCTOBER 2026 AT 2PM Printed by Park Communications, a Carbon Neutral Company, on FSC®

Sale Number LT921

Lyon & Turnbull 22 Connaught Street LONDON W2 2AF

BIDDING AT THIS SALE

VIEWING

Online, telephone and commission bidding only - please see the guide to bidding on page 74

Thursday 15th October 5pm-8pm Friday 16th October 10am-4pm Saturday 17th October 12noon-4pm Monday 19th October 10am-4pm Tuesday 20th October 10am-4pm Wednesday 21st October 10am-12noon

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Front Cover Lot 113 Inside Front Cover Lot 28 Inside Back Cover Lot 111

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

BUYER'S GUIDE

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

BUYER’S PREMIUM

REGISTRATION

IMPORT/EXPORT

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

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

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.

28% up to £25,000 27% from £25,001 to £500,000 26% 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.

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

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.

COLLECTION OF PURCHASED LOTS Collections can be made from Lyon & Turnbull, 22 Connaught Street, London W2 2AF. All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment please email london@lyonandturnbull.com or call 0207 930 9115. Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Stripe) - details will be shown on your invoice. Please note we are unable to take payments over the phone

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.

26.2

MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction easy and enjoyable. Our specialist team are on hand to assist you, whether you are looking for something in particular for your collection, considering an investment piece, interesting in additional information on a lot or would just like some guidance on the auction process.

LONDON

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

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

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

Hannah Murphy Specialist hannah.murphy@lyonandturnbull.com

Katherine Miller Sale Coordinator katherine.miller@lyonandturnbull.com

EDINBURGH

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

1 GRAFF: A RUBY AND DIAMOND LONGCHAIN, 1980 The flattened curb-link chain, set at intervals with brilliant-cut diamond ovals, flanked by square-cut rubies, set within a frame of four brilliant-cut diamonds, to a concealed clasp, diamonds approx. 2.60 carats total, unsigned, length 86.0cm Accompanied by a printout of the original receipt from Graff, Knightsbridge London. Dated 19th March 1980. £5,000-7,000

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

2 SEAMAN SCHEPPS: A CITRINE AND RUBY COCKTAIL RING, CIRCA 1940 The step-cut citrine, within a four-claw setting, between curved shoulders channel-set with French-cut rubies, citrine approx. 19.90 carats, rubbed signature, ring size O½ £500-700 For an example of a similar ring by Seaman Schepps to appear at auction see Bonhams, Salon Jewelry and Watches, San Francisco, 20 September 2010, Lot 241.

3 A PAIR OF CITRINE CLIP BROOCHES, CIRCA 1955

Each of scrolling form, with a matte finish and featuring circular-cut citrines, lengths: 4.5cm and 4.5cm £1,000-1,500

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

CARTIER: A PAIR OF DIAMOND EARCLIPS, CIRCA 1955 The central navette of brilliant and single-cut diamonds, flanked by radiating spokes and ropetwist spears, signed Cartier, maker’s marks, numbered, French assay marks, clip fittings, length 2.0cm £2,000-3,000

5 A ‘TANK’ BRACELET, CIRCA 1945 Of bi-coloured design, the central raised series of polished links, to a concealed clasp, Romanian assay mark, length 18.2cm £3,500-4,000

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

GARRARD & CO: A GOLD NECKLACE, 1997

A GOLD AND DIAMOND BANGLE, 1999

The 18 carat gold belcher-link chain, centrally featuring a stylised fleur-de-lys motif, signed Garrard, maker’s mark G&Co., UK import mark, length 42.6cm

The 18 carat gold polished bangle, channel-set to the front with a line of princess-cut diamonds, diamonds approx. 1.90 carats total, London hallmark, inner diameter 5.8cm

£2,000-3,000

£1,200-1,500

A GOLD AND DIAMOND RING

STEPHEN WEBSTER: A GOLD, SAPPHIRE AND DIAMOND RING, 1994

The 18 carat gold band, centrally set with a gridwork of princess-cut diamonds, the gallery highlighted with a line of brilliant-cut diamonds on either side, diamonds approx. 1.05 carats total, partial UK hallmark, ring size K½ £600-800

The horizontally-set oval-cut sapphire, within a brilliant-cut diamond navette frame, to a wide 18 carat gold band, diamonds approx. 0.25 carat total, maker’s mark SW, London hallmark, ring size L½ £1,000-2,000

9 8

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

10 CHOPARD: A ‘HAPPY DIAMOND’ PENDANT NECKLACE, CIRCA 1985 The twisted foxtail-link chain, suspending a heart-shaped pendant with a single-cut diamond frame, surrounding a glazed compartment containing three ‘floating’ brilliant-cut diamonds, signed Chopard, maker’s mark LUC, lengths: pendant 1.6cm, chain 42.6cm, maker’s case £700-900

11 PIAGET: A ROSE GOLD AND DIAMOND ‘POSSESSION’ RING The 18 carat rose gold ring set with four brilliant-cut diamond bands, centrally featuring two ‘spinning’ diamond-set bands, diamonds approx. 2.95 carats total, signed Piaget, numbered, Swiss assay mark, European convention mark, ring size O, maker’s case and box

12 A GOLD ANCHOR-LINK NECKLACE, 1989 The 9 carat gold chain composed of a uniform line of anchor-linking, UK import mark, length 46.0cm

Accompanied by a Piaget certificate of authenticity dated 2016.

£700-900

£1,500-2,500

11 12

13 16

LIA DE GREGORIO: A ‘NON STOP’ FRESHWATER PEARL STACKING RING

A 4.17 CARAT DIAMOND RING

Designed as a series of connected circular links, forming a stacked ring, off-set with a single 3.8mm freshwater pearl, partially struck maker’s mark, Italian assay mark, ring size approx. M

The brilliant-cut diamond, weighing 4.17 carats, in an eight-claw setting, ring size K 14

£5,000-7,000

£300-500

16 CATHY WATERMAN: TWO DIAMOND ETERNITY RINGS

14 FEI LIU: A BLISTER PEARL AND DIAMOND FLORAL BROOCH Of abstract design, the petals of the flower set with elongated blister pearls, the sepal, stem and leaf set throughout with rose-cut diamonds, mounted in 18 carat gold, maker’s mark FL, partial UK hallmark, length 9.7cm

Each of foliate design set throughout with brilliant-cut diamonds, diamonds approx. 0.30 carat total, maker’s marks, ring sizes K½ and L (2) £300-500

£4,000-5,000

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

17 AN AMETHYST AND DIAMOND PENDENT NECKLACE

The oval fancy-cut amethyst, within a radiating wirework surround of brilliant-cut diamonds, to an 18 carat white gold filed belcher-link chain, diamonds approx. 0.75 carat total, chain signed UnoAErre with partial UK import mark, lengths: pendant 4.1cm, chain 46.2cm £500-700

