Printed by Park Communications, a Carbon Neutral Company, on FSC® certified paper.
Park works to the EMAS standard and its Environmental Management System is certified to ISO 14001.
This publication has been manufactured using 100% offshore wind electricity sourced from UK wind.
100% of the inks used are vegetable oil based, 95% of press chemicals are recycled for further use and, on average 99% of any waste associated with this production will be recycled and the remaining 1% used to generate energy.
This document is printed on Magno Satin paper made of material from well-managed, FSC®-certified forests and other controlled sources.
Sale Number LT854
Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR
VIEWING
Sunday 17th August, 12noon-4pm
Monday 18th August, 10am-4pm
Tuesday 19th August, 10am-4pm Day of Sale, 9am-12 noon
CONTACT
info@lyonandturnbull.com
Front Cover Lot 220 Left Lots 299 & 301
BUYER'S GUIDE
BUYER’S PREMIUM
The buyer shall pay the hammer price together with a premium, at the following rate, thereon: 26% up to £800,000 20% thereafter.
VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
† VAT at the standard rate payable on the hammer price
‡ Reduced rate of 5% import VAT payable on the hammer price
Ω Standard rate of import VAT on the hammer price
Lots affixed with ‡ or Ω symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.
No VAT is payable on the hammer price or premium for books bought at auction.
DROIT DE SUITE
§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.
More information on Droit de Suite is available at www.dacs.org.uk.
This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to help you.
REGISTRATION
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:
1 – Government issued photo ID (Passport/Driving licence)
2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).
BIDDING & PAYMENT
For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.
REMOVAL OF PURCHASES
Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.
CATALOGUE DESCRIPTIONS
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
IMPORT/EXPORT
Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
ENDANGERED SPECIES
Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra. gov.uk/ahvla-en/imports-exports/cites
COLLECTION OF PURCHASED LOTS
All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com. Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice. Please note we are unable to take payments over the phone.
John Mackie Head of Sale john.mackie@lyonandturnbull.com
Harry Fletcher Furniture & Works of Art harry.fletcher@lyonandturnbull.com
Kier Alexander Silver kier.alexander@lyonandturnbull.com
MEET THE SPECIALISTS
At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or condition of a lot, or just want to find out more about the auction process.
Ursula Goldsmith Sale Co-ordinator ursula.goldsmith@lyonandturnbull.com
Ruth Davis Jewellery ruth.davis@lyonandturnbull.com
Colin Fraser Consultant Specialist in Silver, Whisky and Arms & Armour colin.fraser@lyonandturnbull.com
ORDER OF SALE
Lot No. Wemyss Ware
WEDNESDAY, 20TH AUGUST AT 10AM
598-615 616-712
Scottish Furniture & Works of Art
Jacobite Works of Art
Property of the Earls of Airlie
THURSDAY, 21ST AUGUST AT 10AM
Selected Highlights from the John Kirk Collection of Scottish Arms & Armour Arms & Armour
Highland Dress & Militaria, Including the Duncan McDougall Piping Medal Collection Whisky
Provincial Scottish Silver
Modern to Antique Scottish Silver
Scottish Jewellery & Collectables
The Cairncross Collection: Scottish Freshwater Pearl Jewellery
WEMYSS WARE
1
WEMYSS WARE
A ‘CABBAGE ROSES’ BOTTLE VASE
glazed earthenware, impressed maker’s mark
WEMYSS
24.5cm high
£400-600
2
WEMYSS WARE
A ‘CABBAGE ROSES’ STANLEY FLOWER POT
glazed earthenware, painted by James Sharp, impressed maker’s mark WEMYSS, yellow painted WEMYSS 26cm high
£300-500
3
WEMYSS WARE
FOUR ‘CABBAGE ROSES’ LADY EVA VASES glazed earthenware, comprising; a NEAR PAIR, one decorated by Edwin Sandland, 29.5cm high and 30cm high; TWO SMALLER EXAMPLES, one painted by James Sharp, 20cm high and 15.3cm high, each with painted and impressed maker’s marks (4)
£300-500
4
WEMYSS WARE
A ‘CABBAGE ROSES’ ASSEMBLED WASHSET glazed earthenware, comprising; TWO SIMILAR LARGE EWERS AND BASINS, ewers 25.5cm high, basins 39.5cm diameter; a SPONGE BOWL AND DRAINER, 24cm wide; a SOAP DISH AND DRAINER, painted by Joseph Nekola, 15.5cm diameter; a TOOTHBRUSH BOX AND COVER, 20.5cm wide; a BEAKER, painted by Edwin Sandland, 11.2cm high; a SLOP PAIL, 30cm high; various printed, impressed and painted marks (9)
£300-500
5
WEMYSS WARE
A ‘CABBAGE ROSES’ BOTTLE VASE glazed earthenware, impressed maker’s mark WEMYSS, black painted WEMYSS 25.5cm high
£400-600
6
WEMYSS WARE
A GROUP OF ‘CABBAGE ROSES’ POTTERY glazed earthenware, comprising; a MEDIUM BASKET, 30cm wide; a MUFFIN DISH AND COVER, painted by Edwin Sandland, 22cm diameter ; a GORDON DESSERT PLATE, painted by Karel Nekola, yellow painted T. GOODE & CO LONDON/ WEMYSS, 21cm diameter; a LARGE MUG, painted by Edwin Sandland, 14cm high, various printed, impressed and painted marks (4)
£200-300
7
WEMYSS WARE
A GROUP OF ‘CABBAGE ROSES’ POTTERY
glazed earthenware, comprising; a PAIR OF ‘CABBAGE ROSES’ SQUARE BASE CANDLESTICKS, 18cm high; a TRAY, painted by James Sharp, 26cm wide; a BISCUIT BARREL, 15cm high; a MATCH STRIKER, 9cm high; a LOW POMADE, 8.8cm diameter, various printed, impressed and painted marks (6)
£300-500
8
WEMYSS WARE
A ‘CABBAGE ROSES’ FOOTBATH
glazed earthenware, unmarked
49cm wide, 20cm high
£600-800
10
WEMYSS WARE
THREE LARGE MUGS
glazed earthenware, comprising; a ‘DOG ROSES’ example, impressed WEMYSS WARE R. H. & S., red printed T Goode & Co retailer’s mark; a ‘CABBAGE ROSES’ example, impressed maker’s mark Wemyss, green painted WEMYSS WARE; an ‘APPLES’ example, impressed maker’s mark
WEMYSS, green painted WEMYSS (3)
each approximately 14cm high
£300-500
WEMYSS WARE
THREE LARGE MUGS
glazed earthenware, comprising; a ‘BUTTERCUPS’ example, impressed maker’s mark WEMYSS, blue printed T Goode & Co. retailer’s mark, bears a Rogers De Rin label; a ‘SWEET PEAS’ example, probably painted by David Grinton, impressed maker’s mark WEMYSS, blue printed T Goode & Co. retailer’s mark, green painted WEMYSS; a ‘CLOVER’ example, impressed maker’s mark WEMYSS (3)
each 14.cm high
£300-500
11
WEMYSS WARE
THREE LARGE MUGS
glazed earthenware; comprising; a ‘DOG ROSES’ example, impressed maker’s mark WEMYSS WARE R. H. & S., blue printed T Goode & Co. retailer’s mark; a ‘POPPIES’ example, impressed maker’s mark WEMYSS; a ‘DAFFODILS’ example, impressed maker’s mark WEMYSS WARE R. H. & S., bears Rogers De Rin label (3)
each 14.5cm high
£300-500
12
WEMYSS WARE
THREE LARGE MUGS
to include a LARGE ‘SHAMROCKS’ MUG, glazed earthenware, unmarked, 13.9cm high; a LARGE ‘THISTLES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘CLOVER’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S., 14cm high (3)
Provenance: The George Bellamy Collection of Scottish Wemyss Ware
£300-500
WEMYSS WARE
A COLLECTION OF ‘CHRYSANTHEMUMS’ POTTERY
glazed earthenware, comprising; a BISCUIT BOX, painted by James Sharp, 12cm high; a COMB TRAY, painted by Karel Nekola, 26cm wide; a BEAKER VASE, painted by Edwin Sandland, 16.5cm high; a CHAMBER POT, 28cm wide; a FOUR HANDLED VASE, 12.8cm; high various painted and impressed marks (5)
£300-500
15
14
WEMYSS WARE
THREE ‘GROSVENOR’ VASES
glazed earthenware, comprising; a ‘CABBAGE ROSES’ example, impressed maker’s mark WEMYSS, green painted WEMYSS; a ‘DOG ROSES’ example, impressed maker’s mark WEMYSS; an ‘APPLES’ example, impressed maker’s mark WEMYSS (3) each 21cm high
£250-350
WEMYSS WARE
A ‘SWEET PEAS’ COMB TRAY
glazed earthenware, impressed maker’s mark WEMYSS, green painted Wemyss, blue printed T. Goode & Co. retailer’s mark
25.5cm wide
£200-300
16
WEMYSS WARE
A COLLECTION OF ‘BUTTERCUPS’ POTTERY
glazed earthenware, comprising; a LARGE MUG, 14cm high; a BISCUIT BOX, painted by Joseph Nekola, 11.5cm high; a PRINCESS INKWELL, 9.5cm high; a PIN DISH, 14.3cm wide; various painted and impressed marks; together with an OVAL ‘DAFFODILS’ PIN TRAY, unmarked, 13.2cm wide (5)
£400-600
18
WEMYSS WARE
A COLLECTION OF ‘BLACK COCKEREL AND HENS’ POTTERY glazed earthenware, comprising; a HEART SHAPED INKSTAND, 19cm wide; THREE SQUARE-BASE CANDLESTICKS, 18cm high; a LARGE MUG, 14cm high; various impressed and printed marks (5)
£300-500
17
WEMYSS WARE
THREE LOVING CUPS
glazed earthenware, comprising; a ‘BLACK COCKEREL AND HENS’ example, impressed maker’s mark WEMYSS, black painted T Goode & Co retailer’s mark; a ‘BROWN COCKEREL AND HENS’ example, impressed maker’s mark WEMYSS WARE R. H. & S.; a ‘PLUMS’ example, impressed maker’s mark WEMYSS (3) each approximately 10cm high
£400-600
19
WEMYSS WARE
TWO ‘BROWN COCKEREL & HENS’ LOVING CUPS
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H. & S., red printed Thomas Goode & Co. retailer’s mark (2) 20cm high, 25cm high
£400-600
WEMYSS WARE
A COLLECTION OF ‘BROWN COCKEREL AND HENS’ POTTERY
glazed earthenware, comprising; a LARGER TEAPOT, painted by Joseph Nekola, 13cm high; a SMALLER TEAPOT, 11cm high; a MILK JUG, 12.5cm high; a CREAM JUG, 7cm high; a SMALL SUGAR BOWL, 5.3cm high; an EGG CUP, 4.5cm high painted by Joseph Nekola; a FOOTED EGG CUP, 5.5cm high; various painted, impressed and printed marks (7)
£300-500
£300-500 20
21
WEMYSS WARE
TWO ‘BLACK COCKEREL & HENS’ POTTERY VESSELS
glazed earthenware, comprising; a EWER, impressed maker’s mark WEMYSS WARE
R. H. & S., red painted T Goode. & Co. retailer’s mark, 17cm high; a LARGE LOVING CUP, impressed maker’s mark WEMYSS WARE R. H. & S., 24.5cm high (2)
22
WEMYSS WARE
TWO ‘BLACK COCKERELS AND HENS’ EWERS AND BASINS glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S., red printed T Goode & Co. retailer’s mark (4) ewers 28cm high, basins 40cm diameter
£250-350
WEMYSS WARE
A LARGE & RARE ‘CLOVER’ CAT glazed earthenware, with glass eyes
33cm high
Note: This pattern is not known in a Scottishmade cat and is possibly a unique production.
£3,000-5,000
A LARGE WHITE AND GILT CAT with pink ribbon, glazed earthenware with glass eyes
32cm high
£1,500-2,000
WEMYSS WARE
26
WEMYSS WARE
A COLLECTION OF ‘DOG ROSES’ POTTERY
glazed earthenware, comprising; a TRAY, 25.5cm wide; a HAIR TIDY, 6cm high; an OVAL PIN TRAY, 13cm wide; a LOW POMADE, 9.5cm diameter; a RING HOLDER, 8.5cm high; together with a ‘THISTLES’ THISTLE SHAPED VASE, 14cm high; various impressed and painted marks (6)
£400-600
25
WEMYSS WARE
A RARE ‘YELLOW RUE AND RIBBONS’ HEART-SHAPED TRAY
glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S.
30.5cm long
£400-600
27
WEMYSS WARE
THREE ‘CABBAGE ROSES’ FLOWER POTS
glazed earthenware, comprising; a ‘CABBAGE ROSES’ GYPSY FLOWER POT, impressed maker’s mark WEMYSS, 24cm high; a ‘ROSES’ STUART FLOWER POT, impressed maker’s mark WEMYSS, green printed T Goode & Co. retailer’s mark, 17.5cm high; a ‘CABBAGE ROSES’ TUB FLOWER POT, impressed maker’s mark Wemyss, green painted WEMYSS, green painted T Goode & Co. retailer’s mark, 23cm high (3)
£300-500
28
WEMYSS WARE
AN ‘IRISES’ HEART-SHAPED TRAY
glazed earthenware, impressed maker’s mark WEMYSS
WARE R. H. & S., red printed T.Goode & Co retailer’s mark
30.5cm high
£300-500
30
WEMYSS WARE
29
WEMYSS WARE
TWO COMMEMORATIVE ‘VICTORIA’ GOBLETS
glazed earthenware, painted by Karel Nekola, both inscribed to one side THE SIXTIETH YEAR OF QUEEN VICTORIA’S REIGN 1897, and to the reverse with a cypher and a crown, impressed maker’s mark WEMYSS WARE R. H. & S., red printed retailer’s mark T Goode & Co (2)
25.5cm high and 14cm high
£200-300
A SMALL COMMEMORATIVE ‘VICTORIA’ GOBLET, DATED 1897
glazed earthenware, probably decorated by Karel Nekola, bearing the inscription THE SIXTIETH YEAR OF QUEEN VICTORIA’S REIGN/ 1837-1897, impressed maker’s mark WEMYSS, red printed T. Goode & Co. retailer’s mark
14.3cm high
£150-250
31
WEMYSS WARE
AN ‘OAK AND LAUREL’ TUB FLOWER POT
glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S., red printed T Goode & Co. retailer’s mark
27.5cm high
£500-700
32
WEMYSS WARE
A GROUP OF ‘CABBAGE ROSES’ POTTERY glazed earthenware, comprising; a LOW QUAICH, impressed maker’s mark WEMYSS, 26.8cm wide; a THISTLE VASE, impressed maker’s mark WEMYSS, green painted Wemyss, 17cm high; a TWIN HANDLED VASE, impressed maker’s mark WEMYSS, 15cm high; a KINTORE CANDLESTICK, impressed maker’s mark WEMYSS, green painted WEMYSS, 11.5cm high (4)
£250-350
34
WEMYSS WARE
A COLLECTION OF ‘CHERRIES’ POTTERY glazed earthenware, comprising; a PAIR OF ‘CHERRIES’ 7’’ SQUARE BASE CANDLESTICKS, each 18cm high; a HEART-SHAPED
INK STAND, 18cm wide; a LOW POMADE, 4.6cm high; a COMB TRAY, 25cm wide; a TALL POMADE, 8cm high; TWO HATPIN HOLDERS, 18.5cm and 14.7cm high, various printed, impressed and painted marks (8) each 18cm high
£200-300
33
WEMYSS WARE
A ‘STRAWBERRIES’ BISCUIT JAR AND COVER glazed earthenware, 16cm high; together with TWO ‘STRAWBERRIES’ MEDIUM PRESERVE JARS AND COVERS, glazed earthenware, 12cm high; a ‘RASPBERRIES’ PLATE, glazed earthenware, 14.7cm diameter, various impressed, painted and printed marks (4)
WEMYSS WARE
A COLLECTION OF ‘CHERRIES’ POTTERY glazed earthenware, comprising; a LOW QUAICH, 27cm wide; a GORDON DESSERT PLATE, 21.4cm diameter; a LARGE DOG BOWL, 21.4cm diameter; a BEAKER, 11cm high; a FRILLED BOWL, 11.5cm diameter; a SPILL VASE, 8cm high; various impressed, painted and printed marks (5)
£250-350
36
WEMYSS WARE
A COLLECTION OF ‘STRAWBERRIES’ POTTERY
glazed earthenware, comprising; a BISCUIT BARREL, green painted maker’s mark Wemyss, 15.5cm high; TWO ROUND PLATES, green painted maker’s mark WEMYSS, 17.4cm diameter and green painted maker’s mark WEMYSS, 12cm diameter; a PRESERVE JAR WITH FRUIT KNOP, yellow painted maker’s mark WEMYSS, 10.5cm high (4)
£250-350
WEMYSS WARE
THREE GORDON DESSERT PLATES
glazed earthenware, comprising; a ‘PURPLE AND GREEN GRAPES’ example, impressed maker’s mark WEMYSS WARE R. H. & S., printed Thomas Goode & Co. retailer’s mark; a ‘REDCURRANTS’ example, impressed maker’s mark WEMYSS WARE R. H. & S.; a ‘GREENGAGES’ example, impressed maker’s mark WEMYSS (3)
20.5cm diameter
£800-1,200
£200-300 37
38
WEMYSS WARE
A COLLECTION OF ‘PURPLE PLUMS’ POTTERY glazed earthenware, comprising; a LADY EVA VASE, 20.8cm high; a BISCUIT BARREL, 15cm high; a BEAKER VASE, 11cm high; a HATPIN HOLDER, 14.6cm high, various impressed, printed and painted marks (4)
39
WEMYSS WARE
TWO ‘PURPLE PLUMS’ POTTERY VESSELS
glazed earthenware, comprising; a STUART FLOWER POT, painted by James Sharp, 20.5cm high; a LARGE LOVING CUP, painted by Joseph Nekola, 24.5cm high, impressed, painted and impressed maker’s marks (2)
£400-600
40
WEMYSS WARE
A COLLECTION OF ‘ORANGES’ POTTERY
glazed earthenware, comprising TWO PRESERVE JARS AND COVERS, 12cm high; TWO SMALL PLATES, 14.5cm diameter; together with a ‘CHERRIES’ PRESERVE JAR AND COVER, 13.5cm high; a ‘CHERRIES’ MATCH STRIKER, 10cm high, various impressed, painted and printed marks (6)
£150-250
41
WEMYSS WARE
A COLLECTION OF ‘PLUMS’ POTTERY
glazed earthenware, comprising; a LARGE ‘PURPLE PLUMS’ PRESERVE JAR & COVER, 16cm high; a SMALL ‘PURPLE PLUMS’ PRESERVE JAR & COVER, 7cm high; a MEDIUM ‘PURPLE PLUMS’ PRESERVE JAR & COVER WITH STAND, jar 12cm high, stand 14cm diameter; a MEDIUM ‘RED PLUMS’ PRESERVE JAR & COVER WITH STAND, jar 12cm high, stand 14cm diameter; a LARGE ‘RED PLUMS’ PRESERVE JAR & COVER, 16cm high; together with a LARGE ‘GREENGAGES’ PRESERVE JAR & COVER WITH STAND, jar 16cm high, stand 18.5cm diameter; a MEDIUM ‘GREENGAGES’ PRESERVE JAR & COVER, 13cm high; a MEDIUM ‘GREENGAGES’ PRESERVE JAR & COVER, 12cm high; various impressed, stamped and painted marks (11)
Provenance: The Drambuie Collection (Medium ‘Purple Plums’ Jar & Cover) The George Bellamy Collection of Scottish Wemyss Ware £400-600
43
WEMYSS WARE
A COLLECTION OF ‘APPLES’ POTTERY glazed earthenware, comprising; a MEDIUM BASKET, 19.5cm high; a HEART-SHAPED TRAY, 26cm wide; a ROUND PLATE, 19cm diameter; a LOW QUAICH DESSERT
DISH, 15.3cm wide; various printed, impressed and painted marks (4)
£300-500
42
WEMYSS WARE
A COLLECTION OF ‘APPLES’ POTTERY
glazed earthenware, comprising; a JAPAN VASE, 21.5cm high; a SMALL BEAKER VASE, 11.5cm high; a SCARCE PAIR OF BULB HOLDERS, impressed maker’s mark WEMYSS, 13cm high; a LARGE MUG, 14.2cm high, various printed, impressed and painted marks (5)
£400-600
44
WEMYSS WARE
A RARE AND SMALL BLUE PIG
glazed earthenware, impressed WEMYSS
16cm long
£1,200-1,800
46
WEMYSS WARE
A SMALL ‘THISTLES’ PIG
glazed earthenware, impressed maker’s mark WEMYSS 17.8cm long
£300-500
47
WEMYSS WARE
A COLLECTION OF ‘PURPLE PLUMS’ POTTERY
glazed earthenware, comprising; a BISCUIT BARREL, 11cm high; a BEAKER, 11cm high; a PRINCESS INK STAND, 8.5cm high; a ROUND PLATE, 14.3cm diameter; a ‘RED PLUMS’ BISCUIT BARREL, 10.5cm high; together with a ‘GREENGAGES’ ROUND PLATE, 14.3cm diameter; various printed, impressed and painted marks (6)
£200-300
45
WEMYSS WARE
A SMALL BLACK AND WHITE PIG
glazed earthenware, impressed maker’s mark WEMYSS
WARE R. H. & S. 17cm long
Provenance: The Iris Fox Collection
£400-600
49
WEMYSS WARE
TWO ‘GEESE’ LARGE MUGS
glazed earthenware, impressed maker’s mark WEMYSS WARE, R. H. & S., one with red painted T Goode & Co retailer’s mark (2)
14.5cm and 14cm high
£250-350
48
WEMYSS WARE
A LARGE ‘GEESE’ MUG
glazed earthenware, impressed and printed maker’s mark WEMYSS, 14cm high; together with a ‘GEESE’ BEAKER, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 10.8cm high (2)
Provenance: The George Bellamy Collection of Scottish Wemyss Ware £300-500
51
WEMYSS WARE
50
WEMYSS WARE
A LARGE ‘MALLARDS’ LOVING CUP
glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S., red printed T Goode. & Co. retailer’s mark 23.8cm high
£300-500
A COLLECTION OF ‘BROWN COCKEREL AND HENS’ POTTERY
glazed earthenware, comprising; TWO ROUND PLATES, painted by Joseph Nekola, 19cm diameter; a PORRIDGE BOWL, inscribed SAVE YER BRAITH TAY CUIL YER PARRITCH, 16.5cm diameter; a GALLERIED TRAY, 28cm wide; together with a ‘CABBAGE ROSES’ PORRIDGE BOWL, 16.5cm diameter; various printed, impressed and painted marks (5)
£300-500
52
WEMYSS WARE
A SMALL ‘BLACK COCKEREL AND HENS’ LOVING CUP glazed earthenware, impressed WEMYSS WARE R. H. & S.
10.5cm high
£300-500
53
WEMYSS WARE
A ‘BEEHIVE AND BEES’ PRESERVE JAR AND COVER AND A ‘BLACK COCKEREL’ BREAD AND BUTTER PLATE glazed earthenware, the preserve jar with impressed maker’s mark WEMYSS and green painted WEMYSS; the bread and butter plate with impressed retailer’s mark WEMYSS WARE R. H. & S. and blue printed T.Goode & Co. retailer’s mark (2) preserve jar 12cm high, plate 26cm diameter
Provenance: Collection of the Earl of Eglinton, probably collected by the 16th Earl, Archibald Seton Montgomerie (18801945) (Cake Plate)
Bonhams, Lot 295, 9th - 18th September 2024, Edinburgh
£200-300
54
WEMYSS WARE
TWO ‘COCKEREL’ MATCHBOX CASES to include a ‘BROWN COCKEREL’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, 7.8cm wide; a ‘BLACK COCKEREL’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, 8cm wide (2)
Provenance: The George Bellamy Collection of Scottish Wemyss Ware £200-300
56
WEMYSS WARE
AN UNUSUAL PAIR OF ‘IRISES’ 7’’ SQUARE-BASE CANDLESTICKS
glazed earthenware, painted by Karel Nekola, impressed maker’s mark WEMYSS, green painted T Goode & Co. retailer’s mark; together with a 7.5’’ SQUARE BASE ‘SWEET PEAS’ CANDLESTICK, impressed maker’s mark WEMYSS, green painted WEMYSS, 19.5cm high (3)
each 18cm high
£200-300
55
WEMYSS WARE
TWO LARGE ‘IRISES’ MUGS
glazed earthenware, comprising; a PURPLE ‘IRISES’ example, impressed maker’s mark WEMYSS WARE R. H. & S.; a YELLOW ‘IRISES’ example, impressed maker’s mark WEMYSS (2)
14cm high and 14.5cm high
£250-350
57
WEMYSS WARE
A COLLECTION OF ‘IRISES’ POTTERY
glazed earthenware, comprising; a TWIN HANDLED MUG,14.3cm high; a TALL ‘LANGTOUN’ MUG, 16.7cm high; a BEAKER VASE, 11.4cm high; a ROUND PLATE, 14.4cm diameter, various printed, impressed and painted marks (4)
£250-350
58
WEMYSS WARE
A LARGE ‘IRISES’ LOVING CUP
glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S.
24.3cm high
£300-500
61
WEMYSS WARE
A GROUP OF ‘CABBAGE ROSES’ TEA WARE
glazed earthenware, comprising; a GLOBULAR TEAPOT, 12cm high; a SQUAT GLOBULAR TEAPOT, 10cm high; a LARGE TEACUP, a SMALLER TEACUP AND SAUCER; together with a BISCUIT BARREL, 15.5cm high, various printed, impressed and painted marks (6)
£200-300
60
WEMYSS WARE
A ‘DOG ROSES’ LOVING CUP
59
WEMYSS WARE
A ‘CABBAGE ROSES’ BROOCH glazed earthenware, mounted within a later giltwood frame
4.6cm diameter
£300-500
glazed earthenware, impressed maker’s mark WEMYSS
WARE R. H. & S., red T Goode & Co. retailer’s stamp
10.5cm high
£200-300
62
WEMYSS WARE
A COLLECTION OF ‘CABBAGE ROSES’ POTTERY
glazed earthenware, comprising; a BUTE VASE, painted by James Sharp, 20cm high; a JAPAN VASE, 21cm high; a BEAKER VASE, 15.5cm high; a FRILL VASE, 14cm high; a LARGE LOVING CUP, 19.5cm high; and a TALL QUAICH, painted by James Sharp, 17.5cm high; various painted, printed and impressed marks (6)
£400-600
WEMYSS WARE
A LARGE TABBY CAT glazed earthenware, with glass eyes, impressed maker’s mark
WEMYSS WARE/ R. H. & S.
32.5cm high
£5,000-7,000
64
WEMYSS WARE
A LARGE WHITE CAT glazed earthenware, with glass eyes, impressed maker’s mark WEMYSS WARE/ R. H. & S. 32cm high
£2,000-3,000
65
WEMYSS WARE
A SMALL COMMEMORATIVE ‘VICTORIA’ GOBLET, DATED 1897
glazed earthenware, bearing the inscription THE SIXTIETH YEAR OF QUEEN VICTORIA’S REIGN/ 1837-1897, impressed mark WEMYSS, blue painted mark ‘T. Goode & Co, London, W’ 14cm high, 10cm diameter
£300-500
66
WEMYSS WARE
AN ‘EARLSHALL’ DERBY MILK JUG
glazed earthenware, impressed maker’s mark WEMYSS
15cm high
£600-800
68
WEMYSS WARE
LARGE ‘THREE WISE MONKEYS’ MUG
glazed earthenware, bears inscription I SEE NO EVIL/ I HEAR NO EVIL/ I SPEAK NO EVIL, impressed maker’s mark WEMYSS, green painted T. Goode and Co. retailer’s mark, bears Rogers De Rin label
14cm high
£300-500
67
WEMYSS WARE
TWO ‘FIFIES’ VASES
glazed earthenware, comprising; a CHESHAM FERN POT, impressed maker’s mark WEMYSS, black painted WEMYSS 61, 8.5cm high; a CYLINDRICAL VASE, impressed maker’s mark WEMYSS, black painted T Goode & Co retailer’s mark, 16.5cm high (2)
£300-500
WEMYSS WARE
TWO LARGE MUGS glazed earthenware, comprising; an ‘EARLSHALL’ example, inscribed A LITTLE HEALTH A LITTLE WEALTH/ A LITTLE HOUSE WITH FREEDOM/ AND AT THE END A LITTLE FRIEND/ WITH LITTLE CAUSE TO NEED HIM, impressed maker’s mark WEMYSS; a scarce ROSES & HEARTS example, impressed maker’s mark WEMYSS (2) each 14cm high
£250-350
70
71
WEMYSS WARE
A ‘GEESE’ GALLERIED TRAY glazed earthenware, impressed maker’s mark
WEMYSS WARE R. H. & S.
28.3cm wide
£200-300
WEMYSS WARE A ‘CAT’ SIDE PLATE glazed earthenware, impressed maker’s marks WEMYSS, printed T. Goode & Co. retailer’s mark, 14cm diameter; together with a ‘RABBIT’ SIDE PLATE, glazed earthenware, painted by Joe Nekola, painted maker’s mark WEMYSS, 21cm diameter (2)
Provenance: The George Bellamy Collection of Scottish Wemyss Ware £400-600
72
WEMYSS WARE
A LARGE ‘REDCURRANTS’ PRESERVE JAR AND COVER glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., red painted T Goode & Co. retailer’s mark 15.5cm high
£400-600
74
WEMYSS WARE
THREE LARGE MUGS
glazed earthenware, comprising; a ‘GREEN APPLES’ example, impressed maker’s mark WEMYSS; a ‘CLOVER’ example, impressed maker’s mark WEMYSS WARE R. H. & S.; a ‘CHERRIES’ example, impressed maker’s mark WEMYSS (3) each approximately 14cm high
£250-350
75
WEMYSS WARE
TWO RARE HEART-SHAPED INK STANDS
glazed earthenware, comprising; a ‘CHESTNUT’ example, impressed maker’s mark WEMYSS, green painted WEMYSS; a ‘HELLEBORE’ example, impressed maker’s mark WEMYSS WARE/ R. H. & S. (2) each 18cm wide
£400-600
73
WEMYSS WARE
FOUR BISCUIT BOXES & COVERS
glazed earthenware, comprising; a ‘CHERRIES’ example; a ‘PLUMS’ example; a ‘VIOLETS’ example; and an ‘APPLES’ example; various printed, painted and impressed marks (4) each approximately 10.5cm high
£300-500
76
WEMYSS WARE
A COLLECTION OF ‘CABBAGE ROSES’ POTTERY
glazed earthenware, comprising a PRINCESS INKSTAND; a MATCH STRIKER; a LOW POMADE; TWO BEAKER VASES; TWO SMALL PLATES; a SMALL SUGAR BOWL; a ‘JAZZY ROSES’ THISTLE VASE, and a PIN TRAY; various printed, impressed and painted marks (10)
glazed earthenware, one painted by Edwin Sandland, impressed maker’s mark WEMYSS, green painted WEMYSS; the other impressed maker’s mark
WEMYSS WARE R. H. & S., black printed T. Goode & Co. retailers mark (4)
ewers 17.5cm high, basins 29cm diameter
£200-300
78
WEMYSS WARE
A GROUP OF THREE ‘CABBAGE ROSES’ POTTERY PIECES
glazed earthenware, comprising; an OVAL TRAY, painted by Joseph Nekola, green painted maker’s mark
WEMYSS WARE/ J.N., 34cm wide; a DOG BOWL, painted by James Sharp, 22cm diameter; a MEDIUM LOVING CUP, 19.5cm high; together with a ‘DOG ROSES’ MEDIUM BASKET, bears a Rogers De Rin label, 29.5cm wide, various printed, impressed and painted maker’s marks (4)
£300-500
79
WEMYSS WARE
A LARGE ‘DRAGONFLIES’ MUG glazed earthenware, painted by Joseph Nekola, green painted maker’s mark WEMYSS 14cm high
£300-500
80
WEMYSS WARE
TWO ‘DRAGONFLIES’ GROSVENOR VASES glazed earthenware, comprising; the LARGER, green painted maker’s mark WEMYSS, 21cm high; the SMALLER, impressed maker’s mark WEMYSS, 14.6cm high; together with a ‘DRAGONFLIES’ HATPIN HOLDER, green painted maker’s mark WEMYSS, 20cm high (3)
£400-600
81
WEMYSS WARE
TWO ‘COCKERELS’ VESSELS glazed earthenware, comprising a LARGE ‘BROWN COCKEREL & HENS’ MUG, impressed maker’s mark WEMYSS, 14cm high; together with a ‘BLACK COCKEREL & HENS’ SPONGE DISH & LINER, red printed T. Goode & Co. retailer’s mark (2) mug 14cm high, sponge bowl 24.5cm wide
£150-250
82
WEMYSS WARE
A ‘BEES & HIVE’ HONEY POT glazed earthenware, impressed maker’s mark
WEMYSS WARE R. H. & S. 15cm high
£500-700
84
WEMYSS WARE
TWO LARGE MUGS
glazed earthenware, comprising; a ‘COWS’ example, bears Rogers De Rin Antiques label; a ‘BEES AND HIVE’ example, bears Rogers De Rin Antiques label; together with a ‘DRAGONFLIES’ LOVING CUP, various printed, impressed and painted maker’s marks (3) each 14cm high
£300-500
83
WEMYSS WARE
A ‘BLUE TITS’ LOW POMADE glazed earthenware, impressed maker’s mark WEMYSS 8.5cm diameter
£600-800
85
WEMYSS WARE
A COLLECTION OF ‘BEES AND HIVE’ POTTERY glazed earthenware, comprising a COVERED HONEY BOX WITH DRIP TRAY, tray 18.5cm wide; TWO ‘BEES AND HIVE’ HONEY JARS AND COVERS, each 12.5cm high; together with a SQUARE ‘BEES AND HIVE’ DRIP TRAY, 19cm wide, various printed, impressed and painted maker’s marks (5)
£500-700
86
WEMYSS WARE
A SMALL AND RARE DARK GREY PIG
glazed earthenware, impressed WEMYSS WARE/ R. H. & S. 16cm long
£1,500-2,000
87
WEMYSS WARE
A SMALL ‘SHAMROCKS’ PIG
glazed earthenware, impressed maker’s mark
WEMYSS WARE R. H. & S. 17cm long
£250-350
88
WEMYSS WARE
A SMALL BLACK AND WHITE PIG
glazed earthenware, impressed WEMYSS WARE R. H. & S., red printed T. Goode & Co. retailer’s mark
17cm long
£250-350
89
WEMYSS WARE
A COLLECTION OF ‘BLACK COCKEREL AND HENS’ POTTERY
glazed earthenware, comprising; a COVERED BOX, painted by Joseph Nekola, 20cm wide; a MEDIUM BASKET, 30cm wide; a PIN TRAY; an INVALID CUP, paper sticker for Wemyss 1976 Rogers De Rin Sotheby’s Exhibition, 7.5cm high; and a JUG, 16.5cm high; various painted, impressed and painted marks (5)
£400-600
90
WEMYSS WARE
THREE PEN TRAYS
glazed earthenware, comprising; a ‘DRAGONFLIES’ example, painted by Edwin Sandland; a ‘DOG ROSES’ example; a ‘BROWN COCKEREL AND HENS’ example, various printed, impressed and painted marks (3) each approximately 24.5cm wide
£200-300
91
WEMYSS WARE
A LARGE ‘PEACOCK’ MUG
93
WEMYSS WARE
TWO LARGE MUGS glazed earthenware, comprising; a ‘PHEASANTS’ example, impressed maker’s mark WEMYSS; AND a ‘PEACOCK’ example, with trailing tail, impressed maker’s mark WEMYSS (2) each 14.5cm high
£300-500
glazed earthenware, with tail displaying, impressed maker’s mark WEMYSS
13.5cm high
£600-800
92
WEMYSS WARE
A LARGE ‘DUCKS SWIMMING’ MUG glazed earthenware, impressed maker’s mark WEMYSS 14cm high
£200-300
94
WEMYSS WARE
TWO LARGE MUGS
to include a LARGE ‘DUCKS SWIMMING’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, 14cm high; LARGE ‘GEESE’ MUG, impressed maker’s mark WEMYSS WARE R. H. & S., 14cm high (2)
Provenance: The George Bellamy Collection of Scottish Wemyss Ware £300-500
95
WEMYSS WARE
A ‘THISTLES’ PIN TRAY
glazed earthenware, inscribed I LOOKED FOR SOMETHING SCOTCH TO SEND YOU AND THE THISTLES ASKED IF THEY WOULD DO, impressed maker’s mark WEMYSS, green painted WEMYSS 14.5cm wide
£100-150
97
WEMYSS WARE
TWO TALL QUAICHS glazed earthenware, comprising; a ‘GOOSEBERRIES’ example, impressed WEMYSS; and a ‘CHERRIES’ example, impressed WEMYSS WARE R. H. & S. (2) each 12cm high
£250-350
96
WEMYSS WARE
A LARGE ‘CAMPANULA’ MUG
glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S., 13.7cm high; together with a SMALL ‘SUNFLOWERS’ LOVING CUP, glazed earthenware, impressed maker’s mark WEMYSS, 14cm high; and a LARGE ‘CARNATIONS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, printed T. Goode & Co. retailer’s mark, 14cm high (3)
Provenance: Rogers de Rin (‘Carnations’ mug) Hugh Hutchison Collection (‘Sunflowers’ mug)
The George Bellamy Collection of Scottish Wemyss Ware
£700-900
WEMYSS WARE
THREE ‘APPLES’ PRESERVE JARS & COVERS
glazed earthenware, comprising; a LARGE PRESERVE JAR & COVER WITH STAND, 16cm high, stand 18.5cm diameter; a MEDIUM PRESERVE JAR & COVER, 12cm high; another MEDIUM PRESERVE JAR & COVER, 13cm high; together with a MEDIUM ‘YELLOW PLUM’ PRESERVE JAR & COVER WITH STAND, jar 13cm high, stand 10cm diameter; a LARGE ‘PEACHES’ PRESERVE JAR & COVER, 16cm high, various impressed, stamped and painted marks (7)
Provenance: The George Bellamy Collection of Scottish Wemyss Ware
£300-500
99
WEMYSS WARE
FOUR LARGE MUGS
glazed earthenware, comprising; a ‘DAFFODILS’ example, impressed maker’s mark WEMYSS WARE R. H. & S.; a ‘TULIPS’ example, blue printed T. Goode & Co. retailer’s mark, paper Rogers De Rin Antiques label; an ‘APPLES’ example, impressed maker’s mark WEMYSS WARE R. H. & S.; and a ‘THISTLES’ example, impressed maker’s mark WEMYSS, blue printed T. Goode & Co. retailer’s mark (4) each 14.5cm high
£300-500
100
WEMYSS WARE
TWO LARGE MUGS
to include a ‘REDCURRANTS’ example, glazed earthenware, very indistinct impressed maker’s mark, 14cm high; and a ‘STRAWBERRIES’ example, glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S., 14cm high (2)
Provenance: The George Bellamy Collection of Scottish Wemyss Ware
£300-500
101 WEMYSS WARE
A LARGE GREEN CAT glazed earthenware, with glass eyes, impressed maker’s mark WEMYSS WARE/ R. H. & S.
