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PAIR OF EMERALD AND DIAMOND CUFFLINKS the emeralds within rose cut diamond halos, in silver

EMERALD AND DIAMOND RING set with an emerald of approximately 2.93 carats, flanked by trillion cut diamonds totalling approximately 0.81 carats, marked 18K, size NQty: 4.3g

EMERALD AND DIAMOND RING set with oval emeralds totalling approximately 1.20 carats, in nine carat gold, size S Qty: 2g Generally worn. Chips and inclusions to the emeralds. Diamonds cloudy/opaque. 

EMERALD AND DIAMOND RING set with an oval emerald of approximately 2.98 carats, within a diamond halo, in eighteen carat white gold, size NQty: 2.9g

EMERALD AND DIAMOND BRACELET set with oval emeralds totalling approximately 7.52 carats, interspaced by pairs of diamonds totalling approximately 0.46 carats, in eighteen carat white gold17.5cm long

An 18th century gold mounted emerald glass faceted tear shaped scent bottle, the screw-fitting cover pierced with Gothick tracery, 11cm long, c.1770

A pair of emerald earrings, each Aztec style shield mount centred with a single square cut emerald, total estimated emerald weight approx 0.30ct, 18ct gold mounts, stamped N.K.R, Sheffield 1987, each approx 16mm x 14mm, 8.4g gross (2)

A yellow metal, diamond and emerald square-shaped cluster ring, stamped 18ct, 2g, size L, and a yellow metal garnet and seed pearl set crossover ring, stamped 9ct, 2g, size M

A 9ct yellow gold ring set with an emerald cut pale quartz and diamonds, (M).

An antique yellow and white metal (tested minimum 9ct gold) ring set with a pear cut emerald and ruby surrounded by diamonds, (J).

Esval Models (1/43rd scale) a pair (1) Chevrolet Handyman 2-door Wagon 1956 two-tone white, yellow including wheels, chrome trim and (2) Oldsmobile Super 88 Holiday Coupe - two-tone green, emerald green interior, whitewall tyres - both are Mint including rigid perspex cases and outer carded sleeves. (2)

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BIRD OF PASSAGE Signed upper right, signed and titled to backboard verso, oil and collage on gessoDimensions:69cm x 86cm (27.25in x 33.75in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HOUSES ON THE FRONT, MILLPORT Signed lower right, mixed media Dimensions:54cm x 74.5cm (21.25in x 29.25in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) DARK HILL, MILLPORT - 1955 Signed and dated lower right, mixed media Dimensions:54.5cm x 74.5cm (21.5in x 29.25in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FRUIT AND GARLIC - 1989 Signed lower right, signed, titled and dated verso, oil on canvas Dimensions:70cm x 90.5cm (27.5in x 35.75in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HEDGEROW GATHERINGS ON THE DRESSER Ink on paperDimensions:56cm x 43cm (22in x 17in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) MORE PEARS Signed lower left, signed and titled verso, oil on boardDimensions:49.5cm x 59.5cm (19.5in x 23.5in)Provenance:Provenance: From the artist's estate.Note: Note: This work dates from c. 1990.Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) CADAQUES - 1953 Signed and dated lower right, titled and dated to backboard, pencil and watercolourDimensions:31.5cm x 42.5cm (12.5in x 16.75in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SQUARE AND CHURCH, FIESOLE Gouache with pastelDimensions:33cm x 57cm (13in x 22.5in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) JUG AND MUG IN THE WINDOW - 1955 Signed and dated lower right, ink study on paper Dimensions:56.5cm x 44.5cm (22.25in x 17.5in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LITTLE TUSCAN CHURCH - 1956 Signed and dated lower left, signed and titled to backboard, gouache and chalkDimensions:49cm x 59cm (19.25in x 23.25in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FIGURE AND FLOWERS - 1963 Signed and dated lower left, signed, titled and dated verso, oil on canvasDimensions:75cm x 62cm (29.5in x 24.5in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) PALAZZI, FLORENCE Signed lower right, gouache and watercolour Dimensions:38cm x 49.5cm (15in x 19.5in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) IN PIAZZA DEL CARMINE - 1956 Signed and dated lower right, pencil and gouacheDimensions:36cm x 68cm (14.25in x 26.75in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

A 9ct gold white opal and diamond accent pendant and chain, with a pair of opal earrings and a further pair of emerald studs weight all together 4.2gms Condition Report:Available upon request