A PINK SAPPHIRE AND DIAMOND CLUSTER RING

A PAIR OF AMETHYST BRIOLETTE AND DIAMOND EARRINGS

The oval-cut pink sapphire, weighing 2.01 carats, within a cluster of brilliant-cut diamonds, to an 18 carat white gold band, diamonds approx. 0.95 carats total, ring size L½ £2,000-3,000

Each amethyst briolette, to a brilliant-cut diamond claw surmount, suspended from an articulated line of similarly-cut diamonds, mounted in 18 carat white gold, diamonds approx. 1.05 carats total, London hallmark, post fittings, length 5.2cm £800-1,200

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

AN 11.41 CARAT SRI LANKAN SAPPHIRE PENDANT

A BRIOLETTE SAPPHIRE AND DIAMOND FLOWER RING

The cushion-shaped sapphire, weighing 11.41 carats, in a four-claw setting, length 1.7cm Accompanied by a report from the Gem & Pearl Laboratory stating that the sapphire is of Sri Lankan origin, with no indications of heating. Report number 26904, dated 27th February 2026.

Designed as an abstract flower, the petals pavé-set with brilliant-cut diamonds and circular cabochon sapphires, and a central cluster of briolette sapphires, to an 18 carat white gold band, diamonds approx. 2.50 carats total, UK hallmark, ring size M £2,200-2,800

£12,000-15,000

23 21 A PAIR OF SAPPHIRE AND DIAMOND PENDENT EARRINGS

Each old brilliant-cut diamond surmount, suspending a channel-set line of tapered baguette-cut sapphires and old brilliant-cut diamonds, diamonds approx. 2.75 carats total, hook fittings, length 5.1cm £1,200-1,500

A PAIR OF BRILLIANT-CUT DIAMOND EARSTUDS Each brilliant-cut diamond, in a four-claw setting, diamonds approx 1.50 carats total, post fittings £700-900

24 A BURMESE SAPPHIRE AND DIAMOND CLUSTER RING The cushion-shaped sapphire, weighing 5.35 carats, in a six-claw setting, within an old brilliant-cut diamond surround, diamonds approx. 2.70 carats total, ring size O Accompanied by a report from GRS stating that the sapphire is natural, of Burmese (Myanmar) origin, with no indications of thermal treatment. Report number GRS2022-087099, dated 12th August 2022. £12,000-15,000

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

25 A NATURAL PEARL AND DIAMOND PENDANT The drilled 9.9-11.9 x 15-17mm natural pearl, with a rose-cut diamond cap, to a cushion-shaped diamond spacer, with rose-cut diamonds at the cardinal points, suspended from a later chain, principal diamond approx. 0.65 carat, lengths: pendant 3.7cm, chain 47.2cm, cased by Hunt & Roskell Ltd. in Alliance with J.W. Benson Ltd., 25 Old Bond St., London, W. Accompanied by a report from The Gem & Pearl Laboratory stating that the pearl is natural, saltwater. Report number 27163, dated 24th May 2026.

£1,500-2,500

A LATE 19TH CENTURY DIAMOND BIRD BROOCH / PENDANT

AN EARLY 19TH CENTURY PASTE BROOCH

Centrally featuring a rose-cut diamond dove mounted en tremblant on a curved arrow, set throughout with rose-cut diamonds, width 4.7cm

Possibly designed as a hair ornament, the arched frame set with a three tiered structure of oval-cut and pear-shaped colourless paste, all in a foiled closed-back setting, later pin fitting, width 6.7cm

£2,000-3,000

£300-500

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

28 A NATURAL PEARL NECKLACE WITH A DIAMOND CLASP The graduated single-strand of seventy five pearls measuring 3.2 - 9.0mm, the clasp millegrain collet-set with a cushion-shaped diamond, diamond approx. 1.70 carats, length 40.1cm Accompanied by a report from The Gem & Pearl Laboratory stating that the pearls are natural, saltwater. Report number 27142, dated 27th May 2026. £2,500-3,500

29 A DIAMOND FLOWER BROOCH The elongated spray set throughout with cushion-shaped diamond buds and similarly-shaped diamond flowerheads, with rose-cut diamond accents on the stems, cushion-shaped diamonds approx. 8.40 carats total, composite with 19th century elements, length 9.3cm £1,200-1,500

Antonina Yefimovna Gracheva seen wearing various pieces of jewellery on the proceeding page

31 34

Provenance: Antonina Yefimovna Gracheva (1878-1956) was born in Saint Petersburgh and graduated from the Academy of Fine Arts in Paris. In 1904, she married Ivan Yakovlevich Samsonov and they lived in Grodno, Russia. In Grodno she became a well-known designer of clothes and model. He was tragically killed in a riot in 1917. She later remarried another Tsarist officer. Towards the end of World War II, her daughter and son-in-law escaped ahead of the return of the Red Army however she remained. In 1944 she was arrested by the Soviet secret police, the NKVD, which erroneously believed her to have been married to another officer named Samsonov, the commander of the 2nd Russian Army in 1914. She was sentenced to 16 months in prison. She died in Grodno in 1956.

31 A LATE 19TH CENTURY DIAMOND BANGLE The ropetwist hinged bangle, centrally featuring an old brilliant-cut diamond navette, between square collets each set with a similarly-cut diamond, diamonds approx. 2.25 carats total, Russian assay mark, inner diameter 6.0cm £1,000-1,500

Thence by decent.

AN AMETHYST BANGLE, LATE 19TH CENTURY

30 A DIAMOND SHRIMP BROOCH, CIRCA 1870 Realistically modelled as a shrimp, the body set throughout with rose-cut diamonds, with moveable

The hinged ropetwist bangle, centrally set with a square fancy-cut amethyst, in a claw-setting, amethyst approx. 20.05 carats, inner diameter 6.0cm £800-1,200

legs, width 6.0cm

£600-800

A CUSHION-SHAPED DIAMOND BROOCH

In the mid 19th century there was a notable trend in both British and continental jewellery for the novelty. In particular a trend for unusual animals and items used in jewellery, such as beetles, dragonflies, miniature buckets and yachts. Crustations such as this are very rarely documented.

Set with a line of cushion-shaped diamonds, with applied scrolling accents, diamonds approx. 1.20 carats total, composite, width 4.5cm

For further reading see Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria; A Mirror to the World, The British Museum Press, London, 2010, pages 218-224.