32.5cm high
£2,000-3,000
WEMYSS WARE
A LARGE ‘CABBAGE ROSES’ CAT glazed earthenware, with glass eyes, black painted maker’s mark
WEMYSS WARE
32.5cm high
£2,000-3,000
103
WEMYSS WARE
THREE ‘CANTERBURY BELLS’ JUGS glazed earthenware, comprising; TWO LOW SHAPE ‘CANTERBURY’ JUGS, one impressed maker’s mark WEMYSS, green painted WEMYSS, 17.5cm high; the other impressed maker’s mark WEMYSS, 14cm high; a CANTERBURY JUG, impressed maker’s mark WEMYSS, 19cm high (3)
£200-300
104
WEMYSS WARE
AN ‘IRISES’ ELGIN VASE glazed earthenware, impressed maker’s mark WEMYSS/ 22
45cm high
£300-500
105
WEMYSS WARE
A ‘CORN MARIGOLDS’ HEART-SHAPED TRAY glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S., 28cm wide; together with a ‘TULIPS’ SIDE PLATE, impressed maker’s mark WEMYSS WARE R. H. & S., 19cm diameter; a ‘TULIPS’ BEAKER VASE, painted by Joseph Nekola, impressed maker’s mark WEMYSS, green painted WEMYSS, blue printed T. Goode & Co. retailer’s mark, 11.5cm high (3)
£300-500
106
WEMYSS WARE
THREE LARGE MUGS
glazed earthenware, comprising; a ‘BROWN COCKERELS AND HENS’ example, impressed maker’s mark WEMYSS WARE R. H. & S., red printed T. Goode & Co. retailer’s mark; a ‘BLACK COCKERELS AND HENS’ example, impressed maker’s mark WEMYSS; a ‘DUCKS SWIMMING’ example, impressed maker’s mark WEMYSS (3) each 14cm high
£300-500
108
WEMYSS WARE
A COLLECTION OF ‘VIOLETS’ POTTERY
glazed earthenware, comprising; a HAIR TIDY, 7cm high; a LOW POMADE, 8.8cm diameter; a MATCHBOX HOLDER, 8.4cm wide; a PIN TRAY, inscribed I LOOKED FOR SOMETHING SWEET TO SEND YOU AND THE VIOLETS ASKED IF THEY WOULD DO, 14.7cm wide; and a TWINHANDLED SPONGE BOWL, 24cm wide, various printed, impressed and painted marks (5)
£400-600
107
WEMYSS WARE
A PAIR OF SQUARE-BASE ‘THISTLES’ CANDLESTICKS
glazed earthenware, impressed maker’s mark WEMYSS, green painted
WEMYSS, bears Rogers De Rin label (2) each 17.8cm high
£200-300
109
WEMYSS WARE
A COLLECTION OF ‘THISTLES’ POTTERY
glazed earthenware, comprising; TWO BEAKER VASES, 11cm high; a HEART-SHAPED INKSTAND, 19cm wide; a CUP AND SAUCER, painted by Karel Nekola, 6.5cm high; a LARGE SIDE PLATE, 19cm diameter; a SMALL SIDE PLATE, 14cm diameter; a THISTLE-SHAPED VASE, 14.5cm high various printed, painted and impressed marks (8)
£300-500
SCOTTISH
FURNITURE & WORKS OF ART
110
A SCOTTISH GEORGE III MAHOGANY ‘COCKPEN’ ARMCHAIR
LATE 18TH CENTURY
the square lattice back above a padded concave seat upholstered in chequered woven black horsehair, flanked by open arms and raised on slightly outswept cluster column legs joined by an ‘H’ stretcher
57cm wide, 86cm high, 50cm deep
Note: See Francis Bamford, A Dictionary of Edinburgh Furniture Makers 16601840, Furniture History Society 1983, Plate 46, ‘Cockpen chair, mahogany, c.1775. This may well be the type of chair described by James Hamilton as a ‘chinese chair’, possibly by Young, Hamilton and Trotter’, illustrating a near identical chair
£400-600
111
A SCOTTISH GEORGE III STYLE MAHOGANY ‘COCKPEN’ ARMCHAIR, ATTRIBUTED TO WHYTOCK & REID
EARLY 20TH CENTURY
the square lattice back above a padded concave seat upholstered in printed floral fabric, flanked by open arms and raised on slightly outswept cluster column legs joined by an ‘H’ stretcher
90cm high, 60cm wide, 50cm deep
£300-500
112
A DUMFRIES HOUSE AUCTION CATALOGUE CHRISTIE’S, LONDON, 2007
in the manner of Wheeler of Arncroach, with carved scroll top rails above pierced splats, one with a dropin seat with needlework cover, raised on square section tapering legs linked by stretchers; together with a similar STAINED BEECH GOSSIP CHAIR, with a pierced splat, drop-in tan leather covered seat (3) the pair 46cm wide, 78cm high, 39cm deep
£250-350
114
A PINE-FRAMED CHILD’S ORKNEY CHAIR
EARLY 20TH CENTURY
with woven straw back and open arms above drop-in cord seat on square tapering legs linked by stretchers
54cm wide, 85cm high, 44cm deep
£400-600
114A
A SCOTTISH STAINED ELM ‘DARVEL’ TYPE ARMCHAIR
EARLY 19TH CENTURY of typical form with bobbin turnings and a serpentine seat with buttoned leather pad
68cm wide, 108cm high, 38cm deep
Provenance: The Estate of the late Peter D R Powell
£300-500
115
AN ‘ORCADIAN CAPTAIN’S’ CARVED TEAK CHEST
LATE 19TH CENTURY
116
A PINE-FRAMED ORKNEY CHAIR
EARLY 20TH CENTURY
the lid with relief carved thistle decoration, a small carved bone thistle inlay and sides inlaid with ebony diamonds, the side panels also carved, the interior with a shelf set with two small drawers
92cm wide, 50cm high, 49cm deep
£400-600
with woven straw curved back, above open arms and cord drop-in seat, raised above single drawer on square supports
103cm high, 63cm wide, 59cm deep
£500-700
117
A NEAR PAIR OF PINE-FRAMED CHILDREN’S ORKNEY CHAIRS
EARLY 20TH CENTURY
with woven straw backs and open arms above solid seats, on square tapering legs linked by stretchers (2)
81cm high, 53cm wide, 48cm deep
£800-1,200
118
A SCOTTISH LATE VICTORIAN SILVER PLATED, HORN, AND OAK TABLE GONG
LATE 19TH CENTURY
with a presentation plaque ‘PRESENTED TO WM. MCANDREW ESQ.R/ FROM THE OFFCIALS & SERVANTS OF OLD MONKLAND POORHOUSE/ 14TH DEC. 1895’, with a leather covered beater
45.5cm high, 30cm wide
£400-600
119
A VICTORIAN STYLE ANTLER SETTEE
SCOTTISH OR GERMAN
with back and legs formed from entwined antlers, with later upholstered brown velvet seat and padded backs
205cm wide, 120cm high, 86cm deep
£1,500-2,500
120
VICTORIAN SCHOOL
PORTRAIT OF A LADY IN BLACK watercolour on board, framed and under glass 71cm x 61.5cm [including frame]
Note: This portrait is a Victorian copy of a mid 16th century portrait that was previously acknowledged to be Mary Queen of Scots in the late 19th and early 20th century. Thought to be an image of Mary during her time at the French court, the attribution was later disproved. Another contemporary copy of this painting, ‘Portrait of an Unknown Lady’ resides in the collection of The Holburne Museum, Bath, bequeathed by Miss Mary Anne Barbara Holburne in 1882.
£300-500
121
JOHN BLAKE MCDONALD ARSA (SCOTTISH 1829-1901)
123
HIGHLAND BATTLE SCENE‘DEFENDING THE PASS’ oil on board, marked to the reverse, ‘Defending the Pass’, by J.B. McDonald A.R.S.A’, unframed
21.5cm x 36cm
£300-500
122
VICTORIAN SCOTTISH SCHOOL, AFTER LANDSEER
FAVOURITE PONY AND SPANIELS
after the engraving by Sir Edwin Henry Landseer, oil on canvas, unframed 60cm x 87cm
£400-600
REGINALD AUGUSTUS WYMER (BRITISH 1849-1935)
SKETCH OF FIVE SCOTS HIGHLANDER UNIFORMS
signed with initials and dated 1881 lower left, mounted, framed and under glass
33cm x 23cm; 50cm x 39.5cm [including frame]
£250-350
124
VICTORIAN SCOTTISH SCHOOL
MAJOR JAMES FRASER OF CASTLE LEATHERS
watercolour on paper laid on canvas, signed ‘D WILKIE’, framed and under glass, with gilt plaque ‘1785 Sir David Wilkie RA 1841, Major Fraser of Castle Leathers’, the reverse with a paper label cut from an auction catalogue 42cm x 30cm; 56cm x 44cm [including frame]
£400-600
125
HENRY MACBETH-RAEBURN (SCOTTISH 1860-1947), AFTER SIR HENRY RAEBURN (SCOTTISH 1756-1823)
THE MCNAB
mezzotint printed in colours, signed in pencil lower left, printed in 1918 by John Dewar & Son, Haymarket, SW, London, mounted, framed and under glass the plate 65cm 38.5cm; 95cm x 65cm [including frame]
oil on canvas, signed and dated 1882, signed, inscribed and dated on the reverse ‘House on right where James VI was taken to when he escaped from Edinburgh Castle’, arched top
134cm x 86cm (52.75in x 33.75in)
Exhibited: Royal Scottish Academy 1882, no. 381
£600-800
128
AFTER WILLIAM DANIELL RA (BRITISH 1769–1837)
ILLUSTRATIONS OF THE ISLAND OF STAFFA, IN A SERIES OF VIEWS
London: Longman, Hurst [&c.], 1818, oblong folio, 9 handcoloured aquatint plates on card by Daniell, card boards with green morocco spine; together with THIRTEEN PLATES OF SCOTTISH COASTAL VIEWS FROM THE SERIES ‘A VOYAGE AROUND GREAT BRITAIN’, CIRCA 1814-1825, loose, some mounted (14) the book 38cm long, 26.5cm high
£300-500
127
A SCOTTISH ART NOUVEAU STATIONERY BOX EARLY 20TH CENTURY
stained beech, the penwork and stained lid with a scene of stylised birds over trees and flowers, the hinged lid opening to a single interior
44.5cm wide, 8cm high, 34cm deep
£300-500
129
TWO SCOTTISH CARVED LIMEWOOD TABLEAU SCENES FROM TAM O’SHANTER, ATTRIBUTED TO THE WORKSHOP OF THOMAS HALL TWEEDY 19TH CENTURY
carved from solid blocks in high relief, depicting Tam drunk outside the tavern preparing to ride into the night; the interior of the haunted church with witches and warlocks dancing while the Devil plays bagpipes and Tam watches at the window, with glass mounted to the front (2) 51cm wide, 31cm high, 8cm deep
£500-700
130
A PLASTER PORTRAIT BUST BY DAVID WATSON STEVENSON (SCOTTISH 1842–1904)
ROBERT LOUIS STEVENSON
plaster maquette, signed to reverse D.W. STENSON R.S.A./ SC
41cm high, 25cm wide, 13cm deep
£600-800
132
A BRONZE FIGURE OF ROBERT LOUIS STEVENSON BY THOMAS J. CLAPPERTON (SCOTTISH 1879 - 1962)
DATED 1909
dark brown patina, raised on a stepped green marble plinth base, signed to the base ‘Thos. J. Clapperton, 1909’ figure 59cm high, 66cm high including plinth
£800-1,200
A PLASTER PORTRAIT BUST BY THOMAS J. CLAPPERTON (SCOTTISH 1879-1962)
GEORGE HOPE TAIT (SCOTTISH 1861–1943)
signed and dated 1929 to the base
43cm high, 34cm wide, 21cm deep
£500-700
A SCOTTISH BRONZE
FIGURE BY ALEXANDER ‘SANDY’ STODDART FRSE (SCOTTISH B.1959) THE RHINE
dark brown/green patina, dated 2005, incised to the reverse ‘The Rhein. Homage to A. von Hildebrand. A. STODDART sc. PAISLEY 2005’, mounted on a stepped wooden plinth base
37cm wide, 32cm high 18.5cm deep [including base]
£300-500
REV. DR. CHARLES ADAMSON SALMOND
76cm high, 52cm wide, 31cm deep
Provenance: Rev. Dr. Charles Adamson
Salmond, thence by descent to his great niece
£1,000-1,500
135
A BRONZE FIGURE OF ROBERT BURNS, AFTER WILLIAM GRANT STEVENSON (SCOTTISH 1849–1919) EARLY 20TH CENTURY
dark brown patina, modelled standing holding a book, on a square plinth base
17cm high, 5cm wide
£250-350
A SCOTTISH BRASS ABNEY LEVEL, BY JAMES WHITE,
GLASGOW
LATE 19TH CENTURY
the square sighting tube signed ‘James White, Glasgow’, mounted with a protractor set with a spirit level and rotated by a rack and pinion knob
12cm wide, 5cm high
Note: An Abney level is a handheld surveying instrument used to measure angles of elevation and depression, slopes, and heights of objects. It is essentially a miniature theodolite, common uses include forestry for measuring tree heights and in topographical surveys.
£200-300
137
A ‘FLYING SCOTSMAN’ TRAIN SET, BY BASSETT-LOWKE LTD, NORTHHAMPTON CIRCA 1952
‘0’ Gauge 3-rail Electric, the BR Blue ‘Flying Scotsman’ Locomotive and Tender, in deep blue experimental livery as No. 60103, in original box, numbered 5310/0; a BR Coach 3rd Saloon coach/carriage, in original box, numbered 113/0; a BR Coach 3rd Break End coach/carriage, in original box, numbered 112/0; an original Bassett-Lowke Model Railways Gauge ‘O’ catalogue with a 1952 price list; together with two boxes of track and a Bassett-Lowke control box (6) the Flying Scotsman train box 56cm long
£600-800
139
138
TWO SCOTTISH SCIENTIFIC INSTRUMENTS 19TH CENTURY
including A BRASS EDIOGRAPH, BY ADIE & SON, EDINBURGH, CIRCA 1845-1860, inside a fitted mahogany case, with paper trade label ‘Adie & Son, 50 Princes Street, Edinburgh’; together with A BRASS SURVEYOR’S LEVEL, BY PETER HILL, EDINBURGH, EARLY 19TH CENTURY, signed to the bridge, inside a fitted mahogany case (2) the larger 90cm long
Note: The eidograph was invented by Professor William Wallace of Edinburgh in 1821. It can be used for copying, enlarging, or reducing drawings or maps. More accurate than the more common pantograph, it can be set to enlarge or reduce in any proportions.
£250-350
A GROUP OF SCOTTISH COMMEMORATIVE POTTERY EARLY 19TH CENTURY
comprising a rectangular plaque moulded with a portrait bust of Queen Caroline in profile and the letters ‘Q’ ‘C’, within a moulded pink lustre frame, suspension holes to the top, unmarked; an East Coast commemorative plate for Queen Caroline, moulded to the centre with a profile portrait bust of Caroline picked out in coloured enamels, above a scrolled banner impressed ‘Queen Caroline’, the rim moulded with fleur de lys, crowns, roses and thistles; and an East Coast commemorative plate for George IV, with polychrome decoration, moulded to the centre with a portrait profile bust above a green banner impressed ‘King George IV’, the rim with moulded decoration in the form of crowns, swords, a garter star and fleur de lys (3) plaque 14cm high, 12cm wide, plates 16.5cm diameter
Provenance: Queen Caroline plate with a paper sticker for the Murray Collection and a paper sticker for the A. L. & S. J. Mainstone Collection
£250-350
140
A SCOTTISH POTTERY WALL PLAQUE
MID-19TH CENTURY probably East Coast, moulded to the centre with a lady seated before her spinning wheel, the border with moulded inscription ‘AULD LAND SYNE’, the top with a pierced suspension loop, unmarked 21cm wide
£200-300
141
A RARE FRAMED ERROL POTTERY PLAQUE
LATE 19TH CENTURY the brownware body of circular form, painted with a scene possibly depicting the Falls of Bruar, unsigned, within a gilt mount and frame; impressed mark to the reverse JAS
ADAMSON ERROL WORKS framed 38cm x 38cm, plaque 23cm diameter
£250-350
142
A COFFEE CAN, ATTRIBUTED TO WILLIAM LITTLER FOR WEST PANS
CIRCA 1770
porcelain, underglaze cobalt blue on white, painted mark to base; together with a PORTOBELLO POTTERY (ATTRIB.) JUG, printed blue on white with opposed scenes of Inveraray Castle, unmarked (2) can 6cm high, jug 14.5cm high
£300-500
143
A SCOTTISH POTTERY RATHBONE’S OF PORTOBELLO COMMEMORATIVE PLAQUE DEPICTING GEORGE IV EARLY 19TH CENTURY
of rectangular form, moulded with a portrait bust of the monarch above a green banner impressed ‘Welcome King George IV’, with enamelled foliate sprigs of thistles, roses and shamrocks, within a moulded border with diaper and dot designs, the corners with moulded bearded heads, within a black enamelled rim, marked to the reverse with four underglaze dots, with pierced suspension holes at the top
15cm wide, 18cm high
£500-700
144
A SEATON POTTERY BOWL
DATED 1885
centred with a stylised flowerhead motif and with slip cut stylised panels including love heart motifs; inscribed ‘Mr J PAXTON / FLESHER / 36 West North Street / ABERDEEN / NOV 14th 1885’; together with a LUGGED
A COLLECTION OF J. & M. P. BELL & CO ‘PEACOCK AND LILIES’ PATTERN PLATES
CIRCA 1890
printed in various brown, green and red colourways, comprising a shallow bowl and eight various plates; printed factory marks and pattern name, some pieces with impressed factory mark of a B within a bell bowl 24.6cm diameter, plates 22.3cm diameter - 24.6cm diameter
Provenance: From The Robertson Collection of Export Pottery, Christie’s, 27th September 2007, lot 17 and lot 18
£250-350
145
A GROUP OF SCOTTISH POTTERY CARPET BOWLS
19TH CENTURY
with checked, floral and sponged decoration, twelve single bowls, in colours of red, green, black, and blue (12) the largest 10cm diameter
£300-500
146
A GROUP OF SCOTTISH POTTERY CARPET BOWLS
19TH CENTURY
with checked and floral sponged decoration, the smaller jack also with sponged floral patterns, in colours of red, black, blue and yellow (11) approximately 8cm diameter
Provenance: The Estate of Eric Robinson
£250-350
148
A COLLECTION OF NEWHAVEN FISHWIFE POTTERY
19TH CENTURY
comprising a flatback figure group of two fishwives standing side by side; a pair of flat back figures modelled as a fishwife seated with a creel of fish; and a pair of figures modelled in the round as a fishwife carrying a basket of fish and a male figure of a young fisherman carrying a net over his shoulder; all unmarked (5)
tallest figure 32cm high, smallest 19cm high
£250-350
149
A COLLECTION OF BOUGH POTTERY EARLY 20TH CENTURY
including a square section cheese dish and cover by Richard Amour, painted with aquilegia, the sides and stand with yellow ground painted with cloud motifs, marked R.A Bough; a square section butter dish and cover and a small preserve jar and cover, painted by Christina Amour, both with floral decoration, marked C.C.A. Bough; two round plates by Elizabeth Amour, each decorated with a stylised tree in a landscape setting, with a yellow rim, marked E.A Bough; and a twin-handled bowl on stand by Elizabeth Amour, decorated with a band of stylised leaves on a yellow ground, marked E.A Bough 10 (7) £250-350
150
A PART-SUITE OF EDINBURGH CRYSTAL ‘THISTLE’ PATTERN GLASS
20TH CENTURY
comprising ten wine glasses; five sherry glasses; five tumblers; one slightly smaller tumbler; four whisky nips; two brandy balloons; and a water jug; some with factory mark (qty) water jug 15.5cm high, wine glasses approximately 13.5cm high, slight height variation
£500-700
151
A LARGE GLASS WHISKY DISPENSER FOR ‘MOUNTAIN DEW’, ROBERTSON SANDERSON’S, LEITH CIRCA 1900 in the shape of a whisky bottle, with white enamelled lettering above the tap outlet
70cm high, 20cm diameter
£300-500
152
THREE VICTORIAN CERAMIC BARREL DISPENSERS
19TH CENTURY
all of oval form, with magenta and gilt decoration, each labelled in gilt ‘SPECIAL SCOTCH’, ‘B. L. GIN’ and ‘SPECIAL IRISH’, the tops with circular lids and stamped ‘T. Knight Glass & Bottle Manufr, China Barrel Merchant, 170 Hampton St, Birmingham’, each with a brass tap also stamped ‘T. Knight, Birmingham’
29cm wide, 34cm high, 20cm deep
£800-1,200
153
A LARGE SCOTTISH NEEDLEWORK PANEL OF A COUNTRY HOUSE
20TH CENTURY
depicting a front view of Burnhouse Mansion, Stow, Scottish Borders, with lawns and garden, framed 92cm high, 118cm wide [including frame]
£300-500
155
TAYLOR [GEORGE] & SKINNER [ANDRE]
four large decoupage lithograph figures of highlanders, cut from a copy of ‘McIan’s Costumes Of The Clans Of Scotland, SeventyFour Coloured Illustrations’ mounted between glass plates inside a late Victorian frame 88.5cm x 78cm [including frame]
£300-500
SURVEY AND MAPS OF THE ROADS OF NORTH BRITAIN, OR SCOTLAND
London: D. Wilson and G. Nicol, 1776. Oblong folio in limp covers, with general map of Scotland and 61 maps on 31 sheets, title toned, a few small tears; Idem. Survey of the Roads of Scotland… Edinburgh: Thomas Brown, [n.d.] 8vo, half calf over original boards (2)
£300-500
156
[COINAGE] - BURNS, EDWARD THE COINAGE OF SCOTLAND
Edinburgh: Adam and Charles Black, 1887. Three volumes, one of 545 copies signed by the publisher, 79 plates, contemporary green half morocco gilt, spines a little rubbed
31 x 26cm
£300-500
157
THREE SITZENDORF PORCELAIN
FIGURES OF HIGHLANDERS
20TH CENTURY
one figure modelled as a 93rd Highlander, 1815; two figures modelled as 79th Cameron Highlanders, 1814; underglaze blue factory marks, numbered 144910, 144810 and 184810
approximately 29.5cm high
£250-350
158
AN EDWARDIAN SCRAPWORK CHESS BOARD PANEL
EARLY 20TH CENTURY
the decoupage panel formed of a central green tartan checked board framed by a wide border of scraps, centred by an image of Edward VII, framed and under glass 49cm square [including frame]
£250-350
159 Y
A SCOTTISH ROSEWOOD WINE COASTER BY WYLIE & LOCHHEAD, GLASGOW
LATE 19TH CENTURY
with moulded border, the centre glazed with maroon felt embroidered with roses in gold thread, on three brass and leather castors, the base stamped ‘8364, Wylie & Lochhead, 65 Buchanan Street, Glasgow’ 23cm in diameter
£200-300
161
A CURLY HORN SNUFF MULL UNMARKED
the polished curly horn to a hinged lid with applied shield and scroll motif; together with a hardstone box and gilt brass vesta case (2) 10cm, 7cm long
£350-500
160
A VICTORIAN MINIATURE CURLY HORN VINAIGRETTE UNMARKED
of traditional form, the domed hinged cover with finely chased thistle and foliate scroll border around a faceted citrine, to a coiled horn body 4cm long
£300-500
163
A VICTORIAN SILVER PLATED RAMS HORN
TABLE SNUFF MULL 19TH CENTURY
the large curled horn set with white metal mounts, the collar with reeded and ribbon detail to rim, the oval domed hinged lid with a turned finial, the scroll foot support with acanthus mount 24cm wide, 18cm high, 18cm deep
£300-500
164
A SCOTTISH CURLY HORN SNUFF MULL LATE 18TH / EARLY 19TH CENTURY
the large coiled cow horn body with brass mount, lacking the cover 16cm wide, 13cm high
Provenance: The Estate of the late Peter D R Powell
£250-350
162
TWO MAUCHLINE SNUFF BOXES STAMPED ‘SMITHS MAUCHLINE’ 19TH CENTURY
both of rectangular form with hinged cover, one with a yellow metal mount and shield, the interior of each with lead paper lining stamped SMITHS MAUCHINE / MANUFACTURERS TO HIS MAJESTY with the Royal coat of arms
9.8cm and 8.4cm wide
£300-500
ROBERT BURNS / TAM O’ SHANTER INTEREST
AN 18TH CENTURY SILVER AND TORTOISESHELL
TABLE SNUFF BOX
the oval tortoiseshell snuff box of simple form, the domed pull off cover with reeded silver rim and applied to centre with a shaped cartouche finely engraved with Tam o’ Shanter being pursed by the witches in storm, with the moot ‘Ah Tam! Ah Tam! thou’ll get thy fairth in Hell they’ll roast thee like a herrin’
width 12.5cm, depth 10cm, height 3.5cm
Note: Although a familiar image of Tam o’ Shanter, the source for this version of the image and engraved motto are found in ‘Knight & Rumley’s Heraldic Illustrations, Specimen Crests & Fancy Gems’ plate 22
£600-800
166
A SCOTTISH WHITE METAL MOUNTED SNUFF HORN
EALRY 19TH CENTURY
the horn with white metal, the tip with turned finial, the body set with a heraldic crest of a rampant lion holding an axe above a pair of arms swinging a sword with motto ‘Promptus’, the top with a collar and hinged horn lid held in thistle mount centred by a cartouche with initials ‘R.C’; together with A MAUCHLINE WARE PENWORK SNUFF BOX, EARLY 19TH CENTURY, the lid with hand-inked scene of ‘The Rent Day’, the sides and base with lattice engine turned style decoration, opening to the remnants of a foil lined interior, the base with a scene of two dogs speaking to each other ‘“But will ya tell me Master Caesar, Sure great folk’s life’s a life o’pleasure”, “Ird, man. were ye but whyles where I am, The gentles ye wad ne’er envy’em.”’ (2) the snuff horn 31cm long; the snuff box 9cm wide
£300-500
167
A 19TH CENTURY CURLY HORN SNUFF MULL UNMARKED
of traditional form, the polished curly horn to a hinged lid with applied white metal thistle and circular cartouche with engraved initials, the white metal collar engraved ‘Presented to Wm GOTHWELL by a friend’ 7cm long
£200-400
169
A REGENCY TREEN SNUFF BOX EARLY 19TH CENTURY
of circular outline, the lid carved with a depiction of Mary Queen of Scots’ execution, engraved ‘Fotheringay 7 Febry, 1587’, the interior of the lid with applied note ‘Made from an Oriental Plant, which was brought when a plant from France, by Mary Queen of Scotts and planted by her in the garden of Holyrood House, 1561, blown down, 1817’
9cm diameter
£300-500
168
A SCOTTISH CARVED WOOD ‘BLIND MAN’ SNUFF BOX
19TH CENTURY
of rectangular form with hinged cover, carved in high relief with a scene depicting Tam O’Shanter fleeing on his horse Meg, with a witch behind pulling the horse’s tail, the sides carved with a fish and seated hounds
16cm wide, 5cm high
Provenance: The Estate of Eric Robinson
£250-350
170
A SCOTTISH ‘BLIND MAN’S’ LARGE CARVED SNUFF BOX
19TH CENTURY
the hinged cover carved with a bagpipe player and maid holding a ram, the sides with a dog nibbling the ram and further sheep; together with another, depicting two men with shotguns and dogs (2)
16cm, 15.5cm wide
£400-600
172
A SCOTTISH BURR ROOTWOOD SNUFF BOX
19TH CENTURY
the turned body with a hinged cover opening to remnants of a foil lined interior 16cm diameter, 9cm high
Provenance: The Estate of the late Peter D R Powell
£250-350
173
A SCOTTISH CARVED FRUITWOOD ‘BLIND MAN’ SNUFF BOX
19TH CENTURY
carved throughout with Scottish characters, probably inspired by Burns, the wooden hinged cover with a shepherd and his lassie, the bottom with a hunter and his dogs
15cm wide, 6.5cm high, 8cm deep
£400-600
171
A LARGE CARVED ‘BLIND MAN’ SNUFF BOX
19TH CENTURY
of rectangular form with hinged cover, carved in high relief with a scene of Tam O’Shanter and Souter Johnny drinking in a tavern, the base carved with Tam fleeing from a witch on his horse Mag, the sides carved with hounds
18cm wide, 9.5cm high
£300-500
174
A SCOTTISH CARVED WOOD ‘BLIND MAN’ SNUFF BOX
19TH CENTURY
carved in high relief, the cover depicting a lady on horseback, with male hunters alongside, the base carved with a man slaying a lion, the sides with a deer and a dog, inscribed in ink to the interior ‘July 1848 / Made by a shepherd youth / From Culloden Moor’
16.5cm wide, 6.5cm high, 10cm deep
£400-600
176
175
A TARTANWARE MIRROR AND BOOK LATE 19TH CENTURY
the mirror of rectangular form, in Prince Charlie tartan, 20.5cm high, 15.5cm wide; the book entitled ‘ Souvenir of Scotland’, featuring a view of Edinburgh on the front cover and the McLean tartan, published by T. Nelson & Sons, London, Edinburgh and New York, 1892 (2)
20cm high
£200-300
A VICTORIAN COPPER ‘THISTLE’ JELLY MOULD 19TH CENTURY
of rectangular form, the top moulded with a thistle in flower, on a leafy stem issuing a smaller thistle, the sides moulded with flutes 11cm high, 17.5cm wide
£200-300
177
A SCOTTISH PENWORK GAMES BOX, ATTRIBUTED TO CHARLES STIVEN, LAURENCEKIRK
EARLY 19TH CENTURY
decorated with scenes after David Wilkie, the cavetto moulded hinged lid depicting a domestic scene probably involving payment of rent, the front, back and sides illustrating fox hunting scenes, the interior with a removable divided tray and four boxes, each lid with scenes of everyday life, raised on embossed brass feet, the base of the inserted shelf bearing paper retailer’s label ‘Smith and Co. Carvers and Gilder’s, 78 Union Street, Aberdeen’
28.5cm wide, 14cm high, 22cm deep
£1,200-1,800
Note: The penwork scene decorating the lid of this fine box is adapted from Sir David Wilkie’s 1807 painting ‘The Rent Day.’ One of the interior boxes in the interior also features a detail of this picture as well, and three other genre scenes presumably after Wilkie.
Literature: Tromans, Nichols ‘David Wilkie. The People’s Painter’, published Edinburgh 2007, plate 2.
Provenance: Sold in these rooms 24 September 2008, lot 146 and subsequently on 10 February 2021, lot 260
180
178
A COLLECTION OF TARTANWARE INCLUDING DESK ITEMS
LATE 19TH CENTURY
including stamp boxes and holders, including one with maker’s mark for Davidson Wilson, Mauchline; pencils; ink nibs; a desk seal for the London Royal Academy 1881 exhibition; a further seal; a ruler; a letter opener; a spectacle holder; an egg timer; a ‘The Queen’ lozenge box, etc (qty)
spectacle holder 16.5cm long, 8cm wide
£250-350
179
A COLLECTION OF TARTANWARE BOOKS
LATE 19TH CENTURY
including ‘Souvenir of Scotland’, published by Nelson & Sons, 1895; ‘The Poetical Works of Scott’, published by Adam and Charles Black, 1872, with a personal inked inscription from mother to daughter; ‘The Songs of Burns’, published by David Jack, 1859; ‘The Lady of the Lake’, by Sir Walter Scott, published by Adam & Charles Black, 1873; ‘The Lord of the Isles’, by Sir Walter Scott, published by Adam & Charles Black; ‘The Lay of the Last Minstrel’, by Sir Walter Scott, published by Adam & Charles Black; ‘Songs of Burns’, published by William & Andrew Smith; and ‘The Poetical Works of Burns’, published by David Bryce & Son, 1899 (8) largest book 20cm high, smallest 9cm high
£250-350
A TARTANWARE CASED SET OF SIR WALTER SCOTT’S POETICAL WORKS
SELECT EDITION
six volumes, published by Adam and Charles Black, Edinburgh, 1871, contemporary Mauchline ware bindings of wooden covers transfer printed with tartan patterns, gilt maroon morocco spines, all edges gilt, engraved additional vignette title page to each volume, in Mauchline ware tartan box with vignette of the Scott Monument statue of Sir Walter Scott, red velvet lining case 20cm wide, 11.5cm high, 16.8cm deep
£600-800
181
A COLLECTION OF TARTANWARE
LATE 19TH CENTURY
including cylindrical powder boxes, match holders with strikers, a barrel-shaped money box, a glove stretcher, a purse, a box containing two sets of playing cards, a lady’s card case, a book-shaped box containing ‘The Smallest Bible in the World’; some pieces with maker’s mark Smith’s Mauchline Manufacturers to his Majesty, and various other items (qty)
box with small bible 5cm wide, 7cm long, 2.2cm high
£250-350
182
A
COLLECTION OF TARTANWARE
BOOKS
LATE 19TH CENTURY
with works by Sir Walter Scott including ‘Lady of the Lake’, published by John Ross & Co, 1871; ‘Scot’s Poetical Works’, published by Gall & Inglis; four volumes published by Adam & Charles Black, including ‘Rokeby’, ‘Marmion’, ‘Lord of the Isles’ and ‘Bridal of Triermain’; and ‘The Lyric Gems of Scotland’, published by John Cameron; together with four loose book panels (qty)
largest book 17.5cm high
£250-350
183
A COLLECTION
OF MAUCHLINE
LATE 19TH CENTURY
WARE AND FERN WARE BOOKS
including ‘Cowper’s Poetical Works’, ‘The Songs of Burns’; Sir Walter Scott’s ‘The Lady of the Lake’; ‘Guide to Doune Castle’ by James Dunbar; ‘Byron’s Poetical Works’; and various other titles including two copies of the Holy Bible; together with a LARGE PHOTOGRAPH ALBUM containing 111 photographs, circa 1880-1890, all British views (qty)
album 31cm high, 25cm wide
£250-350
184
A COLLECTION OF MAUCHLINE WARE LATE 19TH CENTURY including a coffershaped money box, a tulip shaped spill vase, a quaich, an octagonal box with the General Terminus Perth, a matchbox holder, a spectacle case, etc (qty) largest rectangular box 24.5cm wide, 5.5cm high, 9cm deep
£250-350
186
A MAUCHLINE WARE SYCAMORE AND RED INK TEA CADDY
BY W. CRAB OF LAURENCEKIRK
EARLY 19TH CENTURY
the rectangular body decorated throughout with a red seaweed ground within stylised black leaf borders, the interior fitted with three foil lined caddies with red seaweed decoration, the underside of the cover painted to simulate a marbled paper effect, with brass lock (no key), stamped W.CRAB L. KIRK
27.7cm wide, 14cm high, 15.2cm deep
£600-800
185
A COLLECTION OF FERNWARE LATE 19TH CENTURY
including various rectangular boxes, a tea caddy of octagonal form, a massive goblet incorporating a view of Edinburgh, a tall tapered vase of triangular section, and a poetry book entitled ‘Forget-me-not’, published by T. Nelson & Sons, 1874 (qty) triangular vase 31cm high, goblet 35.5cm high
£300-500
188
A COLLECTION OF TARTANWARE LATE 19TH CENTURY
including a cased compass, the case with diamond registration mark for 10th December 1870, a pin holder, a toothpick holder, small cylindrical boxes of various sizes, including one with maker’s mark Davidson, Wilson & Amphles, Mauchline, a card case painted with The Scott Monument, a tiny round coin purse, etc (qty)
Scott Monument card case 7.3cm wide, 10cm long, 1.2cm high
£250-350
187
A COLLECTION OF TARTANWARE, MOSTLY SEWING RELATED LATE 19TH CENTURY
including thimble holders, needle hook holders, pin cushions, a cylindrical ribbon holder, a spherical spool holder etc (qty)
largest needle case 19cm long, 6cm wide
£250-350
189
A COLLECTION OF MAUCHLINE WARE
LATE 19TH CENTURY
including money boxes of various forms such as a train, barrel form examples, a castle turret example, a money box in the form of a grand piano and a train money box; Anchor Sewing Cotton boxes in the form of train carriages and one sewing cotton box for Queen Victoria’s Jubilee 1887; a cylindrical needle box, etc (qty) train money box 20cm long, 11.5cm high
£250-350
190
A LARGE COLLECTION OF MAUCHLINE WARE
LATE 19TH CENTURY
including a photograph frame, four tulip-shaped spill vases, cased glass tumblers, a thermometer, a tray, ink wells, various rulers and letter openers, glove stretchers, boxes, etc (qty) frame 22cm high, 14.5cm wide
£300-500
191
A LARGE COLLECTION OF MAUCHLINE WARE
LATE 19TH CENTURY
including a rectangular hinged box with twelve lantern slides depicting ‘The Children in the Wood’; egg timers; pocket watch holders; luggies; quaichs; spectacle cases; snuff boxes; a Queen Victoria spool holder etc lantern slide box 21cm wide, 10.5cm high, 9cm deep
£250-350
192
A COLLECTION OF MAUCHLINE WARE GAMES
LATE 19TH CENTURY
including ‘Halma’, ‘A New Game of Halma’, ‘Royal Ludo’, ‘Reversi’, ‘Word Making and Word Taking’, ‘Tiddley Winks’ etc, also including some game boxes without the pieces inside and a Fernware box containing dominoes (qty) fernware box 14.5cm wide, smallest box 6cm wide
£250-350
190
193
A PAIR OF VERY LARGE SCOTTISH GRAPHIC MURAL PANELS, OXLEY STUDIOS, EDINBURGH
CIRCA 1950 - 1970
painted on a grid of board tiles mounted to angular facetted wooden boards, depicting Holyrood Palace from the front courtyard with Arthur’s Seat behind and Edinburgh Castle from Princes Street Gardens, the latter signed ‘Oxley Studios’ to the bottom edge
approximately 295cm long, 120cm high
£400-600
194
AN ORIGINAL SIGN FOR ‘THE EDINBURGH DUNGEON’
20TH CENTURY
perspex and enamelled metal
143cm wide, 130cm high
Note: The Edinburgh Dungeon is a well-known and recognised tourist attraction in the city, located in Market Street, close to Waverley Station. This is the original sign that hung over the door of The Edinburgh Dungeon until it was refurbished in 2016.