A gold, emerald, ruby and freshwater cultured pearl suite, comprising a hinged bangle on a snap clasp, unmarked, weight 28.9g, inside width 5.4cm, a pendant, unmarked, weight 3g, with a neckchain, detailed '750', weight 4.2g, a cluster ring, detailed 22K', weight 4.6g, ring size approx L1/2, and a pair cluster earstuds with screw post and butterfly fittings, unmarked, weight 7.8g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A gold and shell cameo ring, carved as a portrait of a lady, detailed '9ct', ring size approx N1/2, a 9ct gold, sapphire and diamond three stone ring, a 9ct gold, emerald and diamond oval cluster ring and a 9ct gold, colourless and pale blue gem set oval cluster ring, total weight 7.7g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A gold, ruby and diamond ring, mounted with three oval cut rubies alternating with two pairs of cushion cut diamonds, detailed '18ct', weight 3.2g, ring size approx R, and a gold and platinum, emerald and diamond ring, mounted with a square shaped emerald to the centre, detailed '18ct & Pt', weight 1.7g, ring size approx N.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A 9ct white gold ring, claw set with an oval cut emerald, Birmingham 2015, ring size approx N, a 9ct gold, tanzanite and diamond three stone ring, a 9ct rose gold and diamond ring, mounted with a row of circular cut diamonds, each in a heart shaped setting, and two further 9ct gold and gem set rings, total weight 8.8g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An 18ct white gold, emerald and diamond ring, claw set with the circular cut emerald between two circular cut diamonds, Birmingham 1994, weight 4.3g, emerald weight approx 0.80ct, total diamond weight approx 0.80ct, ring size approx I1/2.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Erté [Romain de Tirtoff] - Emerald, Amethyst and Sapphire (Precious Stones), three lithographs on wove paper, all signed and editioned 50/75 in pencil, each 62cm x 48cm, all within gilt frames.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Four Coalport porcelain figures from the Jewels series, comprising Topaz, Sapphire, Ruby, and Emerald, each limited edition.

Three Royal Doulton porcelain figures from the Gem Stones collection, comprising Emerald, Peridot, and Aquamarine, together with a Coalport figure modelled as Samantha, and another of Lisa.

GEOLOGY, COLLECTION OF FOREIGN MINERAL SPECIMENS including polished agate slices, emerald, chrome dioxide, hemimorphite, azurite/chrysocollaProvenance: The Cabinets of Dr. Todd.

Vintage full length emerald green and gold brocade skirt, with a matching chiffon scarf, a vintage brocade full length skirt, a sequin and beaded knitted top labelled Fermus, a mid 20th century full length evening dress, black crepe and chiffon decorated with faux jet, side zip, broad shoulder straps with a chiffon detail to the back and a black crepe dress, loop and button fastening to the back, half belt with loop and button fastening, and tape ribbon frills to the hem (5) 

A large collection of 19th century and later glass bottles to include medical examples for Worlds Hair Restorer, Clarke's Worlds Famed Blood Mixture, Guys Hospital, 'Not To Be Taken', P. Loopuyt Schiedam, & Co Distillers,  Who De KuYper Takes Soundly Sleeps and Fit Awakes: Squareface, Alongside exampled with impressed marks for Bovril, Austin Cravin. Emerald amber and cobalt. Measures 26cm tall.

Emerald and gold ring with an oval cabochon emerald in 18ct gold rub-over setting on tapered gold shank, London 1968. Ring size N.The emerald measures approximately 11.5 x 8.7 x 5.4mm. Good condition commensurate with age. Weighs approximately 9.1mm.

Pair of 9ct gold emerald and diamond earrings with a cross-over design, 19mm.Good condition, London hallmarks, modern, clip fitting works well, weighs approximately 5.3 grams.

Set of Victorian 15ct gold cufflinks and studs with foliate engraved decoration, Birmingham 1901, in original box, together with an Art Deco emerald stick pin in Rood box, Burlington Arcade.

Edwardian emerald and seed pearl floral spray brooch in yellow metal setting, 60mm.

An 18ct Gold and Emerald Half Eternity Ring set with nine c. 2mm stones, size P.75, 1.9g

An Emerald and Diamond Brooch in an 18ct yellow and white gold setting, three c. 5mm cushion cut diamonds, c. 53.5mm, c. 12.39g. The back has the jewellers scratch marks which indicate there to be 1.66ct of diamonds and .67ct of emeralds

A Georgian Yellow Metal, Rose Cut Diamond and Emerald? Dress Ring (size Q, c. 1.84g. Shank split) and very worn five stone diamond ring in a precious yellow metal setting (c. 1.88g). Both test as 18ct on KEE

An Emerald and Diamond Eternity Ring in an unmarked precious white metal setting, size J, c. 3.91g. One emerald missing

A 9ct Gold, Diamond and Emerald dress Ring, 16mm wide shank, size P, c. 10.3g. Sold together with Ascot Jewellers Insurance Valuation which states the stone to be approx. .6ct

An Emerald and Old Cut Diamond Ring in an 18ct white gold and platinum setting, early 20th century, size P, 1.81g

A modern 14k yellow metal, emerald and diamond chip set triple row crossover ring, size O, gross weight 5.4 grams.