£300-500

34 A RUBY AND DIAMOND RING, CIRCA 1900 The navette-shaped plaque set with circular and oval-cut rubies and old brilliant-cut diamonds, between pierced shoulders of foliate motifs, illegibly struck maker’s mark, Russian assay mark, ring size M½ £400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

38 36 37

A LONGCHAIN WITH A TURQUOISE CIRCULAR SLIDER, LATE 19TH CENTURY

AN EMERALD AND DIAMOND TRIPLE CLUSTER RING

The ropetwist chain, set with a circular slider decorated with granulation detail and a central dome of circular cabochon turquoise and a rose-cut diamond in a star setting, glazed compartment to the reverse, lengths: slider 2.1cm, necklace 57.6cm

Set with step and circular-cut emeralds, each within a surround of old brilliant-cut diamonds, diamonds approx. 1.10 carats total, ring size J £600-800

£1,000-1,500

A LATE 19TH CENTURY DIAMOND BROOCH

A SNAKE BROOCH, MID 19TH CENTURY Designed as an ouroboros, the textured snake clasping its own tail, with circular cabochon emerald eyes, in closed-back settings, later brooch fitting, width 2.1cm £300-500

The cushion-shaped diamond, weighing 4.53 carats, to a scrolling knife-wire shaft with a spherical terminal, length 3.4cm Accompanied by a report from GCS stating that the diamond is L colour, VS2 clarity. Report number 5786-1763, dated 13th March 2026. £15,000-20,000

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

39 40

39 A HARDSTONE FOB PENDANT NECKLACE, CIRCA 1900 The fancy-link chain suspending a circular carnelian double-sided fob with a 9 carat gold toggle accent, fob and toggle with UK hallmarks, chain with Austro-Hungarian assay mark, lengths: fob 2.8cm, necklace 41.0cm £800-1,200

AN ENGRAVED RING, SECOND HALF OF THE 19TH CENTURY The faceted oval red gemstone, engraved with the initials RAK, to a finely worked sculptural band, maker’s mark J.S, ring size K

42 A PEARL AND DIAMOND BROOCH, CIRCA 1890

£300-500

41 A MULTI-STAND NECKLACE In the ‘neck mess’ style, the four separate chains, each composed of segments of various fancy-linking, set with Albert clasps and two 9 carat gold heart padlocks, various UK hallmarks, lengths: 59.0cm, 61.7cm, 91.0cm and 92.4cm By repute this necklace was retailed / designed by Annina Vogel and purchased from Liberty of London.

£700-900

Of openwork navette form, set throughout with half pearls, with a central radiating six-point cushion-shaped diamond star, diamonds approx. 0.40 carat total, length 4.7cm £300-500

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

46 47

A PAIR OF ‘PIGEON’S BLOOD’ RUBY AND DIAMOND EARRINGS

A PEAR-SHAPED DIAMOND RING

Each set with an oval-cut ruby, weighing 1.06 and 1.11 carats, within a half surround of tapered baguette and brilliant-cut diamonds, diamonds approx. 0.95 carat total, post fittings, length 1.4cm Accompanied by a report from GRS stating that the ruby, weighing 1.06 carats, is natural, of Burmese (Myanmar) origin, with no indications of heating and vivid red “Pigeon’s Blood” colour. Report number GRS2025-108026, dated 1st November 2025. Accompanied by a report from GRS stating that the ruby, weighing 1.11 carats, is natural, of Burmese (Myanmar) origin, with no indications of heating and vivid red “Pigeon’s Blood” colour. Report number GRS2025-109100, dated 19th November 2025.

The central pear-shaped diamond, flanked by trios of brilliant-cut diamonds, principal diamond approx. 1.90 carats, ring size O £5,000-7,000

46 A RUBY AND DIAMOND ‘TOI ET MOI’ RING The polished band set with a heart-shaped ruby and diamond in a crossover setting, between brilliant-cut diamond shoulders, principal diamond approx. 0.60 carat, ruby approx. 0.60 carat, ring size M½

Accompanied by a report from the GIA stating that the ruby is natural, of Burmese (Myanmar) origin, with no indications of heating and “Pigeon’s Blood” colour. Report number 3505743815, dated 30th October 2024.

A DIAMOND CLUSTER PENDANT

£1,000-1,500

£2,200-2,800

The pear-shaped diamond, within a halo surround of brilliant-cut diamonds, principal diamond approx. 0.70 carat, remaining diamonds approx. 0.50 carat total, length 1.9cm

47 A PAIR OF DIAMOND EARSTUDS

£500-700

Each brilliant-cut diamond, in a collet-setting, diamonds approx. 0.60 carat total, post fittings, length 0.5cm £300-500

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

48 A SEED PEARL AND DIAMOND ‘GARLAND’ BRACELET, CIRCA 1910 The six strands of 3.3 - 3.6mm pearls, to a rectangular clasp pierced and set with old brilliant, single-cut and cushion-shaped diamonds, diamonds approx. 0.80 carat total, length 18.5cm £600-800

49 A PAIR OF DIAMOND EARRINGS, MID 20TH CENTURY

Each collet-set pear-shaped diamond, within a scrolling framework of baguette and single-cut diamonds, to a French-cut diamond surmount, principal diamonds approx. 4.30 carats total, remaining diamonds approx. 1.15 carats total, post fittings, length 2.7cm, cased £12,000-18,000

A CIRCULAR DIAMOND PENDANT NECKLACE

A WHITE GOLD AND DIAMOND CLUSTER RING

A SAPPHIRE AND DIAMOND BROOCH, CIRCA 1965

The pendant designed as a graduated series of stacked openwork circles, set with brilliant-cut diamonds, suspended from an adjustable filed belcher-link chain, diamonds approx. 0.50 carat total, lengths: pendant 1.7cm, maximum chain length 45.7cm £500-700

The central brilliant-cut diamond, weighing 0.50 carat, to a halo surround and shoulders set with similarly-cut diamonds, mounted in 18 carat white gold, remaining diamonds approx. 0.50 carat total, UK hallmark, European convention mark, ring size K½ £800-1,200

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

The central openwork scattering of square-cut sapphires, between abstract looping lines of old brilliant, single-cut and cushion-shaped diamonds, diamonds approx. 4.25 carats total, maker’s mark G.E., length 5.9cm £2,500-3,500

54 53

POPPY DANDIYA: A DIAMOND BRACELET AND NECKLACE SUITE

A PAIR OF CITRINE AND DIAMOND PENDENT EARRINGS

The bracelet consisting of alternating 18 carat bi-coloured gold collets each with a rose-cut diamond, accompanied by a pendant necklace en suite, bracelet with maker’s mark PD and London hallmark, necklace unsigned, lengths: bracelet 19.9cm, pendant 1.2cm, necklace 39.4cm (2) £600-800

Each pear-shaped citrine, suspended from an articulated line of brilliant-cut diamonds, citrines approx. 23.20 carats total, diamonds approx. 0.60 carat total, rubbed UK hallmarks, post fittings, length 5.0cm £800-1,200