£300-500
JACOBITE WORKS OF ART
195
A JACOBITE OPAQUE TWIST WINE GLASS
MID-18TH CENTURY
the bell-shaped bowl engraved with a six-petal rose flanked by an open bud and a closed bud on a leafy stem, the reverse with butterfly, on a tripleknopped double series opaque twist stem, raised on a conical round foot
16.2cm high
£500-800
196
A RARE JACOBITE ‘KING OVER THE WATER’ WINE GLASS
MID-18TH CENTURY
the round funnel bowl engraved with a six-petal open rose flanked by a single closed bud on a leafy stem, raised on a short section of double twist mercury stem, set into a turned wooden foot
12.5cm high
£600-900
Note: A handful of deliberately broken Jacobite glasses are recorded. Some preserved with the addition of a simple wooden foot such as this and one which exists with a silver foot added by Jacobite silversmith Patrick Murray of Stirling. Tradition tells that it was not uncommon to break the stem of glasses after receiving a toast to the health and prosperity of the King over the Water. By breaking the stem, it meant no lesser toast could be celebrated from the glass. The act of giving such toasts within close quarters of friends and Jacobite supporters was considered a safe but public way to show support. Giving or receiving such a toast was a safer way to show support than on the battlefield and became engrained in the culture of the period. It is said that Jacobites in the company of Hanoverian supporters, when giving or receiving the toast to ‘The King’, would pass their glass over the punch bowl to signify their Jacobite support for King James or Prince Charles ‘over the water’ in France.
An example from the Fingask Castle collection was reputedly last used by Prince Charles Edward Stuart to toast the uprising and was ceremonially broken by David Threipland his host. See ‘Jacobite, Stuart and Scottish Applied Art’ Lyon & Turnbull 13th May 2015 lot 5.
It seems possible this glass has a similar tradition, as to preserve a glass in this way must indicate its importance to the original 18th century owners.
199
A CONTINENTAL JACOBITE COLOUR TWIST SODA GLASS
MID-18TH CENTURY
the deeply drawn trumpet bowl engraved with a six-petal rose flanked by an open and closed bud on a leafy stem, the reverse with large moth, on a plain stem with a gauze core and a red and white enamel twist, raised on a round conical foot
19.4cm high
Note: For a similar pair of glasses see Lyon & Turnbull ‘Scottish Works of Art & Whisky’, 20th August 2024 lot 214
£400-600
198
A PAIR OF JACOBITE AIR TWIST WINE GLASSES
MID-18TH CENTURY
each with bell-shaped bowl engraved with a six-petal rose and a single closed bud on a leafy stem, on a multi-spiral air twist stem and round conical foot (2)
16cm high
Provenance: The Scottish Sale, Bonhams Edinburgh, 23 August 2006, lot 472
£1,000-1,500
A SET OF FOUR LARGE OPAQUE TWIST GLASSES OF JACOBITE INTEREST POSSIBLY 19TH CENTURY
each with a bucket shaped bowl engraved with three five-petal roses and leaves in pairs, on a double series opaque twist stem and a conical foot (4) approximately 18cm high
Note: The three roses represent the Old Pretender, the Young Pretender, and his brother Henry Stuart, while the pairs of rose leaves represent loyalty.
£700-1,000 197
200
A JACOBITE AIR TWIST WINE GLASS
MID-18TH CENTURY
the flared trumpet bowl engraved with a six petal rose flanked by an open and a closed bud, and to the reverse with an oak leaf and star, inscribed ‘Fiat’, raised on an air twist stem, over a round conical foot
15.2cm high
£400-600
201
A JACOBITE PLAIN STEM WINE GLASS
MID-18TH CENTURY
the drawn trumpet bowl engraved with a six-petal rose flanked by open and closed buds on a leafy stem, raised on a plain tapered stem and conical circular foot
15.6cm high
£300-500
203
A SET OF FOUR ENGRAVED AIR TWIST JACOBITE GLASSES
MID-18TH CENTURY
each with a round funnel bowl, engraved with a sunflower, sprigs of stylised flowers with pairs of leaves, and a jaybird in flight, on a double series air twist stem and a conical foot (4) 15cm high
£1,000-1,500
Note: The sunflower was associated with the return of the Stuart reign and is a symbol of loyalty as the head of a sunflower constantly follows the sun. The jaybird in flight may represent James, the Stuart heir, as a bird, either fleeing or returning, while it is also thought to relate to the name ‘James’.
202
A ‘DISGUISED JACOBITE’ FACETED STEM WINE GLASS LATE 18TH CENTURY
the round funnel bowl with arched facets at the base of the bowl so that a six-petal rose appears to the interior when drinking, on a faceted stem, the conical foot cut with six petal-like facets 16.7cm high
£250-350
205
A
CULLODEN
204
A RARE CHARLES I SUPPORTER’S PENDANT MID TO LATE 17TH CENTURY
the oval painted portrait on vellum of King Charles I, surrounded by a border of fifteen facetted diamonds in simple collet settings, the reverse set with a facetted rock crystal, with a simple gold suspension loop 18mm high, 2.1g
Note: Various Stuart supporters’ badges and miniatures including the present lot were created from the 1660’s. Worn by supporters of the Stuart Royal family they would have been hidden under clothing and were highly personal accessories. Examples at this very small scale are rare but indicate the level of fear associated with supporting the Stuarts. They were presumably only shown to other supporters or to back up a person’s claim to be a supporter. Their use and significance took on a further role with the ousting of King James and the growing Jacobite cause.
For a silver-gilt supporter’s badge of Charles I by Thomas Rawlins see Scottish Works of Art & Whisky, Lyon & Turnbull 12th August 2020 lot 371.
£1,500-2,500
HOUSE SALE CATALOGUE
LATE 19TH CENTURY
the purchasers’ catalogue of the valuable contents of Culloden House... sold by auction by Messrs. A Fraser & Co., on Wednesday 21st July 1897. Inverness, 1897. 8vo, frontispiece, illustrated throughout, later calf-backed tartan cloth gilt, rubbed at edges; together with an 18th century handkerchief, purported to be discovered within this catalogue of the 19th century auction catalogue for Culloden House Sale (2) £300-500
206
A CHARLES II GOLD TOUCH PIECE 17TH CENTURY
holed, with wear
£300-500
207
A RELIC FROM THE SHIP OF PRINCE HENRY’S BAPTISM
LATE 16TH CENTURY
formed as a circular box, with pull-off lid; accompanied by a letter “To Lieut. *** Edwr Alexander, 16th January, From *** Helen Graham, Stirling Castle/ part of the ship used at the Baptism Prince Henry, Son of James VI, which was introduced into the Chapel Royal containing musicians, sweetmeats, savoury viands where *** to delectify the palate of the gallants flair *** there ***” (2) 3.2cm diameter
£300-500
Note: In 1594, Stirling Castle hosted the baptism of Prince Henry Frederick, the eldest son of James VI/ I and Anne of Denmark. It was to be one the grandest Royal pageants of Scottish history. As the accompanying note suggests, there were musicians, food and entertainment, not least an impressive ship, of which this relic is purported to be a part. The poet William Fowler, documented the events in detail in “A True Reportarie of the Most Triumphant, and Royal Accomplishment of the Baptisme of … Prince, Frederik Henry”. A new Chapel Royal was constructed for the baptism and prior to his baptism Prince Henry was presented as a young hero, his bed was laid with golden tapestries decorated with the triumphs of Hercules.
A huge banquet followed the baptism, where the ship took centre stage. From reports, the ship was eighteen feet long and was painted with the Stuart colours and adorned with ‘the riches of the seas’, including shells, coral and pearls. A gilded crystal glass holding a range of seafood delicacies including oysters, herrings, clams and crabs adorned the ship, along with sugar delights.
Henry was raised at the court in London which, thanks to his mother Anne, was full of culture, music and art. He received an advanced Classical education. Unfortunately, his health was never that strong and, to national mourning, he died aged 18, possibly from typhoid fever.
208
CIRCLE OF WILLIAM AIKMAN (1683 –
1721)
JACOBITE INTEREST FAMILY GROUP
PORTRAIT, 18TH CENTURY
oil on canvas, featuring nine busts within feigned oval cartouches, likely to be Sir David Nairne and his wife Maire Elizabeth Compigny, surrounded by their dependents, framed, with labels verso 59cm x 59.6cm
Provenance: Bequeathed to the Georgian Society Interiors, Christie’s London 24th January 2012, lot 253
The McEwan Gallery, Royal Deeside Private Scottish Collection
£3,000-5,000
Note: Although labelled and for much time previously considered to be an amalgamated Jacobite group of sitters, traditionally identified as Flora Macdonald, Marquis of Tullibardie, Prince Charles Edward, Earl of Nairn, Countess of Nairn, Earl of Nithsdale, Earl of Derwentwater, Countess of Mar, Lucy Dean, this now seems spurious.
At the time when this picture was painted the sitters’ age ranges are disconnected, for example a group featuring a very young Prince Charles would not show the yet unknown Flora MacDonald. If it were painted post-1745 when her fame was well known, it certainly would not show a young Prince Charles when so many iconic, and then contemporary, images were now known.
It is now considered that the main two central sitters are Sir David Nairne and his wife Lady Maire Elizabeth Compigny, and the outer portraits are their family. This structure makes far more sense, and the striking resemblance to both Sir David and Lady Marie from their known portraits, although more naive in execution here, cannot be doubted.
Sir David Nairne was the son of Sir Thomas Nairne, of Sandfurd and Margaret Barclay. Nairne followed James II into exile and worked closely with him and the Stuart exiled court at Château de Saint-Germain-en-Laye. He became a central figure, variously serving as Under Secretary of State and other roles in Jacobite politics, from 1689 till 1713. This close relationship saw Nairne working directly with and for King James and acting directly in his name at the courts of Versailles, Lunéville and Rome.
This close relationship passed from King James II to his son James III and Sir David worked from 1706 to 1713 as Clerk of the King’s Council and was Secretary of the Closet for the King’s private letters and dispatches between 1713 and 1733.
For these roles and continued unwavering support, he was made a Baronet in the Jacobite peerage of 1719. Today his place is well-recorded by the survival of his papers when working with James II and III, showing the relationship and respect they had for him, as well as the prominent role he played in the cause.
For a full account of his life and work and illustration of the portraits of Sir David and Lady Nairne see ‘Sir David Nairne, The Life of a Scottish Jacobite at the Court of the Exiled Stuarts’ by Edward Corp.
209 Y
A PORTRAIT MINIATURE OF FLORA MACDONALD BY GEORGE MURRAY CIRCA 1829
watercolour on ivory, the subject in black and white dress with bouquet of roses and tartan plaid, with a white rose in her hair, signed with initials G.M., presented in a gilt oval brass and ebonised frame 7.5cm x 6cm (portrait), 11cm x 13cm (frame)
Provenance: Stuart Exhibition, London, 18889, Reg. No. 95-1
The Jacobite’s and Their Adversaries, Christie’s, Glasgow 12th June 1996, lot 182
Note: With non-transferable CITES selfcertification number: 219QB6EZ
£1,000-1,500
210
19TH CENTURY
SCOTTISH SCHOOL
HALF LENGTH PORTRAIT OF CHARLES EDWARD STUART, ‘BONNIE PRINCE CHARLIE’
oil on board
30cm x 23.5cm (12in x 9.25in)
£800-1,200
211
A PAIR OF VERRE EGLOMISE PORTRAITS OF BONNIE PRINCE CHARLIE AND PRINCE HENRY
19TH CENTURY
reverse printed on glass with black grounds, gilt gesso frames (2)
33cm x 26.5cm
[including frame]
£250-350
PROPERTY OF THE EARLS OF AIRLIE
Airlie Castle, image courtesy of Airlie Estates
The Ogilvy family, hereditary Earls of Airlie, have held lands in Angus since at least the 15th century, with their historical seat, Airlie Castle, dating to 1432. Their lineage is distinguished by early and consistent support for the Scottish and later British monarchy, beginning with Robert the Bruce and extending through the Stuart dynasty and into the modern era.
Airlie Castle, constructed in a commanding position atop a 400-foot precipice at the convergence of the River Isla and Melgam Water, was a fortress built for defence during some of Scotland’s most turbulent times. Designed with a moat and defensible features, it played a strategic role in the Highlands. Approximately fifty years later, in 1473, the Ogilvys acquired Cortachy Castle from the Earls of Strathearn. Unlike Airlie, which has
preserved much of its original medieval form, Cortachy Castle underwent significant alterations in the 17th and 19th centuries (see lot 212). Today, the estate spans approximately 30,000 acres and includes multiple properties and sporting facilities.
The Ogilvys’ loyalty to the Crown is well documented. From 1425 onward, members of the family held prominent positions at court. Sir James Ogilvy (c.1593–1666), grandson of James Ogilvy of Airlie, was elevated to the peerage as Lord Ogilvy of Alyth and Lintrathen by King Charles I in 1639. This elevation recognized his refusal to sign the National Covenant and his earlier court role as ‘Gentleman of the Bedchamber’ to James VI of Scotland (I of England). In 1639, the family was further ennobled with the creation of the Earldom of Airlie, approximately two centuries after first securing their lands.
Both the 1st Earl and his son, Jamv es Ogilvy, 2nd Earl of Airlie (c.1615–1704), were fervent Royalists during the Wars of the Three Kingdoms. The younger Ogilvy was captured during the battles of Aberdeen (1644) and Philiphaugh (1645), sentenced to death in 1646, and later imprisoned in the Tower of London in 1651. He survived the Interregnum and resumed public life following the Restoration, serving under both Charles II and James VII (II of England). Notably, in 1650, Charles II reportedly stayed at Cortachy Castle, in what became known as the ‘King’s Room’. The following year, however, Cromwellian forces sacked the castle.
Cortachy Castle, postcard, image coutesy of thecastlesofscotland.co.uk
The 3rd Earl of Airlie, David Ogilvy. Image courtesy of the Ogilvy family.
David Ogilvy, (later 13th Earl of Airlie), and his wife Virginia, (later Countess of Airlie), 1952. Image ANL / Shutterstock.
The 3rd Earl of Airlie, David Ogilvy (1634–1717), maintained a quieter political profile, particularly during the 1707 Act of Union, although his cousin, the Earl of Seafield, was instrumental in its passage. The 3rd Earl’s son, James Ogilvy (d. 1731), joined the Jacobite Rising of 1715 under the Earl of Mar. He was attainted for his participation and only received a pardon in 1725. Although he did not officially inherit the title due to the attainder, he was recognized de jure as the 4th Earl.
The family’s support for the Jacobite cause persisted during the 1745 Rising. David Ogilvy (1725–1803), de jure 6th Earl of Airlie, raised a regiment of approximately 600 men for Prince Charles Edward Stuart. This regiment fought at the Battle of Culloden in 1746 (see lot 219) but suffered significant desertions. Following the Jacobite defeat, Ogilvy fled to France, later serving in the French army in Sweden. As a result, the family lost their titles and estates, which were not formally restored until 1826. Despite this, the Ogilvys continued to use their heraldic insignia and coronet, bestowed centuries earlier by the Stuart monarchy.
The family’s loyalty to the monarchy has endured into modern times. David George Coke Patrick Ogilvy, 13th Earl of Airlie (1926–2023), exemplified this tradition. A godson of King George V, he maintained close ties with the Royal Family throughout his life (see lot 226, a christening gift from King George V).
Educated at Eton and Balliol College, Oxford, the 13th Earl pursued a successful career in banking, culminating in his appointment as Chairman of Schroders Bank (see lot 239).
He resigned from this post in 1953 to assume the office of Lord Chamberlain to Queen Elizabeth II, following in the footsteps of his father, who served as Lord Chamberlain to Queen Elizabeth, the Queen Mother (1937–1965). As Lord Chamberlain (1984–1997), the Earl of Airlie oversaw the functioning of the Royal Household, implemented administrative reforms, and managed royal public relations during critical periods, including the 1992 ‘annus horribilis’. He was involved in planning the funeral of Diana, Princess of Wales, and coordinated numerous state visits and diplomatic receptions. Items in the current collection, including gifts and artifacts from 21 countries - from Malawi to Brazil to Bruneidemonstrate the global scope of these engagements and the respect accorded to him by foreign heads of state (see lots 259-296).
His wife, Virginia Ogilvy, Countess of Airlie (née Fortune Ryan), played a similarly active role in royal service. As a Lady of the Bedchamber from 1973, she frequently accompanied Queen Elizabeth II on international tours. The numerous gifts and honours bestowed upon her reflect the esteem in which she was held globally.
Following his retirement as Lord Chamberlain in 1997, the Earl was appointed a Permanent Lord-in-Waiting and, in 2007, Chancellor of the Order of the Thistle, Scotland’s highest order of chivalry. The order, limited to sixteen members at a time, is held for life.
Lord Airlie remained close to the Royal Family throughout his life. Born just a month apart from Queen Elizabeth II, their bond endured for nearly a century. At the time of his death in 2023, he was the last man to have attended three coronations: 1937, 1953, and 2023.
The history of the Earls of Airlie is one of enduring service, loyalty, and proximity to the Crown. For over six centuries, the Ogilvy family has played a continuous and multifaceted role in the political, military, and ceremonial life of Scotland and the wider United Kingdom. Whether defending royal causes in battle or shaping the modern Royal Household, the Ogilvys exemplify the traditions of hereditary nobility aligned with national service. Godson of George V, the Airlie family and the Royal Windsor family had always had close ties and were tied by marriage in the 20th century when The Honourable Sir Angus Ogilvy, the Earl’s younger brother, marrying Princess Alexandra of Kent in 1963.
213
A FRAMED SECTION OF PRINCE CHARLES EDWARD STUART’S ORDER OF THE GARTER SASH
the blue watered silk with zig zag cut edges, in a later frame
Ribbon 9.3cm wide, frame 11cm x 7.5cm
Provenance: Given to Lord Ogilvie by Prince Charles Edward Stuart By direct descent
Property from the Earls of Airlie
£800-1,200
Note: Along with the Order of the Thistle breast badge the Garter sash is a reminder, in portrait representations, of Prince Charles’s position and power. Such high levels of chivalry cemented his claim and right to the throne, and demonstrated his just cause.
The largest surviving section, some 4 feet in length, latterly from the Duchess of Gordon collection, is now housed at Brodie Castle, and was featured in The Swords and the Sorrows exhibition, National Trust for Scotland, Culloden, 16th April – 20th September 1996, item 8:4 (part). Other sections which appear to have been cut from the same ribbon are within the collection of the National Museum of Scotland (H.NC57, gifted by Gilbert Innes, in 1798). Examples sold include Jacobite, Stuart, and Scottish Applied Arts, Lyon & Turnbull, 13th May 2015, lot 16 and Scottish Works of Art & Whisky, Lyon & Turnbull, 17th August 2022, lot 372.
212
19TH CENTURY
SCOTTISH SCHOOL
PROSPECT OF CORTACHY CASTLE
inscribed, watercolour
23cm x 36cm (9in x 14in)
£250-400
214
A LOCK OF PRINCE CHARLES EDWARD STUART’S HAIR
within a 19th century glazed locket, of oval outline, the small lock tied by white ribbon, contained in an oval white metal frame
6.3cm long (including bale)
£800-1,200
A TORTOISESHELL AND ORMOLU JACOBITE
PORTRAIT SNUFF BOX
18TH CENTURY
the oval straight sided snuff box with simple gilt bronze mounts, the cover set with an oval domed section of agate, the interior set with a portrait of Prince Charles Edward Stuart in blue velvet jacket with Order of the Garter sash and badge 8cm wide
Note: The miniature set to the interior of this snuff box is a copy after Robert Strange’s (1721-1792) mezzotint of Prince Charles Edward Stuart circa 1749. Strange is an artist synonymous with Jacobite portraiture and this image is a very familiar view of the Prince, which was reproduced as a mezzotint and engraving. These works were very widely distributed following the rebellion of 1745, and became the most utilised basis for copies right up until 1760. In various versions changes have been made to the clothing.
The plain coat of Strange’s original outfit is sometimes transformed into a tartan coat, a type of cloth that had quickly become synonymous with Bonnie Prince Charlie and the Jacobite cause.
For another example of a portrait snuff box inset with a similar portrait see Scottish Works of Art & Whisky, Lyon & Turnbull, 17th August 2022, lot 366.
£4,000-6,000
216
A MID-18TH CENTURY SCOTTISH FLINTLOCK BELT PISTOL
JOHN CAMPBELL II OF DOUNE
the all steel rams butt pistol with engraved scroll and foliage decoration, the butt with inlaid silver cartouches engraved with the crest and motto for Ogilvy and ‘Airly’ in script to one side and 1497 below a thistle to the other, with silver ball trigger and pricker, with three stage barrel with reeded breech and flared octagon muzzle, engraved and pierced belt hook, signed to lock John Campbell 18cm long (barell), 19cm long (overall)
Note: Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament
£3,000-5,000
These cups are likely to have originally been part of a larger travelling canteen, commonly used by officers in the 18th century. Carried by Colonel David, Lord Ogilvy through the campaigns of 1745 and likely present within the company of Prince Charles and many other high ranking Jacobites. David Ogilvy, the de jure 6th Earl of Airlie (born 16th February 1725 died 3rd March 1803) was the eldest son of John Ogilvy, the 5th Earl of Airlie (died 24th July 1761) and his wife, Margaret Ogilvy of Cluny. The family had already been attainted by Act of Parliament, having joined the Earl of Mar’s Rising during the Jacobite Rebellion of 1715. John assumed the family peerages often stated as the 4th Earl of Airlie, although other sources state him as being the 5th Earl.
David, the de jure 6th Earl was himself attainted for joining with Prince Charles at Edinburgh with his regiment of 600 Ogilvy men in 1745. After the Battle of Culloden, he fled to France to avoid persecution and perhaps worse. Once settled in France, he raised a new regiment ‘Ogilvy’s Regiment’ for the French Army, gaining the rank of Lieutenant General.
In 1778 he obtained a pardon under the Great Seal from the Crown and in 1788 a Parliamentary removal of disabilities, but this did not include the restoration of the family peerages, although as mentioned he is often found in peerage lists as the de jure 6th Earl of Airlie. David married twice, firstly to Margaret Johnstone (died 1757), daughter of Sir James Johnstone of Westerhall in the County of Dumfriesshire, the 3rd Baronet of that place and his wife, The Honourable Barbara Murray and secondly, Ann Stuart (died 27th December 1798) whom he married in 1770. She was the eldest daughter of James Stuart and Mary Crauford. The cups would be later used by the 11th Earl of Airlie during his military service ultimately being collected from his dead body and returned to the family after the battle of Diamond Hill in 1900 during the Boer War.
217
A PAIR OF FRENCH SILVER CAMPAIGN BEAKERS 18TH CENTURY
the stacking beakers of tapered form with simple reeded rims, engraved to the front with coat of Arms of Ogilvy, Earl of Airlie marked to base (2)
With engraved armorial for Colonel David, Lord Ogilvy, a member of Prince Charles Edward Stuart’s privy council 5.5cm high, 3.8oz (combined)
Provenance: Carried by Colonel David, Lord Ogilvy through the ‘45 By direct descent
Property from the Earls of Airlie
Exhibited: The Swords and the Sorrows, National Trust for Scotland Culloden, 16th April – 20th September 1996, item 7:2
Heraldry: Arms: Argent a lion passant guardant gules crowned with an imperial crown and collared with an open crown or Motto: A Fin [To the end]
Each of these beakers has a distinct version of Lord Airlie’s arms. Both rest within a robe of estate and each are ensigned with an earl’s coronet. One is engraved his motto upon a scroll below his arms.
£5,000-8,000
218
A CURLY HORN SNUFF MULL 18TH CENTURY
the well-coiled horn with simple reeded silver mounts, the hinged horn cover set with a circular cartouche engraved with crest and motto A FIN above 9.5cm wide
Provenance: From the collection of Miss Wedderburn
Returned to the family at Cortachy Castle in 1927
Property from the Earls of Airlie
Exhibited: The Swords and the Sorrows, National Trust for Scotland, Culloden, 16th April – 20th September 1996, item 7:4
Note: Family tradition states this snuff mull was carried, and lost, at the battle of Culloden by Colonel David, Lord Ogilvy.
£1,000-1,500
AN IMPORTANT CANNONBALL RETRIEVED FROM THE BATTLEFIELD OF CULLODEN MID-18TH CENTURY
the spherical iron cannonball set with a silver collar with moulded rim and engraved in script ‘Ogilvy Culloden 16th April 1746’
7.5cm diameter, 1751g
Exhibited: The Swords and the Sorrows, National Trust for Scotland, Culloden, 16th April – 20th September 1996, item 7:3
Note: The Battlefield of Culloden has for a long time been of interest to tourists. Many relics have been recovered from the battlefield, fueling interest in the battle. Few are as poignant as this, with its provenance to a man who was there on the day leading a regiment, and who would subsequently suffer the loss of land, status and home.
£3,000-5,000
‘LADY OGILVY’S DRESS’ A BROCADED ROBE A LA FRANCAISE OR SACK BACK DRESS, CIRCA 1745-50
altered circa 1780 to a robe à la polonaise style, of dark plum (purple/brown) coloured silk with small brocade flower sprigs all over interspersed with larger floral sprays, high square neckline at the back and an open front, with attached panel without stomacher, three quarter length sleeves and full long skirt, the inside part lined on the front edges and the hem of skirt in green silk and linen, some further later alterations
Approximately 145cm high
Provenance: By repute worn by Lady Margaret Ogilvy, 6th Countess of Airlie, Palace of Holyroodhouse, when she was presented at court at the Palace of Holyroodhouse in 1745
Thence by descent through the Ogilvy family, The Earls of Airlie
On long term loan to the Royal Collection, Palace of Holyrood, for almost a hundred years
Exhibited: Bonnie Prince Charlie and the Jacobites, National Museums Scotland, June 23rd to November 12th 2017
Women of Glamis, Glamis Castle, late 2020 - early 2021
Most recently displayed in The Queen’s Lobby, next to the Great Gallery, Holyrood Palace, where removed for sale, Summer 2025
£8,000-12,000
Note: This gown is reputed to have been worn by Lady Margaret Ogilvy (1725–1757) upon her presentation at court at the Palace of Holyroodhouse in 1745. Lady Ogilvy and her husband, David Ogilvy (1725–1803), de jure 6th Earl of Airlie, were prominent supporters of the Jacobite cause during the 1745 Rising. Following the Jacobite defeat at Culloden in April 1746, Lady Ogilvy—who was reportedly present as a spectator at the battle—was captured by government forces under the command of the Duke of Cumberland. Alongside other Jacobite sympathisers, she was imprisoned in Edinburgh Castle and condemned to death for treason.
In a daring and now legendary escape in November 1746, Lady Ogilvy is said to have disguised herself in the clothing of a washerwoman to evade her guards. Travelling under the guise of a young gentleman, she reached London, where soldiers allegedly mistook her for Prince Charles Edward Stuart. Her companion managed to convince them that she was instead a noblewoman concealing her identity due to debts of honour. After a medical examination by a woman confirmed her sex, she was released and ultimately fled to France to join her husband in exile.
On 23 September 1745, following the Jacobite victory at the Battle of Prestonpans, Prince Charles Edward Stuart hosted a celebratory ball
at the Palace of Holyroodhouse in the Great Gallery. While long thought to be a literary embellishment introduced by Sir Walter Scott in Waverley, recent scholarship has confirmed the historical authenticity of the event. A letter from the Duke of Perth to Lord Ogilvy, dated 30 September 1745 and written at Holyroodhouse, makes explicit reference to a “great ball at ye palace” held on “Monday last.” This document was uncovered by Deborah Clarke, Senior Curator at the Palace of Holyroodhouse, during research for her 2024 publication The Palace of Holyroodhouse
A gown of similar date and style was formerly in the possession of the Threipland family of Fingask Castle, also known for their Jacobite allegiance. Sold by Christie’s at their sale FIngask Castle in April 1993 (lot 535), this ensemble comprised a “sack-backed open robe and petticoat, of pink silk brocaded with sprays of orange and pink flowers and trimmed with a flybraid, circa 1755-60, the bodice slightly altered, By repute worn
Charlie in 1745”. The Threipland collection, housed at Fingask Castle near Perth, contained numerous artefacts relating to the Jacobite cause, further enhancing the contextual reliability of the provenance.
A comparative analysis of the Threipland and Ogilvy gowns highlights shared stylistic features, notably in cut, textile, and decorative trim, consistent with mid-18th-century court fashion. These similarities suggest a shared cultural milieu among elite female supporters of the Stuart court. Although absolute certainty is elusive, the strong stylistic and circumstantial parallels between these garments lend credence to the possibility that Lady Margaret Ogilvy’s gown may have been worn at the 1745 Holyroodhouse ball. If so, it would constitute one of the rare surviving garments directly associated with the ephemeral Stuart court in Edinburgh, and a rare material testament to the women who actively supported the Jacobite cause.
by Miss Treipland (sic) at a Ball given by Bonnie Prince
221
THE BOOKE OF COMMON PRAYER
LONDON: ROBERT BARKER, 1632
8vo, contemporary calf gilt with Royal arms gilt to covers, Ogilvy ownership signatures to title-page and other early ownership inscriptions to a few internal leaves, some rubbing to covers, a little dampstaining, lacking final leaf (possibly colophon)
£400-600
222
[BOOK BELONGING TO KING CHARLES II]
CHARLES I, KING OF ENGLAND, SCOTLAND AND IRELAND, 1625-1649
Dernieres Oeuvres de sa Majeste de la Grande Bretagne. The Hague, 1649. 12mo, to include: Eikon Basilike, folding frontispiece incomplete; Prieres de sa Majeste de la Grande Bretagne; Cahiers de la Conference…entre sa Majesté de la Grande Bretagne et le Sr. Alex. Henderson Ministre Escossois, portrait; Metamorphose des Isles Fortunés de la Reyne Dovairiere de la Grande Bretagne; 17th century calf with the royal monogram “CR” and crown to the covers
Provenance: Reputed to have been left at Cortachy Castle by King Charles II, a flyfeaf reads: “God Bless ye King”
Property from the Earls of Airlie
£500-800
223
MACKINTOSH, ALEXANDER OF FORFAR
THE MUSTER ROLL OF THE FORFARSHIRE OR LORD OGILVY’S REGIMENT 1745-6
8vo, tartan cloth with the title and dedication to Lord Ogilvy, 12th Earl of Airlie, to the upper cover, dedicatee’s copy; together with a list of members of the French army
£500-800
224
RICHARD DELAMAIN, ‘THE FIRST BOOKE OF EUCLIDE, CONTAYNING YE FIRST GROUNDS OF GEOMETRIE … MANUSCRIPT, 1639
composed & thus ordered by R. Delamain in the ye 12 yeare of his age for ye Princes highnes’, 1639. Manuscript, oblong folio (32 x 20cm), contemporary vellum with diamondform black morocco onlays gilt-tooled with Scottish wheel pattern and crest of the Prince of Wales, comprising 74 neat manuscript pages of Euclidean theory and illustrations
£8,000-12,000
Note: This manuscript is presumably by Richard Delamain the younger, son of Richard Delamain the elder (1600-1644); both were mathematicians. Richard Delamain the elder was mathematics tutor to the young Charles II. This reprint of the Ancient Greek mathematics philosopher, Euclid (first printed as early as 1482) shows the material that was being used by 17th century tutors. Regarded as the father of geometry, his work from Ancient Greece inspired and influenced later mathematicians like Isaac Newton and Nicolaus Copernicus. Oliver Byrne in 1847 published ‘The First Six Books of the Elements of Euclid’ which is regarded as a masterpiece of Victorian book design, considered ‘one of the oddest and most beautiful books of the whole century’ (McLean). Copies are also encountered in publisher’s cloth bindings in various colours.