This men's statement ring exudes opulence with its bold emerald cut tourmaline, highlighted by gem quality round brilliant cut diamonds, and fine tsavorite garnets. Stamped in 18K 750. Size 8.5.Magnificent one of a kind, finely crafted bezel set Indicolite(blue) Tourmaline in a micro pave setting, containing 329 round brilliant cut diamonds and 50 natural Tsavorite garnets. Set in18k white gold. Garnet variation Tsavorite, round faceted, approximately 0.5 ct, medium dark green. Tourmaline, variation Indicolite, approximately 6.5 ct, slightly greenish blue / green, transparent, with very fine finish. 19.84 g - 18k, 3.35 cts round gemstone brilliant cut diamonds , Color: rare White + / Rare White (F-G), Clarity: VVS. Approximate gemstone weights based on measurements. Issued: c. 2000sCountry of Origin: GermanyCondition: Good, minor age related wear.

Pokemon TCG - Master Set. EX Emerald Master Set - This lot includes every card from the EX Emerald expansion. It includes every regular card, holo, reverse holo, all 10 Ex Pokemon, the energies & the secret rare Farfetch'd. Condition Report: This is a near mint set with all but one cards in near mint condition (other card is in excellent condition).

Ladies Gold Emerald and Diamond set ring 1.6g total weight Size N

Ring mit Smaragd und Brillanten von zus. ca. 0,7 ct, gute Farbe u. Reinheit, Smaragd, ca. 0,35 ct, WG 14K, 3,9 gr, RW: 60, 2. Hälfte 20. Jh., leichte Tragespuren.| Ring with emerald ca. 0.35 ct and brilliant-cut diamonds totalling ca. 0.7 ct, good colour a. clarity, 14K WG, 3.9 gr, ring size 60, 2nd half 20th century, minor signs of wear.

Edelsteinkette aus Rubinen, Saphiren und Smaragden D: 4 mm, mit Zwischenteilen und Schließe aus GG 14K, L: 49 cm, Ende 20. Jh., guter Erhalt.| Necklace made of ruby, sapphire and emerald, D: 4 mm, with parts and clasp made of 14K yellow gold, L: 49 cm, late 20th century, good condition.

Ring mit Smaragd und Brillanten von zus. ca. 1,2 ct, ca. WEISS (H)/VS-SI, Smaragd ca. 0,8 ct, WG 18K, 3,5 gr, RW: 54, 2. Hälfte 20. Jh., Tragespuren, Smaragd leicht bestoßen.| Ring with emerald ca. 0.8 ct and brilliant-cut diamonds totalling ca. 1.2 ct, ca. WEISS (H)/VS-SI, 18K WG, 3.5 gr, ring size 54, 2nd half 20th century, signs of wear, emerals slightly chipped.

Ring mit Smaragd und Diamanten zus. ca. 0,80 ct, Baguetteschliff, ca. WEISS (H)/VVS, 4,4 gr, RW: 56, 20./21. Jh., leichte Tragespuren.| Ring with emerald and baguette-cut diamond totalling ca. 0.80 ct, ca. WHITE (H)/VVS, 4.4 gr, ring size 56, 20th/21st century, minor signs of wear.

Ring mit Smaragd und Diamanten zus. ca. 1 ct, ca. WEISS (H)/SI, GG ca. 850/000, 5,5 gr, RW: 56, 20./21. Jh., leichte Tragespuren.| Ring with emerald and diamonds totalling ca. 1 ct, ca. WHITE (H)/SI; ca. 850/000 YG, 5.5 gr, ring size 56, 20th/21st century, minor signs of wear.

Ring mit feinem Smaragd und 2 Altschliffdiamanten von zus. ca. 1,5 ct, mittlere Farb- und Reinheitsgrade, Rondisten min. berieben, Smaragdcarré von schöner Farbe und Leuchtkraft, ca. 1,1 ct, min. Rißchen/Ausbrüche, in fein gearbeiteten Fassungen, Palladium und Gold, 2,8 g, RW: 51, ca. 1915-20, altersgem. guter Erhalt. | Ring with fine carré-cut emerald ca. 1.1 ct, beautiful colour and luminosity, min. fractures and chips, flanked by 2 old-european-cut diamonds totalling ca. 1.5 ct, medium colour and clarity, fine crafted settings, palladium and gold, 2.8 g, ring size 51, ca. 1915-20, age-related good condition.

A 9 ct gold emerald dress ring. Ring size Q/R. 3.6 grammes total weight.

A yellow metal three stone emerald ring, marked 18ct, 2.4g, K

An 18 Carat Gold Emerald and Diamond Three Stone Ring, the oval cut emerald flanked by round brilliant cut diamonds, in claw settings, to a tapered shoulder plain polished shank, finger size HGross weight 3.9 grams.

A 9 Carat Gold Dragonfly Brooch, measures 3.5cm by 4.3cm; An Emerald and Diamond Pendant on chain, pendant length 2.0cm, chain length 45.5cm; and A Signet Ring (a.f.)Brooch - 3.4 grams. Pendant on chain - both stamped '375', 1.6 grams. Ring - unmarked, 3.4 grams.