55 A 5.14 CARAT ASSCHER-CUT DIAMOND RING The Asscher-cut diamond, weighing 5.14 carats, in a four-claw setting, between tapered baguette-cut diamond shoulders, to a polished band, remaining diamonds approx. 0.30 carat total, ring size N Accompanied by a report from E.G.L. stating that the diamond is I colour, VS1 clarity. Report number 2356046127, dated 12th June 2013. £25,000-35,000

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

56 §

57 §

WENDY RAMSHAW: A SILVER AND GOLD RING STACK, 1990 AND 1996

WENDY RAMSHAW: A SILVER, GOLD AND MOONSTONE RING STACK, 1996 AND 2000

The clear and white striped perspex stand, containing two silver rings each with a central band of matte brush finish, and a single 18 carat gold ring set with a circular cabochon iolite, maker’s marks WR, London hallmarks, European convention marks, ring sizes N½ (3) £700-900

1st: An 18 carat gold thin band collet-set with a single oval cabochon moonstone, 2nd: A thin band ring, 3rd: A wide silver ring with a central sandblasted textured band, on a clear perspex stand, 1st and 3rd with maker’s marks WR and London hallmarks, 2nd unsigned, M½, N and N½ (3) £700-900

58 NIESSING: A CORD NECKLACE WITH TWO PENDANTS The cord necklace featuring two sliding pendants, the brushed spherical pendant inset with a brilliant-cut diamond, the other pendant of convex bi-coloured form, necklace signed Niessing, marker’s marks N, lengths: necklace 40.1cm, pendants 1.0cm and 4.1cm £500-700

A PERIDOT AND DIAMOND CLUSTER RING

A PAIR OF DIAMOND HOOP EARRINGS

The central mixed cushion-shaped peridot, within a surround of brilliant-cut diamonds, to an 18 carat white gold band, diamonds approx. 0.25 carat total, London hallmark, ring size M½

Each wide hoop, with a brushed finish, inset with brilliant-cut diamonds, post fittings, length 1.5cm £600-800

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

CARTIER: A WHITE GOLD INTERLOCKING ‘LOVE’ BRACELET

A PAIR OF GREEN AMETHYST, GREEN GARNET AND DIAMOND PENDENT EARRINGS

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

Each of foliate design, the cascading line of pear-shaped green amethysts, each suspended from a stylised curved branch set with brilliant-cut diamonds and circular-cut green garnets, in a blackened setting, post fittings, length 5.1cm

£1,000-1,500

DINH VAN: A ‘MENOTTES’ RING

REPOSSI: A BLACK DIAMOND ‘WHITE NOISE’ RING

Designed as two inner connected circular motifs, to a tapering band, signed dinh van, maker’s mark, French export mark, ring size J½ £1,200-1,500 Jean Dinh Van (1927-2022) was born to a French mother and a Vietnamese father. He studied drawing at the Arts Décoratifs, then the art of metalwork at École des Arts Décoratifs, Paris. In 1950, he joined Cartier in Paris, like his father before him, where he worked alongside Jeanne Toussaint. His father had trained in Viet Nam in the traditional craft of lacquered furniture. After serving in the French Army in WWI, his father settled in Paris and was hired by Cartier in the 1920s to bring those skills to their items, such as cigarette cases. After 10 years at Cartier Paris, Dinh Van started his own ventures, initially working on a collaboration with Jean Schlumberger. In 1965, he founded his eponymous brand. In 1967 his work was recognised at the World Fair in Montreal. This marked the starting point of a second period of work with Cartier, this time with the New York branch, designing exclusively for them. Dinh Van became the first ever designer whom Cartier permitted to co-sign their creations for the firm, a collaboration which lasted for a decade. His innovative, sculptural designs brought a unique edge to the company. Also see lot 90.

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

Designed as an undulating line, set throughout with circular-cut black diamonds, with a blackened rhodium finish, maker’s mark Stè R S, numbered, Italian assay mark, ring size L (leading edge) £300-500 Launched in 2014, the ‘White Noise’ collection was designed by Repossi’s creative director Gaia Repossi. The design was partly inspired by the American sculptor Alexander Calder’s kinetic Suspensions work. The sinuous lines represent the movement of sound. Gaia Repossi is the third generation of her family’s Italian fine jewellery house, Repossi, based in the Place Vendôme, Paris.

65 CHAUMET: A PAIR OF HOOP EARRINGS Each wide hoop centrally split with a polished connector, signed Chaumet, maker’s marks, numbered, French assay marks, post fittings, length 1.6cm £1,500-2,000

66 BULGARI: A ‘B.ZERO1’ RING The sprung coil, signed to the galleries BVLGARI, Italian assay mark, ring size L £700-900

67 PALOMA PICASSO FOR TIFFANY & CO.: A LONG SILVER NECKLACE The oversized belcher-link longchain, each formed of mesh-linking, to a polished toggle clasp, signed Paloma Picasso and Tiffany & Co., length 88.1cm, maker’s pouch £300-500

68 HANS HANSEN FOR GEORG JENSEN: A SILVER ‘PEAKS’ NECKLACE, 1996 The series of polished triangular links, to a concealed clasp, signed Hans Hansen and Georg Jensen, sponsor’s mark GJLd, UK import mark, length 39.1cm £200-300

69 NANNA DITZEL FOR GEORG JENSEN: A PAIR OF SILVER PENDENT EARCLIPS, 1996 Each contoured lobe, suspending an elongated tapered silver drop, Georg Jensen maker’s mark, pattern number 128A, sponsor’s mark GJLd, UK import mark, clip fittings, length 8.0cm £200-300

70 HENNING KOPPEL FOR GEORG JENSEN: A SILVER RING, 1975 The silver ring tapering to a central recessed joint, signed Georg Jensen, maker’s mark GJLd, pattern number 100, UK import mark, ring size L½

£100-150 Lot offered at no reserve

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

71 GEORG JENSEN: A COLLECTION OF SILVER JEWELLERY 1st: An ‘oyster’ brooch of polished silver by Nanna Ditzel for Georg Jensen, signed Georg Jensen, maker’s mark NJD, pattern number 328, width 5.1cm, 2nd: A ‘bird’ brooch of polished silver by Nanna Ditzel for Georg Jensen, signed Georg Jensen, maker’s mark NJD, pattern number 329, UK import mark from 1960, width 3.0cm, 3rd: A triangular brooch of polished silver, by Henning Koppel for Georg Jensen, signed Georg Jensen, maker’s mark GJLd, pattern number 327, UK import mark from 1961, width 5.3cm, 4th: A ‘fish’ brooch of polished silver by Henning Koppel for Georg Jensen, signed Georg Jensen, makers’ marks HK and GJLd, pattern number 343, UK import mark from 1963, width 6.0cm 5th: A polished silver ring by Harald Nielsen for Georg Jensen, signed Georg Jensen, pattern number 46B, ring size N½ (5)