225
OGILVY ARMORIAL BEARING
watercolour, framed, 41cm x 32.5cm (frame); together with an ink and paint depiction of Lady Mabel Airlie on the 12th May 1937 at the coronation of King George VI and Queen Elizabeth, presented in a leather binding (2)
£300-500
226
A CHARLES II STYLE TWIN-HANDLED SILVERGILT PORRINGER AND COVER, CHRISTENING GIFT FROM KING GEORGE V PAIRPOINT BROTHERS, LONDON 1908
the deep bell-shaped bowl with applied acanthus foliage, engraved Rococo cartouche with George V’s armorial to one side, engraved presentation inscription to the other ‘David George Coke Patrick Lord Ogilvy from his Godfather George R.J. 28th June 1926’ the acanthus leaf clasped handles each of S-scroll form, the pull-off domed cover with similar decoration and compressed bun finial, all raised on a domed foot 21cm high, 37.5oz
£3,000-5,000
227
A LATE VICTORIAN LOVING CUP
R & S GARRARD & CO., LONDON 1871
with four double loop handles and fluted-rim, decorated with stud beads, stylised floral bosses and two fleurde-lys motifs, rectangular cartouche to centre, presented in a fitted case
13.3cm high, 24.5oz
£1,000-1,500
228
A CONTINENTAL SILVER-GILT AND GEM-SET CHRISTENING CUP
INDISTINCTLY MARKED TO FOOT
the deep slender cup with chased floral scroll border and acanthus clasped lower body, the stem of baluster form, set with various cabochons, including bloodstone, garnet, chalcedony etc, to a domed foot with chased vine and grape detail, the border engraved ‘Robert Jocelyn from his Godfather, Frederik Viscount Castlereagh 1846’ above a gadronned border, above a presentation inscription to foot ‘David George Patrick Coke, Lord Ogilvy, 17th May 1926 from his loving Grandmother and Godmother Mabell Airlie’ presented in a later case, likely French or Italian 28.2cm high, 12oz
£2,000-4,000
230
AN EARLY 18TH CENTURY LOBED BOWL
JOSEPH SANDERS, LONDON 1735, WITH ADDITIONAL MARK, LYON & TURNBULL, EDINBURGH 2025
the slightly lobed panels with chased scroll decoration and border, engraved presentation inscription to body ‘ The Gift of Lord & Lady Kinnaird to James Kidd on their marriage 14 Dec 1837’ additional circular foot has been marked
22.5cm diameter, 8.2cm high, 18oz
£400-600
229
A GEORGE III SNUFFER TRAY/ INK STAND PAUL STORR, LONDON 1809 WITH ADDITIONAL MARK, LYON & TURNBULL, EDINBURGH 2025
of oval outline, cast foliate and shell border, later Airlie crest and Earl’s coronet engraved to the centre, with later ink well added to centre with accompanying Victorian silver-mounted cut glass ink-well, engraved monogram and Earl’s coronet to hinged lid
27.5cm wide, 15.5oz (weighable)
£500-800
232
A GEORGE V GALLERY INKSTAND
CHARLES STUART HARRIS, LONDON 1916 of rectangular form, the pierced sides with a gadrooned border, two glass inkwells and a pen rest, all raised on scroll feet
26cm wide, 20oz
£300-500
233
A COLLECTION OF PUNCH LADLES
various marks, including two London examples with twisted baleen handles; another unmarked with engraved initials to reverse of bowl and a Dutch example with engraved floral and scroll decoration (4)
40cm (length of longest)
£250-400
231
A SET OF TEN PLATED SILVER COAT OF ARM PLACE MATS
each of circular outline, engraved to the centre with the coat of arms for the Airlie family; together with five circular silver coasters and two smaller, all engraved with the Airlie crest to centre (17)
19.7cm diameter, 15.8oz (weighable silver)
Note: Heraldry: Arms: Argent a Lion passant guardant Gules crowned wvith an Imperial Crown and collared with an open one proper Crest: A Lady from the waist upwards, affronte Azure holding a Portcullis Gules Supporters: On either side a Bull Sable, armed and unguled Vert, and gorged with a Garland of Flowers proper Motto: A Fin (To the end)
£500-800
234
A 1970S MINIATURE MODEL OF A GROUSE
WILLIAM COMYNS & SONS., LONDON 1974 modelled naturalistically; together with a silverplated model of a snipe and a brass model of a bison, embossed to underside, ‘*EEPELS STUDIO’ (3)
3.5cm high, 62g (grouse)
£200-300
235 §
A MODERN 1970S ASHTRAY
GERALD BENNEY, LONDON 1972 of rectangular outline, bark textured sides, engraved presentation inscription to underside ‘London Merchant Securities Limited 18731973’, removable glass insert 10.7cm wide
£250-400
236
A COLLECTION OF FIVE MATCHED 20TH CENTURY MATCHBOX CASES VARIOUS MAKERS AND DATES S J ROSE & SON, LONDON 1939, 1962 comprising, S J Rose & Son, London 1939, two by Asprey & Co Ltd, 1962 and one C&C, 1938, all of rectangular outline, engraved Airlie Crest to centre (5)
4.5cm wide, 0.7oz (weight of one)
£400-600
A MATCHED SET OF KING’S HOURGLASS PATTERN FLATWARE
PAUL STORR, LONDON 1812 AND MARY CHAWNER, LONDON 1837 comprising, twelve tablespoons, twelve table forks, twelve dessert spoons, twelve dessert forks and twelve teaspoons; together with twelve table knives and twelve side knives, various makers, including Paul Storr and Garrard & Co., all engraved with the Airlie crest and Earl’s coronet (84)
145.4oz (weighable)
£3,000-5,000
238 A VICTORIAN SNUFF BOX
NATHANIEL MILLS, BIRMINGHAM
1857
239
of oval outline engraved to the hinged lid, JO April 11th 1830’; together with a vinaigrette, Edward Smith Birmingham 1849, of traditional moulded rectangular outline, BA engraved to centre (2)
6cm high, 1.9oz, 4cm wide, 0.8oz
£300-500
AN EARLY 20TH CENTURY PRESENTATION CIGARETTE CASE
JOSEPH GLOSTER LTD., BIRMINGHAM 1913 of rounded rectangular outline, engraved to the centre ‘To the Earl of Airlie on his Majority 18.7.14 From the Beaters’, gilt interior; together with a handwritten note, ‘Cortachy and Tarriebuckle beaters Testimonial, To, The Right Honorable The Earl of Airlie on his Lordships coming of age 18.7.14’ followed by a list of handwritten names; together with a skewer, used as a letter opener Padgett & Braham Ltd, London 2004, commemorating 200 years of Schroders 1804-2004, presented in a fitted box (3)
9cm long, 2.5oz; 33cm long, 3.8oz
£300-500
241
A CASED 9CT GOLD DRESS SET
S J ROSE & SON, LONDON 1955
240
A MODERN PRESENTATION BOXPRINCE OF WALES INTEREST
CARTIER, STAMPED CARTIER, LONDON 925 R09105
modelled as an envelope, the parcel gilt lid engraved with the Prince of Wales’ feather, engraved to the interior lid, ‘FROM’ above the Prince of Wales’ feathers, ‘17th May 2006’
6cm wide, 2.8oz
£600-800
comprising, cufflinks, dress studs and collar clips, each of square outline with canted corners, engine-turned detail to centre within a foliate border, presented in a fitted case retailed by C.SEWELL 12.3g
£300-500
242
A CASED AMETHYST HAT PIN
the terminal modelled as an amethyst sphere, with a rock crystal waist; together with another similar, lacking half the amethyst sphere, presented in a fitted case, retailed by J.C. VICKERY REGENT ST. 20.5cm and 19cm long
£150-250
244
243
A WILLIAM IV ROYAL HIGHLAND SOCIETY GOLD PRESENTATION MEDAL UNMARKED
of circular outline, the obverse with a female figure of Agriculture seated on plinth, crowning with chaplets a ploughman and a highland reaper, the arms of Scotland, embossed SEMPER ARMIS NUNC ET INDUSTRIA and the makers LIZARS INV. INGRAM SC, the reverse, ‘HIGHLAND SOCIETY OF SCOTLAND INST 1784 INCORPd 1787’ with the Airlie Coat of Arms to the centre, engraved to the edge, ‘VOTED TO DAVID EARL OF AIRLIE FOR PLANTING ABOVE 3000 ACRES 1830’
4.5cm diameter, 52g
£2,000-3,000
A 1930S 9CT PRESENTATION KEY WILLIAM JAMES DINGLEY, BIRMIMGHAM 1935
modelled as a key, the shield set to terminal engraved to one side, ‘ON THE OCCASION OF HIS OPENING FYFE-JAMIESON PAVILLION IN THE JUBILLEE PARK ALYTH 27TH JUNE 1936’ and to the other side ‘PRESENTED TO THE RIGHT HONORABLE THE EARL OF AIRLIE BY THE ARCHITECTS AND CONTRACTORS’, presented in a fitted box, retailer’s box, Collie, Jeweller, Blairgowrie 10cm long, 22g
£500-800
246
A WILLIAM IV 18CT PRESENTATION SNUFF BOX WILLIAM NIXSON (POSSIBLY), LONDON 1836 of rounded rectangular outline, engine-turned decoration throughout, foliate thumbpiece, the interior engraved with inscription, ‘PRESENTED TO THE HONORABLE WILLIAM OGILVY AIRLIE CASTLE BY THE NEIGHBOURING TENANTRY … 19 JANy 1837’
9.5cm wide, 163g
£6,000-8,000
245
A GEORGE IV 18CT GOLD PRESENTATION SNUFF BOX CHARLES RAWLINGS & WILLIAM SUMMERS, LONDON 1829 of oval outline, engine-turned decoration throughout, the interior lid engraved ‘VISCOUNT ARBUTHNOTT To his friend The Earl of Airlie Septr 1835’ 8.9cm wide, 74.9g
£2,500-4,000
247
AN 18CT GOLD FULL HUNTER PRESENTATION POCKET WATCH
DENT, LONDON
round, white enamel dial with Roman numerals in black, with presentation inscription engraved to inside of cover ‘Sans changer a fin’ Airlie from Blanche 1856’, the cover with an enamelled Earl’s coronet above a blue enamel monogram. Keyless wind movement signed E.J Dent & numbered 23003.
diameter 47mm. approx total weight 89.6g
£700-1,000
248
A COLLECTION OF 10TH ROYAL HUSSARS, (PRINCE OF WALES’ OWN) DRESS ACCESSORIES comprising a set of four yellow metal dress studs, retailed by J.R. Gaunt and Sons, and three 9ct gold and enamel dress studs for the Royal Regiment of Scotland; a tie pin; an unmarked yellow metal arrow brooch; 10th Royal Hussars pin; two white metal kilt pins and four costume dress studs (qty)
£800-1,200
250 BLACK WATCH OFFICER’S SPORRAN
of conventional form, the gilt cantle with embossed St. Andrew, with long white goat hair body and corresponding black tassels; together with a Victorian silver-mounted and goat hair sporran, London 1853; and a mid-20th century silver cantle, Birmingham 1957, with engraved geometric designs (3)
£350-500
251
A SET OF TWO CHILDREN’S RABBIT FUR SPORRANS
comprising a 1950s example, geometric design to the cantle, unmarked, one tassel (one lacking); together with another similar, Celtic knotwork design to the cantle, unmarked, with two tassels, and a set of two loose tassels (3)
17cm & 17.5cm long
£200-400
249
A 1930S SEAL SKIN SPORRAN
WILLIAM ANDERSON & SONS., EDINBURGH 1938 the arched cantle engraved with Celtic knotwork design, the seal skin pouch with three tassels to a leather backing
24.5cm long
£250-400
David Ogilvie, 13th Earl of Airlie, (wearing lot 250) and Virginia Ogilvie, Countess of Airlie. Image courtesy Royal Watcher Blog.
252
A LATE 19TH CENTURY DIRK
254
AN EARLY TWENTIETH
CENTURY SILVER MOUNTED PRESENTATION DIRK
SCOTT ADIE OF LONDON, EDINBURGH 1930
the finely carved basket weave handle to a pommel set claw set with a citrine, the leather covered scabbard with finely engraved Celtic knotwork decoration, set with bi-knife and fork, each set with a citrine to pommel, applied plaque to the reverse engraved ‘PRESENTED BY ALYTH 18TH JULY 1914’
44cm long (overall)
£1,500-2,500
255
A CASED ROYAL BRITISH LEGION SGIAN DUBH MACKAY & CHISHOLM, EDINBURGH 1945
the finely carved basket weave handle to a pommel collet set with an orange paste, the leather-covered scabbard with embossed thistle garland white metal mounts, set with bi-knife and fork, each set with paste terminals, mounts unmarked, cheape missing 42cm long (overall)
£1,200-1,500
253
A LATE 19TH CENTURY DIRK
the finely carved basket weave handle with white metal studs, the pommel collet set with an orange paste, the leather covered scabbard with embossed thistle white metal mounts, set with biknife and fork, mounts unmarked 45cm long (overall)
£1,200-1,500
the antler handle with applied Airlie crest and motto, the silver-mounted red leather scabbard with applied British Legion badge, engraved to reverse ‘TO OUR CHAIRMAN 1934-1946
THE EARL OF AIRLIE KT: GCVO: MC ON THIS DAY OF OUR SMI-JUBILEE JUNE 30
1946’, applied oak leaf to cheape mount, presented in a fitted case 20cm long (overall)
£500-800
256
AN EARLY 20TH CENTURY SILVER MOUNTED SGIAN DHU
HENRY TATTON, EDINBURGH 1918
the carved wooden handle with a basket weave pattern, claw set with a facetted citrine to the terminal, the leather-covered scabbard with Celtic scroll work and embossed thistle border
20.5cm long (overall)
£250-400
257
A MODERN SGIAN DUBH RETAILED BY J. NOWILL & SONS OF SHEFFIELD
the carved wooden handle with a basket weave pattern, paste lacking to terminal, the leather-covered scabbard with thistle decoration
18.5cm long (overall)
£250-400
258 §
GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
FULL LENGTH PORTRAIT OF THE 13TH EARL OF AIRLIE oil on canvas, bears The Tate Gallery exhibition label verso 120cm x 190cm, 144cm x 212cm (frame)
Exhibited: London, Tate Gallery Graham Sutherland 19th May4th July 1982, cat. no. 193
Literature: Graham Sutherland. The catalogue of a 1982 Tate Gallery exhibition. Graham Sutherland. Ronald Alley, Published by Tate Gallery, London, 1982
£7,000-10,000
As part of his role as Lord Chamberlain, the 13th Earl was involved in many state visits and Royal Tours. The following lots show the relationships nurtured by Queen Elizabeth II over the years.
Queen Elizabeth II hosted 113 state visits during her time as monarch from 1952 until her death in 2022 and Lord Ogilvy would have helped organise the majority of these visits.
Furthermore, as Lady of the Bedchamber, Lady Ogilvy would have accompanied the Queen on her foreign visits, of which presentation gifts and Royal Orders can be seen here. The Queen went on 263 official foreign visits during her reign, with 96 of those classified as state visits, designed to strengthen diplomatic ties, professional relationships, and personal connections between the UK and other nations. The companionship of Lady Ogilvy would have been invaluable to the Queen.
Virginia Ogilvie, Countess of Airlie (left), in her role as Lady of the Bedchamber. Image courtesy Royal Watcher Blog.
David Ogilvie, Lord Airlie, in his role as Captain General of the Royal Company of Archers, presents a Redendo to his close friend Queen Elizabeth II, July 2006.
THE MOST EXCELLENT ORDER OF THE BRITISH EMPIRE, M.B.E GARRARD, LONDON 1919
Member’s 1st type, lady’s shoulder badge, on lady’s bow riband, presented in a fitted case for Garrard & Co., London
£100-200
260
A 20TH CENTURY INDIAN ALABASTER PRESENTATION PLATE
of circular outline, inlaid with malachite and dyed mother-of-pearl, creating trailing and displayed foliate decoration, with associated card ‘gifted by the President of India’, presented in a fitted case
20cm diameter
Note: As part of his role as Lord Chamberlain, the 13th Earl was involved in many state visits and Royal Tours. The following lots show the relationships nurtured by Queen Elizabeth II over the years. Queen Elizabeth II hosted 113 state visits during her time as monarch from 1952 until her death in 2022 and Lord Ogilvy would have helped organise the majority of these visits. Furthermore, as Lady of the Bedchamber, Lady Ogilvy would have accompanied the Queen on her foreign visits, of which presentation gifts and Royal Orders can be seen here. The Queen went on 263 official foreign visits during her reign, with 96 of those classified as state visits, designed to strengthen diplomatic ties, professional relationships, and personal connections between the UK and other nations. The companionship of Lady Ogilvy would have been invaluable to the Queen.
£300-500
261
A 20TH CENTURY INDIAN ALABASTER PRESENTATION PLATE
of circular outline, inlaid with dyed motherof-pearl creating trailing and displayed foliate decoration, gifted to Lady Airlie as part of a Royal tour, presented in a fitted case
30cm diameter
£300-500
262
NEPAL - A FINELY CARVED WOODEN PRESENTATION PLAQUE
modelled as a peacock, presented in a fitted case
£300-500
263
MALAYSIA - A PRESENTATION SILVER AND WOODEN-LINED CIGAR BOX
MARKED INDISTINCTLY
of rectangular outline, embossed scroll decoration and a stippled ground throughout, the plaque with engraved inscription ‘With best compliments From His Majesty Sultan Azlan Shah the Yang d-Pertuan Agong IZ
Malyazia’ below the coat of arms of Malaysia, the hinged lid to a double compartment interior, presented in a fitted blue velvet box
21cm wide
£500-800
264
THAILAND – A CASED KNIGHT GRAND CROSS (FIRST CLASS) OF THE MOST NOBLE ORDER OF THE CROWN OF THAILAND
SILVER, SILVER-GILT AND ENAMEL for Lady Airlie, comprising a breast star and medallion, presented in a fitted case; together with a separate white enamel star sash
£200-300
265
MEXICO – A CASED SET ORDER OF MERIT
SILVER AND SILVER GILT, AND ENAMEL stamped 925, comprising breast star, medal and miniature, presented in a fitted case
£300-500
266
SENEGAL – A CASED WHITE METAL BREAST BADGE WITH AN ENAMEL SET MEDAL
Grand Officer’s Set, 2nd Class, instituted in 1960, gilt-bronze, both sides enamelled, central medallion gilt silver, original suspension ring and ribbon with rosette, enamel, reverse with long vertical pin, in case of issue by “Comptoir-Franco Suisse - Dakar”, missing the lapel hole rosette
£300-500
267
MALAWI REPUBLIC – A CASED ORDER OF THE LION GRAND OFFICER´S SET OF INSIGNIA, BY SPINK AND SON
comprising silver-gilt and enamel neck badge star and collar, presented in a fitted case
£600-800
268
KUWAIT - A PRESENTATION CIGARETTE BOX (UNMARKED)
The Kingdom of Kuwait, applied emblem of Kuwait, presented in a fitted blue velvet case
£50-80
269
KUWAIT – A CASED ORDER OF MERIT FIRST CLASS FOR THE EARL OF AIRLIE GARRARDS, LONDON 18CT GOLD
comprising breast star, medal and miniature, sash, presented in a fitted case
Breast star:187g, medal: 91g
£10,000-15,000
270
KUWAIT – A CASED ORDER OF MERIT FIRST CLASS FOR THE COUNTESS OF AIRLIE, GARRARDS, LONDON 18CT GOLD
comprising breast star, medal and miniature, sash, presented in a fitted case
Breast star:187g, Medal: 91g
£10,000-15,000
271
BRAZIL – A CASED COMMANDER ORDER OF THE SOUTHERN CROSS SILVER-GILT AND ENAMEL
together with Star of the Order and presentation button, presented in a fitted case
£300-500
272
JORDAN – A CASED ORDER OF THE STAR OF JORDAN
UNMARKED, RETAILED BY HUGUENIN SWITZERLAND
comprising, breast star, medallion, miniature ribbon, box retailed by HUGUENIN SWITZERLAND
£300-500
273
MOROCCO- A CASED ORDER OF OUISSAM ALAOUITE OFFICER’S A SILVER GILT AND ENAMEL CASED ORDER comprising, breast badge and medal, the obverse features an inscription in Arabic script, which translates to “His Majesty Youssef”, presented in a fitted case
£500-800
274
NORWAY – A CASED ORDER OF MERIT KNIGHT 1ST CLASS
SILVER GILT
comprising breast star, medal and miniature button hole, by David Andersen, presented in a fitted case
£300-500
275
NORWAY – A CASED ORDER OF ST OLAV
SILVER-GILT AND ENAMEL
comprising a neck badge, breast cross and sash, all presented in a fitted case
Note: This prestigious order of chivalry was established by King Oscar I on August 21, 1847. Named after King Olav II, who is venerated as St. Olav, this order honours remarkable achievements for the benefit of Norway and humanity. Usually awarded to Norwegian citizens, it is also awarded to Heads of State and Royalty as a courtesy.
£800-1,200
276
SWEDEN – A CASED ROYAL ORDER OF THE NORTHERN STAR MEDALLION
Commander Class 1: Star; Swedish hallmark 1975; together with another, each presented in a fitted case (2)
£160-250
277
ICELAND – A CASED ORDER OF THE FALCON STAMPED 925
comprising a white and blue enamel set breast star and white and blue enamel set Knight’s cross, with blue ribbon, presented in a fitted case retailed by KJARTAN ASMUNDSSON … REYKJAVIK
Note: The nation’s only chivalric order, established in 1921 by King Christian X of Denmark and Iceland. It is awarded for exceptional service to Iceland and humanity. Queen Elizabeth II was awarded hers in 1963, possibly following her tour of Iceland. Queen Elizabeth II and Prince Philip stayed onboard the Britannia in Reykjavík and visited locations like Þingvellir, Krýsuvík, and Nesjavellir.
£500-800
278
FINLAND – A CASED COMMANDER FIRST CLASS OF THE ORDER OF THE WHITE ROSE OF FINLAND
SILVER GILT AND SILVER
comprising a medallion and breast star, ribbon rosette, presented in a fitted case
£300-500
279
FINLAND – A CASED COMMANDER FIRST CLASS OF THE ORDER OF THE WHITE ROSE OF FINLAND SILVER GILT AND SILVER comprising a medallion and breast star, ribbon rosette, presented in a fitted case, retailed by A. TILLANDER
£300-500
280
DENMARK - A CASED ORDER OF DANNEBROG KNIGHT FREDERICK IX SILVER, SILVER-GILT AND ENAMEL together with a silver and enamel breast cross, presented in a fitted case
£500-800
281
A COLLECTION OF PRESENTATION ITEMS
to include, America; A bronze Potomac Insurance Company of the district of Colombia; Norway; a 1990s pewter flask, Askvoll Brug, of circular outline, engraved HS surmounted by crown, in fitted case; Argentina; A 1990s plated medallion, on the occasion of the unveiling of the monument to General Jose De San Martin London 1994, signed Juan Carlos Ferraro and a 1970s silvergilt commemorative medallion for the opening of BP Forties field (4)
£220-300
282
GERMANY – A CASED ORDER OF MERIT GRAND CROSS 2ND CLASS
possibly silver-gilt for each piece, comprising a silver-gilt and red enamel badge, a breast star and miniatures, presented in a fitted case embossed double-headed eagle to silk interior (4)
£600-800
283
GERMANY – A CASED ORDER FEDERAL REPUBLIC OF GERMANY, GREAT CROSS OF MERIT WITH STAR
SILVER GILT AND ENAMEL, MARKED 800 comprising breast star, pendant and miniature, the sash embossed with double-headed eagles, presented in a fitted case
£400-600
284
GERMANY – A CASED ORDER FEDERAL REPUBLIC OF GERMANY, GREAT CROSS OF MERIT WITH STAR SILVER GILT AND ENAMEL, MARKED 800 comprising breast star, pendant and miniature
£500-800
285
FRANCE - A CASED SILVER CROSS MEDALLION AND AN ENAMEL SET LEGION OF HONOR MEDAL 29 FLORÉAL YEAR X. NAPOLEON CONSULATE MEDAL
comprising, a breast star and medallion, presented in a fitted case
Note: Gifted to the Countess of Airlie, possibly when Queen Elizabeth visited France for a Royal Tour. The Queen made state visits to France in 1972, 1992, 1994, 2004 and 2014
£300-500
286
FRANCE - A PRESENTATION CIGARETTE BOX
CARTIER, FRENCH CONTROL MARKS of rectangular outline, engraved to the corner with a facsimile signature from Albert Lebrun, the 17th and last President of the Third Republic of France, who served from 1932 to 1940, gilt thumbpiece, opening to a wooden lined interior, stamped to the underside, Cartier, Paris - London - New York 15cm wide
£150-250
287
FRANCE – A CASED ORDER GRAND
CROSS STAR AND BADGE
SILVER-GILT
comprising star, badge, sash and miniature button, fitted in a case retailed by Arthur Bertrand of Paris
£600-800
288
SPAIN – A CASED ROYAL ORDER OF ISABELLA THE CATHOLIC
SILVER GILT AND ENAMEL
comprising a breast badge, presented in a fitted case
£200-400
289
SPAIN – A CASED ROYAL ORDER OF ISABELLA THE CATHOLIC
SILVER GILT AND ENAMEL
comprising a breast star and medallion, presented in a fitted box ‘Manufacture of “CEJALVO Y GARCIA, MADRID”’
£600-800
290
SPAIN - A LATE 20TH CENTURY SILVERPLATED PRESENTATION CIGAR BOX UNMARKED
of rectangular outline, engraved to the lid with coronet above facsimile signatures for Juan Carlos I and Sofia, King and Queen of Spain, engraved 1986, presented in a fitted velvet case
26cm wide
£400-600
291
PORTUGAL – A CASED ORDER OF MERIT
BRASS AND ENAMEL
comprising breast star and enamel star and blue and white ribbon button and sash, presented in a fitted case, manufactured by Frederico Costa
Note: Presented on the 27th April 1993, as part of the Royal State Visit from the Portuguese President Mario Soares.
£250-400
292
ITALY – A CASED ORDER OF MERIT TO THE ITALIAN REPUBLIC
SILVER AND SILVER-GILT, MARKED E. GARDINO SUCC. CRAVANZOLA TO THE REVERSE
comprising breast star and medal surmounted by enamel set crown with green and red sash, in a fitted case for Cravanazola, Roma with miniature button hole
£500-800
293
ITALY – A CASED ORDER OF MERIT TO THE ITALIAN REPUBLIC
SILVER AND SILVER-GILT, MARKED E. GARDINO SUCC. CRAVANZOLA TO THE REVERSE
comprising breast star and medal surmounted by enamel set crown with green and red sash, in a fitted case for Cravanazola, Roma, with a note ‘Presented to the Lord Chamberlain by the President of Italy, State Visit 23rd/ 25th October 1990
£500-800
294
QATAR – A CASED ORDER OF MERIT
SILVER AND ENAMEL
comprising a breast star, medallion and ribbon, stamped 800 to reverse of medallion, presented in a fitted case
£300-500
295
UNITED ARAB EMIRATES – A CASED ORDER
18CT GOLD AND ENAMEL MARKED TO BREAST STAR AND MEDAL MARKED TO BALE
comprising, breast star and medallion, presented in a fitted case, by Arthur Bertrand of Paris Star: 195g, Medal: 61g
Note: In July 1989 the UAE’s Founding Father Sheikh Zayed was welcomed by the Queen during his official visit to the UK.
£4,000-6,000
296
BRUNEI – A CASED MOST HONOURABLE ORDER OF THE CROWN OF BRUNEI
SILVER AND SILVER-GILT
comprising, star, badge miniature and collar, fitted in a case by Spink & son Ltd.
£1,000-1,500
END OF DAY ONE
Synonymous with the collecting and research of Scottish pistols, swords and related items John Kirk’s collecting journey started in Scotland in the 1960’s and has lasted over half a century.
An avid follower of auctions John started buying at a time when Scottish arms and armour seemed ‘commonplace’. Items were presented to the market far more regularly than we see today and the challenge was picking the better and best from the offerings and avoiding the meagre. His collection is testament to his eye for detail and his drive to only have the best he could find.
By the 1980’s his collection was showcased in his snooker room. The display was reminiscent of trophies of arms in Scottish castles, with claymore and targe flanked by a fine array of pistols, together with portraits of Princes Charles Edward and Henry Benedict Stuart. It has of course grown since.
John, avid in his search, met with many of the great collectors not only to discuss and learn but to trade and upgrade. When his sights were set on an item, he was very hard to discourage! These meetings honed his eye, fuelled his passion and strengthened his desire to collect.
The enjoyment of adding a piece to the collection didn’t end after purchase, this was only the beginning. There was the tireless research to prove theories and to find the comparable piece and then, all too often, the elusive hunt to find a gun’s pair previously lost.
While known to many for his passion for collecting arms and armour John’s collections grew to include Scottish silver, Jacobite relics (sold within these rooms in Jacobite, Stuart & Scottish Applied Arts, 13th May 2015) and although only a collection of one his beloved Ferrari Dino 246 GT.
The common thread throughout all his collections was quality of craftsmanship. His appreciation for the skill and effort in making an item, its historical context, rarity and its survival for centuries, fuelled the purchase. Excellent at working with his hands and making in wood or metal John’s appreciation extended to working out how an item could be made, what it would take and how he would do it. This also helped when looking for alterations, restoration or fakes which were to be avoided.
The collection was such a passion that when leaving Scotland to emigrate to Canada everything, including the Ferrari, had to come too. Living in Canada, John showcased the guns to a new group of collectors. He was an active member of collector’s societies, often showcasing the pieces to explore connections in the field and promote the appreciation of the work of Scottish gunsmiths.
It is John’s wish that these pieces, many of which have not been seen on the market since the 1960’s, return to Scotland to be sold and a new generation of collector is given the chance to acquire them.
Please note all pistols in this sale are sold as an exempt item under Section 58 (2) of the 1968 Firearms Act
SELECTED HIGHLIGHTS FROM THE JOHN KIRK COLLECTION
DAY TWO
THURSDAY 21 AUGUST 2025 FROM 10AM
297 ‡
AN EARLY 18TH CENTURY SCOTTISH BASKET HILTED BROAD SWORD
the pommel of conical shape with four reeded grooves, the basket hilt formed of flat and round section bars, with the side guards pierced with hearts and dots, the front panels with a stylised cross formed from hearts and pierced details, with dark wooden spiral grip, the large double-edged blade with short triple fullers, signed three times to both sides ‘XX ANDREA FERARA’ and with cross and orb
85cm long (blade), 101cm long (overall length)
£1,200-1,800
298 ‡
AN 18TH CENTURY SCOTTISH BASKET HILTED BROAD SWORD OF GLASGOW TYPE
the conical pommel with arched grooves, the basket formed of rounded and flattened bars, with the rear guards with shaped and pierced panels, the front guard’s square section with arched border and stylised heart motifs, with a large scroll wrist guard, with a spiralled wooden grip, the doubleedged blade with triple fuller inscribed within ANDREA FERARA
85cm long (blade), 102cm long (overall length)
£1,500-2,500
299 ‡ AN 18TH CENTURY SCOTTISH BASKET HILTED BROAD SWORD OF STIRLING TYPE, IN THE STYLE OF WALTER ALLAN
the conical pommel cut with deep grooves, the basket formed of flattened bars and pierced panels, with incised decoration and simple pierced and conjoined pierced circular decoration, with a large scroll wrist guard, the wooden grip covered in brown hide, with an old buff leather liner, the double-edged blade with triple fullers, inscribed to both sides ANDREA FARARA, with crescent, dot and cross motifs
82cm long (blade), 99cm long (overall length)
£2,500-4,000
300 ‡ AN EARLY 17TH CENTURY SCOTTISH BASKET HILTED BROAD SWORD the pommel of mushroom shape with a button top, the hilt entirely of rounded bars, with thin bars to a square panel forming front guard, the rear guards with S scroll decoration, no wrist guard, the wooden grip lacking, the double edge blade with twin fullers, signed ANDREA FERARA and cross and crescent marks, indistinct running fox
84cm long (blade), 97cm long (overall length)
£800-1,200
301 ‡ AN EARLY 17TH CENTURY SCOTTISH BASKET HILTED BROAD SWORD the large compressed spherical pommel attached with a flat headed screw to rounded and flat sheet formed basket hilt, the front guards of simple form with lozenge detail within simple bars, no wrist guard, the wooden grip covered with lacquered intertwined hemp, doubleedged blade signed across both sides ANDREA FARARA interspersed with ten bladesmith’s marks of a crowned figure
82cm long (blade), 95cm long (overall length)
£2,500-3,500
302 ‡
A LATE 17TH / EARLY 18TH
CENTURY SCOTTISH BASKET
HILTED BROAD SWORD
the pommel of conical shape with reeded details, the basket hilt formed entirely of flat section bars, the cross formed panels with a diamond shaped centre on each side of the forward guard, scroll wrist guard, the wooden grip with fine leather covering (some deficient), with a buff leather liner at the base of the hilt, simple double-edged blade with running fox mark
81cm long (blade), 96cm long (overall length)
£1,800-2,500
303 ‡
A 17TH CENTURY
SCOTTISH RIBBON HILTED BROADSWORD
the pommel of compressed conical form, the basket formed of forged sheet with scrolls, arches and wavy-edged bars, the forward guard with protruding ‘nose’ or ‘beak’, the spiral wooden grip with fish skin binding, the double edge blade with indistinct engraving, IOH AIIII (?) and arched and cross motifs
90cm long (blade), 104cm long (overall length)
£2,000-3,000
304 ‡ A LATE 16TH CENTURY BASKET HILTED BROADSWORD
the blackened hilt with compressed pommel flat side bars with the main knuckle guard of flat plate pierced with a flat section upswept quillion ahead of the forward guard, and down swept wrist guard, spiral blackened wooden grip, the double edged blade with central fuller
84cm long (blade), 97cm long (overall length)
Provenance: Collection of Stan Share, Ardintinny
By repute from Dunderabe Castle, Loch Fyne circa 1970
The John Kirk Collection
Note: These early examples of basket hilted swords are often associated with the island of Malta and the Holy wars.
£2,000-3,000
305 ‡ A SCOTTISH TWO-HANDLED CLAYMORE
likely 18th century and later, the hexagonal wooden handle with studded grip, with simple pommel cap, the twin down-swept quillions with quatrefoil terminals, tapered double-edged blade, signed ‘FERARA’ with crescent cross and orb marks, and other indistinct engraving 94cm x 126cm
£300-500
306 ‡
A RARE EARLY 18TH CENTURY
SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT BELT PISTOL
BY ALEXANDER CAMERON OF INVERNESS
signed to lock, the iron stock inlaid with silver wire decoration of interlace, scrolls and fivepointed star, the four stage engraved brass barrel with divided sections throughout the length of the barrel with a hexagonal flared muzzle, silver ball trigger with matching silver ball pricker, the simple belt hook with pierced terminal, narrow turned ramrod pipe and steel ramrod with shaped finial
25.5cm long (barrel), 30cm long (overall length)
Note: This maker is not recorded in Scottish Arms Makers by Charles E Whitelaw, it has not been possible to trace other examples of his work.
£2,500-4,000
307 ‡
A MID-18TH CENTURY SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT BELT PISTOL
BY DANIEL WALKER OF DUMBARTON
signed to lock, ‘D L Walker, Dunbar’, the allmetal stock with engraved foliate and scrolling decoration, the grips with oval cartouche above rams butt, the shaped cock with early pierced and engraved circular comb, with simple compressed ball trigger and matching pricker, the four stage barrel with reeded and engraved sections, with simple ram rod pipe, with a pierced and engraved belt hook
21.5cm long (barrel), 33cm long (overall length)
£3,000-5,000
308 ‡
AN EARLY 18TH CENTURY SCOTTISH
FLINTLOCK ALL METAL SCROLL BUTT
BELT PISTOL,
BY DANIEL WALKER OF DUMBARTON
signed to lock ‘D WALKER’, the all-metal stock with engraved geometric and scrolling decoration the grips with oval cartouche above rams butt, with later conversion to percussion, with simple compressed ball trigger (lower section missing) and matching pricker present, missing cap, the four-stage brass barrel with reeded and engraved sections, with simple ramrod pipe, with simple pierced and engraved belt hook
21cm long (barrel), 31cm long (overall length)
£400-600
Note: Daniel Walker, sometimes called Donald, of Dumbarton was admitted as a burgess by right of his apprenticeship served under James Houston, also of Dumbarton. He is working as early as 1719. His son, John, is also admitted as a burgess of Dumbarton in 1747 but it is not recorded what trade he practiced; it would not be uncommon for him to follow his father as a gunsmith.
309 ‡
AN 18TH CENTURY SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT
BELT PISTOL
BY PATRICK MCNAB
the cock of early disc form engraved and pierced with a five pointed star, the cock pivot pin screw cut in the form of a cross, the grip decorated with inlaid silver interlaced strapwork and oval cartouches, the rest of the stock with engraved decoration and details, the ball trigger and pricker with half silver mounts, the four stage barrel with reeded breech and scroll engraved detail with a flared hexagonal muzzle, with simple reeded ram rod, with engraved and twisted steel belt hook
310 ‡
A MID-18TH CENTURY SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT
BELT PISTOL
BY J A MICHIE
311 ‡
A LATE 17TH CENTURY SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT
BELT PISTOL
ATTRIBUTED TO THOMAS CADELL OF DOUNE
signed to lock, ‘I A MICHIE’ the all metal stock with panels of foliate scrolls and trailing decoration with chevron borders, the cock of early disc form engraved and pierced, the plain barrel with engraved decoration midway to the flared muzzle, silver ball trigger with matching silver ball pricker, narrow turned ramrod pipe and steel ramrod, with finely pierced and engraved belt hook 19cm long (barrel), 30cm long (overall length)
23cm long (barrel), 34cm long (overall length)
Literature: For further details on this maker see European Hand Firearms by Charles Whitelaw page 104
£4,000-6,000
Note: It is still unknown where this maker was based, but stylistically the pistol shows great similarities to those makers based in Doune, Stirling or Perth circa. 1740-1750
£2,000-3,000
the iron stock profusely decorated throughout, with interlace and strapwork entirely covering the stock, the butt with inlaid silver roundel with six star-shaped petals, the multi-stage barrel with divided sections of silver inlay throughout with three silver bands at the muzzle, with simple ball trigger and matching pricker, with simple shaped and twisted belt hook
28.5cm long (barrel), 41.5cm long (overall length)
Provenance: Fine Antique Arms and Modern Sporting Guns, Christie’s, 20th December 1972, lot 197
The John Kirk Collection
£6,000-8,000
312 ‡ AN EARLY 18TH CENTURY SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT BELT PISTOL, BY ALEXANDER CAMPBELL OF DOUNE
313 ‡
A MID-18TH CENTURY SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT BELT PISTOL
BY ALEXANDER CAMPBELL OF DOUNE
signed to lock, ‘ALEX R CAMPBELL’, the all metal stock with engraved geometric and scrolling decoration the grips with silver oval cartouche above rams butt, the shaped cock with early pierced and engraved circular comb, with simple compressed ball trigger and matching pricker, the four stage brass barrel with reeded breech and engraved foliate sections to flared muzzle, with simple ram rod pipe and ramrod, belt hook with pierced and engraved decoration 24cm long (barrel), 36cm (overall length)
£2,000-3,000
Note: Alexander Campbell was the second generation of Campbells making pistols in Doune. He was the son of John Campbell I and father to John Campbell II who would be the third and final family member to follow in the trade.
His training is unrecorded but it is safe to presume he was apprentice to his father. Indeed the working style of his father’s later pistols shows close comparison to the engraved and inlaid designs Alexander would continue to use and improve upon. Both makers at their peak epitomise the quality of
signed to lock plate, ‘ALEX R, CAMPBELL’ the all-metal stock with foliate scrolls within chevroned border, with interlace and hearts, the cock of early disc form engraved and pierced, the three-stage barrel with reeded breech and divided sections with a flared hexagonal muzzle, ball trigger with matching ball pricker between the scrolls of the butt, pierced and engraved belt hook, narrow turned ramrod pipe and steel ramrod 19cm long (barrel), 29cm long (overall length)
Provenance: Christie’s London 9th June 1982
The John Kirk Collection
£5,000-7,000
design and manufacture that Doune is famous for. A particularly fine pistol held in the Kelvingrove Art Gallery & Museum is illustrated in The Scottish Pistol, its History, Manufacture and Design by Martin Kelvin, figure 24, page 97. This example bears very close resemblance to one by Alexander’s father. Alexander married Margaret Campbell of Barbreck. He died in 1790 and his grave, along with his father’s and other family members, can still be seen in Kilmadock Churchyard, Doune.
A REPRODUCTION SCOTTISH 17TH CENTURY SNAPHAUNCE BELT PISTOL the all-metal stock with engraved scroll foliate decorations, the brass crescent-shaped lock with sliding pan cover, with dog headlock, the cock with square section top jaw nut, the tapered grip terminating in an engraved ovoid lemon butt of hexagonal form with engraved foliate decoration and turned pricker, the engraved three-stage barrel with two raised bands, moulded raised bands at the hexagonal muzzle, the reverse with shaped and engraved belt hook, ramrod pipe and ramrod with tip to match the muzzle
26cm long (barrel), 41cm long (overall length)
£800-1,200
£5,000-8,000
A MID-18TH CENTURY SCOTTISH ALL METAL FLINT LOCK HEART BUTT BELT PISTOL BY JAMES MCKENZIE OF BRECHIN
signed to lock ‘JAMES MCKENZIE’, the all metal construction with crescent-shaped lock, with the flat cock with capstan-shaped top jaw screw, the grip terminating in a plain heart butt, the three-stage barrel with three plain raised bands along and slightly flared muzzle, with simple ball trigger with matching pricker plain ramrod pipe and steel ramrod with turned and flat end, with elongated simple belt hook 16cm long (barrel), 25cm long (overall length)
Note: James McKenzie was a gunsmith admitted as a Burgess of Brechin in 1728, the son of James McKenzie, variously called a shoe or heel maker. He entered the Guildry in 1738, presumably after his apprenticeship
and was recorded as a brewer, maltster and merchant. These titles did not preclude him from working in other trades and perhaps as a merchant he traded in guns made locally.
A FINE LATE 17TH CENTURY SCOTTISH ALL METAL SNAPHAUNCE LOCK HEART BUTT BELT PISTOL
THE FOLIATE ENGRAVED LOCK SIGNED GS
the hammer of crescent-shaped form and plain sliding pan cover, the flat cock with domed top jaw screw, the round fence with engraved date 1678, the grip terminating in a bold plain heart butt, the barrel of cannon-like form with plain raised bands at the breech and midway and double turned bands at the flared muzzle, with ball trigger and pierced pricker, plain ramrod pipe and steel ramrod with shaped end, the belt hook shortened with shaped and engraved terminal
319 Ω
A RARE EARLY 18TH CENTURY SCOTTISH FLINTLOCK ALL METAL SCROLL BUTT BELT PISTOL
BY PATRICK BUCHANAN OF GLASGOW
signed to lock, the iron stock decorated at the butt with inlaid silver roundel with a five-pointed star and surrounded with silver inlaid scrolls and strapwork, the underside with six silver bands, the flat-sided cock engraved with a series of roundels surrounding the cock retaining screw which is cut with cross slots, pierced and engraved belt hook, narrow turned ramrod pipe and steel ramrod with shaped terminal, pierced and engraved silver ball trigger with pricker
27.5cm long (barrel), 40cm long (overall length)
£10,000-12,000
Patrick Buchanan is first recorded in Glasgow in 1717 being made a Guild Brother by purchase. In 1718 he is admitted into the Incorporation of Hammermen. His trade is not listed or specified but his essay for entry was “Ane side pistol with ane irne stock’ leaving little doubt he is one and the same as the maker of this pistol. He had passed away and his burial is recorded in 1729. He had two sons both admitted to the Incorporation of Hammermen but with trades not listed. Only one other pistol by Buchanan is recorded in the collection of Glasgow City Museum (A.1978.29) who also record that only three Glasgow-made pistols are known to exist. It is unclear if this pistol takes that number to four. Either way, it is a
320 ‡ AN EARLY 18TH CENTURY SCOTTISH ALL METAL FLINT LOCK HEART BUTT BELT PISTOL
UNSIGNED
the plain lock of crescent-shaped form the flat later replacement cock, the grip terminating in a plain heart butt, the twostage barrel with plain raised bands at the breech and midway on the barrel, turned band at slightly flared octagonal muzzle, simple ball trigger with matching pricker plain ramrod pipe and steel ramrod with turned and flat end, with simple tapered belt hook 16cm long (barrel), 26.5cm long (overall length)
Note: Although unsigned, the characteristics of the heart butt pistol are most commonly attributed to a North East of Scotland origin. There are features to this pistol comparable to pistols by James McKenzie (1728–1751) of Brechin.
£3,000-5,000
321 ‡
THE CAMPBELL OF CAWDOR PISTOL - AN EARLY 18TH CENTURY SCOTTISH BRASS, STEEL AND SILVER INLAID FLINTLOCK BELT PISTOL POSSIBLY KENNETH MCLEOD (MCCLAUDE) OF PERTH, CIRCA 1720
signed to lock ‘K.MCLF’, the full brass stock finely engraved with Celtic interlace and knotwork, with silver rosettes inlaid and with heraldic motifs, initialled to underside of the barrel S.L.C, with steel ramrod and brass trigger, the ram’s horn butt with tightly coiled horns inlaid in silver with crest and motto within banner, with silver rose head engraved pricker, the long steel belt hook with twisted and pierced detail, the barrel a later continental steel replacement 28cm long (Barrel), 41cm long (overall length)
Provenance: Antique Arms, Armour & Militaria, Thomas Del Mar (Olympia Auctions), 26th June 2007, lot 267
The John Kirk Collection
Literature: Scottish Arms Makers. Charles E. Whitelaw, page 267
The Scottish Pistol, Its History Manufacture and design, Martin Kelvin page 159
Heraldry: Crests: (Left above) A swan proper (ensigned with an earl’s coronet)
(Right above) A swan proper crowned or Motto: Be mindfull
Note: Little is recorded of Kenneth McLeod (McClaude) of Perth, he was apprentice to John Smith III in Perth from 1674 no further records appear from his working life. Most likely commissioned by John Campbell of Cawdor in the County of Perthshire (1695-1777). He was the son of Sir Alexander Campbell and his wife, Elizabeth Lort. He married Mary Pryse (17041773) at the Parish Church of St. Nicholas Cole Abbey in the City of London on the 30th April 1726. She was the daughter and co-heiress of Lewis Pryse, of Gogirthen in the County of Carnarvonshire. He sat in the House of Commons at Westminster as the Member of Parliament for Pembrokeshire (172747), the Inverness Burghs (1754-61) and for Corfe Castle (1762-68).
£3,000-5,000
322 ‡
A MID-18TH CENTURY FLINTLOCK
LOBE BUTT ALL BRASS BELT PISTOL BY THOMAS MURDOCH OF DOUNE AND EDINBURGH
signed to lock plate, ‘T. MURDOCH’ the all brass stock with foliate scroll engraved decoration with chevron and scroll panels, flat engraved steel cock, the three-stage engraved barrel with foliate scrolls and with flared engraved muzzle, large rose head engraved silver ball trigger, the engraved stock terminating in the lobed butt engraved with panels with foliate decoration, with simple shaped belt hook
12cm long (barrel), 23cm long (overall)
£1,200-1,800
323 ‡
A LATE 18TH CENTURY FLINTLOCK
LOBE BUTT ALL STEEL BELT PISTOL BY JAMES INNES OF EDINBURGH
brass signature plaque to lock and silver signed plaque to barrel, flat engraved steel French cock with capstan top jaw screw, the three-stage barrel with flared octagonal muzzle with silver fore-site, plain ball trigger, the plain stock terminating in the engraved lobed butt engraved with acanthus leaf foliate decoration, set with turned steel ramrod, with simple belt hook
324 ‡
A MID-18TH CENTURY SCOTTISH FLINTLOCK ALL METAL LOBE BUTT BELT PISTOL
BY JOHN CHRISTIE OF DOUNE AND STIRLING, SIGNED TO LOCK ‘JO. CHRISTIE STIRLING’
18cm long (barrel), 30cm long (overall)
Note: James Innes was admitted as a Burgess of the trade in Edinburgh in 1792, by right of his father Francis Innes who had been established in Edinburgh for 20 years.
He worked from North Bridge and by 1803 was gunmaker to His Majesty. He worked in partnership with James Wallace from circa 1795. By 1815 the business is continued as James Innes & Co and moved to the more fashionable 44 Princes Street.
Various muskets by Innes & Wallace survived from the Seafield Armoury of Sir James Grant and are now within the collection of National Museums Scotland (M.1978.9.8 and others).
£800-1,200
the multi-stage barrel with reeded breech and divided sections with a flared octagonal muzzle, the cock of rounded section form, the stock decorated at the butt with inlaid silver strapwork, the belt hook with pierced and engraved decoration, narrow turned ramrod pipe and steel ramrod, with engraved silver ball trigger
15.2cm long (barrel), 24.5cm long (overall)
Note: John Christie’s early career and training appears to be unrecorded. He is noted in 1751 in the records of Stirling; ‘Christie, John, gunsmith in Down petitioning to become a Burgess of the Stirling’. This shows he must have been trained and working in Doune prior to this date. He is duly admitted as burgess and hammerman and pays his £12 dues.
By 1760 he applies to further become a merchant in Stirling, perhaps suggesting his business practices had changed and the downturn in Scottish pistol making had affected his business.
£1,200-1,800
325 ‡
A FINE PAIR OF SILVER MOUNTED EARLY 19TH CENTURY FLINTLOCK PISTOLS
BY JOHN PRATT OF EDINBURGH, CIRCA 1820
signed to lock, ‘J. PRATT’, the lobe butt pistols with silver stocks profusely chased with rococo scrolls, foliate and flower head details, with engraved steel lock, four-stage engraved barrel with flared muzzle, the reverse with engraved reeded belt hook, with acorn silver trigger (2) 16cm long (barrel), 26.5cm long (overall)
Provenance: The Scottish Sale Part II, Bonhams Edinburgh, 30th August 2012, lot 460
The John Kirk Collection
Heraldry: The Crests of Davidson and Mackay Davidson
A stag’s head erased proper
Motto: Sapienter Et Sincere [Wisely, if sincerely] Mackay
A dexter cubit arm erect holding in the hand a dagger in pale all proper hilt and pommel or Motto: Manu Forti [With a strong hand]
Note: The engraving of the crests on this pair of pistols may well reflect the ancient alliance of both the Davidson and Mackay families. It is believed that they formed a close bond as early as the early 13th century, the Davidsons being the senior clan/ family of two, whilst the Mackays are often stated as being sept of the Clan MacDhai, or Davidson. Presently, it is not known whether the engraving of both crests allude to that ancient connection, a remembrance or, perhaps, a more contemporaneous event such as a marriage between the two families. Certainly, the undoubted skill of both the gun and silversmith who made this pair of pistols is second to none which reflects the taste, wealth and status of their original owner.
£3,000-5,000
326 ‡
A FINE NEAR PAIR OF MID-19TH CENTURY SCOTTISH ALL METAL HIGHLAND DRESS PISTOLS
BY WILLIAM MARSHALL AND SONS OF EDINBURGH
signed to lock, the all metal stocks with profusely engraved decoration throughout, with traditional foliate scrolls and interlace, the grips applied with decoration cast panels set with cabochon garnet, the upper edge of grip with inlaid gold escutcheon in foliate shield frame, the four stage barrels engraved with foliage with reeded breech and divided sections with a flared hexagonal muzzle (2) 17.5cm long (barrel), 26cm long (overall)
Note: William Marshall is first recorded within the minutes of the Incorporation of Goldsmiths of the City of Edinburgh as an apprentice to David Downie. His date of indenture is not recorded but must have been around 1791.
William Marshall married Ann Calder and had five children including two sons who would continue the business after his death in 1858 - William Calder (baptised 18th March 1813 – died 1894) and John (baptised 17th September 1816).
Although records are not complete it appears William took both of his sons on as apprentices in 1828. An exact date is not recorded for the change in company name to William Marshall & Sons but it is presumed to be after their apprenticeships would have ended. Certainly by 1851, as the business, exhibiting at London’s Great Exhibition, was titled William Marshall & Sons. At the Great Exhibition they exhibited a remarkably complete and fine Highland Dress Regalia ‘with chased silver mountings studded with carbuncles and cairngorms, iz., goat-sin purse, broad sword, dirk, powder horn, skeen dhu, plaid brooch, sword belt, body belt, show buckles, pistol, Athol bonnet’.
After the success of the 1851 Great Exhibition and their attendance, William Marshall & Sons. took a large display at the Edinburgh International Exhibition of Industry, Science and Art in 1886. A spectacle beyond compare in Scotland at the time, it followed in the footsteps of other exhibitions of craft, design, art and technology.
Opened by Queen Victoria’s Grandson Prince Albert Victor, Duke of Clarence and Avondale, the exhibition ran for almost 6 months. Showcased in purpose built pavilions which were initially expected to be permanent but were demolished when a planning act for the Meadows on which they were situated become apparent. Occupying some 30 acres it welcomed over 2,770,000 visitors.
They were awarded two gold medals for ‘National Jewllery and reproduction of Scotch antique enamel work’ and ‘excellence in workmanship in watches’. They are recorded as winning four medals.
By at least 1891 Marshall’s are recorded holding the Royal Warrant to Queen Victoria as ‘Goldsmiths, Silversmiths and Jewellers’.
William Marshall would work variously in Edinburgh’s Old Town with their last known location at 62 North Bridge. However, by 1861 they had moved to the fashionable New Town and Edinburgh’s premier street, Princes Street. Firstly in 1861 to number 24 and by 1885 to 134 Princes Street. Their final move would be to 87 George Street when by 1891 on the retirement of both William Marshall’s sons the firm would be taken over by their apprentice and become Brook & Sons.
£3,000-4,000
327 ‡
329 ‡
AN EARLY 18TH CENTURY SCOTTISH POWDER
the flattened polished cow horn body with carved scroll decoration and borders, the pointed terminals with horn plug 16cm long
£800-1,200
328 ‡
AN UNUSUAL EARLY 18TH CENTURY SCOTTISH POWDER HORN
the polished cow horn inscribed ‘1723 IAMES INOS’ and to opposing side ‘A White horn ye do not ken, IAMES, INOS is my master name’ 13cm long
Note: Exhibited: The Swords and The Sorrows, Culloden item 6:8, page 75
£1,000-1,500
AN EARLY 18TH CENTURY SCOTTISH POWDER HORN
the flattened cow horn with wooden plug, the body with carved foliate decoration with crowned crossed swords, fleur de lys and motto MEREOR NI ME PROME, the opposing side with serpent clasping his tail around a displayed rose with foliate trailing decoration each tapered end with sea monster emanating from nozzle
21cm long
Provenance: The Jacobites and Their Adversaries, Christies Glasgow, 12th June 1996, lot 138
The John Kirk Collection
Literature: See Ancient Scottish Weapons by James Drummond item 146, plate XXI, for a similar example, with carved foliage and sea monsters but with different iconography to wider carved areas, previously in Perth Museum and having belonged to the Duke of Perth.
£2,000-3,000
330 ‡
AN EARLY 18TH CENTURY SCOTTISH POWDER HORN
the flattened and polished cow horn deeply carved with numerous bands of Celtic knotworks and arched borders, the reverse with crisscross patterns, with wooden plug and shaped nozzle terminal
27cm long
£1,200-1,800
331 ‡
A MID-18TH CENTURY SCOTTISH POWDER HORN
the flattened and polished cow horn with simple geometric decoration, also engraved GF 27cm long
£600-800
332 ‡
A LATE 17TH CENTURY SCOTTISH POWDER HORN
the flattened and polished cow horn finely carved rose heads, a male figure and cross hatching, dated 1690, the opposing side with tulip head and roses, nozzle with brass mount
28cm long
£1,500-2,500 333 ‡
A LATE 17TH CENTURY SCOTTISH POWDER HORN
the polished cow horn point inscribed MAGNUS MORAY 1671, with mythical beasts, thistle, eagle and sea monster, with brass cap detail also engraved with thistle and 1671, with a 19th century exhibition label titled ‘very old Scotch gun powder horn’
53cm long
£1,500-1,800
335 ‡
AN EARLY 18TH CENTURY SCOTTISH BRASS MOUNTED HIGHLAND DIRK
the well carved grip with deep bands of Celtic knotwork, the haunches with angular interlace, the flared pommel with brass cap and shaped steel nut, the single fuller blade with flat back edge, inscribed ‘1741’and running wolf, together with a later associated leather scabbard set with bi-knife (fork lacking) and brass chape mount
35cm long (blade), 46.5cm (overall)
£2,000-3,000
334 ‡
A LATE 18TH CENTURY SCOTTISH BRASS-MOUNTED HIGHLAND DIRK
the finely carved grip with Celtic interlace, above a shaped haunch with knotwork panel, brass mounted, the brass pommel cap with rope twist border and engraved with Classical Roman Centurion, the single fuller blade with pierced detail, leather scabbard with brass mounts, each engraved with displayed thistle, the upper mount engraved ‘NEMO ME IMPUNE LACESSET,’ the lower mount ‘I REDD YE TO TAK??E O’SKATTH’ with pierced border and engraved thistle, set for bi-knife and fork in shaped mounts, with its twin tined fork but bi-knife lacking, cheape mount loose 30cm long (blade), 43cm (overall)
£1,500-1,800
337 ‡
AN EARLY 18TH CENTURY SCOTTISH BRASS MOUNTED HIGHLAND DIRK
the carved wooden grip and haunches with Celtic knotwork bands, with brass haft and pommel cap with pierced detail revealing red leather underneath, the shaped nut with trefid end, the single-edged blade possibly from a sword with a long single fuller running the main length of the flat back edge
40.5cm long blade, 51.5cm overall
£2,000-4,000
A LATE 17TH CENTURY SCOTTISH BALLOCH KNIFE
the wooden handle carved with two simple bands of interlace, with flared flattopped pommel and rounded haunches, the steel blade possibly from a cut-down sword
29.5cm long (blade), 41.5cm (overall)
£2,000-3,000
Provenance: Captain Robert de Cardonnel Findlay of Easterhill, formed between 1900 and 1915
Sporting and Topographical Pictures, Drawings, Prints and Books, Fishing Tackle and Golf Equipment, Antique Arms and Armour, items of Related Interest, Christies Glasgow, at Blairquhan, Maybole, Ayrshire, 25th November 1983, lot 71
The John Kirk Collection
339 ‡
A RARE NEAR PAIR OF EARLY / MID-18TH CENTURY SCOTTISH BRASS STIRRUPS
formed or pierced and forged brass with simple linear decoration and pierced hearts (2)
16cm long x 11cm at widest point
Provenance: Sotheby’s London 21st July 1981 lot 180
The John Kirk Collection
Note: These extremely rare stirrups appear to have been made in the same way as an early-mid 18th century basket hilted sword, giving the likelihood they were made by a swordsmith or a smith imitating the work of a skilled swordsmith.
£1,000-1,500
338 ‡
AN EARLY 18TH CENTURY IRON LOCHABER AXE / HALBARD BLADE
the forged curved blade with rounded spike and integral socket
A VICTORIAN FRAMED WATERCOLOUR OF “THE CHISHOLM” DATED 1869 presented in crest gilt wooden frame, presentation plaque underneath ‘The Chisholm by K. Macleay RSA 1869 James Sutherland. Chisholm of Chisholm 27th Chief of Clan Chisholm Erchless Castle, Strathglass, Invernesshire, Motto: To the rough I am rough, Badge: Fern, The Chisholm boasted that there were only three person in the world entitled to the prefix “THE” THE KING: THE POPE; THE CHISHOLM”’ 47cm x 60cm, 86cm x 103cm (frame)
Heraldry: Crest: Gules a boar’s head couped Argent
Note: Accompanied by a note, ‘The social and political realities of contemporary life in the highlands were barely mentioned in the royal publication. By the mid-1830s many of the Chisholms had emigrated to America. The 27th Chief, who sat to MacLeay in 1869, returned from Canada to assume his inheritance. Among the clan chiefs he was exceptional in equipping his clansmen at his own expense for their sittings to MacLeay.
Scottish Private Collection’
The Chisholm clan had originally been granted lands in Berwick as early as the 13th century by Pope Alexander IV but eventually found themselves much further north in Invernesshire and were keen to guard this land. They were strong Jacobite supporters and were present at both the Jacobite risings of 1715 and 1745. 30 members of the clan including the chief were killed at Culloden.
James Sutherland Chisholm (1806-1885) was born in Montreal as his father had been a part of the founding group to establish Glengarry in Canada. He returned to Scotland after he ascended the Chiefdom and had married his bride Annie Cecilia MacDonell in Canada in 1861. It is perhaps for this reason, he chose to commission this portrait marking his arrival as the 27th Clan Chief.
Kenneth Macleay (1802-1878) was the leading portrait miniaturist in Scotland, but due to the development of photography, looked to expand and offered larger ‘cabinet’ sized portraits. Many sitters were keen to be immortalised, not least James Sutherland Chisholm of Chisholm. Many of Macleay’s sketches and works are held in the collections of the National Portrait Gallery of Scotland. He is also renowned for his watercolours of Highlanders and Highland chiefs which culminated in the seminal publication of Highlanders of Scotland. London: Mr. Mitchell, publisher to the Queen, 1870, detailing and depicting the principal Clans and the retainers of the Royal household at Balmoral, in the reign of Her Majesty Queen Victoria. Chisholm died in 1885 at his Scottish home in Erchless Castle, and was survived by his son Roderick Donald Matheson Chisholm of Chisholm.
£2,000-3,000
342 ‡
341 ‡ AN EARLY VICTORIAN CAVALRY OFFICER’S HELMET AND PLUME
the polished steel and gilt brass helmet with leather lining and horse hair plume, the applied badge with lion rampant and motto, ‘nemo me impune lacesset’ in original tin trunk 42cm high (including plume)
£600-800
A SCOTTISH EARLY 19TH CENTURY OSTRICH FEATHER BONNET
CIRCA 1800
with large band of red and white diced border and blue silk rosette for bonnet badge, interior leather lined 32cm high (approx)
£400-600
343 ‡
A GROUP OF THREE 19TH CENTURY STAVED WOODEN VESSELS
to include, a tall standing luggie with copper banding, a similar smaller example with withie banding and an unusual tapered vessel with twin bands of withies on an arched foot (3)
17cm across lugs, 9cm high (largest)
£300-500
ARMS & ARMOUR: OTHER PROPERTIES
344
A FINE PAIR OF DIMINUTIVE 18TH CENTURY SCOTTISH STEEL BELT PISTOLS THOMAS MURDOCH OF DOUNE
the pistols of all steel construction with three stage barrel, flared at octagonal muzzle, the stocks with profusely engraved scroll decoration and inlaid with silver, the butt with oval silver cartouche engraved with the crest and motto of McGill, the locks signed T. Murdoch, with silver engraved ball trigger and pricker, and steel ram rods, with simple engraved belt hook (2) 13cm (barrell), 25cm (overall)
Provenance: Dr James Hasson Collection
Fine Firearms, Arms and Armour and Pewter, Christie’s Manson & Woods 12th December 1967, lot 211 (£1000)
Geoffrey Jenkinson Collection
Private Collection
Exhibited: Glasgow Exhibition, 1910 Lady Elphinstone Exhibition, 1931
£12,000-15,000
THE BLAIR CASTLE ‘FLINTLOCK’ AIR PISTOLS
345
THE BLAIR CASTLE ‘FLINTLOCK’ AIR PISTOLS
A VERY RARE PAIR OF LATE 18TH CENTURY ‘FLINTLOCK’ AIR PISTOLS, EDWARD BATE, LONDON CIRCA 1770
the brass barrel with two stages, signed Bate London, each containing air reservoir, the front section with applied sight, the flat steel lock and S-scroll hammer with foliate engraved decoration and signed BATE, the figured walnut stocks with carved rococo shells and inlaid with cast brass trophies of arms displayed, with brass butt caps with shell detail, set with horn ramrods (2)
30cm (barrel), 50cm (overall)
Provenance: Likely the property of John Murray, 3rd Duke of Athol (1729 – 1774)
By direct descent
The Blair Charitable Trust, Blair Castle, Blair Athol, sold European Noble & Private Collection, Christies, 30th April 215 lot 193
£20,000-30,000
These extremely rare pistols are perhaps the only of this type with Scottish provenance; there are no recorded examples of air pistols having been made in Scotland. For similar examples sold see the W. Keith Neal Collection, Christie’s, King Street, 9th November 2000, lots 237 and 25 October 2001, Lot 231, and another in the collection of the Royal Armouries, Leeds (inv. no. XII. 3833).
Edward Bate was apprenticed in 1743 to a Birmingham gun maker, Sam Brown. In 1763 he established his own business in Brownlow Street, Long Acre, staying till around 1778. By 1800 he is recorded at Christchurch, Brixton. The quality of his work is obvious and noted when he became a contractor to the Ordnance from 1779 to 1783. Not just working within the norms of the day, his work was innovative and he partnered with another notably innovative gunmaker William Jover from 1805 to 1810.
His innovation is especially notable for his production of fine airguns and pistols, of which the present lot must rank among his finest. He often disguised these air pistols, as seen here, to look like contemporary Flintlock examples. There were two main firing systems - either a spherical iron reservoir which was unscrewed from the underside of the weapon or a reservoir within the butt and barrel of the gun, either being removed to be recharged. Each system could contain sufficient compressed air to enable the weapon to be discharged a number of times.
346
A MID-18TH CENTURY SCOTTISH STEEL BELT PISTOL
JOHN MURDOCH OF DOUNE
the all steel construction with three stage barrel with octagonal flared muzzle and overall engraved decoration, the all steel stock engraved with scrolling panels and silver inlay, the butt inlaid with twin oval silver cartouches engraved with crest of a boar’s head and motto ‘PARATUS SUM’ above, the opposing cartouche with initials MC, the lock plate signed I MURDOCH and with engraved S-scroll hammer, with steel ramrod and silver compressed ball trigger and pricker 13cm (barrel), 25.5cm (overall)
£5,000-8,000
Note: John Murdoch was probably the last pistol maker in Doune. Carrying on the trade to the highest quality, his work shows the expertise passed from Master to Apprentice since the mid 17th century. It is noted that he is still working in 1798 and it is recorded in the Statistical Account “The trade is now carried on by John Murdoch also famous for his ingenuity in the craft who has likewise furnished pistols to the first nobility of Europe. These pistols were sold from 4 to 24 guineas a pair.... when Mr Murdoch gives over business, the trade will in all probability, become extinct”
AN EARLY 17TH CENTURY SCOTTISH BRASS LEMON BUTT PISTOL MUNGO MOSMAN
CIRCA 1620
with flared octagonal iron barrel mounted on a brass stock with engraved bands and borders, the octagonal pierced lemon butt similarly decorated, with left hand iron snaphaunce lock, signed MM, the hammer with ornate top jaw and screw, slim button trigger, ramrod missing 28cm (barrel), 42cm (overall)
Provenance: Antique Arms, Armour & Modern Sporting Guns, Bonhams 27th July 2006, lot 481 (since when professionally restored)
Literature: The Book of the Club of True Highlanders, plate XLVII by McIntyre North Great British Gunmakers 1740 – 1790, Neal and Back, Plate 54C
£15,000-20,000
348
A PAIR OF SCOTTISH LATE 18TH CENTURY BRASS LOBE BUTT FLINTLOCK PISTOLS THOMAS MURDOCH OF DOUNE AND LEITH
the three stage brass barrels with slightly flared octagonal ends and engraved stylised foliate decoration, with later Victorian proof marks, the brass stocks with lobe butts and engraved borders, with oval cartouche to upper edge engraved in script Robert King, the brass locks signed T MURDOCH, with steel S scroll hammer and engraved ball trigger, mounted with simple belt hooks (2)
19cm (barrel) 30cm (overall)
Provenance: Roy G. Cole Collection, Hamilton Ontario Cole Collection of Fine Firearms Part I, Sotheby’s 15th June 1970
£12,000-15,000
349
AN EARLY 18TH CENTURY SCOTTISH SILVER INLAID
STEEL FLINTLOCK BELT PISTOL
JOHN CAMPBELL OF GLENELG CIRCA 1720
the three stage barrel with foliate engraved detail and reeded canon end to muzzle, set within an all steel stock with silver inlay, with geometric borders, hearts and simple circular bosses, the ramshorn butt set with silver pricker matching ball trigger, with pierced and engraved belt hook, the lock signed
IOHN CAMPBELL GLENELG
29.5cm (barrel), 43cm (overall)
Provenance: Warwick Castle Collection
Literature: The Scottish Pistol, its History, Manufacture and Design, Martin Kelvin, page 165
Not to be confused with John Campbell I of Doune. This would appear to be the only recorded pistol to survive by John Campbell of Glenelg in the Lochalsh area of the Western Highlands.
Although all steel pistols are regularly and generically called ‘Highland pistols’ this is one of as few as three to be inscribed with a Highland location of manufacture.
£15,000-20,000
350
A SCOTTISH ALL-STEEL RAMSHORN BUTT FLINTLOCK PISTOL
JOHN
CAMPBELL, DOUNE CIRCA 1710
the three-stage barrel with geometric border and foliate detail with moulded canon end to muzzle, set within an all steel stock with numerous circular bosses engraved with rose head decoration and profuse silver inlay, with bands, geometric borders and scroll motifs, the ramshorn butt set with silver pricker matching ball trigger, with ornate pierced and engraved belt hook, the lock signed JOHN CAMPBELL 28.5cm (barrel), 42cm (overall)
Note: John was apprenticed to Thomas Caddell of Doune, post 1646 but date unrecorded, and some confusion remains around whether it is Thomas Snr or Jnr. The Statistical Account lists his Master as Snr, however he would have been a great age by this point.
John Campbell worked in Doune until his death in 1720 when it is recorded ‘John Campbell of the family of Barbreck in the county of Argyll died 1720 and Margaret Taylor his spouse, Gravestone Kilmadock Churchyard (Doune)’. He was succeeded by his son Alexander who would continue the family tradition making fine pistols famous for their silver inlay.
£18,000-25,000
A PAIR OF SCOTTISH LATE 17TH CENTURY DOG LOCK FLINTLOCK PISTOLS
the long slightly flared barrels with an all metal stock, with flared grips terminating in tightly curled ramshorn butt with pricker between, with simple pierced ball pricker, the unsigned locks with flintlock hammer and dog lock, the round fence with engraved dates 1649 and 1671 within flowerhead detail, with simple belt hoop to reverse and each with steel ramrod with turned and shaped terminals (2)
31cm (barrel), 46cm (overall)
Provenance: Earlshall Collection
£30,000-40,000
Although engraved with different dates to the fence, this pair of pistols is considered to be the earliest known of the ramshorn butt form. The differing dates likely show the date either the second pistol was added or replaced to the pair or more likely the date of conversion from snaphaunce to flintlock. In either instance, they remain an important survival and illustration of where this iconic style began.
352
A LATE 16TH/ EARLY 17TH CENTURY LATTICE FORMED BASKET-HILTED SWORD
the spiralled three-quarter basket hilt formed of diamond-section bars with scroll quillion and pierced knuckle guard, with hexagonal pyramid knop, wire grip encased in concretions, the double edge blade broken and in relic condition
47.5cm (blade) 68cm (overall)
Literature: See The Baron of Earlshall The Scottish Basket-hilted Sword circa 1450-1600, volume 1, plate 310 and 311 for another Scottish example of close comparison in the Norsk Folkemuseum Oslo.
£1,500-2,500
353
AN EARLY 18TH CENTURY BRASS BASKETHILTED BACKSWORD
the large basket formed of reeded flattened bars, with scalloped guards, with loop forward quillion and scrolled wrist-guard, with large facetted octagonal pommel, the wooden grip with copper wire binding, single edge blade with double fuller running entire length, indistinct bladesmith’s mark 92cm long (blade), 108cm (overall)
£3,000-5,000
Note: This rare brass hilted sword falls into a group of similar examples, many of which have this often rather exaggerated facetted pommel. There has been much academic debate over the placement of these hilts within the 18th century. They were previously attributed by Charles E Whitelaw to circa 1750-60, but subsequently ascribed by A.V.B. Norman as having been produced circa 1720-30.
For two other examples of close comparison and likely from the same workshop, see Culloden, The Swords and the Sorrows, National Trust for Scotland loan exhibition April-September 1996, cat.no. 1:24 and 1:27, both from the Geoffrey Jenkinson Collection. Another of close comparison is found within the collection of National Museum Scotland (LNA41) see British Basket Hilted Swords, Cyril Mazansky, page 126 sword F19.
354
THE HOW OF EDINBURGH SILVER ENCRUSTED BASKET-HILTED SWORD
A RARE EARLY 17TH CENTURY SILVER MOUNTED BASKET-HILTED SWORD
the double-edged diamond section blade of tapered outline, the iron basket hilt formed of slender bars with saltire cross guard with circular bosses to centre, with large compress ball pommel, the whole encrusted in silver decoration of foliage and winger cherub masks, the fish skin bound grip with twisted copper wire binding
81.5cm (blade) 97cm (overall)
Provenance: G. E. P. How Collection
Antique Arms & Armour, Bonhams 25th July 2007, lot 92
Earlshall Collection
£6,000-8,000
355
A SECOND HALF OF THE 18TH CENTURY “PINCH OF SNUFF” BASKET-HILTED BACKSWORD
ENGLISH CIRCA 1750 – 1785
the basket formed of six oval panels with pierced, scalloped decoration and one open panel, with wire bound fish skin grip, the single-edge sword with fuller running almost entire length 87.5cm long (blade), 104cm long (overall)
Note: Basket hilts of this distinctive design are often called ‘Pinch of Snuff hilts’, being taken from the appearance in a fine portrait of an Officer taking snuff by William Delacour, circa 1757. For a fuller description see Stephen Wood, ‘Blades of Glory: Swords of the Scottish Infantry 1756-1900’, in the American Society of Arms Collectors Bulletin, 1995. The same style of hilt is also seen in other portraits of the period giving the consideration these hilts originate in the later 18th century. However a silver example hallmarked for London 1745 has been noted, sold ‘Antique Arms, Armour and Militaria’ Thomas Del Mar Auctions in London in December 2014 lot 330, bringing the use and popularity of this pattern to before the Jacobite Rebellion. Examples can be seen in the collections of the Royal Armouries, Leeds (IX.224), the Kelvingrove Museum and Art Gallery, Glasgow (E 1954.1.b), the National War Museum of Scotland (M. 1963.133) among other private and important collections. Their popularity certainly grew post ’45 and within the Officer class of the now expanding British army being sent to fight across the world right up until the late 1780’s.
This example likely dates to the later end of the century, circa 1760 – 1780, with the addition to the blade of an inspector’s mark of the Board of Ordnance. Struck with the cutler’s mark ‘Gill’ which most likely is from Thomas Gill II who started the long running Birmingham and London based family in the trade, by 1783 they were listed as ‘Sword Cutler to Government, the Army, Navy etc….’.
£3,000-5,000
356
A LATE 18TH CENTURY BACK SWORD
the conical pommel with exaggerated flared top, the basket formed of rounded bars and pierced scalloped sheets forming guards, with short curve wrist guard, the tapered single edged blade with twin fullers running the length
88cm (blade) 106cm (overall)
£500-700
358
A FINE EARLY 18TH CENUTRY SILVER MOUNT HUNTING HANGER
THOMAS VICARIDGE, CIRCA 1700
the stag antler handle with fine silver knuckle and wrist guard with pierced scroll and mask detail, the pommel cap with chased cherub masks and engraved foliate border, the slightly curved blade with engraved rampant lion and Classical military figure
54.5cm long (blade), 69cm (overall)
Note: Thomas Vicaridge entered his mark around 1697 when he was based at New Street as a Cutler and Hiltmaker. He was made a Freeman of the Worshipful Company of Cutler’s of London by apprenticeship to Joseph Jones in 1682. Although his mark is rarely seen, it has been noted on a small number of fine early 18th century swords
£2,000-4,000
357
AN EARLY 18TH CENTURY BROADSWORD
the basket formed of diamond section and flattened bars, with simple saltire form guards, with compressed pommel, the large wide tapered double edged blade with loss to tip
76cm (blade), 90cm (overall)
£1,200-1,800
359
A LATE 17TH / EARLY 18TH CENTURY SILVER MOUNTED HUNTING HANGER
the stag antler grip with large compressed spherical pommel, decorated with unicorn head and egg and dart borders, the quillions with Classical masks, the slightly curved single edge blade with deeply struck cutler’s mark
39.5cm long (blade), 54cm (overall)
£1,000-1,500
360
EARLSHALL, BARON OF THE SCOTTISH BASKET HILTED SWORD
VOLUME 1 1450-1600
Earlshall Publications 2016, green cloth boards, gilt tooling, good overall condition
£200-300
361
A GORDON HIGHLANDERS
OFFICER’S
DIRK
R & H B KIRKWOOD, EDINBURGH 1883
the dirk with carved baluster wooden handle with applied pins, with open oak leaf gallery with collet set foil backed paste, the leather scabbard with applied regimental badge and thistle mounts, engraved double crest to the reverse, spear point blade, set with later bi-knife and fork 30cm long (blade) 44cm (overall)
£1,000-1,500
363
362
A VICTORIAN SILVER MOUNTED DIRK AND SGIAN DUBH
THE BLADES BY LOCKWOOD BROTHERS, SHEFFIELD CIRCA 1875
the dirk with a baluster basket weave handle with studded detail, with simple pommel cap engraved with geometric border, the large blade with scalloped back edge and spear point, the leather covered scabbard with engraved thistle mounts set with bi-knife and fork; together with a sgian dubh to match, with foil back crystal in foliate scroll mount to pommel, the tooled leather scabbard with engraved thistle mounts (2) blade length 30.5cm, overall length 44cm, Sgian Dubh overall length 19cm
£600-800
AN EDWARDIAN ARGYLL & SUTHERLAND HIGHLANDERS’
OFFICER’S DIRK
BROOK & SON, EDINBURGH 1907
of conventional form, the black wooden baluster handle with basket weave decoration, and foil-backed crystal in a Celtic mount to pommel, the leather-covered wooden scabbard with Celtic beast and knotwork mounts with regimental badges, set with bi-knife and fork, the etched blade with regimental crests, crown and cypher, named J. D. H. Young, first BATTn Argyll & Sutherland Highlanders 45cm long (overall)
£800-1,200
364
A VICTORIAN GORDON HIGHLANDERS
OFFICER’S DIRK
R & H B KIRKWOOD, EDINBURGH 1889 of conventional form, the black wooden baluster handle with basket weave decoration and foil-backed crystal in open oak leaf gallery mount, the leather-covered wooden scabbard with displayed thistles and regimental badge, set with bi-knife and fork, the reverse of mount engraved ‘F.R.I’, the spear point blade with a scalloped back edge; together with a regimental sgian dhu by Mair & Mortimer (of London), Edinburgh 1923 of typical form, the upper mount engraved ‘F.R.I.’ from J.A.B Nov 1986 (2) 44cm long (overall), 20.5cm (overall)
£1,000-1,500
365
A 20TH CENTURY ARGYLL & SUTHERLAND HIGHLANDERS OFFICER’S DIRK
BROOK & SON, EDINBURGH 1930
of conventional form, the black wooden baluster handle with basket weave decoration and foil-backed crystal in a Celtic mount to pommel, the leather-covered wooden scabbard with Celtic beast and knotwork mounts with regimental badges, set with biknife and fork, the etched blade with Royal cyphers and regimental badges 45cm long (overall)
£800-1,200
366
A VICTORIAN 92ND HIGHLANDERS (GORDON HIGHLANDERS) OFFICER’S DIRK
with intricately carved elongated baluster handle with basket weave decoration and studded detail, with open oak leaf gallery enclosing a foil backed crystal, the spear point blade with scallop back edge and double fuller, the leather covered scabbard with chased mount the upper with sphinx badge and numbered 92, the others with displayed thistles, set with ensuite bi-knife and fork
31.5cm (blade), 48.5cm (overall)
£2,000-3,000
AN EARLY VICTORIAN PRIZE DIRK
UNMARKED, CIRCA 1840
the large baluster handle with basket weave and studded decoration, pommel set with oak leaf and foliate mount enclosing a foil back crystal, the spear point blade with scalloped back edge single fuller and etched decoration featuring St. Andrews and the cross, a highland warrior, trophies of war etc., the leather covered scabbard with thistle embossed mounts, one engraved prize won by R Gordon Cumming, Glen Garry Gathering 1841, set with bi-knife and fork 30cm blade, 46cm overall
£600-800
368
A FINE SGIAN DUBH
THOMAS K EBUTT, EDINBURGH 1937
the ebony handle carved with five different Celtic knotwork bands, claw set to pommel with oval cut citrine, the leather covered wooden scabbard with fine applied upper and lower mounts both engraved with Celtic knotwork and joined by a pierced and engraved knotwork band 19cm long (overall)
Note: For a similar example by Hamilton & Inches (who took over T K Ebutts workshop) with an ivory handle in the collection of National Museum Scotland see The Sgian Dubh, a collection by Malcom Ferris – Lay, page 22
£800-1,200
369
A GEORGE IV HIGHLAND DIRK
BLADE SIGNED F.A.