£500-700

72 KARL GUSTAV HANSEN FOR HANS HANSEN / GEORG JENSEN: A SILVER HEART NECKLACE AND BRACELET SUITE, 1998-1999 The necklace designed as a continuous line of horizontally-set polished silver hearts, accompanied by a bracelet en suite, signed HaH, Georg Jensen logos, sponsor’s marks GJLd, UK import marks, lenghts: necklace 40.0cm, bracelet 18.1cm (2) £400-600

73 HENNING KOPPEL FOR GEORG JENSEN: A SILVER ‘SPLASH’ NECKLACE, 1982 Designed as a series of openwork abstract silver links, signed Georg Jensen, pattern number 88B, sponsor’s mark GJLd, UK import mark, length 39.6cm £700-900

Hans Hansen (1884-1940) trained as a silversmith in the Carl M. Cohrs Silverware Factory from 1903 until 1906. In 1906 Hansen established his own workshop specialising in flatware. In 1930, his son Karl Gustav Hansen (1914-2002) joined the firm as an apprentice and in 1932 launched ‘The Future’ range introducing modernist silver jewellery to the repertoire. From 1935-1938 Karl Gustav studied at the Kunstakademiets Billedhuggerskole at the same time as working in the Hansen workshop. When his father died unexpectedly in 1940, Karl Gustav, at the age of just twenty five, took over the running the company. The company survived World War II and in 1953, Bent Gabrielsen joined the company and became the lead jewellery designer until 1969. After 1969 Karl Gustav became more involved with the design side once more and collaborated with Henry Moore and Lynn Chadwick in the 1970s. Karl Gustav Hansen was the CEO at Hans Hansen until 1987. In the 1970s Hansen’s distinctive jewellery designs became part of the offerings of the Georg Jensen group. The Han Hansen firm was ultimately acquired by the Royal Scandinavia Group in 1991, which merged with Georg Jensen 1992, and are still producing Hansen designs today.

Henning Koppel (1918-1981) was born in Copenhagen. In the mid to late 1930s, he trained at the Royal Danish Academy of Fine Arts and then studied sculpture in Paris at the Académie Rançon. In 1945 he returned to Denmark and started work as a designer for Georg Jensen, where he remained for his whole career. Koppel’s abstract and sculptural work, often considered amongst the most original of Jensen’s designers, helped propel the firm to the forefront of Modern design after World War II. He received the Lunning Prize in 1953 and gold medals in 1951, 1954 and 1957 at the Milan Triennales. His work was of organic, sculptural shape and generally without decoration as he felt the shape spoke for itself. He was most interested in form, not function. He once said “I am sick to death of all that Functionalism nonsense… in my view everything must first and foremost be beautiful”.

Nanna Ditzel (1923-2005) is often referred to as the ‘Grand Dame of Danish Design’. She met her husband Jorgen Ditzel in Copenhagen when they were training to be furniture designers. Nanna studied at the Richards School and then the Kunsthandvaerkerskolen (School of Arts, Crafts and Design). Their collaborative works won awards in 1944 and 1945. In 1946 they were married and in 1950, after the birth of their first child, Nanna began to design jewellery as it enabled her to work from home. In 1954 she became associated with Georg Jensen. In 1956 she won the Lunning Prize and then in 1960 a gold medal at the Milan Triennale. She continued to apply her creative force to textiles, furniture, jewellery and homewares for the remainder of her career.

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

AN EMERALD AND DIAMOND CROSSOVER BRACELET

A COLOMBIAN EMERALD AND DIAMOND RING, 2000

The line of pear-shaped emeralds, accented by similar-shaped diamonds and brilliant-cut diamonds, to a central crossover of larger pear-shaped emeralds and diamonds, mounted in platinum, emeralds approx. 6.05 carats total, diamonds 2.00 carats total, London hallmark, length 18.0cm £3,500-4,500

The square step-cut emerald, in a four-claw setting, between brilliant-cut diamonds, mounted in 18 carat white gold, emerald approx. 5.50 carats, diamonds approx. 2.05 carats total, maker’s mark H.LTD, London hallmark, ring size Q½ The emerald has been examined by GCS and a verbal assessment given that it is of Colombian origin, with indications of moderate amount of resin in fissures. £4,000-6,000

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

77 78

A DIAMOND TENNIS NECKLACE

AN EMERALD AND DIAMOND DRESS RING

POLLY WALES: THREE GOLD AND GEM-SET ‘RAINBOW’ RINGS

The graduated rivière set throughout with brilliant-cut diamonds, each in a four-claw setting, to a concealed clasp, diamonds approx. 10.00 carats total, length 45.3cm £3,000-5,000

The splayed bi-coloured band, set with brilliant-cut diamonds, spaced by an off centre circular-cut emerald in a four-claw mount, emerald approx. 2.20 carats, diamonds approx. 1.05 carats total, ring size N½ £2,500-3,500

1st: The ‘Rainbow confetti’ ring cast in 18 carat gold containing vari-coloured facetted sapphires, 2nd: The ‘Nina Rainbow’ ring centrally set with a line of vari-coloured circular-cut sapphires, cast in 18 carat gold, 3rd: The ‘Ramona Rainbow’ ring cast in 18 carat gold with vari-coloured sapphires with granulation details to the band, maker’s marks PW, London hallmarks, ring sizes K½, K½ and P (3) £500-700

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

79 80

80 POLLY WALES: A GOLD AND GEM-SET ‘RAINBOW’ BRACELET, 2015 81

The fine belcher-link chain, centrally set with three graduated 18 carat gold cast discs featuring circular-cut gems, including multi-coloured sapphires, with a further two discs near the lobster clasp, maker’s mark PW, London hallmark, length 16.0cm £400-600 Polly Wales is an independent British jewellery designer now based in Los Angeles. She championed the “Cast-not-Set” technique which she developed while working towards her Masters at The Royal College of Art. This process involves the gemstones and diamonds being mixed with the molten gold instead of later individually set. Wales relocated from her London studio to LA in 2015, therefore this bracelet represents the last year of her London productions.

Also see lot 78

AN EMERALD AND DIAMOND PENDANT NECKLACE The pendant set with a shield-shaped emerald, weighing 1.21 carats, and a kite-shaped diamond, weighing 0.51 carat, to a rope-twist chain, lengths: pendant 2.7cm, chain 39.9cm Accompanied by a Diamond Dossier from GIA stating that the diamond is H colour, VS1 clarity. Report number 6515318396, dated 4th February 2025. Accompanied by a report from IGI stating that the emerald is of Zambian origin, with indications of minor clarity enhancement. Report number 776678967, dated 6 March 2026.