LYON, LEITH STREET, EDINBURGH, CIRCA 1820
The large baluster handle carved with intricate knotwork decoration and profusely studded, the pommel with running thistle border enclosing a crystal, the large spear point blade with scalloped back edge and single fuller, the leather covered scabbard with boldly embossed scroll and thistle mounts set with biknife and fork
31cm blade, 49cm overall
£400-600
370
A VICTORIAN SILVER MOUNTED BOY’S DIRK UNMARKED CIRCA 1870
basket weave baluster handle, studded detail, the pin top pommel and lower mount with foliate engraved borders, the spear point blade with scalloped back blade and single fuller, leather covered scabbard set with bi-knife and fork and foliate engraved mounts
20cm blade, 31cm length overall
£250-400
371
AN ARGYLL & SUTHERLAND HIGHLANDERS
OFFICER’S SGIAN DHU R & H B KIRKWOOD, EDINBURGH
the basket weave handle with applied crowned cypher and foil-backed crystal to pommel, leathercovered scabbard with intertwined Celtic beast mounts
19.5cm long (overall)
£250-350
AN EARLY 19TH CENTURY BRASS AND HAND-PAINTED ARMORIAL STALL PLATE FROM THE ROYAL CHAPEL WINDSOR
BY G. HARRIS, SHOE LANE LONDON
the rectangular brass plate with finely enamelled armorial with supporters and crest, engraved below “De l’honorable Chevalier ALEXANDRE HOPE (dernier Fills de feu Jean Comte de Hopetoun) Lieutenant Général aux Armées de sa Majesté, Colonel du 47th Regiment d’Infanterie Lieutenant Gouverneu du Chateau d’Edinbourg, Membre du Parlement pour la Province de Linthlithgow; et Chevalier Grande-Croix”du très honorable Ordre Militair du Bain: Dispense des Cérémonies d’Installation par Order du Souverain en date du VIme jour de Juillet MDCCCXXL”
19cm x 23cm
Note: Lieutenant-General Sir Alexander Hope (1769 - 1837)
Born into the Hope family, Alexander was the 4th son of the 2nd Earl of Hopetoun (1704-1781) who had thirteen children with three wives. The Hope family has a lineage stretching back as far as the 16th century. The ancestral home of Hopetoun House has been in the family for 300 years and the house was originally designed by the architect Sir William Bruce. In 1721 the renowned Scottish architect William Adam was commissioned to undertake a programme of alterations and improvements that lasted until 1767.
Alexander Hope had a hugely successful military career culminating in his appointment as the last Governor of the Royal Military College, Great Marlow and then was Governor at Sandhurst between 1811-19.
Beginning his military career with the 63rd (West Sussex) Regiment of Foot in 1786, he served in the Flanders Campaign in 1795 and was left with permanent damage to his arm. He was thereafter appointed Lieutenant-Governor of Tynemouth and Cliff Fort in 1797, Lieutenant-Governor of Edinburgh Castle in 1798 and Deputy Assistant Adjutant General to the Forces in Holland in 1799.
The Memorials to Governors in the Chapel of the present-day Royal Military Academy, Sandhurst, includes: ″In Memory of Gen. the Honble. Sir Alexander Hope, G.C.B., Colonel 14th Foot. Born
9th Dec, 1769; died 17 May 1837. Commanded the 14th Regiment at Gueldermalsen, 1795 ; wounded. D.A.A.G. to the Forces in Holland, 1799. Twice Special Envoy to the King of Sweden. Governor R.M. College, Great Marlow, 1811–12. Governor of this College, 1812–19, and again, 1824–26. Lieut.-Governor Chelsea Hospital, 1826–37.″
Hope was made a Knight Grand Cross of the Order of the Bath in 1815, an honour to recognise service to the Crown and the performance of public duties, particularly within the military and civil service. Important recipients include Admiral Nelson, the Duke of Wellington and Lord Kitchener, among others. The order was founded in 1725 by King George I. The Order of
373
A SCARCE CHINESE EXPORT ARMORIAL PORCELAIN PLATE
18TH CENTURY
the blue border with geometric self coloured patterns and traces of gilding, the same border to the inner well surrounding a polychromes armorial with crest, supporters and baronet badge of Nova Scotia suspended, the reverse with collection stickers, lots tag and cataloguing from the Bullivant Collection
24.5cm diameter
£300-500
the Bath stall plates are housed in Westminster Abbey in the Henry VII chapel. The stall plate as seen here, displays the name and the arms of the Knight and each successive knights’ plate is added to the stall.
A portrait engraved by William Walker (17911867) from a painting by Sir Thomas Lawrence (1769-1830) in 1810 when Hope is Deputy Quarter Master General to the Forces is held in the National Gallery (SP V 130.1). Lawrence was the most fashionable portrait painter at the time, and shows the importance of Hope to have his portrait commissioned by Lawrence.
£4,000-6,000
Provenance: Cecil H. Bullivant Collection, number 673
The Bullivant Collection of Armorial Porcelain, Phillips 22nd March 1988, lot 323
Private Collection
Note: Heraldry:
The Arms of Hope of Craighall, Baronet
Originally part of a large service commissioned by Sir Archibald Hope of Craighall in the County of Fife, the 9th Baronet of Craighall (1735-1794). Archibald was the only surviving son of Archibald Hope and his wife, Catherine Todd.
375 A VICTORIAN VARI-COLOURED GOLD SUTHERLAND HIGHLANDER SWEETHEART BROOCH
UNMARKED, CIRCA 1880
the regimental number XCIII surmounted by royal crown and flanked with displayed thistles, with banner below engraved ‘SUTHERLAND HIGHLANDERS’, with hinged pin and safety claps
2.5cm wide, 5g
£300-500
374
AN EARLY 20TH CENTURY SEAFORTH HIGHLANDER’S PIPE BANNER
the Regimental badge crown and motto embroidered on silk backing, with blue and cream fringing, suspended from a bagpipe drone on shaped oak shield; together with a framed display of six Scottish other ranks cap badges (2)
51cm long banner
£250-350
376
AN 18TH CENTURY SEAFORTH HIGHLANDERS RECRUITMENT POSTER
the single sided printed poster Royal Arms titled ‘Seaforth’s Highlanders To be forthwith raised for the defence of his Glorious Majesty King George III…’
18.2cm x 30.7cm
£300-500
377
AN EARLY 20TH CENTURY PRESENTATION STATUE OF AN ARGYLL & SUTHERLAND HIGHLANDERS’ OFFICER
ELKINGTON & CO., BIRMGINHAM 1927 the standing model of Highland officer in dress uniform on a square base, raised on an ebonised plinth, with applied presentation plaque reading ‘presented to Captain John Hay Young D.S.O, M.C, on the occasion of his marriage… ’
40cm high
£700-1,000
378
GEORGE VI ROYAL COMPANY OF ARCHERS KING’S BODYGUARD GREEN DRESS UNIFORM
MID-20TH CENTURY
comprising jacket and trousers, both with gilt bullion work detail of thistles, with a pair of epaulettes with green trim and extensive bullion work detail including RCA devices, black bicorn also with bullion work including RCA device; together with a ROYAL COMPANY OF ARCHERS DRESS SHORT SWORD, of Roman type, the double edged 20 ½ inch blade waisted at the forte, narrow central fullers, etched with crowned GVIR cypher, by Stewart Christie & Co, 88 George Street, Edinburgh, mounted in an ornate gilt-brass cross hilt embossed with scrolls and acanthus leaves, button terminal quillons, with a giltbrass mounted leather scabbard, locket and chape with scrolling borders and a frog stud the sword 69cm long
£700-1,000
379
AN IMPRESSIVE GEORGE V ROYAL SCOTS GREY PRESENTATION SCULPTURE
HAMILTON & INCHES, EDINBURGH 1919
modelled as a Royal Scots Grey trooper on horseback, based on the William Birnie Rhind sculpture, the silver plaque with presentation engraving ‘Presented to ’LIEUT. J. H. DUDGEON
M.C. Royal Scots Greys on the occasion of his marriage’ and names of contributors 58.4cm high, 48cm wide, 60oz (weighable)
Note: Provenance: Wedding gift on the occasion of the wedding of Captain Joseph Hume Dudgeon, who went on to become Lieutenant Colonel Dudgeon OB. Dudgeon was a famous horseman and Olympic show jumper.
£2,000-3,000
A LATE VICTORIAN BALMORAL HIGHLANDERS BELT AND SHOE BUCKLE SUITE UNMARKED
comprising a waist belt and buckle, a pair of large shoe buckles and matching smaller pair, each of wavy edged rectangular form with engraved trailing foliate border, with vacant centre and hinged pins (5)
belt buckle 9.5cm x 6.5cm, shoe buckles 7cm x 3.5cm and 3.5cm x 2.4cm
£400-600
381
BALLATER - A SUITE OF BALMORAL HIGHLANDER PATTERN SHOE BUCKLES
BY WILLIAM ROBB, MARKED ROBB, BLTR, EDINBURGH 1904
comprising two large and two small buckles, each of shaped rounded rectangular outline with engraved Celtic panels and bosses (4)
7.2cm x 4.4cm and 3cm x 2.4cm
£500-800
384
A GROUP OF ELEVEN SMALL BALMORAL HIGHLANDERS WAISTCOAT BUTTONS NINE BY MEYER & MORTIMER AND TWO MATCHING BY JENNENS & CO OF LONDON
traditional lozenge form with Scottish Royal crest on linear background, with integral button loop and manufacturer’s mark to reverse (11)
1.4cm x 1.5cm
£150-250
385
BALLATER - A PAIR OF SCOTTISH PROVINCIAL SHOE BUCKLES
BY WILLIAM ROBB, MARKED ROBB/ BALLATER, EDINBURGH 1920 of incurred rectangular outline with engraved Celtic border and interlace bosses, with hinged pins (2)
6.2cm x 4cm
£200-300
382
A RARE SET OF TWENTYSEVEN BALMORAL HIGHLANDERS DOUBLET BUTTONS JAMES LUMSDEN & CO, ABERDEEN of traditional lozenge form with Scottish Royal crest on linear background, with integral button loop and manufacturer’s mark to reverse (27)
2.8cm x 2.8cm
£600-800
383
A RARE SET OF TWENTY EIGHT BALMORAL HIGHLANDERS DOUBLET BUTTONS FIRMIN & SONS, LONDON of traditional lozenge form with Scottish Royal crest on linear background, with integral button loop and manufacturer’s mark to reverse (28)
2.8cm x 2.6cm
£600-800
A 19TH CENTURY SCOTTISH SCRIMSHAW POWDER HORN
in the manner of D Gourlay of Dumfries, the polished cow horn point profusely engraved over three bands with sail and steam ships at sail flanking Britannia, landmarks including Mid Steeple, Caerlaverock Castle, Lingluden Ruins and Burns Monument, the final band with Royal arms figures and sporting pursuits, with turned and pointed terminal
17.5cm long
£250-400
388
AN IMPRESSIVE POWDER HORN
the well coiled cow horn with applied shield cartouche, engraved crest and initials F.B., with applied thistle embossed mounts and terminals, with foil-backed crystal set to finial and terminal mounts
41cm long
£1,000-1,500
387
AN EARLY VICTORIAN POWDER HORN
the curved flattened cow horn body applied with thistle cartouche collet set with a foil backed oval cut cairngorm, with thistle formed terminal set with facetted amethyst, the wide terminal with embossed thistle mounts with large paste to centre, the collar engraved ‘Angus McArthur’ and ‘Honble Amelia Murray’ 23cm long
Note: Amelia Murray (1795-1884) was a well known botanist. She undertook a tour of North America and Cuba in 1854. At the age of 35 she became a Maid of Honour to Queen Victoria’s household. As Victoria was only 18, Amelia was one of the eldest assistants.
£1,000-1,500
390
A MID-20TH CENTURY LONDON SCOTTISH SNARE DRUM
of typical form with large regimental badge and rope strung skins; together with a modern glass tabletop
38cm diameter
£250-350
389
A MID-20TH CENTURY ROYAL HIGHLAND FUSILIERS TENOR DRUM
of conventional form with rope strung skins, the body hand painted with regimental badges, and battle honour with ER II cypher; together with a modern glass tabletop 48cm
£300-500
THE DUNCAN MACDOUGALL PIPING MEDAL COLLECTION
AN IMPORTANT GROUP OF VICTORIAN PIPING MEDALS
fifteen medals mounted on a velvet sash comprising awards from Perth Highland Society by W.J. Taylor, London, bearing the town badge on one side and engraved to the obverse ‘First Prize to D.M Dougall for reel playing July 19th 1862’ a white metal medal with thistle embossed rim ‘Strathallan Highland Games 1st Prize for Marches & Reels awarded to Dn McDougall’, suspended from a purple ribbon with thistle engraved pin and six additional prize bars ‘1st for marches & reels August, 1875’, ‘1st prize marches & reels August 1871’,’1st prize marches & reels August 1870’,’1st prize marches & reels August 1869’,’1st prize marches & reels August 1868’,’1st prize marches & reels August 1865’.
A cast figure of St Andrew on cross to one side, engraved to the reverse ‘the best piper at St Andrews Games Dn McDougall 1857’ The Argyllshire Gathering Medal, by Kirkwood & Sons Edinburgh, engraved to the obverse ‘awarded to Duncan MacDougall for marches, September 1887’
A gilt metal medal with figures in Highland dress standing with a crown and crossed sword and sceptre above the motto ‘An Comunn Gaelach’, engraved to the obverse ‘The champion medal of the Highland Society of London Awarded to Duncan McDougall Inverness the best of prize Pibroch players’, with engraved pin attachment and six additional prize bars engraved ‘1st Pibrochs Glenfalloch Sept 3rd 1869’, ‘1st for Pibrochs. Aberfeldy Games. August 1876’, 1st for Pibrochs Blairathol. Sept 1874’, ‘1st for Pibrochs Crieff Games August 1873, ‘gained the prize bagpipes. Septr. 1870’, ‘Dundee Highland Association’ medal engraved ‘1st prize for reel playing’ with purple ribbon and foliate engraved pin with four additional prize bars engraved, ‘1st prize marches & reels July 1867’, ‘1st prize marches & reels August 1858’, ‘1st prize for reel playing July 1857’, ‘1st prize marches & reels August 1856’
‘Dunkeld Highland Games 1st prizes for marches and reels awarded to Duncan McDougall’, on a purple ribbon with ten additional prize bars engraved as follows, ‘1st prize marches & reels August 1857’, ‘1st prize for reels & marches’,’3rd for phiosbroch August 1872’, ‘1st prize for reels & 1st for marches July 1869’ ‘2nd for marches July 1867’, ‘1st prize for reel playing 2nd for marches July 1866’, ‘2nd prize for reel playing August 1865’, ‘1st prize for reel playing July 1863’, ‘1st prize for reel playing July 1860’
St Andrew to one side and engraved to the obverse, ‘Awarded to Dn McDougall as the best player of Strathspeys & reels on the bagpipes at St Andrew Games 1856’
A purple velvet ribbon medal lacking with four prize bars engraved as follows, ‘1st for reels 2nd for Pibrochs Aug 1874’, ‘1st prize marches & reels August 1872’, ‘2nd prize for reels & 3rd for marches August 1871’, ‘1st prize marches & reels August 1870’
A medal for ‘Angus & Mearns Highland Games Oct 1854, held at Montrose 1st prize for marches & reels awarded to Dn McDougall’
A Victorian Volunteer Long Service Medal, named to the rim ‘Pipe Major Duncan MacDougall 5th V.B.R.H’, with additional bar engraved ‘pined on by the Marchioness of Breadalbane week camp 1895’
Medal engraved ‘Awarded by the Edin Highland Society to Dn McDougall 31st July 1857’, and engraved to the reverse ‘second prize for playing of marches on the great Highland bagpipes’, the blue ribbon with three additional prize bars engraved as follows,’1st prize marches & reels August 1871’, ‘1st prize for slow marches July 1850’, ‘1st prize for reel playing July 1860’,
A Perth Highland Society medal by W.J. Taylor, London, bearing the town badge on one side and engraved to the reverse ‘first prize to D McDougall for reel playing July 24th 1857’ medal engraved ‘awarded to Mr Duncan McDougall for reels Perth Hd Society Sep 26th 1858’,
A yellow metal medal engraved ‘Best Pibroch Player Birnam 1875’ and to the reverse ‘presented by J. Robertson Reid esq Tomnagrew gained by Duncan McDougall’
Medal of St Andrew on his cross, with prize bars engraved, ‘1st prize. reel dancing Newcastle Games May 1859’, ‘1st prize sword dance Stirling games, June 1858’, ‘1st Prize sword dance Dundee games August 1857’,’1st Prize sword dance St Andrews games August 1857’, ‘1st prize sword dance Forfar games August 1856’
Together with the loose medals, engraved ‘Birnam Highland Games 1st prize for marches & reels awarded to Duncan McDougall’, medal engraved with a figure of a piper to one side and to the reverse ‘Breadalbane Gathering 1894 first prize for reels and Strathspeys presented by Miss Macpherson of Findnate won by John MacDougall’, a medal engraved on one side ‘Athol gathering 1889’ and to the reverse ‘first prize for reels playing won by John McDougall’, a medal suspender lacking medal awarded from the Perth Highland Society by W.J. Taylor, London, bearing the town badge on one side and engraved to the reverse ‘ First Prize to D McDougall for reel playing 26th Aug 1865, three loose prize bars engraved ‘1st prize marches & reels August 1865’, ‘1st prize marches & reels August 1866’, ‘1st prize marches & reels August 1869, 3rd for phiobroch’, a gilt metal medal engraved to one side ‘Glenfalloch Highland Games first prize marches & reels presented by the directors of the Glasgow Celtic Society’, and to the reverse ‘awarded Duncan McDougall 19th August 1870’, a gilt metal medal engraved ‘ Glenfalloch Games Pipee Competition 1873’, and to the reverse ‘to Duncan McDougal for marches & reels’, a gold medal (carat mark indistinct) Edinburgh 1872 by Robert & Henry Bruce Kirkwood with crest of a boar’s head to one side with motto ‘Follow Me’ and coronet above, the suspender formed as a sporran and dirks and basket hilted broadsword, the obverse with ‘Glenfalloch Highland Games Aug 1873’, and engraved to the centre ‘presented by Lady Breadalbane to Duncan McDougall for best performance of pheobrochs on the Great Highland Bagpipes’, a yellow metal gilt medal engraved to one side ‘Northern Meeting Champion Medal 1876’ and to the obverse ‘Presented By The Northern meeting to Duncan McDougall as best player of pheobrochs in competition of pipers who won Highland Society of London medal at Inverness Sep 1876’.
Provenance: Duncan McDougall By Direct family descent
The Scottish Sale Part II, Bonhams 29th – 30th August 2012, lot 504
Private Collection
£5,000-8,000
DUNCAN MCDOUGALL (1837-1898)
Regarded as the maker of some of the most coveted bagpipes today, it is interesting to note that Duncan McDougall was born into a family of pipe makers in Perth and his skills would have been honed through the generations. His father, also Duncan, lived in Edinburgh between 1867 and 1873 and it was during these years that he purposely changed the look of and ultimately the sound of his bagpipes. His greatgrandfather Allan founded the business in 1792, which then passed to his grandfather John around 1834. Duncan Snr. inherited the business in 1857 and moved it to Edinburgh around 1861. Later he relocated the business to Aberfeldy, where he stayed for the next 14 years. In August 1867 Duncan Jnr., age 29, married Isabella. Their residence was given as 33 Thistle Street, Edinburgh. At this point he is described as a wood turner journeyman. In 1870, while in Aberfeldy, he accepted a seasonal engagement as official piper at Taymouth Castle, in Perthshire, the home of Gavin Campbell, 1st Marquess of Breadalbane, Earl of Breadalbane. By 1873 Duncan and family had moved there. Breadalbane had himself served as a lieutenant in the 4th Battalion, Argyll and Sutherland Highlanders and therefore had a strong military link, so when Duncan Jnr resided at Taymouth Castle, he continued to make bagpipes. These were stamped ‘Breadalbane’. This relationship lasted until around 1881 when the family is found in Weem, a small village near Aberfeldy. The relationship with Breadalbane perhaps enabled a position with Queen Victoria as he also spent one season as her personal piper at Osbourne House, on the Isle of Wight. As a result, Duncan Jnr obtained the Royal Warrant as Bagpipe Makers to Her Royal Highness, Queen Victoria. During this time he made pipes for Pipe Major William Campbell, official Piper until Victoria’s death, and for King Edward VII, who was a keen piper in his youth. McDougall himself was a keen piper and was the Pipe Major of the Edinburgh Volunteers and instructor to the Black Watch volunteers. In 1870 he won the Prize for Piobaireachd at Inverness, having made the presentation pipes himself. He then won the Gold Medal at Inverness in 1873. Alongside this, in 1876 he won the Champion’s Gold Medal as “Champion of Champions” or “King of Pipers.” The award had been held only three times previously.
Image courtesy of The Bagpipe Museum
392
A VICTORIAN PIPING PRESENTATION PRIZE PLAID BROOCH UNMARKED
of shaped circular outline with trailing engraved thistles decoration with presentation inscription ‘‘Awarded at the Blairgowrie & Rattray Highland Games to Duncan McDougall held 3 years as the best player of Strathspreys & Reels on the Great Highland bagpipes, July 1873’ to upper area, the centre with cast thistle gallery supporting a foil backed crystal to centre
393
A VICTORIAN PIPING PRIZE PRESENTATION DIRK
394
9.8cm diameter
Provenance: Duncan McDougall
By Direct family descent
The Scottish Sale Part II, Bonhams 29th – 30th August 2012, lot 50
Private Collection
£500-800
the baluster handle carved with basket weave decoration and applied studs, with simple pin top pommel, the leather covered scabbard with shaped mounts the lower three engraved with displayed thistles within border, the upper mount with presentation inscription ‘Presented by the Northern Meeting Duncan McDougall for best performance of Strathspeys & Marches in the Great Highland Bagpipes Sept 1871’, set with en suite bi-knife and fork
30cm (blade), 46.5cm (overall)
Provenance: Duncan McDougall By Direct family descent
The Scottish Sale Part II, Bonhams 29th –30th August 2012, lot 505
Private Collection
£1,500-2,500
AN EARLY VICTORIAN GORDON HIGHLANDERS SGIAN DUBH
with a shaped ebony handle with studded and basket weave decoration, the pommel set with a large oval citrine within a collet mount above an oak leaf gallery, the scalloped badge edge etched blades with tapered point, in a leather-covered scabbard with shaped thistle engraved mounts 31.5cm (blade), 48.5cm (overall)
£400-600
395
THE KEITH-FALCONER HERALDIC BANNNER / PIPER’S PENNANT
with embroidered Armorial bearing, with green and blue fringing 61cm x 41cm at widest
Heraldry: Arms: Quarterly of 1st and 4th Azure a falcon displayed between three mullets argent on her breast a man’s heart gules (for Falconer of Halkerton) 2nd and 3rd Quarterly 1st and 4th Gules a sceptre and sword in saltire with an imperial crown in chief within an orle of eight thistles or (A Coat of Augmentation) 2nd and 3rd Argent on a chief gules three pallets or (for Keith)
£300-500
396
A VICTORIAN WALNUT SNUFF BOX
19TH CENTURY
of rounded rectangular outline, the hinged lid set with a shield, engraved to the reverse: ‘RONALD MACKENZIE 78TH HIGHLANDERS MUNLOCHY 1860’ 10cm x 6cm
Note: Ronald MacKenzie (1842)
As the nephew of John Ban Mackenzie, it is no surprise that Ronald MacKenzie was a piper of considerable skill. He won the Gold Medal for former winners at the Northern Meeting in 1863 and 1875 and the ‘Prize Pipe’ in 1873.
£200-300
THE BREDALBANE PIPER
A VICTORIAN PORTRAIT OF JOHN BAN MACKENZIE oil on board, depicting John Ban in highland dress, most likely taken at the door of Taymouth Castle
24cm x 17.5cm
£1,200-1,500
Note: John Ban Mackenzie (1796 -1864)
From 1823-1861 John Ban was piper to John Campbell, 6th Earl of Breadalbane and Holland (1824 - 1871) at Taymouth Castle in Perthshire. In 1849 John Ban won the ‘Prize Pipe’ at the Northern Meeting and the Gold Medal for former winners in 1852. In 1835 a Gold Medal was offered and with it the title ‘King of Pipers’. The competition was held only four times. John Ban was the first winner and his pupils won it on the other three occasions: Donald Cameron (1867), Ronald MacKenzie (1873) and Duncan MacDougall (1876).
A keen bagpipe maker as well, Mackenzie supplied the ‘Prize Pipe’ at Inverness from 1846 to 1864. It is believed that he made bagpipes from 1840 until his death. There are many photographs taken of him, most of which also comment on his appearance, and allude to his penchant for the ladies. The Metropolitan Museum in New York hold a photograph of him taken by Hill and Adamson (accession number 46.1.165)
398
EARLY SET OF SCOTTISH BAGPIPES 18TH CENTURY
comprising the remnants of a leather bag, covered in checked tartan wool, with a chanter stock, two tenor drones, a base drone and a blow pipe, together with a set of fruitwood and leather bellows, the drones in turned fruitwood with horn and bone mounts, the mounts to the bag in turned dak hardwood, probably laburnum the base drone 65cm long
Note: These pipes have features of both the ‘Highland’ pipes, with two (developing to three) free drones with their own stocks, chanter and blow pipe with a leather bag, and also the ‘Lowland’ (also known as the Pastoral or Union) pipes, with three smaller fused drones in the same stock and filled with bellows via the blowpipe.
The turned tops and stems of the two tenor drones are similar to the set of bagpipes dating from the early 18th century in the Collection of the Dukes of Atholl, Blair Castle, exhibited at the Jacobite Exhibition at Blair Castle in the summer of 2020. The chanter is inscribed in Gaelic and English ‘These pipes belonged to John McGregor, piper to the Duke of Atholl, played in the Battles of Prince Charles Stuart’s Army in 1745-6’. The turning style of the drones and the arrangement of the stocks around the bag of these pipes are also similar to a set of mid-18th century Scottish pipes donated by Mr Norman Welz to the College of Piping in 2012, transferred to The National Piping Centre’s Museum in 2020.
£2,000-3,000
399
AN EARLY 20TH CENTURY GORDON HIGHLANDER OFFICER’S SPORRAN
the arched brass cantle with engraved thistle and applied regimental badge, white horse hair body with twin black horse hair tassels and engraved brass bells, with red leather backing and white buff leather belt
47cm long
£400-600
400
AN EDWARDIAN SPORRAN
R&H B KIRKWOOD, EDINBURGH 1905
the arched cantle with open work pierced Celtic knot terminal and drop, engraved with crest and motto to centre, the white horsehair body with twin back tassels with Celtic pierced and engraved bells, with purple leather backing with pouch; together with a silver plated oval link chain 17cm wide (cantle), 47cm (overall length)
Note: Heraldry Crest and motto of Wallace
AN EDWARDIAN SILVER-PLATED HIGHLAND SPORRAN
the arched cantle with embossed Celtic beast and knotwork, white horsehair body, and twin black horse hair tassels, with Celtic bosses, the reverse with purple leather backing
AN EDWARDIAN GOAT HAIR SPORRAN
the arched cantle with panels of Celtic interlace and knotwork with beast head terminals, in a simple geometric border terminating in open work Celtic knot panels, with simple ball finials, the cantle with leather border and white goat hair body, with twin russet hair tassels and engraved bells, the pouch made of green leather with red leather trim, with pocket
16.5cm wide, 45cm long (overall)
£600-800
A 20TH CENTURY SPORRAN
the cantle by R G Lawrie of Glasgow, with panels of Celtic knotwork and traditional bosses, the white horsehair body and twin black horsehair tassels with thistle decorated bells, with brown leather backing
45cm long
£250-400
404
INVERNESS - A SCOTTISH PROVINCIAL SPORRAN FERGUSON & MCBEAN
marked F&M, camel, INVS, the arched hinged cantle with bold Celtic knot work border, with twin serpent heads suspending below a vacant shield cartouche, with sealskin body and three knitted leather tassels; together with a barrel link silverplated chain
Cantle 14.5cm wide
£800-1,200
405
A WWI BLACK WATCH OFFICER’S SPORRAN
the cantle marked Romanes & Patterson, Edinburgh, the pouch by Nicol Brothers Bankfoot, the arched brass cantle with cast thistle border and regimental badge of St Andrew, the white horsehair body with five black horsehair tassels with simple leather bells, the brown leather pouch with pocket, named CSM D. D. Hooks 15.5cm cantle, 45.5cm long (overall)
£500-800
406
A MID-18TH CENTURY BRASS CANTLE SPORRAN
the square topped brass cantle with simple hinged opening, the buff leather pouch attached with steel rivets, the reverse with twin steel belt loops 16cm wide (cantle)
Provenance: The Baron Earlshall Collection
£300-500
407
A GROUP OF BOOKS ON ARMS AND ARMOUR COLLECTIONS
to include Catalogue of Arms and Armour at Uplands, by John Beardmore, 1929, ex Castle Goring and William Reid Collection; Le Cabinet d’Arms de Maurice de Talleyrand-Perigord, 1901; Kunstammlungen des verewigten Herron, Geheimrats Dr,. Jakob Von Hefner-Alteneck, 1904, with price annotations; Projectile Throwing Engines of the Ancients, by Sor Ralph PayneGallwey, ex Libris J Flinton; Kostbare Waffen Aus Der Dresden Rustkammer, 1923; Die Waffen Der Warburg, 1912 (6)
£500-800
408
A COLLECTION OF BOOKS ON SCOTTISH ARMS AND ARMOUR include the Royal House of Stuart; The Highlanders of Scotland; The Swords and Sorrows; The Scottish Sword 1600-1945; Scottish Swords and Dirks; 1745 Charles Edward Stuart and the Jacobites; The Scottish Army 1661-1688 and Scotland and Her Tartans; together with a group of books on Scottish history and craft (qty)
£200-300
409
MACKAY, ANGUS THE TUTOR FOR THE HIGHLAND BAGPIPE published by Alex R. Glen, Edinburgh, 1863 4th Edition, marbled boards, inscribed Colonel Sir James E Alexander, Westerton 24 May 1864
£250-400
410
AN EARLY 20TH CENTURY BADGER SPORRAN
the mask hinged to reveal pouch, the main body with addition of taxidermy feet, brown tooled leather bag
31cm long
£300-500
413
A 19TH CENTURY FRAMED GOLFING DISPLAY FROM ABERDEEN GOLF CLUB
the modern frame enclosing the printed original rules of the Aberdeen Golf Club, adopted 7th October 1815, with a penny black on cover addressed to William Black Devanah Brewery Aberdeen, the original captain and a modern photographic print of his portrait 62cm x 59cm (frame)
Provenance: Collection of Colonel Murray, Club Secretary, Aberdeen Private Collection, Edinburgh
£4,000-6,000
411
AN OTTER MASK SPORRAN
412
the taxidermy otter head on fur body, with brown leather covered metal cantle, the brown leather pouch to reverse with belt loop and pocket
17cm wide (cantle), 30cm long (overall)
£600-800
AN EARLY 20TH CENTURY OTTER SPORRAN
of traditional form, with hinged mask revealing pouch, with tooled leather backing 29cm long
£300-500
414
ABERDEEN - A SCOTTISH PROVINCIAL JUNIOR GOLF MEDAL
EMSLIE & SUTHERLAND
Marked E&S, of circular outline, foliate border, engraved to the centre, “Aberdeen JUNIOR GOLF CLUB Established 10th November 1839”, reverse engraved with Aberdeen city coat of arms, with bale and loop fitting, in later Jamieson & Carry display box 4.5cm diameter, 36g
Provenance: The Archie Baird Collection Private Collection, Edinburgh
Note: This remarkably early medal survives from amongst the earliest times of golf in Aberdeenshire; it must therefore be one of the earliest medals to survive. It is also interesting to note that this medal would have been played for during the Feathery ball period and was being played by youths. The high expense of feathery balls makes youth playing far rarer than in later periods.
£3,000-5,000
415
A VICTORIAN RED VELVET GOLF
PLAYING JACKET
LUMSDEN & CO., ABERDEEN CIRCA 1870 with brass buttons by Firmin and Sons London for Aberdeen Golf Club
Provenance: Private Collection, Edinburgh
£400-600
416
AN EARLY 19TH CENTURY PITT CLUB MEDAL
WILLIAM TASSIE, CIRCA 1806
of shaped oval form surmounted by a wreath with a ring attachment, a central white paste portrait of William Pitt mounted on black glass within an inscription ‘NON SIBI SED PATRIAE VIXIT’, to the reverse it is inscribed ‘IN MEMORY OF THE R HON W PITT DIED 23 JAN 1806 aged 47 / JAMES
LARGE ESQ / PITT CLUB’ 4.5cm long
£250-450
417
GOLFING INTEREST
- A LARGE HIP FLASK
MARKED EVANS, NICKEL SILVER
Of conventional curved form, the front with embosssed scene of a golfer on the fairway, the upper panel with golfer and caddy marching to the 19th hole
20cm long
£200-400
WHISKY
418
DALMORE 30 YEAR OLD - THE STILLMAN’S DRAM (1990s)
bottle number 7691, with presentation case 75cl/ 45% (90 Proof)
£800-1,200
419
420
SPRINGBANK - 20 YEAR OLD FRESH PORT CASK No 437, DISTILLED DECEMBER 1995, BOTTLED JUNE 2015 NUMBER 8 OF 60 BOTTLES in black cardboard carton
70cl / 51.7% vol
£800-1,200
GLEMORANGIE - 1975, TAIN L’HERMITAGE
FINISHED IN COTE DU RHONE WINE CASKS, DISTILLED 1975, BOTTLED 2003, LIMITED EDITION 2456 in wooden packing case style box 70cl / 46% vol
£400-600
PROVINCIAL SCOTTISH SILVER
421 Y
423
ABERDEEN - A WILLIAM IV COFFEE POT ELDER & CO, EDINBURGH 1834, RETAILED BY WILLIAM JAMIESON OF ABERDEEN of large baluster form with chased rococo and foliate scroll cartouches with engraved armorial and crest, with acanthus clasped S scroll spout and handle with ivory insulators, the hinged domed cover with foliate finial 29cm high, 32oz
Note: With non-transferable CITES selfcertification number: GWA5ZQCS
£900-1,100
422
ABERDEEN - A SCOTTISH PROVINCIAL TEAPOT
GEORGE COOPER
marked GC thrice, triple tower, gothic e, of tapering bullet form, chased floral border, with similar decoration to the hinged lid, straight spout, S-scroll handle, R*F engraved to the underside of base 15cm high, 17oz
Provenance: The Scottish Sale, Made in Scotland, Phillips, 24th-25th August 2001, lot 629
£3,000-5,000
ABERDEEN – A SCOTTISH PROVINCIAL TABLESPOON
ALEXANDER THOMSON
marked AT, ABD (both in script), of Hanoverian pattern with crest to terminal; together with a pair of Hanoverian pattern tablespoons by J Cornfute of Perth marked IC, eagle, IC, eagle, with script initials CA to terminal (3)
21cm and 21.2cm long, combined weight 6.6oz
£200-300
424
ABERDEEN – A SCARCE SCOTTISH PROVINCIAL CREAM BOAT
JAMES ERSKINE
maker’s mark only, the body formed from a polished cowrie shell with scalloped rim and spout, simple scroll handle and three claw and ball feet
14cm long
£300-400
422
425
ABERDEEN – A SCARCE SCOTTISH PROVINCIAL TOAST RACK
JAMES BEGG
marked J.B, thistle, J.B, thistle, of octagonal outline with seven bars, the central bar with shaped knop handle engraved with crest and initials, raised on four bracket feet 16cm wide, 5.9oz
£500-800
426
ABERDEEN – A PAIR OF SCOTTISH PROVINCIAL GRAVY SPOONS
GEORGE BOOTH
marked G.B, A, B, D, N, of Fiddle pattern with script initial R to terminal (2)
31cm long, 8oz
£200-300
427
ABERDEEN - A SCOTTISH PROVINCIAL SOUP LADLE
EMSLIE & MOLLISON
marked E&M, A,B, D, of Fiddle pattern with foliate script L to terminal and wide oval bowl
33.5cm long, 8oz
£220-280
428
ABERDEEN – A SCOTTISH PROVINCIAL MUG
WILLIAM JAMIESON
marked Edinburgh 1829, WJ, the tapered baluster form with everted reeded rim, raised on a short stem with spreading foot with fine rope twist rim, with S scroll handle 9.5cm high, 4oz
£180-220
429
ABERDEEN - A SCOTTISH PROVINCIAL FISH SLICE
RETTIE & SONS
marked R&S, A,B,D, of Fiddle pattern with engraved crest and motto to terminal, with shaped pierced blade 29.5cm long, 4.9oz
£250-280
430
ABERDEEN - A SCARCE PAIR OF SCOTTISH PROVINCIAL BUTTER KNIVES WILLIAM JAMIESON
marked WJ, ABD, WJ, with shaped blades and tapered rectangular handles; together with a Fiddle pattern toddy ladle by Alexander Grant marked AG, ABERDEEN (3)
17.5cm and 16cm long
£200-250
431
ABERDEEN – A SCOTTISH PROVINCIAL LUCKENBOOTH BROOCH
COLINE ALLAN
marked CA, of diminutive heart-shaped form with flared and engraved crown surmounting, with integral swing pin, engraved to reverse
I.M.
2.9cm long, 2.2g
£200-300
432
ABERDEEN - A SCOTTISH PROVINCIAL GOBLET
WILLIAM JAMIESON
marked WJ, ABD, WJ, the bowl with vine and foliate engraved border to a knopped stem, stepped circular foot
7.5cm high, 9.9oz
£800-1,200
433
ABERDEEN – A PAIR OF SCOTTISH PROVINCIAL CAULDRON SALTS
COLIN ALLAN
marked CA twice, of simple form with moulded rim and raised on three stepped hoof feet (2)
7cm wide 4.5oz
£300-500
434
ABERDEEN – A SCARCE SCOTTISH PROVINCIAL HASH SPOON
GEORGE ROBERTSON
marked GR, ABD, GR, of Hanoverian pattern with script initials IF / CS to terminal 40cm long 7.3oz
£1,200-1,800
435
BALLATER – A SCOTTISH PROVINCIAL QUAICH
WILLIAM ROBB
marked ROBB / BALLATER, Edinburgh 1913, the shallow hemispherical bowl with three upswept lugs, raised on a simple collet foot
6.5cm diameter of bowl, 1.4oz
£200-300
436
BALLATER - A SCOTTISH PROVINCIAL KILT PIN / BROOCH
J KNOWLES & SONS
marked JK&S, BLTR, SILVER, of typical form with claw-set citrine terminal with intertwined split pin; together with another kilt pin, stamped STERLING SILVER, modelled as a dirk, the terminal set with a yellow paste (2)
7.5cm each
Note: John Knowles & Son were another firm which capitalised on the tourist boom in Ballater. They had originally been clockmakers based in Aboyne but diversified into tourist wares around 1900. Like many, they were retailers rather than makers, so items bearing their marks are rare.
£300-500
437
DUNDEE – A SCOTTISH PROVINCIAL SERVING SPOON
EDWARD LIVINGSTONE
marked EL, pot of lilies, stalks, crowned heart, Celtic Point pattern with script initials S to terminal
31.5cm long 3.3oz
£120-180
438
DUNDEE - A SCARCE SCOTTISH PROVINCIAL HASH SPOON
CHARLES DICKSON
marked CD, pot of lilies, CD, C, Hanoverian pattern with vacant terminal and simple heel 37cm long 6.9oz
£800-1,200
439
DUNDEE – A SCOTTISH PROVINCIAL GRAVY SPOON
JOHN STEVEN
marked IS, pot of lilies, IS, M, of slender Old English pattern with script initial P to terminal 34cm long, 3.6oz
£200-300
440
ELGIN – A VERY RARE SCOTTISH PROVINCIAL SALVER
ROBERT MACGREGOR
marked thistle, RMcG, tree, baubles, of shaped circular outline with moulded rim, the sunken centre with chased rococo scroll formed cartouches with foliate displays within, raised on four scroll and hoof feet 21cm diameter 10.8oz
Provenance: Fine Scottish Silver, Lyon & Turnbull 13th February 2008, lot 82
Private Collection
Note: Quality items by this maker are rare and so far this is the only recorded item of hollowware. His known work to date generally being smaller items of flatware. Confusion has surrounded this maker but the use of the tree and baubles mark does seem to suggest a working period in Elgin. For full details of this maker see G.P. Moss Moray Provincial silversmiths and their marks.
£2,000-3,000
441
ELGIN – A SCOTTISH PROVINCIAL
TODDY LADLE
JOSEPH POZZI
marked JP, Eln, thistle, Fiddle pattern with ovoid bowl and vacant terminal 16cm long 30.9g
£200-300
442
ELGIN – A MATCHED SET OF SIX SCOTTISH PROVINCIAL TABLESPOONS
three by Thomas Stewart marked TS, ELn, St. Giles, E and three by Charles Fowler marked CF, ELGIN, St. Giles, Old English pattern all with matching script initials JL to terminal (6) 22.5cm long 11.2oz
£800-1,200
443
ELGIN – A RARE SCOTTISH PROVINCIAL CONDIMENT LADLE
JOHN SELLAR
marked JS, ELGIN, Fiddle pattern with short Fiddle terminal and diminutive ovoid bowl 12.3cm long 11.9g
Provenance: Exhibited Elgin Museum, item 94, 2006
£250-350
ELGIN – A SET OF SIX SCOTTISH PROVINCIAL DESSERT SPOONS
WILLIAM FERGUSON
marked WF, ELn, Fiddle pattern with foliate initial AM / E to terminal (6) 17.5cm long 8oz
Note: This is a rare variant of the ELn town mark with a pellet below the N. Rarely encountered it appears to be a variant unique to William Ferguson and only used for a short time.
£800-1,200
445
ELGIN – A SCOTTISH PROVINCIAL
TODDY LADLE
WILLIAM FERGUSON
marked WF, ELGIN, thistle, Fiddle pattern with simple crest of a cross with initial M below
20.5cm long 52.6g
£200-300
446
ELGIN – A SCARCE SCOTTISH PROVINCIAL CADDY SPOON
WILLIAM FERGUSON
marked WF, ELGIN, Fiddle pattern with short Fiddle stem and shallow circular bowl 9.5cm long 16.2g
Provenance: Exhibited Elgin Museum, item 92, 2006
£400-600
447
ELGIN – A RARE SET OF TEN TABLE FORKS
CHARLES FOWLER
marked CF, ELGIN, E, Oar pattern with crest of a seated owl to terminal (10) 21cm long 19oz
£1,500-2,500
448
ELGIN - A SCOTTISH PROVINCIAL FISH SLICE
CHARLES FOWLER
marked CF, ELGIN, Fiddle pattern with script initial D to terminal the shaped blade with pierced Greek key border 30cm long 4.9oz
£400-600
449
ELGIN – A SCOTTISH PROVINCIAL SERVING SPOON
CHARLES FOWLER
marked CF, ELGIN, A, Old English pattern with engraved initial G to terminal 30.5cm long 95.5g
£300-500
450
GLASGOW - A SCOTTISH PROVINCIAL SOUP LADLE
ADAM GRAHAM
marked AG, town mark, AG, the shell bowl, to a wrythen stem, engraved crest to terminal; together with another soup ladle, William Eaton, London 1834, of Queen’s pattern (2) 37cm, 6.5oz, 34cm, 9.5oz
£300-400
451
GREENOCK – A SCOTTISH PROVINCIAL
SOUP LADLE
WILLIAM CLARK
marked WC, anchor, ship in sail, C, oak tree, of Celtic Point pattern with vacant terminal, large heel to bowl 40cm long, 6.5oz
£180-220
452
GREENOCK - A SCARCE SCOTTISH PROVINCIAL TODDY LADLE
JOHN MASTER
marked J.M., anchor, oak tree, anchor, of Fiddle pattern, with engraved crest to terminal; together with a Celtic point pattern serving spoon, by John Douglas of Dundee. Marked DOUGLAS, ID, three crowned hearts (2)
17.5cm long, 148g
£200-300
453
GREENOCK - A SCOTTISH PROVINCIAL
GRAVY SPOON
JOHN HERON
marked, JH, anchor, ship, C, oak tree, of Fiddle pattern, foliate B engraved to terminal; together with a soup ladle, Patrick Robertson, Edinburgh 1788, of Celtic Point pattern, engraved crest and motto ‘THUS FAR’ to terminal with Latin text and engraved initials; together with another soup ladle, London 1785, of Old English pattern, engraved B to terminal (3)
marked F F & M, INVSS, the stag horn handle to a single fuller blade
16.5cm long
£200-400
455
INVERNESS - A SCOTTISH PROVINCIAL BASTING SPOON CHARLES JAMIESON
marked CJ, INS, J, of Old English pattern 25.2cm long, 2.8oz
£200-400
456
INVERNESS – A SCOTTISH PROVINCIAL WINE FUNNEL BY CHARLES JAMIESON
marked to spout CJ, J, S, of conventional two piece construction with shallow bowl with engraved rim 12cm high, 2.5oz
£400-600
INVERNESS - A SCOTTISH PROVINCIAL JUG
DONALD FRASER
marked DF. INS, *, of baluster form, heavily chased foliate fronds throughout, the C-scroll handle with foliate and floral decoration, the hinged lid with cast vine leaves and grape finial, raised on a slightly domed foot with floral and foliate decoration
29cm high, 37.9oz
£4,000-6,000
Work by
Donald Fraser is not uncommon and the vast majority is flatware. This ewer appears not only to be the largest piece of silver tied to his hand but one of, if not the, largest items of early 19th century Inverness silver. No other comparable item of this size can be found, dwarfing the more commonplace larger pieces such as communion cups.
Fraser is recorded making various quaichs (including one National Museum Scotland 1961-99), a goblet (previously David Morris Collection Christie’s 3rd July 1984 lot 158, now within the collection of Inverness Art Gallery & Museum IAGM 1984.062.003) and unusually an egg cup, sold in these
rooms A Private Collection, 7th December 2005 lot 358 illustrated (now National Museum Scotland MEQ 2005.526).
Donald Fraser was trained in Inverness by Charles Jamieson and after his apprenticeship appears to have continued to work as a journeyman for him, setting up on his own in 1804.
He appears to have had good success as a goldsmith and jeweller stocking his shop with “a very superior assortment of the most fashionable silver plate and jewellery are now made use of in the highest cures and which he can with confidence recommend being of the very best finish”.
His success is further demonstrated by the five known apprentices he took between 1809 and 1820, a large number for an Inverness goldsmith of the time. It appears Fraser worked until circa 1829 when records of him cease.
458
IONA - A SCOTTISH PROVINCIAL NUNNERY CROSS PENDANT
ALEXANDER RITCHIE
marked, A.R. IONA, Glasgow 1930, the cross cast and chased with Celtic knot design; together with a letter from Alexander Ritchie (2)
7cm long (including bale)
Literature: MacArthur, Mairi E. ‘Iona Celtic Art’, Iona 2003, p. 38 where a similar cross is illustrated.
Note: Ritchie based this design on a similar long-shafted cross design found on a slab in the Nunnery at Iona.
£300-500
459
IONA - A SCOTTISH PROVINCIAL CADDY SPOON
ALEXANDER RITCHIE
maker’s mark indistinct, stamped A.R. IONA, Birmingham 1933, the spade shaped bowl with engraved detail to a circular handle with embossed Celtic knot design
9.5cm long, 34g
£250-400
460
IONA - A LARGE SCOTTISH PROVINCIAL BELT BUCKLE
ALEXANDER RITCHIE
marked A.R, IONA, Birmingham 1923, of rectangular outline with rope twist and snake border, the open work centre with intertwined beasts, with simple, removable snake-formed clasp
16cm wide
Literature: Iona Celtic Art, The Work of Alexander and Euphemia Ritchie, E. Mairi McArthur, plate 7g for a simple example with a tray base
£600-800
461
IONA - A BRASS WALL SCONCE ALEXANDER RITCHIE the arched back plate with embossed stylised Celtic cross, the lower section with rectangular tray set centrally with a simple socket candle sconce 32cm high
Literature: Iona Celtic Art, The Work of Alexander and Euphemia Ritchie, E. Mairi McArthur, plate 7g for a simple example with a tray base
£300-500
462
IONA - A BRASS WALL SCONCE ALEXANDER RITCHIE the large rectangular sconce with curved upper and lower sections, embossed with a large stylised Celtic cross, with an integral simple socket sconce with circular drip pan 44cm high
Literature: Iona Celtic Art, The Work of Alexander and Euphemia Ritchie, E. Mairi McArthur, plate 7g for a simple example with a tray base
£300-500
463
IONA - A SCOTTISH PROVINCIAL COPPER TWIN LIGHT WALL SCONCE
ALEXANDER RITCHIE
The shield shaped back plate with eight domed bosses within border, enclosing a galleon in full sail with Iona abbey in the background, set with two scroll arms with sim sconces and drip pans
40cm x 33cm
Literature: Iona Celtic Art, The Work of Alexander and Euphemia Ritchie, E. Mairi McArthur, page 24 in a shop interior photo and another further illustrated plate 16b
£400-600
464
IONA - A CASED SET OF MATCHED SCOTTISH PROVINCIAL SPOONS
ALEXANDER RITCHIE
comprising a sugar spoon, marked A.R. IONA, hallmarks for Glasgow, 1932; one spoon marked A.R. IONA and three others with full hallmarks, all with various terminals of nautical and Celtic design (6) 90g (combined)
£500-800
465
IONA - A SCOTTISH PROVINCIAL CROSS ALEXANDER RITCHIE
marked, AR IONA, Glasgow 1930 formed as a standing Celtic cross, with Pictish designs to either side; together with a galleon pendant, marked A.R IONA (2) 7.7cm long, 3.5cm (including bale)
£250-400
466
IONA - A SCOTTISH PROVINCIAL BROOCH
ALEXANDER RITCHIE
stamped A.R IONA, of stylised floral form; together with a collection of jewellery from Iona, including two oval Church of Scotland brooches, an annular brooch by Robert Allison, a galleon brooch and a standing cross pendant with chain (6) 6cm long
£300-500
467
IONA - A SCOTTISH PROVINCIAL CROSS PENDANT
ALEXANDER RITCHIE
marked A.R IONA, Glasgow 1927, the cross formed of inter-lace Celtic knot work with integral suspension 8cm long, 15g
£300-500
468
IONA - A SCOTTISH PROVINCIAL PENDANT
ALEXANDER RITCHIE
marked AR, IONA, the large cross with all over Celtic knotwork and Greek key border to joining arches, engraved to reverse ‘25th March 1914’ 7cm long (including bale), 17g
£400-600
pattern, with deep bowl, the reverse of the terminal engraved WF/ SG, with double drop heel and beaded and engraved fleur de lys ‘rat tail’
20.5cm long, 61g
Note: The working careers of John Brown and his son Francis are somewhat confused. Although recorded in Perth as early as 1724 they appear to have worked in Edinburgh and possibly Elgin as well. No marks have been confidently ascribed to either of these periods and all their known work is tied to Perth.
The marks they used fall into three groups, all with the very recognisable IB and FB maker’s marks, with PERTH in full, a large Fleur de Lys and, as seen on this spoon, what appears to be an armorial bearing.
The use of the armorial bearing has not been explained and the use of the punch is certainly their rarest. Its large size means that when encountered, it is often poorly struck, leaving details hard to ascertain. This example is amongst the best noted.
The double drop and engraved ‘rat tail’ is also a feature unique to these makers in Scottish silver and shows much closer comparison to continental European work than to British examples.
For an example from the same set as the current lot see Lyon & Turnbull, Scottish Silver and Applied Arts, 16th August 2017, lot 322. For further discussion and recent research see The Finial, March/April 2020 Vol. 30/04, advocating a Fraserburgh origin.
£1,200-1,800
470
PERTH – A RARE SCOTTISH PROVINCIAL MEDICINE SPOON
JOHN SCOTT
marked SCOTT, thistle, eagle, b, with large and small spoon bowls with shaped stem between 15.3cm long, 18g
£120-180
£250-350
472
PERTH - A SCOTTISH PROVINCIAL SERVING SPOON
ROBERT KEAY
marked RK, eagle, RK, eagle, RK, eagle, RK, eagle, RK Fiddle Pattern with elongated plain terminal 35.5cm long 7.4oz
marked RK, eagle, RK, eagle, RK, eagle, RK, Fiddle Pattern with script initial S to terminal 32cm long 4.4oz
£200-300
473
PERTH - A SCOTTISH PROVINCIAL INVALID CUP
HUGH CLARKE
marks HC (conjoined) twice, the tapered body to a simple reeded foot and strap handle, with tapered spout, the body engraved Afs 8cm high, 4.4oz
Note: This previously unrecorded invalid cup or feeder appears to be a unique survival in Perth silver. It is also one of only a handful of non-communion wares tied to Hugh Clarke’s hand. What is intriguing is a cup of the same pattern and with identical engraved initials is recorded by James Gordon of Aberdeen. Its current whereabouts is unknown. It was previously within the Sir John Noble Collection (sold Christies London 24th June 1981 lot 45) and latterly the David Morris Collection (sold David Morris Collection, Christie’s 3rd July 1984 lot 125).
£600-800 469 473
474
TAIN – A SCARCE SCOTTISH PROVINCIAL TABLESPOON
HUGH ROSS
marked HR (conjoined), SD with St Duthac between, A, D, of Old English pattern with script initials P / AB to terminal 21.2cm long 60g
£600-800
475
TAIN – A RARE SCOTTISH PROVINCIAL SNUFF MULL
HUGH ROSS
marked HR conjoined (in oval punch), struck to interior of base, of squat and wide baluster form, the plain body with reeded girdle to lower third of body, the hinged cover with embossed decoration of scalloped shell flanked by twin sea beasts, the base engraved with crest and inscription ‘Gift of the Earl of Sutherland to Carroll 1747’ 4.5cm high, 2.5oz
Provenance: Bonham’s The Scottish Sale 18th August 2009 lot 189 piece marks and details illustrated
Private Collection
References and exhibition:
The Tain Silver Collection in Tain & District Museum, E Quick, piece and details illustrated page 29
The John Kirk Collection
Note: Three baluster snuff mulls by Hugh Ross are recorded, all with chased decoration to the covers. This example and the ‘Achanie’ box feature more restrained flat chasing. The third is more elaborate with two figures, thought to be Prince Charles Edward Stuart and Flora Macdonald (see British Silver Boxes 1640-1840, The Lion Collection, item 142).
Much like the other mull with similar decoration, this example is engraved to the base. Research by Estelle Quick identifies the commissioning and presentation of this box by William Gordon, 17th Earl of Sutherland and Carroll (1708-1750) to his kinsmen Hugh Gordon of Carroll.
Hugh Gordon had petitioned for redress after the Jacobites burned his property at Kintradwell, north of Brora, before the battle of Culloden. It is possible this box may have been part of that payment of redress.
£3,000-5,000
476
WICK – A RARE SET OF SIX SCOTTISH PROVINCIAL TABLE FORKS
JOHN SELLAR
marked JS, WICK, Old English pattern with crest of a seated cat and motto SANS PEUR above for Sutherland (6) 21.8cm long 14.8oz
Note: The survival of Scottish provincial forks is much rarer than those of spoons. These table forks are likely the only set of Wick forks still in existence together and unusually are of Old English pattern, as the vast majority of Wick flatware to survive is Fiddle Pattern.
£4,000-6,000
477
WICK – A SCOTTISH PROVINCIAL TODDY LADLE
JOHN SELLAR
marked JS, WICK, S, S, of Fiddle pattern with gothic script initial L to terminal 17cm long, 34.6g
£600-800
478
WICK - A SCOTTISH PROVINCIAL TEASPOON
JOHN SELLARS
marked JS, WICK S S, of Fiddle Pattern, engraved foliate initials JEH to terminal 14.5cm long, 0.5oz
£300-500
MODERN TO ANTIQUE SCOTTISH SILVER
A MODERN POETIC BOWL
GRAHAM STEWART, EDINBURGH 2000 the simple hand-raised hemispherical bowl, with feature hallmarks, flanked to either side with inscription ‘from July evening’ and ‘by Norman MacCaig’ engraved to the interior with lines from the poem, ‘Something has been completed that everything is part of, Something that will go Being completed forever’, raised on small circular foot rim, engraved ‘J.M.S.G.M.S/ 13TH MARCH 2000’
12.5cm diameter, 7.9oz
£2,000-3,000
480
A PAIR OF MODERN ‘HONEYCOMB’ CANDLESTICKS
GRAHAM STEWART, EDINBURGH 2015 of hexagonal form, modelled as a honeycomb, three sides with a silver-gilt honeycomb design and applied bees, feature hallmarks to one side (2) 5.5cm high, 18.6oz (combined)
£3,000-5,000
July Evening
A bird’s voice chinks and tinkles Alone in the gaunt reedbed –Tiny silversmith Working late into the evening. I sit and listen. The rooftop With a quill of smoke stuck in it Wavers against the sky In the dreamy heat of summer. Flowers’ closing time: bee lurches Across the hayfield, singing And feeling its drunken way Round the air’s invisible corners. And grass is grace. And charlock Is gold of its own bounty. The broken chair by the wall Is one with immortal landscapes. Something has been completed That everything is part of, Something that will go on Being completed forever.
Norman MacCaig
481 §
AN IMPRESSIVE CONTEMPORARY CENTREPIECE
GRAHAM STEWART, EDINBURGH 2007
the hemi-spherical bowl of planished finish with gilt interior, the pull-off pierced cover of quatrefoil design, four pull-out thistle candlesticks to each crescent section 40cm diameter, 186.9oz
Note: Purchased from Graham Stewart’s studio in 2007. £10,000-15,000
MALCOLM APPLEBY, EDINBURGH 2000
each comprising of a lozenge-shaped disc, suspending two graduated kite-shaped links, all of swirl parcel-gilt decoration (2)
5.5cm long
£300-500
484
482 §
AN EARLY 21ST CENTURY NECKLACE AND A PAIR OF EARRINGS
MALCOLM APPLEBY, EDINBURGH 2003
signed M.APPLEBY, composed of a long strand of irregular links with hammered finish, to a simple double-C form clasp presented in a pouch; together with a pair of earrings, of circular outline with swirl detail, with original box (2) 28.5cm long
A MODERN REPRODUCTION OF THE “LANARK SILVER BELL” HAMILTON & INCHES, EDINBURGH 1931
the conventionally shaped bell with closed base, with cast foliate decorative suspender and loop suspension, the body engraved with coat of arms of Lanark and to reverse ‘Replica of Lanark Silver Bell, won by…1932’
11cm high, 6.4oz
£400-600
Note: The original Lanark bell was first completed for circa 1608-1611 and was made in Edinburgh by goldsmith Hugh Lindsay. It now forms part of the rare early survival of Scottish sporting prizes and is the earliest Scottish horse racing trophy known. It now sits on a stand which supports around its rim medals dating from 1628 to 1977. This original trophy is still housed within South Lanarkshire archives. This reproduction was awarded to the winner of the Lanark Silver Bell Handicap, a race run over a distance of a mile and a half, on Saturday, 24th September, 1932. The winner, Cat O’ Nine Tails, was owned by Mrs J. Carruther, trained by R.J. Colling of Newmarket and ridden by R. James in a race in which seven ran and was held at the now-closed Lanark Racecourse. Cat O’Nine Tails won the race by a length and a half.
485
A PAIR OF CONTEMPORARY CANDELABRA
486
A MILLENNIUM LIMITED EDITION CASED QUAICH HAMILTON & INCHES, EDINBURGH 2000
the shallow hemispherical bowl with feature hallmarks, engraved 33/200 to underside, the three lugs set with moss agates and a Celtic border, presented in original case 13cm wide, 7.4oz £300-500
487
A 1980S QUAICH
JAMIESON & CARRY (OF ABERDEEN), EDINBURGH 1984
of traditional form, Celtic beast and knotwork border, waisted lugs, raised on circular foot; together with another smaller, Arthur Robert Angell, Glasgow 1959, of plain form with waisted lugs (2) 22cm, 17cm across lugs, 17oz (combined)
£400-600
488
A 1970S MOUNTED STAG HEAD
DUBLIN COMMEMORATIVE MARK TO MARK IRELAND’S ENTRY INTO THE EUROPEAN COMMUNITY
modelled naturalistically, set with red paste eyes, mounted on a wooden wall plaque 23cm high
£300-500
489
A 1960S MODEL OF A STAG IMPORT MARKS FOR LONDON 1966 modelled naturalistically, roaring 25cm high, 28.5oz
£3,000-5,000
490
A 1930S THREE PIECE TEA SERVICE BROOK AND SONS (OF EDINBURGH), SHEFFIELD 1939
comprising a teapot, twin-handled sugar basin and a milk jug, all of oval outline, floral border, Art Deco motif to the handles, each raised on a stepped rectangular foot (3) 13cm high (teapot), 36.5oz (combined)
£300-500
491
A CASED SET OF 1930S ZODIAC TEASPOONS
GEORGE & JOHN MORGAN, GLASGOW 1934
comprising a set of twelve teaspoons and a pair of sugar tongs, each modelled with a sign of the zodiac to the terminal, presented in a fitted case
11.5cm, 6.5oz
£300-500
492
A 1930S CARD TRAY BROOK & SON (OF EDINBURGH), SHEFFIELD 1938
of square outline with round canted edges, raised on four ball feet
22cm wide, 15.9oz
£250-350
488
493 Y
A 1930S CASED 9CT GOLD AND ALLIGATOR GREYHOUND RACING PRESENTATION COLLAR
POSSIBLY JAMES McKIERNAN the shaped alligator belt with applied gold plaques, engraved to one ‘Won by Diosun’ and ‘SEPT 1931’ to the other, the central section set with an engraved shield with inscription ‘GLASGOW GREYHOUND RACECOURSE LTD… SPRINT CHAMPS 1931’ in a garland border, presented in a fitted case; together with Certificate of Registration No. C2221, dated 1931 (2) 40cm wide
Note: £2,500-4,000
495
494
A 1930S PRESENTATION QUAICH
MACKAY & CHISHOLM, EDINBURGH 1933 of traditional form, lobed handles, the body engraved with presentation inscription ‘THE GREYHOUND RACING ASSOCIATION’ ‘PRESENTED BY POWDERHALL TRACK EDINBURGH …1934’ ‘… Won by … STOLEN KISS’, presented on a mahogany turned plinth (2) 33cm across handles, 24.5oz
£400-600
495
A 1930S PRESENTATION TWIN-HANDLED ROSE BOWL
WALKER & HALL, SHEFFIELD 1930
the bowl with engraved presentation inscription ‘THE DAILY MAIL CHAMPIONSHIP…
The Greyhound Racing Association Ltd…. 1932’, angular S-scroll handles, raised on four bracket feet with Art Nouveau scroll detail, presented with a mahogany and velvet plinth; together with associated paperwork, Certificate of Registration, No. D4397, dated 1932 and Certificate of Transfer, dated 1932
39cm across handles, 43.5oz
£500-800
496
A PAIR OF MATCHED VICTORIAN HARDSTONE SET PRESENTATION TANKARDS
EDWARD AND JOHN BARNARD, LONDON 1855 & 1857
the amber glass cylindrical body to engraved silver mounts, the collar collet set with various Scottish hardstone cabochons, the hinged lid of domed form applied with a greyhound finial, the lower collar engraved with a presentation inscription ‘PRESENTED TO The Dirleton and North Berwick Coursing Club by Lady Mary C. Nisbet Hamilton, Won by Henry Deans’ FD Craigleith 1855’ the later with additional ‘…Won By Mr. Henry Deans F.W.D…1857’ (2) 27cm high (approximately)
£4,000-6,000
497
A PAIR OF EARLY VICTORIAN DOG COLLARS
WILLIAM CUNNINGHAM, EDINBURGH 1839
each of circular outline, with banded border, engraved to the centre, ‘MIDLOTHIAN COURSING CLUB/ SILVER COUPLES/ For dogs under 20 months/ WON BY Mr. H. Maxwell’s black dog… 6 NOVEMBER 1839’ to a red leather interior, to a hook and loop fastening (2) 13cm (internal diameter)
Note: For a comparable pair, please see Matthew Barton Silver, Works of Art & Objects of Vertu, 25th November 2009, lot 62
£3,500-5,500
498
502
A 1930S SILVER-GILT TRAPAIN REPRODUCTION SPOON
BROOK & SON, EDINBURGH 1939 the bowls of oval form, the handles with Celtic beasts holding a ball in their mouths 13cm long, 48g
£250-400
499
A 1930S REPRODUCTION TRAPRAIN HOARD SPOON
BROOK & SONS, EDINBURGH 1935 the bowl of oval form, the handles formed as a Celtic beast holding a ball in their mouth 11.5cm long, 48g
£250-400
500
A SET OF FOUR 1930S TRAPRAIN REPRODUCTION SALTS
BROOK & SONS, EDINBURGH 1934 of conventional triangular form with beaded edge (4)
7cm wide, 7.3oz
£400-600
501
A 1920S TRAPRAIN REPRODUCTION
SWEETMEAT DISH
BROOK & SON, EDINBURGH 1929 of circular form, with beaded rims and deep bowls, raised on a circular foot 14cm diameter, 8oz
£200-400
A 1920S TRAPRAIN REPRODUCTION
SWEETMEAT DISH
BROOK & SON, EDINBURGH 1927 of square outline, with a beaded rim and a deep bowl, raised on a circular foot 14cm wide, 8oz
£200-400
503
A 1920S TRAPRAIN REPRODUCTION
SWEETMEAT DISH
BROOK & SON, EDINBURGH 1929 of circular form, with beaded rims and deep bowls, raised on a circular foot 14cm diameter, 7.3oz
£200-400
504
A 1920S ‘AMPHITRITE’ TRAPRAIN REPRODUCTION BOWL
BROOK & SON, EDINBURGH 1926 of lobed circular outline, alternating panels of concave panels to engraved panels, the circular dish engraved with a sea nymph seated on a allegorical sea monster, the handles formed of two sea monsters with swan like necks, raised on a circular foot 30cm diameter, 34.8oz
£2,000-3,000
505
A MATCHED FOUR PIECE TRAPRAIN REPRODUCTION CRUET
MUSTARD POTS BROOK & SONS, EDINBURGH 1924 AND 1929, SALT SHAKERS BROOK & SONS (OF EDINBURGH), SHEFFIELD 1924 each of simple plain form with beaded borders and raised on simple collet feet (4) mustard pots 6.5cm diameter, salt shakers 9cm high, 8.5oz (combined weight)
£200-300
506
AN IMPRESSIVE BRITTANIA STANDARD 1920S TRAPRAIN REPRODUCTION TRAY
BROOK & SON, EDINBURGH 1921 of square outline, beaded border, the flat engraved with foliate motifs, the dish inset with a shallow bowl
35.5cm wide, 42.3oz
£2,000-4,000
507
A TRAPRAIN REPRODUCTION WINE GOBLET
BROOK & SONS, EDINBURGH 1920 the shallow hemispherical bowl with simple liner border, raised on a multi-knopped stem to widespreading circular foot with moulded rim
11cm high, 7.8oz
£200-300
509
508
A 1930S BOWLING CLUB TROPHY
GEORGE & JOHN MORGAN, GLASGOW 1939
511
modelled as a bowling bowl, engraved ‘ADRIAN BOWLING CLUB/ PRESENTED TO / MRS R THOMSON.. 1940’, raised on a plated tripod stand (2)
9.3oz (gross weight of ball), 17cm high (on stand)
£250-400
512
509
A WELL-MATCHED SET OF SIX WHISKY NOGGINS
THREE BY HARRODS (RICHARD B WOODSMAN), LONDON 1935, TWO HEATH & MIDDLETON LONDON
1907, ONE ALEXANDER CLARK & CO, BIRMINGHAM 1904, the labels: four by Harrods London 1935 and two S Blackenese & Sons Birmingham 1932, each of traditional form with conical glass bodies with star cut base, simple loop handles and flat hinged covers, with kidney shaped labels engraved in matching flowing script ‘Whisky’ (12)
£800-1,200
510
A CASED SET OF FOUR 1920S NAPKIN RINGS
CHARLES PERRY & CO., CHESTER 1928 each of oval outline with an enamel depiction of game birds (4) 6oz
£400-600
511
A MINIATURE MODEL OF A PHEASANT IMPORT MARKS FOR BERTHOLD HERMANN MULLER, LONDON 1922 modelled naturalistically strutting 5cm high, 55g
£200-400
512
A GEORGE V TWIN-HANDLED PRESENTATION BOWL
MARTIN HALL & CO., SHEFFIELD 1913 the deep bowl with slim gadrooned border, the handles each formed of a circular loop, to a short stem and square foot, engraved ‘PRESENTED TO JOHN JACK ESQ. BY HIS CO-DIRECTORS OF Wm. MORRISON & SON LTD ON THE COMPLETION OF 25 YEARS ACTIVE AND FAITHFUL SERVE, GLASGOW 1915’
19cm high, 31.5oz
£600-800
513
AN EDWARDIAN CRUMB SCOOP
HAMILTON & INCHES, EDINBURGH 1909 of conventional form with arched blade and long rat tail, socket set to a baluster ebony handle
30cm long (handle)
£250-350
514
AN EDWARDIAN EPERGNE
WILSON & SHARP, EDINBURGH 1906
the large central pierced bowl of moulded oval form, of undulating form, raised on four scroll branches to a central pierced stand raised on four bracket legs to shell feet, the legs each with a radiating branch and a pierced oval dish 25cm high, 53cm wide, 63.8oz
£2,000-4,000
£500-800 515 514
515
A CASED EDWARDIAN PRESENTATION LUGGIE
HAMILTON & INCHES, EDINBURGH 1905 of traditional form, banded body with gilt interior, engraved to one side of the handle, ‘ANDREW MACDONALD SPENCE, FROM MR & MRS F.C. KENNEDY, EDINBURGH 25 MARCH 1907’ the Selkirk Grace engraved to the other side, the handle with a heart terminal; together with a horn spoon, with applied silver shield and silver mounted terminal, both presented in a fitted leather case
15cm high, 11.7oz
516
AN EDWARDIAN THREE-HANDLED PUNCH BOWL
BROOK & SON, EDINBURGH 1905 the stepped tapered bowl with cast floral border, the three handles each modelled as lions peering into the bowl, all raised on a circular domed stepped foot; together with original receipt
21.5cm high, 72oz
£1,000-1,500
517
A VICTORIAN PIERCED BASKET
BROOK & SON, EDINBURGH 1898 of oval outline, the pierced sides with engraved floral scroll decoration, cast floral border and vacant oval cartouches, raised on a cast floral border with four floral feet 28cm wide, 25.5oz
£700-1,000
518
A VICTORIAN LARGE CENTREPIECE BOWL
HAMILTON & INCHES, EDINBURGH 1897
Of shaped oval outline with tapered body, the lower section with fluted decoration, the oval stepped foot similarly decorated, with twin large scroll handles, with presentation inscription to base, raised on an ebonised plinth
59cm wide, 65oz
£1,000-1,500
519
A LATE VICTORIAN QUAICH
MACKAY & CHISHOLM, EDINBURGH 1896 of traditional plain form, moulded lugs, raised on a circular foot; together with another smaller, Hayward & Stott, Edinburgh 2006, with scroll lugs (2)
20.5cm, 16cm across lugs, 12.5oz (combined)
£400-600
520
A CASED VICTORIAN FOUR PIECE TEA SERVICE
JAMES REID, GLASGOW 1895 comprising a water jug, teapot, sugar basin and a milk jug, all chased with Indian decoration, S-scroll handles, presented in a fitted case (4)
26cm high (waterpot), 50oz (combined)
£800-1,200
521
A VICTORIAN SALVER - KINNOCHTRY CURLING CLUB INTEREST
HENRY STRATFORD, LONDON 1894 of moulded circular outline, with a cast gadrooned and shell border, engraved to the centre ‘PRESENTED BY MRS MURRAY LINTROSE KINNOCHTRY CURLING CLUB 1895/ WON BY ….’ followed by a list of winners; together with an embroidered badge for Kinnochtry Curling club dated 1838, raised on three foliate bracket feet (2)
25cm diameter, 17oz
£300-500
522
A LATE VICTORIAN SALVER
HAMILTON & INCHES, EDINBURGH 1894 of shaped circular outline, cast pierced floral border with beaded edge, engraved scroll decoration to the dish, raised on three ball feet
26cm diameter, 20.5oz
£400-600
518
523
A LATE VICTORIAN TWIN-HANDLED STAG PUNCH BOWL
T. SMITH & CO., GLASGOW 1894 the bowl with chased thistle and scroll decoration, engraved presentation inscription ‘PRESENTED BY THE EMPLOYEES ON THE GLENCRIPESDALE ESTATE…1895’, the handles each modelled as stags’ heads, raised on a circular rim foot
23cm diameter, 27oz
£1,500-2,500
524
525
A VICTORIAN CASED BERRY SCOOP
MACKAY & CHISHOLM, EDINBURGH 1888
the pierced gilt scoop bowl with engraved strawberry decoration, to a tapered facetted handle and knopped finial, presented in a case inscribed by Mackay & Chisholm 30cm, 5oz
£300-500
526
A VICTORIAN WINE TASTER
MARSHALL & SONS, EDINBURGH 1881
527 Y
A VICTORIAN EWER
WWL, GLASGOW 1876 of baluster outline, Islamic fretwork and fruiting panels, with engraved cartouche 13cm high, 29oz
Note: With non-transferable CITES selfcertification number: 3NPHZ2KH
£600-800
528
A VICTORIAN QUAICH
AN IMPRESSIVELY LARGE LATE VICTORIAN CIGAR AND CIGARETTE
TABLE BOX
JAMES AITCHISON, EDINBURGH 1891 of rectangular outline, the sides set with pierced foliate panels, the cover with dual wooden compartments, the lid with applied ‘Cigarettes’ and ‘Cigars’ to each, geometric handle to centre, raised on a stepped rectangular foot 27cm wide
£1,500-2,500
the shaped circular bowl with chased foliate spray to centre, with twin shaped handles with pierced and engraved scroll and shell decoration, raised on a simple collect foot 18cm wide across handles, 4.1oz
£180-220
WITH SPURIOUS MARKS FOR JAMES COCKBURN, EDINBURGH and marks for the Assay Master James Borthwick, of lobed form, engraved foliate motif to the centre of the bowl, the lugs each of pierced foliate scroll form with engraved detail, raised on a circular foot 18cm across lugs, 3.5oz
£300-500
529
A VICTORIAN CLARET JUG
MUIRHEAD & ARTHUR, GLASGOW 1876
the tapered baluster body with chased and embossed foliate and scroll decoration, the cartouche engraved with initial ‘S’, with foliate scroll handle with integral pull mechanism opening the cover, with an ebonised circular plinth
34.5cm high, 40cm with plinth 34.5oz
Note: With non-transferable CITES selfcertification number:
£700-900
530
A PAIR OF VICTORIAN GEM SET QUAICHS
531
A VICTORIAN CASED CHRISTENING CUP
MACKAY, CUNNINGHAM & CO., EDINBURGH 1871
the deep hemispherical gilt-lined bowl with engraved Classical motifs and monogram to the centre, ornate C-scroll handle with fan detail, raised on a knopped stem with floral spacers, to a slightly domed foot with engraved and beaded borders 14cm high, 5.5oz
£250-400
532 Y
A VICTORIAN WATERJUG
HAMILTON & INCHES, EDINBURGH 1875
the hemispherical bowl with chased trailing band of thistles and raised on a simple foot, the twin thistle leaf formed lugs with thistle heads set with facetted crystal centre (2) 7cm diameter, 5.5oz
£600-800
ROBB & WHITTET, EDINBURGH CIRCA 1835
of baluster outline, engraved foliate H to body, the spout with a chased Bacchus mask, the S-scroll handle with ivory inserts and foliate detail, the hinged lid, with floral finial, raised on a circular foot
26cm high, 37oz
Note: With non-transferable CITES selfcertification number: YZZPEDJ8
£700-1,000
533
A VICTORIAN SILVER MOUNTED, GRANITE AND ANTLER DESK SET UNMARKED, CIRCA 1870
the pink granite base with simple silver rim and raised on four antler feet, set centrally with a spherical inkwell with engraved thistles and claw set citrines, flanked with twin roe deer antlers and to front with dished pen well base 23cm x 15cm, overall height 27cm
£350-450
534
A VICTORIAN SALVER WITH FRASER CREST
BARNARD & SONS LTD., LONDON 1868 of circular outline, with a beaded border, the engraved dish with a fluted design within a geometric border, crest and motto for the Fraser Clan engraved to the centre, raised on three paw and floral bracket feet
30.5cm diameter, 26.5oz
£400-600
PROPERTY OF ROBERT ALLAN OF LAURISTON CASTLE, EDINBURGH
535 Y A VICTORIAN SPIRIT KETTLE
JAMES MACKAY, EDINBURGH 1844
the spherical body with chased baskets of fruit and foliate and flower head decoration, engraved inscription to body ‘TO ROBERT ALLAN ESQr AS A TOKEN OF REGARD FROM AGNES REID 12th October 1845’, the chased hinged lid with a foliate flame finial, ivory insulators to the swing-handle, raised on a bold tripod spirit burner base with S-scroll supports joined by foliate swags, with burner, presented in a fitted wooden case, retailed by MacKay, Cunningham and Co. 37cm high (handle extended), 57.2oz
Provenance: Family descent - direct descendants of Robert Allan Please note that this lot and the following have the same provenance and are being sold by the same vendor
Note: Sold with non-transferable CITES self-certification number: C4QUTXHL
£1,500-2,500
Apprenticed to Alexander Gardner, a well-respected silversmith and freeman of the city of Edinburgh, James McKay would go on to partner with David Cunningham to form the retail outlet, McKay & Cunningham based in Edinburgh which was ultimately granted a royal warrant. Their legacy is still apparent today, as James Hamilton of Hamilton & Inches was originally apprenticed to the company. This spirit kettle would have been an incredibly generous gift and it is interesting to see the presentation inscription engraved to this piece.