FEI LIU: A PAIR OF RUTILATED QUARTZ, GREEN GARNET AND DIAMOND PENDENT EARRINGS Each elongated rutilated quartz, flanked on one side by a line of circular-cut tsavorite garnets, to a naturalist lobe surmount set throughout with similarly-cut tsavorite garnets, with a single brilliant-cut diamond spacer, mounted in 14 carat gold, maker’s mark FL, partial UK hallmarks, post fittings, length 9.1cm £1,500-2,000

£3,200-3,800

82 AN EMERALD AND RUBY LINE BRACELET Designed as a uniform line of circular-cut rubies and emeralds, to a concealed clasp, length 17.2cm £1,200-1,500 82

83 AN AMETHYST BANGLE The tapered hinged bangle set throughout with openwork abstract textured leaves, with a central scattering of pear-shaped, oval, square and rectangular scissor-cut amethysts, inner diameter 6.2cm

85 JO HAYES WARD: A WIDE BAND RING The wide band, set throughout with a scattering of overlapping textured cubes, unsigned, ring size N½

£7,000-9,000

84 A GOLD AND QUARTZ PENDANT, 1972 The pear-shaped pendant set with a quartz crystal in a textured 18 carat gold setting, maker’s mark PP&P for P Pike & Partners, London hallmark, length 6.9cm £1,500-2,500

£300-500 Jo Hayes Ward is a London based goldsmith who launched her own fine jewellery brand in 2006. Her work is in the permanent collections of both The Worshipful Company of Goldsmiths and the Alice and Louis Koch collection, Switzerland. Of note is that Ward’s work was featured heavily in the 2001 Disney film Cruella, worn by Emma Thompson in her role as Baroness Von Hellman.

86 A PAIR OF CARVED JASPER, AQUAMARINE AND DIAMOND LEAF EARRINGS Each jasper surmount realistically carved to depict a maple leaf, the veins formed of brilliant-cut diamond lines, suspending a detachable carved aquamarine drop, diamonds approx. 0.75 carat total, post fittings, length 4.8cm £1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

87 A MALACHITE DRESS RING The large oval cabochon malachite, to a sculptural gallery and band, signed Gratz, ring size P (leading edge) £800-1,200

88 A HARDSTONE BROOCH Collet-set with a trio of oval cabochon hardstones, including lapis lazuli and malachite, within a brushed matte finish frame with small spherical accents, width 4.6cm £500-700

89 JACQUELINE STIEGER: A PAIR OF OPAL, SAPPHIRE AND DIAMOND PENDENT EARRINGS, 1982 Each 18 carat gold textured kite-shaped surmount, centrally collet-set with an oval cabochon opal, suspending detachable uneven long pendants set with an oval-cut sapphire and an oval cabochon opal with brilliant-cut diamond highlights, maker’s marks AGS, UK hallmarks, post fittings, length 14.1cm £1,200-1,500 Jacqueline Stieger (born 1936) studied at Edinburgh College of Art from 1953-1959. She married the

Austrian artist Alfred Gruber in 1966. Together they converted an old farm in East Yorkshire into a workshop and foundry for their art. Sadly Gruber died in 1972 but Stieger continues to use their shared maker’s mark AGS. Her work is part of the permanent collections at Goldsmith’s Hall and in the British Museum. For further reading see, Wingfield, Mary Ann, ‘Modern British Jewellery Designers 1960-1980; A Collector’s Guide’, 2021, pages 94-99.

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

91 93

DINH VAN FOR CARTIER: A LAPIS LAZULI DRESS RING

A SAPPHIRE AND DIAMOND DRESS RING, MID 20TH CENTURY

Of wrap form, the tapered band terminating in a collet-set oval cabochon lapis lazuli, signed Cartier and Dinh Van, numbered, ring size K

Of fluted design, set with a series of graduated circular and oval-cut sapphires, highlighted by a central brilliant-cut diamond, ring size L

£1,500-2,000

£1,200-1,500

Jean Dinh Van (1927-2022) was born to a French mother and a Vietnamese father. He studied drawing at the Arts Décoratifs, then the art of metalwork at École des Arts Décoratifs, Paris. In 1950, he joined Cartier in Paris like his father before him, where he worked alongside Jeanne Toussaint. His father had trained in Viet Nam in the traditional craft of lacquered furniture. After serving in the French Army in WWI, his father settled in Paris and was hired by Cartier in the 1920s to bring those skills to their items, such as cigarette cases. After 10 years at Cartier Paris, Dinh Van started his own ventures, initially working on a collaboration with Jean Schlumberger. In 1965, he founded his own eponymous brand. In 1967 his work was recognised at the World Fair in Montreal. This marked the starting point of a second period of work with Cartier, this time with the New York branch, designing exclusively for them. Dinh Van became the first ever designer whom Cartier permitted to co-sign their creations for the firm, a collaboration which lasted for a decade. His innovative, sculptural designs brought a unique edge to the company. According to a New York Times article on Van’s work, published 2nd of April 1970, “Cartier bills him as a designer of ‘young’ jewelry — meaning that prices (which start at $30 for a simple ring and are mainly in the less than $500 range) put the collection in the boutique, rather than the multi-carat diamond area of the store”.

93 KUTCHINSKY: A PAIR OF GOLD AND SAPPHIRE CUFFLINKS, 1964 Each 18 carat gold plaque of interlocking geometric motifs, highlighted with a line of calibré-cut sapphires, to a rotating t-bar terminal, signed Kutchinsky, maker’s mark KLd, London hallmark, length 2.1cm £1,800-2,200

94 HERMÈS: A DEUX EPERONS BRACELET, 1976 Navy leather and gold-tone hardware with central hook clasp, signed Hermès, French assay marks, inner diameter 5.8cm £300-500

By 1976, Dinh Van had opened his own boutiques in New York, Geneva and Paris. Also see lot 62.

91 A SAPPHIRE PENDANT NECKLACE The oval-cut sapphire, in a four-claw setting, suspended from a 9 carat gold flattened curb-link chain, sapphire approx. 6.15 carats, chain with partial UK import mark and European convention mark, lengths: pendant 1.6cm, chain 45.2cm £1,200-1,500

95 BOUCHERON: A PAIR OF INTERCHANGABLE HARDSTONE CUFFLINKS Double-sided: Each baton terminal, of either tiger’s eye, haematite or onyx, to a ridge bar connector, signed Boucheron, maker’s mark, numbered, French assay mark, terminal length 2.2cm, maker’s case £2,000-3,000

98 97

FEI LIU: A YELLOW SAPPHIRE, AGATE AND DIAMOND PENDANT

A SINGLE-STONE “PIGEON’S BLOOD” RUBY RING

A FANCY-LINK NECKLACE WITH HEART-SHAPED PENDANT

The rectangular polished agate drop, suspended from an onyx plaque inset with an oval-cut yellow sapphire, with brilliantcut diamond accents, mounted in 14 carat gold, to a black cord, yellow sapphire approx. 10.80 carats, maker’s mark FL, partial UK hallmark, pendant length 7.5cm £1,500-2,000

The cushion-shaped ruby, weighing 1.02 carats, in a polished collet-setting, ring size N Accompanied by a report from GRS stating that the ruby is natural, of Burmese (Myanmar) origin, with no indications of heating and vivid red “Pigeon’s Blood” colour. Report number GRS2025-089204, dated 26th August 2025.

The thick belcher-link chain, to a toggle clasp suspending a polished heart-shaped pendant, lengths: pendant 2.1cm, chain 46.1cm £2,800-3,500

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

99 GARRARD & CO. (ATTRIBUTED): A RUBY AND DIAMOND NAUTICAL FLAG BROOCH, CIRCA 1958 The fluttering flag, set throughout with calibré-cut rubies, the seams pinned with circular cabochon garnets, centrally adorned with a brilliant and single-cut diamond navette featuring a lion rampant, the body set with calibré-cut and circular cabochon rubies, length of flagpole 3.6cm, fitted case by Garrard & Co. Ltd. 112, Regent Street., W.1 Accompanied by a photo album commemorating the launch of the ship Clan Menzies on the 22nd of January 1958. Provenance: Gifted to Mrs Helen Macdonald on the occasion of the launch of the ship MV Clan Menzies on the 22nd of January 1958. The ship was built at Greenock Yard on the south bank of the Firth of Clyde, by the Clan Line Steamers Ltd. (Cayzer, Irvine & Company Ltd). The company was in operation in one incarnation or another from 1877. In the 1930s it became the largest cargo carrying concern in the world. The red flag with a lion rampant was the house flag for the Clan Line company. MV Clan Menzies operated both as a passenger ship and also as a cargo ship. Of interest was that the ship hosted the popular “Lima Club”, a social club founded on board while docked near the port in Lima, Peru in August 1964. Thence by descent.

100

£1,500-2,500

100 A GEM-SET GARDINETTO SUITE, MID TO LATE 20TH CENTURY The openwork basket, trimmed with single-cut diamonds, containing a bouquet of circular-cut sapphire and ruby flowers, accented throughout with brilliant-cut diamonds and circular cabochon emeralds, rubies and sapphires, accompanied by a pair of ruby and diamond earrings en suite, diamonds approx. 1.70 carats total, earrings with post fittings, lengths: brooch 4.4cm, earring 2.1cm, fitted case (2) £2,000-3,000

101 A GARNET AND DIAMOND CLUSTER RING The oval-cut garnet, to a brilliant-cut diamond surround and shoulders, mounted in 18 carat white gold, garnet approx. 5.50 carats, diamonds approx. 0.50 carat total, London hallmark, ring size L½ £700-900

101

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

102 ROLEX: A DIAMOND WRISTWATCH, CIRCA 1955 The square dial with baton hour markers, within a brilliant-cut diamond bezel, to an integral strap of interwoven design, and a concealed clasp, diamonds approx. 0.70 carat total, dial and movement signed Rolex, bracelet with maker’s mark E.C for Cambour, Paris, numbered, French assay marks, length 18.0cm £10,000-15,000 In the 1950s Rolex collaborated with various authorised case makers. In England they worked with Dennison creating lines specifically of men’s watches, typically in 9 carat gold. The production of highly stylised women’s watches is almost exclusively found with French made cases. These design-led examples, always in 18 carat gold, appear to have been made exclusively for the French market.

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

104

103

103 A GOLD AND DIAMOND STARBURST PENDANT, CIRCA 1970 The central cluster of brilliant and single-cut diamonds, within a concave starburst of radiating bi-coloured spokes, diamonds approx. 0.70 carat total, rubbed UK hallmark, length 4.0cm £500-700

104 DAVID THOMAS: A GOLD FOXTAIL-LINK NECKLACE The articulated 18 carat gold necklace of graduated oversized foxtail-linking, maker’s mark DAT, partial UK hallmark, length 44.8cm £5,000-7,000

105 TIFFANY & CO.: A PAIR OF BROOCHES, CIRCA 1945 Each of scrolling bi-coloured design, terminating in a chevron form, one signed Tiffany & Co., length 3.5cm (2) £3,500-4,000

105

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

106 A PAIR OF DIAMOND EARSTUDS Each brilliant-cut diamond, weighing 3.15 carats and 3.33 carats, in a six-claw setting, post fittings The brilliant-cut diamond, weighing 3.15 carats, has been examined by GCS and a verbal assessment given that it is G colour, VS2 clarity. The brilliant-cut diamond, weighing 3.33 carats, has been examined by GCS and a verbal assessment given that it is H colour, VVS2 clarity. £40,000-60,000

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

108

110

109

110

107 A DIAMOND LINE BRACELET The articulated line of transitional brilliant-cut diamonds, each in a square box setting, to a concealed clasp, diamonds approx. 9.80 carats total, length 18.3cm £3,000-5,000

108 A DIAMOND PLAQUE BROOCH The rectangular openwork plaque set throughout with brilliant and single-cut diamonds, centrally accented by channel-set courses of baguette-cut diamonds, with square step-cut diamond highlights on the edges, diamonds approx. 9.25 carats total, width 6.6cm

A YELLOW SAPPHIRE, ONYX AND DIAMOND BROOCH The central oval-cut yellow sapphire, within a geometric plaque of calibré-cut onyx and brilliant-cut diamonds, millegrain accents, diamonds approx. 1.95 carats total, yellow sapphire approx. 1.15 carat, width 4.3cm £800-1,200

£2,000-3,000

109 FEI LIU: A GARNET, ONYX AND DIAMOND BOMBÉ RING The square fancy-cut garnet, to a brilliant-cut diamond frame, within a domed onyx surround, mounted in 14 carat gold, garnet approx. 6.00 carats, maker’s mark FL, partial UK hallmark, ring size O £1,200-1,500

107

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

111

112

111

112

AN ART DECO DIAMOND STRAP BRACELET, CIRCA 1930

AN ART DECO SAPPHIRE AND DIAMOND RING, CIRCA 1925

With millegrain and geometric details throughout, the series of articulated links set with cushion-shaped, old brilliant, single and baguette-cut diamonds, to a concealed clasp, diamonds approx. 11.85 carats total, length 18.5cm, cased by Paul E. Flato, 1 East 57th Street, New York

The central circular cabochon, flanked by tapering lines of calibré-cut sapphires, within a single-cut diamond frame, ring size L½ £800-1,200

£7,000-9,000

Paul Flato (1900-1999) was amongst the most visionary and remarkable American jewellers of the 20th century. Born in Texas to a wealth family, convention never suited him. After an aborted attempt at university, he moved to New York City and began a career in the jewellery world, working for the dealer Edmund Frisch.

Forrestal was the former editor of Vogue magazine and wife of James V. Forrestal, the Secretary of the Navy. Forrestal was well travelled throughout Europe and brough back numerous antique examples which formed the basis of other Flato designs, such as the “wiggly clips” which employed the classic 19th century en tremblant mounting technique.

Although unable to draw, Flato branched out on his own in 1928 opening his first store at 1 East 57th Street. His design talent was apparent very early on, as was his ability to charm and cultivate high society clients.

In 1938, Flato relocated to Hollywood where his flamboyant high profile jewels suited the California social scene as well as the on screen aesthetic. His creations appeared in at least five Hollywood films, for which Flato was credited, worn by Katherine Hepburn, Greta Garbo and Rita Hayworth.

Flato’s chief designer was Adolph Klety who specialised in creating the more formal platinum and diamond jewellery. However, Flato had a talent for spotting talent, even amongst those who were not formal designers. Two of his more unexpected contributing designers were the socialites Millicent Rogers and Josephine Forrestal. Rogers was the heir of the Standard Oil fortune but her personal style and impact on society was legendary. It was her design concept which launched the “puffy heart”. A series of three dimensional heart jewels which became an icon of Flato’s repertoire.

Sadly in the 1940s, it came to light that some unscrupulous business affairs had been occurring behind the beautiful exterior of his work and life. Flato ultimately served jail time in both the infamous Sing Sing prison and in Mexico’s Lecumberri prison. Following his release, Flato relocated to Mexico. In 1970 he opened a high end boutique in Mexico City’s Zona Rosa area and spent the next twenty years based there, creating even more extraordinary jewels. He died in Texas in July 1999.

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

113 A DIAMOND AND NATURAL BLACK PEARL BROOCH / PENDANT The 13.9mm button-shaped pearl, of black/grey body colour, within a triangular frame of cushion-shaped diamonds, suspending a drop of similarly-shaped diamonds, terminating in a cushion-shaped diamond, weighing 3.85 carats, remaining diamonds approx. 7.85 carats total, detachable pin fitting, length 7.7cm. Accompanied by a report from The Gem and Pearl Laboratory stating that the pearl is natural, saltwater. Report number 27456, dated 18th September 2026. £10,000-15,000

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

INDEX Boucheron

Bulgari

Cathy Waterman

Cartier

4, 61, 90

Chaumet

Chopard

David Thomas

104

Dinh Van

62, 90

Fei Liu

14, 81, 96, 109

Garrard & Co.

6, 99

Georg Jensen

68, 69, 70, 71, 72, 73

Graff

Hans Hansen

68, 72

Harald Nielsen

Henning Koppel

70, 71, 73

Hermès

Karl Gustav Hansen

Kutchinsky

Jacqueline Stieger

Jo Hayes Ward

Lia de Gregorio

Nanna Ditzel

69, 70

Niessing

Paloma Picasso

Piaget

Polly Wales

78, 80

Poppy Dandiya

Repossi

Rolex

102

Seaman Schepps

Stephen Webster

Tiffany & Co.

67, 105

Wendy Ramshaw

56, 57 Lot 4 pictured

PATEK PHILIPPE // LONDON WATCHES AUCTION 19 NOVEMBER 2026

HIGHLIGHTS PREVIEW BY APPOINTMENT EDINBURGH: NOVEMBER 4 , 2026 TH

GLASGOW: NOVEMBER 5TH, 2026 LONDON VIEWING: NOVEMBER 15TH-18TH

For more information please contact Charles Tearle | charles.tearle@lyonandturnbull.com

1967 CARTIER LONDON BAIGNOIRE ON BRACELET £10,000-20,000 + fees

ART NOUVEAU & ART DECO TIFFANY STUDIOS GEOMETRIC LAMP Sold for £12,700 inc. fees, June 2026

AUCTION 24 JUNE 2027 LIVE ONLINE | VIEWING I N LONDON OPEN FOR CONSIGNMENTS

We are now inviting entries for our Art Nouveau & Art Deco auction, taking place in June 2027. Celebrating bold creativity and craftsmanship, the sale will feature furniture, sculpture, lighting, glass, ceramics, metalwork, jewellery and posters by the leading designers. This will be an internationally focused sale, looking at two distinctive and dynamic styles that have influence and appeal today. From the sinuous elegance of Art Nouveau to the sleek geometry of Art Deco, this specialist auction brings together works that defined a new modern age of beauty and innovation.

For more information please contact Joy McCall | joy.mccall@lyonandturnbull.com

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

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

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

DIAMOND COLOUR GIA

CIBJO

EXPLANATION

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

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

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

GIA

CIBJO

EXPLANATION

Flawless (FL)

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

DIAMOND CLARITY

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

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

Very Slightly Included (VS) VS1 / VS2

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

Slightly Included (SI) SI1 / SI2

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

Included (I) I1 / I2 / I3

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

CONDITIONS OF SALE 26.2 FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (🄰) next to its lot number.

A. BEFORE THE SALE A1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

A2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

A3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

A4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of

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

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

B. REGISTERING TO BID B1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document (s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44 (0)131 557 8844.

B2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1. (a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44 (0)131 557 8844.

B3. F AILURE 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 antiterrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

B4. B IDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer (s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

B5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

B6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on

their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE C1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

C2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

C3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

C4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

C5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

C6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any

error (human or otherwise) omission or breakdown in providing these services.

C7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

C8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY D1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 28% of the Hammer Price of each Lot up to and including £25,000, 27% of the Hammer Price from £25,001 up to and including £500,000, 26% thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

D2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category

outlined above.

D3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www. dacs.org.uk.

E. WARRANTIES E1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

E2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion (s) of generally accepted scholar (s) and expert (s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

E3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer (s) of the Lot (s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer (s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer (s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.

F. PAYMENT F1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the

clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

F2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot (s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

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

H. TRANSPORT & SHIPPING H1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

H2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

H3. C ITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

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

J. OTHER TERMS J1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

J2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You

may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

J3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

J4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

J5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

J6. REPORTING ON LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www. lyonandturnbull.com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

J7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

J8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of

persons visiting prior to, during or after a sale.

J9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent (s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

J10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

J11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

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

K1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

K2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

26.2

GUIDE TO BIDDING & PAYMENT

REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

BY PHONE

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

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.

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

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

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

CASH No cash payments will be accepted for this auction.

ON THE INTERNET

COLLECTION OF PURCHASED LOTS

- ABSENTEE BIDDING

Please refer to page 2 of this catalogue.

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

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

Inside Back Cover: Lot 111

LOND ON | EDINB URGH | GL A SGOW LYONA NDT UR NBULL.COM