Lauriston Castle
The original medieval castle was almost completely destroyed by the mid-16th century and so a tower house was rebuilt around 1590 by Sir Archibald Napier of Merchiston, father of the mathematician John Napier, for his first son by his second marriage, also named Archibald. It was in 1827 when Thomas Allan acquired the property and he commissioned William Burn (1789–1870) to extend the house in the Scottish Baronial fashion. Sir Walter Scott visited the house and remarked how tastefully and sympathetic the décor was.
The castle was sold in 1902 to William Robert Reid, proprietor of Morison & Co., an Edinburgh cabinet maker, and was then left to the City of Edinburgh.
Robert Allan FRSE (1806-1863)
Born to Thomas Allan (1777-1833), Robert and his father made their mark on Scottish geology and mineralogy. Both bankers by trade, their passion for sourcing and identifying specimens introduced the pair to international scientists and collectors. Their personal collection was bought by Robert Greg who, on his death, donated it to the Natural History Museum in London, and it is now known as the Allan-Greg Collection. The publication entitled A manual of minerology is also a lasting legacy of the collection.
Robert died on 6th June 1863 at his home at 4 Hillside Crescent near Calton Hill in Edinburgh, but the family home had been Lauriston Castle in the north of the city. His father Thomas Allan had acquired the house in 1823. The castle has a long history of interesting proprietors.
536
A WILLIAM IV MATCHED DOUBLE STRUCK KING’S HONEYSUCKLE PATTERN CANTEEN POSSIBLY JOHN ARTHUR OR JACOB ASHERHEIM, PREDOMINANTLY GLASGOW 1834
comprising a carving set, two soup ladles, two serving spoons, a fish slice, twenty-four tablespoons, twentyfour table forks, twenty-four dessert forks, twentyfour dessert spoons, eight teaspoons, six various size sauce/ gravy ladles, six egg/ mustard spoons, four condiment spoons, and a pair of sugar tongs, all of King’s Honeysuckle pattern, engraved to the terminal, crest and motto in garter for the Allan Family; together with a cased set of six modern side knives (136) 333oz (weighable)
Provenance: Family descent - direct descendants of Robert Allan
Please note that this lot and the previous have the same provenance and are being sold by the same vendor
£4,000-6,000
537
A VICTORIAN WINE FUNNEL
ALEXANDER GRAHAM WIGHTON, EDINBURGH 1843
the baluster bowl with reeded rim, engraved crest, shell detail and pierced strainer, pull off tapered spout with three staves 15cm long, 4.3oz
£300-500
538
AN IMPRESSIVE VICTORIAN CANTEEN
ROBERT GRAY & SONS, GLASGOW VARIOUS DATES 1843 - 1849
Of double struck Scottish Kings Pattern, comprising twenty-four table spoons and forks, eighteen dessert forks, twelve dessert spoons, four serving spoons, five toddy ladles, two sauce ladles, eight egg spoons, eight salt spoons, eighteen teaspoons and two butter knives, all engraved to the terminal with a burning mountain crest for the Mackenzie Clan (qty)
258oz
£3,500-5,000
A SCARCE WILLIAM IV COUNTRY SCENE
JOHN CAW, EDINBURGH 1832
of rectangular outline, the hinged cover with embossed countryside scene of a bagpiper seated under a tree in the countryside serenading a maiden, the base with foliate and flower head trailing around 7.5cm wide, 2.6oz
Provenance: British Silver Boxes 1640 – 1840, The Lion Collection, item 269 page 227
£1,400-1,600
540
A VICTORIAN PRESENTATION COVER SUGAR BOWL
ROBB AND WILLET, EDINBURGH 1837
Of inverted laser shaped with profusely chased foliage and scrolls, the scroll formed cartouche with an engraved crest and to the opposing side, ‘From David Gilmore to his Sister in Law Graham Londonderry 1st Jan 1838’, with twin-handled and domed hinged cover
21cm wide, 20oz
£300-500
541
A SCARCE WILLIAM IV TAVERN SCENE SNUFF BOX
JOHN CAW, EDINBURGH 1831
of oval outline, the hinged cover with highly embossed scene of a raucous card game, the base with foliate and flower head trailing around 9cm wide, 3.3oz
Provenance: British Silver Boxes 1640 – 1840, The Lion Collection, item 267 page 226
£2,000-2,500
542
A WILLIAM IV QUIACH
JAMES McKAY, EDINBURGH 1831
of traditional form, chased floral scroll decoration to body, with cartouches to either side, engraved initials to one cartouche, the lugs each formed as fox heads in scroll detail, raised on a stepped circular foot 11cm across lugs, 75g
£300-500
543
AN IMPRESSIVE WILLIAM IV SALVER
WILLIAM CUNNINGHAM, EDINBURGH
1830
of shaped circular outline, with cast reeded rim with shell foliate and scroll detail, the centre engraved with alternating foliate and floral sprays around a vacant circular cartouche, raised on four foliate and shell bracket feet
42cm diameter, 64oz
£2,500-3,500
544 Y
A GEORGE IV WINE EWER
WILLIAM MARSHALL, EDINBURGH 1825
of squat baluster form, heavily chased scroll and foliate decoration to a stippled background, engraved crest to cartouche, Bacchus mask to spout, the hinged lid with budding finial, ivory insulators to C-scroll handle, raised on a circular foot
24cm high, 29oz
Note: With non-transferable CITES selfcertification number: 1SXLWFP1
£1,500-2,500
545 Y
A GEORGE IV COFFEE POT
ROBERT GRAY & SON, GLASGOW 1828
the baluster body elaborately embossed and chased with scrolling acanthus, fruit and foliage, reserved on a textured body with two vacant cartouches, the conforming cover with artichoke finial, acanthus carved scrolled handle with ivory insulators
26cm high, 24.5oz
Note: With non-transferable CITES selfcertification number: 8XAA1RKY
£600-800
543
546
A GEORGE VI MUG
MCHATTIE & FENWICK, EDINBURGH 1828
of straight-sided can form with twin reeded bands, engraved with script initials LGH to front, with angular C scroll handle; together with a small can mug by J McKay, Edinburgh 1836 of similar form with gilded interior and S scroll handle (2)
10cm and 8.5cm high, 7.5oz and 4.4oz
£300-500
547
A SCOTTISH SILVER-GILT HARDSTONE BOX UNMARKED, CIRCA 19TH CENTURY
of rounded rectangular outline, the hinged lid and base formed of bloodstone, foliate thumb piece detail to hinged lid, engine turned detail to side panels
6.5cm wide, 58g
£250-400
548
A RARE GEORGE IV 18CT GOLD BOX
JAMES MCKAY, EDINBURGH 1825
the rectangular body with slightly baluster sides to the body with scroll formed corners and chased floral panels emanating to surround cartouche of classical buildings and castle, the base with flat chased rococo scroll borders, the hinged cover with simple thumbpiece and chased with vacant scroll formed cartouche and surrounded by scrolls and classical buildings, the interior of the cover engraved ‘Presented to Robert Steuart Esq of Palmerston by The Members of the East Lothian Club as a mark of Gratitude & respect for his service as their secretary 1826’
8.5cm wide, 153.5g
Provenance: Sotheby’s London, 19 November 1965, lot 138 Private Family Collection
Lyon & Turnbull, Scottish Works of Art, August 2018, lot 533
Note: 19th century Scottish gold boxes are extremely rare. Currently as few as four are recorded, one by James Erskine of Aberdeen (Aberdeen Art Gallery & Museum Collection), and another by James McKay with presentation curling scene (Royal Caledonian Curling Society), and another of the same pattern, with additional engraved armorial, by MacKay & Cunningham. See Two Great Scottish Collections: Property From The Forbes Of Pitsligo And The Marquesses Of Lothian, Sotheby’s London 28th March 2017 lot 53
£10,000-15,000
549 Y
A GEORGE IV COFFEE POT
ROBERT GRAY & SON, GLASGOW 1826 of baluster outline, heavily chased floral and foliate decoration throughout, the S-scroll handle with ivory insulators, the hinged lid similarly chased with ball finial, raised on a circular foot with a chased border 31cm high, 29.8oz
Note: With non-transferable CITES selfcertification number: EEQW1E2W
£700-1,000
550
A GEORGE IV BRANDY PAN AND COVER
GEORGE MCHATTIE, EDINBURGH 1825 the plain baluster body with side set socket ebony handle and short V shaped spout, the spout with hinged cover, the domed pull off cover with central knop finial 22cm long, 11.5oz
£600-800
551
551 Y
A GEORGE IV WINE EWER
ROBERT GRAY & SONS, GLASGOW 1829 of squat baluster form, chased border of vines and grapes, acanthus clasped spout, acanthus clasped C-scroll handle with ivory insulators, raised on a circular foot with gadrooned border
28.6 cm high, 22.9oz
Note: With non-transferable CITES selfcertification number: 7M8LBT1E
£800-1,200
552
A GEORGE IV PUNCH STRAINER
WILLIAM & PATRICK CUNNINGHAM, EDINBURGH 1824
the circular bowl with simple pierced decoration and cast foliate rim, with large double loop scroll handle
18.5cm long, 3.6oz
£350-450
553 Y
A GEORGE III TEA KETTLE AND ASSOCIATED STAND
ROBERT GRAY & SONS, GLASGOW 1816 & 1832
of spherical form, chased floral decoration, the swing-handle with ivory inserts, budding finial the stand with a chased vine border, raised on three acanthus clasped legs with foliate detail to shell feet (2)
39cm high (overall), 37.2oz (kettle), 28.4oz (stand)
Note: With non-transferable CITES selfcertification number: BQ4BNJ9W
£1,000-1,200
554
A COLLECTION OF LATE GEORGE IV / WILLIAM IV FLATWARE
PREDOMINANTLY JAMES McKAY, EDINBURGH 1823 & PATRICK
SUTHERLAND, EDINBURGH 1832
comprising four tablespoons, six table forks, fifteen dessert forks, fifteen dessert spoons, all of single struck King’s pattern, vacant terminal, possibly erased (40)
75oz (combined)
£800-1,200
A PAIR OF GEORGE IV SAUCE TUREENS
GEORGE McHATTIE, EDINBURGH 1823
each of oval outline, cast foliate border to the everted rim, the handles each with acanthus detail, raised on four acanthus clasped paw feet, the pull-off lid with a loop handle (2)
21cm wide, 64.5oz (combined)
£2,000-4,000
556
A GEORGE IV SCOTTISH CANDLE SNUFFER
ROBERT GRAY AND SONS, GLASGOW 1820
the wick box surmounted by a relief armorial, the entire profusely decorated with acanthus, shell and rosette motifs
19cm long, 5oz
£300-500
557
A REGENCY SCOTTISH SILVER THREE PIECE TEA SERVICE
ROBERT GRAY & SON, GLASGOW, 1820 comprising a teapot, twin-handled sugar basin and a milk jug, all of circular pedestal form, chased foliate shoulders, teapot with budding fruit finial (3)
17cm high, 51oz (combined)
£800-1,200
558
A GEORGE III ‘REGENCY’ PAP FEEDER ALEXANDER SPENCE, EDINBURGH 1817 of traditional outline, gadrooned border with floral thumbpiece, engraved initials to body 12.5cm wide, 74g
£200-400
559 Y
A LATE GEORGE III SCOTTISH THREE PIECE TEA SERVICE
ROBERT GRAY & SON OF GLASGOW, EDINBURGH 1816
comprising a teapot, twin-handled sugar basin and a milk jug, all of spherical form, gadrooned border, chased floral and foliate decoration, C-scroll handles, with ivory inserts to the teapot, each raised on a circular foot (3) 16cm high, 60.5oz (combined)
Note: With non-transferable CITES selfcertification number: LZC1YQ2Q
£1,200-1,800
560
A PAIR OF GEORGE III CARD TRAYS
ROBERT GRAY & SONS (OF GLASGOW), EDINBURGH 1816
each of circular outline with gadrooned rim, the inner border of chased flower head and scrolls, raised on three cast Neoclassical paws, acanthus and scroll supports (2) 17cm diameter, 19.7oz
£600-800
561
A GEORGE III QUAICH
GEORGE McHATTIE, EDINBURGH 1814
of traditional form, engraved floral border, the lugs each with shell detail, raised on a circular foot with gadrooned border 11cm wide, 62g
£300-500
562
A GEORGE III LARGE GOBLET
PATRICK CUNNINGHAM & SONS, EDINBURGH 1810
the large ovoid bowl with simple rim, engraved with a running figure of eight border, the foliate cartouche with foliate initials CM to JW within, raised on a short stem and spreading trumpet foot, engraved with arched and foliate borders 14cm high, 13oz
£300-500
563
A GEORGE III FOOTED BOWL
JAMES McKAY, EDINBURGH 1809
the hemispherical bowl with a cast floral and foliate border, engraved crest and motto ‘IN DEO FIDES’ to one side and engraved foliate f to the other, raised on a circular banded foot 14cm diameter, 11.5oz
£300-500
564
A ‘REGENCY’ GEORGE III CARD TRAY
PATRICK CUNNINGHAM & SONS, EDINBURGH 1808
of circular outline, scroll and shell cast border, raised on ball and claw feet; together with another card tray, Thomas Bradbury & Sons, Sheffield 1919, with a pie-crust border, raised on three acanthus scroll feet (2)
23cm, 20.5cm, 30.9oz (combined)
£400-600
565
A PAIR OF GEORGE III GOBLETS
MAKER’S MARK LACKING, EDINBURGH 1805
each of goblet form, the bowls with Greek Key and foliate border, engraved laurel wreath with initials to the centre, to a short stem and spreading foot with Greek Key border (2)
16cm high, 12.9oz
£1,000-1,500
566
A PAIR OF GEORGE III WINE LABELS
W.P. CUNNINGHAM, EDINBURGH 1804
each of plain rectangular outline, pierced ‘CLARET’ and ‘MADEIRA’, the chains present but detached (2)
5.5cm wide, 13g (labels, not chains)
Provenance: Harveys Wine Museum Silver, Bonhams New Bond Street, 1st October 2003, lot 369
£250-400
567
A GEORGE III TWIN-HANDLED TRAY
WILLIAM AND PATRICK CUNNINGHAM, EDINBURGH 1802
of oval outline, threaded border, the flat dish with engraved foliate scroll border, the central oval cartouche with engraved initials flanking a lion rampant, raised on four bracket feet with threaded detail, the handles with similar threaded detail 48.5cm wide, 49.8oz
£1,500-2,500
568
A GEORGE III BEAKER
GB (UNKNOWN) EDINBURGH 1796
the large beaker of tapered form with three bands of reeded decoration, with gilded interior
9.7cm high, diameter of rim 9cm, 6.2oz
£250-350
569
A GEORGE III MATCHED FOUR-PIECE TEA SERVICE
ALEXANDER GARDNER, EDINBURGH 1792/3
comprising teapot, unmarked stand, swinghandled sugar basin (loaded) and milk jug, unmarked, (loaded) all of oval outline, engraved foliate borders throughout, engraved JS to central cartouche, C-scroll handle, straight spout to teapot (4) 17cm high, 17oz (teapot), 6.5oz (stand)
£600-800
570
A GEORGE III SWING HANDLED SUGAR BOWL
WILLIAM AND PATRICK CUNNINGHAM, EDINBURGH 1792
Of navette outline with engraved swag border and presentation inscription, and swing handle, raised on a pedestal foot, in a Victorian fitted case with later softer ladle 17.5cm wide 10oz
£300-500
571
A GEORGE III CHAMBERSTICK
W.F. CUNNINGHAM, EDINBURGH 1789 of traditional form, centrally set with a baluster sconce, crest engraved to dish and snuffer, leaf clasped S-scroll handle 13cm diameter, 9oz
£300-500
572
A GEORGE III SAUCEBOAT
PATRICK ROBERTSON, EDINBURGH 1786
of oval outline, the baluster body with gadrooned rim and spout and engraved crest and motto, raised on a short stem and oval gadrooned foot, with leaf capped S-scroll handle 20cm wide, 10.45oz
£300-500
573
A GEORGE III LARGE SUGAR BOWL MAKER’S MARK OBSCURED, EDINBURGH 1783
the deep oval bowl with engraved foliate swags and
575
A GEORGE III COFFEE POT
ROBERT CLARK, EDINBURGH 1771 of baluster form, chased floral and foliate scrolls to the lower body, S-scroll handle, the hinged lid with foliate detail and knopped finial, raised on a stepped circular foot 26cm high, 32.2oz
£1,200-1,500
576
A MATCHED SUITE OF THREE GEORGE III CASTERS comprising a large example Edinburgh 1763 (maker’s mark
1760 of Hanoverian pattern, italic L C engraved to reverse of terminal 38cm long, 7oz
£400-600
578
A GROUP OF THREE GEORGE III CASTERS
TO INCLUDE AN EXAMPLE BY BENJAMIN COUTTS, EDINBURGH 1758
Assay Master Hugh Gordon, one makers mark lacking Edinburgh 1756, Assay Master Hugh Gordon and a larger example Edinburgh 1766 maker’s mark lacking, each of baluster form with moulded and ribbed girdles, on spool feet, with pierced and engraved domed covers (3)
17.5cm high (tallest), 13.5oz (combined weight)
£400-600
A
PAIR OF GEORGE II SALTS
JOHN EDMONDSON, EDINBURGH 1758
Assay Master Hugh Gordon, each of circular outline, with gadrooned border, raised on three hoof feet; together with associated spoons (4)
6.3cm diameter, 5.4oz (combined)
Provenance: Philips, The Scottish Sale, Made in Scotland, 25th August 2001, lot 554
£300-500
580
A GEORGE II INVERTED PEAR TEAPOT
WILLIAM DEMPSTER, EDINBURGH 1757
Assay Master Hugh Gordon, of typical inverted pear-shaped design with chased border of scrolls and flower heads within rococo scroll panels, with twin, scroll formed cartouches, one side engraved with crest and motto. with fluted S-scroll spout and simple C-scroll handle, raised on domed foot
17cm high, 22.8oz
£1,200-1,500
KER & DEMPSTER, EDINBURGH 1749
Assay Master, Hugh Gordon, of traditional form, chased floral borders, the hinged lid with similar decoration and budding finial, engraved to the body with crest and motto of Wemyss, the C-scroll handle with ivory inserts, raised on a spreading domed foot 14cm high, 21oz
Provenance: Fine Silver & Collectors Items, Phillips, 30th November 2001, lot 238
Note: With non-transferable CITES selfcertification number: MX9F4JJL
£1,000-1,500
582
A GEORGE II SQUARE SALVER
ROBERT GORDON, EDINBURGH 1743
Assay Master Edward Lothian, of rounded square outline, engraved crest and motto to centre, raised on four curved bracket feet 21cm wide, 17.8oz
£3,000-5,000
583
A RARE GEORGE II CASTER
JOHN ROLLO, EDINBURGH CIRCA 1735 of octagonal outline, engraved with a contemporary crest for Hamilton, the pierced cover with bayonet fitting, raised on an octagonal foot
20.5cm high, 11oz
Provenance: The Scottish Sale, Made in Scotland Philips, 24th-25th August 2001, lot 558
£1,000-1,500
584
A SCARCE GEORGE II DESK CANDLESTICK
JAMES KER, EDINBURGH 1733
Assay Master Archibald Ure, the tapered knopped stem of octagonal section, with socket sconce above, raised on a square base with inswept corners with dished central well, engraved with initials with garter and earl’s coronet above and Order of the Thistle badge suspended, the opposing side with crest 16cm high, 12.2oz
Provenance: The Murray Collection of Silver and Sheffield Plate, Lyon & Turnbull, 20th August 2003, lot 198
Private Collection
Note: Heraldry
The Cypher of James Duff, the 4th Earl Fife and the crest of Sinclair
The cypher of two entwined letters ‘F’ surrounded by the Circlet of the Most Ancient Order of the Thistle ensigned by an earl’s coronet and below the Circlet a representation of the Star of the Order of the Thistle There is also engraved upon this candlestick a crest of A Cock proper armed and beaked or (for Sinclair)
The cypher and coronet of the Earl Fife, together with the insignia of the Order of the Thistle allows at the very least the earliest date for this engraving to 1827. This was the year that Lord Fife was appointed to be a Knight of the
Thistle. Given the crest of the cock of the family of Sinclair engraved upon this candlestick the present hypothesis is that it came down to the Duff family through the marriage of Lord Fife’s uncle, James Duff, the 2nd Earl Duff (born 28th September 1729 died 24th January 1809) and Lady Dorothea Sinclair (born 4th April 1739 died 30th September 1818), the only child and heiress of Alexander Sinclair, the 9th Earl of Caithness and his wife, Lady Margaret Primrose. Therefore, upon the death Dorothea, Countess of Caithness in 1818, the candlestick was inherited by her nephew, Lord Fife, and he thereafter caused his cypher and coronet to be engraved on same. James Duff, the 4th Earl Fife (1776-1857) was the eldest son of The Honourable Alexander Duff (later the 3rd Earl Fife) and his wife, Mary Skene. He married Mary Caroline Manners (1775-1805) at the Parish Church of St. James, Piccadilly in the Liberty of the City of Westminster and County of Middlesex on the 9th September 1799. She was the second daughter of John Manners, of Hanby Hall and of Grantham Grange in the County of Lincolnshire and Lady Louisa Tollemache (the later the 7th Countess of Dysart). Sadly, James and Mary’s marriage only lasted a little over five years and three months. There was no issue from their marriage, and he never remarried. After his wife Mary’s death in 1805 although it appears that he never had any military training, in 1808 he volunteered to serve with the Spanish forces during the Peninsula Wars against the French as a distraction from the loss of his wife. By all accounts, he acquitted himself well, notably at the Battle of Talavera (27th – 28th July 1809) where he was severely wounded. That same year
he took the courtesy title of Viscount Macduff upon his father’s succession to the Earldom of Fife as the 3rd Earl. James was present at the Defence of Cadiz (5th February 1810 – 24th August 1812) and during this time, he was once again severely wounded during an attack on Fort Matagorda in 1810. For service to the Spanish cause, he was promoted to the rank of Major General. He was further honoured by the Spanish king by being appointed as a Knight of the Royal and Military Order of Saint Ferdinand. James succeeded his father as the 4th Earl Fife (together with the family’s minor peerages) on the 17th April 1811. He was appointed as the Lord Lieutenant of Banffshire in 1813 and held his office until 1856. Further, he was elected as the Member of Parliament for Banffshire in 1815 and sat in such a capacity in the House of Commons at Westminster until 1827 when he was created Baron Fife in the County of Fife within the Peerage of the United Kingdom on the 27th April 1827.
Upon his death in 1857, the United Kingdom Barony of 1827 fell into extinction for the want of a male heir whilst the Earldom of Fife and other peerages were inherited by his nephew James Duff as the 5th Earl.
£600-800
585
AN IMPRESSIVELY LARGE GEORGE II LIDDED TANKARD
JAMES MITCHELSON, EDINBURGH 1731
Assay Master Archibald Ure, of slightly tapered waisted cylindrical form, the S scroll handle with a moulded terminal, the domed lid with an acorn finial and foliate thumb piece, raised on a stepped foot 27cm high, 46.5oz
£5,000-8,000
586
A GEORGE II OCTAGONAL BALUSTER SUGAR CASTER
MAKER’S MARK WORN BUT HIGHLY LIKELY JAMES KER, EDINBURGH 1730
Assay Master Archibald Ure, of panelled octagonal form with wide base raised on a stepped and flared octagonal foot, the body engraved with crest of a stag’s head with motto SI IY PUI above most likely for Colquhoun, the panelled domed cover with engraved foliate scrolls and simple piercing
18.5cm high 10.9oz
£1,200-1,800
587
A GEORGE II CASTER
JAMES KER, MAKER’S MARK ONLY TWICE, EDINBURGH CIRCA 1730
the tall cylindrical neck above a blaster lower section with reed mid rib, on a short stem and domed foot, with pull-off domed cover with engraved and pierced panels with acorn finial
16.5cm high, 5oz
£250-350 587
588
AN IMPRESSIVE LARGE GEORGE I APPLE TEAPOT CHARLES DUNCAN, EDINBURGH 1725
Assay Master Edward Lothian, of apple shape, S-scroll handle, straight spout, the hinged lid with an acorn finial
15cm high, 17.8oz
£2,500-3,000
588
SCOTTISH JEWELLERY &
COLLECTABLES
589
A VICTORIAN SCOTTISH BASKET HILTED SWORD LETTER OPENER
J.R (UNKNOWN) EDINBURGH 1890, the finely pierced and engraved basket hilt of Stirling type, with wire bound grip and red velvet liner, the tapered blade with engraved fullers and initial C.S 16.3cm long, 29g
£300-500
590
A MID-VICTORIAN BASKET HILTED
SWORD KILT PIN
UNMARKED
the basket hilt of traditional form with pierced and engraved detail, the scabbard with gilt and engraved mounts, hinged pin to reverse 11.5cm long
£300-500
591
A LATE VICTORIAN BASKET HILTED
SWORD LETTER OPENER
J W KIRWAN, BIRMINGHAM 1900 with pierced open basket hilted around an ebony grip, the tapered blade with engraved fullers and ANDRRIA FARARA engraved 21cm long, 36g
£300-500
592
A SCOTTISH VICTORIAN SILVER AND ENAMEL BRACELET
UNMARKED, CIRCA 1870
composed of six hinged rectangular panels with blue enamel and engraved scroll borders, each panel centrally set with St Andrews cross, stylised cross each with blue enamel detail
16.5cm long
£300-500
593
AN EARLY VICTORIAN SILVER PLAID BROOCH
UNMARKED
of annular form with zigzag engraved border with royal crown, Earl’s coronet, animal masks and foliage etc within, with domed oval boss, with large hinged steel pin to reverse 7.5cm diameter, 39g
£400-600
589
592
593
597
596
594
A ‘DISRUPTION’ BROOCH CIRCA 1843
of hollow circular form, formed as thistle wreath overlaid with ribbons on which are inscribed significant dates from the history of the Church of Scotland, the reverse inscribed with a short history of the disruption, with registration mark November 1845 5.5cm diameter
£300-500
595
AN EARLY 19TH CENTURY SCOTTISH GOLD, AGATE AND ROCK CRYSTAL VINAIGRETTE PENDANT of rounded square outline with engraved and pierced gold border enclosing a polished agate and rock crystal, the hinged opening revealing a pierced and engraved thistle grill, with simple bale 4cm high
£300-500
596
AN EARLY 20TH CENTURY WHITE GOLD AND DIAMOND BLACKWATCH SWEETHEART BROOCH
UNMARKED
formed as the regimental badge with enamel thistle, motto and crown flanked by diamondset cross; together with a silver sweetheart badge of the Coldstream Guards, Birmingham 1917, the central section in blue and red enamels around a silver motto and star (2) 3.5cm and 3.6cm high, 13.g and 9.2g
£400-600
597
AN UNUSUAL VICTORIAN SILVER ‘LIVERY’ BROOCH UNMARKED
the pierced and engraved initials AA with duchess coronet above, with steel hinged pin 4cm long, 12g
Note: A presentation brooch given by Anne Murray (née Home -Drummond) Duchess of Atholl (1814 - 1897). Likely made during her period as Dowager Duchess between 18641897. A friend and courtier to Queen Victoria, Anne likely gave these to either friends or staff after years of service.
£100-120
598
£250-400 594
A LUCKENBOOTH BROOCH UNMARKED of traditional design 2.3cm wide
600
599
A VICTORIAN GOLD HARDSTONE BRACELET
composed of six gold-mounted varying hardstone facetted cylindrical links, to a lobster clasp marked 9K; together with another, unmarked white metal formed of six varying shaped hardstone lines, to a padlock clasp (2)
23cm, 18cm long
£500-800
Montrose agate, bloodstone etc, the outer border set with alternating panels of bloodstone and facetted chalcedony, to a brooch and pendant fitting
5cm diameter
£1,000-1,200
601
A COLLECTION OF THREE SCOTTISH HARDSTONE BROOCHES
comprising an oval Peterhead granite example with a scroll mount; a Montrose agate belted garter with displayed thistle to centre; and an annular example with star set to centre decorated in vari-coloured agates (3)
£300-400
£300-400
603
A COLLECTION OF FOUR SCOTTISH HARDSTONE BROOCHES
to include two belted garter examples, one with thistle displayed to centre; another annular with Maltese cross to the centre all set with vari-coloured agates; together with an oval granite brooch in a chain-link border (4)
£300-400
A VICTORIAN MOMENTO MORI HARDSTONE-SET BROOCH
UNMARKED
of shield outline, the central panel set with four panels of varying hardstones, and a central facetted banded agate to the centre, all within an engraved border, the reverse set with a glazed panel of plaited hair, to an unmarked yellow metal brooch fitting
605
A VICTORIAN CITRINE AND HARDSTONE FOLIATE AND STAR BROOCH
UNMARKED
of foliate outline, the lobed panels, each set with varying hardstones, the central section modelled as a six-pointed star, collet-set to the centre with a round-cut citrine, to an unmarked white metal with brooch fitting
5.5cm wide
£300-500
606
A GLASGOW SCHOOL OF ART RING UNMARKED
the circular disc engraved and pierced with the Coat of Arms for Glasgow, engraved with THE GLASGOW SCHOOL OF ART to the border; together with two engraved white metal brooches, unmarked and a silver hardstone and paste set brooch (4) 2cm diameter of disc, N/O ring size
£300-500
607
A VICTORIAN GOLD GEM-SET BROOCH UNMARKED
of circular outline, stylised claw-set to the centre with a facetted amethyst in a border of six facetted citrines, to an unmarked yellow metal brooch with loop fitting 4cm wide
£400-600
604
605
607
602
A LARGE VICTORIAN CITRINE AND HARDSTONE MOUNTED THISTLE ANNULAR BROOCH
UNMARKED
the central motif modelled as thistle spruces, set with facetted citrines and amethysts for the thistle heads, in a rope-twist border of alternating oval hardstone lozenges and engraved decoration, the reverse engraved, ‘W.H.G. to F. GIBBS. Glasgow 24/9/59’, to an unmarked white metal with brooch fitting 5.7cm diameter
£350-500
A VICTORIAN AGATE-SET BUCKLE BIRMINGHAM 1892
the two-piece buckle, each of square outline, set with varying panels of chalcedony, jasper and bloodstone in a Saltire fashion, engraved borders throughout 7.5cm wide
£300-400
padlock clasp collet-set with an oval-shaped glazed panel with plaited hair and an agatemoss panel to the reverse 19.5cm long
£500-600
GEM-SET MOUNTED BROOCH UNMARKED
A 19TH CENTURY SCOTTISH CELTIC CROSS PEARL-SET BROOCH
UNMARKED, POSSIBLY KILDONAN GOLD
set with a hardstone thistle, belcher links to a torpedo secondary terminal (2) 1cm long (principal terminal)
£150-250
of shaped circular outline, claw-set to the centre with Cairngorm citrine, the outer border set with alternating panels of various hardstones, including jasper, bloodstone, and chalcedony and round varying colour pastes
modelled in an unmarked yellow metal with brooch and bale fittings
4cm diameter
£500-700
614
A COLLECTION OF FOUR SCOTTISH BROOCHES
comprising a granite and citrine mounted luckenbooth brooch, an oval belted garter with agates and hardstones, an agate flowerhead brooch and a Mary Brooch of typical form (4)
£220-280
formed as a Celtic Cross, collet-set with five pearls, in an annular border, to an unmarked yellow metal bar brooch
4.9cm wide
Note: While native gold has been mined and sourced for centuries in Scotland, it was more commonly found as a by-product of other mining activities, notably lead. The exception being the few rare occasions of miniature gold rushes in Scotland, such as Kildonan in 1818 and again in 1868.
During the 1860s the Duke of Sutherland allowed prospectors to pan for gold on his estate. A local man, Robert Nelson Gilchrist, had recently returned from Australia where he had gained mining experience and was able to use his knowledge on the Sutherland estate in Scotland. Although this piece is unmarked, it bears a striking resemblance to other examples of jewellery marked for Kildonan. For a comparable example, showing the Celtic cross set with pearls, see further reading by John Hawkins, Robert Nelson Gilchrist (1821-1877) A Returned Australian Digger Who Found Gold At Kildonan https://www. jbhawkinsantiques.com/
£200-400
614
SCOTTISH FRESHWATER PEARL JEWELLERY
Following on from the record-breaking Cairncross Collection auction in August 2025, we are excited to announce the largest private collection of Scottish Freshwater pearl jewellery ever to come to market.
Carefully collected in over a number of years with the assistance of Cairncross of Perth, this collection was amassed by a private connoisseur who hopes their enthusiasm for Scottish freshwater pearls can now be passed on to a new generation of collectors.
It is a remarkable opportunity to see a comprehensive record of the renowned Perthshire jeweller’s designs celebrating the flora of Scotland. Cairncross celebrated the unique position the freshwater pearl holds in the Scottish landscape and ecosystem, designing a range of brooches inspired by the flora often found on Scotland’s riverbanks.
The ribbon-tied spray of ferns and heather became their most iconic design, however they also celebrated Scotland’s rowan berries, asphodel, acorn and thistles, even the shy wild cherry, known as a gean. This collection includes designs rarely found at auction, such as the Tim’rous Beastie brooch and the Horse-Chestnut design; but also a vast array of Scottish freshwater pearls, showcasing the wide range of colours, shapes and lustres this magical Scottish gem can take.
Lots 616 - 712 have been granted a license from Scottish Natural Heritage, and contains fresh water pearls legally taken from the wild prior to 27 March 1991.
616
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘THISTLE’ BROOCH
naturalistically modelled with engraved detail, set with a single Scottish freshwater pearl, UK hallmark Length: 4.4cm
£300-500
618
CAIRNCROSS OF PERTH: A 9CT TWO COLOURED GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH
modelled as a ribbon tied spray of ferns and heather in yellow and white gold, set with four graduated Scottish freshwater pearls, UK hallmark Length: 5.2cm
£300-500
617
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH
modelled as a ribbon tied spray of ferns and heather, set with seven graduated Scottish freshwater pearls, UK hallmark
Length: 6.0cm
£300-500
619
CAIRNCROSS OF PERTH: TWO 9CT GOLD SCOTTISH FRESHWATER PEARL ‘HEATHER’ BROOCHES
each modelled as a single sprig of heather, set with Scottish freshwater pearls, one with UK hallmarks (2)
Lengths: 5.0cm & 5.5cm
£400-600
617
616
619
618
620
CAIRNCROSS OF PERTH: A SCOTTISH FRESHWATER PEARL ‘ASPHODEL’ BROOCH
modelled as a cluster of asphodel, the flowers set with four Scottish freshwater ovoid or bouton pearls, UK hallmark
Length: 4.5cm
£300-500
621
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER ‘RHODODENDRON’ BROOCH
modelled as two Rhododendron flowers, set with nine graduated Scottish freshwater pearls, UK hallmark Length: 3.5cm
£250-400
622
CAIRNCROSS OF PERTH: AN 18CT GOLD SCOTTISH FRESHWATER PEARL ‘LILY OF THE VALLEY’ BROOCH
modelled as a cluster of lily of the valley in yellow and white gold, set with four ovoid Scottish freshwater pearls, UK hallmark
Length: 4.5cm
£300-500
623
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘RHODODENDRON’ BROOCH
modelled as a spray of rhododendrons, set with five Scottish freshwater pearls, UK hallmark
Length: 4.0cm
£300-500
624
A SCOTTISH FRESHWATER PEARL NECKLACE
composed of a single row of vari-coloured Scottish freshwater pearls, ranging from browns to creams, with gold bead spacer detail between, unmarked Length: 44.0cm
£800-1,200
625
A SCOTTISH FRESHWATER PEARL RING
claw-set with a brownish Scottish freshwater pearl, plain band, stamped 9ct
Ring size: N
£300-500
626
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL BROOCH
modelled as a stylised spray, set with twelve round graduated Scottish freshwater pearls, UK hallmark Length: 5.0cm
£300-500
627
A LATE 19TH CENTURY AGATE BROOCH of circular outline, with central St Andrew’s cross and coronet motif, set with various agates and engraved detail, unmarked Diameter: 4.1cm
£400-600
628
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH AND EARRINGS
each modelled as a ribbon tied spray of ferns and heather, set with graduated Scottish freshwater pearls, earrings to post and butterfly fittings, brooch with UK hallmark (2)
Lengths: 5.5cm & 2.5cm
£400-600
629
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL BROOCH AND EARRINGS
the brooch modelled as floating reeds, set with three Scottish freshwater pearls, UK hallmark; together with a pair of Scottish freshwater pearl stud earrings, in a foliate part surround, post and screw back fittings, unmarked (2)
Width of brooch: 4.5cm
£250-400
630
A COLLECTION OF FOUR SCOTTISH FRESHWATER PEARL RINGS
including a single pearl ring, stamped 18ct; an 18ct gold gypsy-set three pearl ring, and 18ct gold three pearl ring, both with UK hallmarks, a two-pearl twist ring, stamped 18ct (4)
£400-600
631
CAIRNCROSS OF PERTH: TWO 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ROWAN BERRY’ BROOCHES
each modelled as a branch of rowan berries, set with graduated Scottish freshwater pearls, UK hallmark (2)
Width: 4.2cm & 2.0cm
£300-500
632
A 9CT GOLD SCOTTISH FRESHWATER PEARL PENDANT NECKLACE
the ovoid Scottish freshwater pearl in a cage-style mount, to a trace-link chain, UK hallmark Length of pendant: 1.8cm
£250-400
633
A 9CT GOLD SCOTTISH FRESHWATER PEARL BROOCH
designed as a stylised flower, set with a central Scottish freshwater pearl, UK hallmark Diameter: 3.3cm
£250-400
634
A 9CT GOLD SCOTTISH FRESHWATER PEARL ABSTRACT BROOCH
the abstract modernist design set at intervals with four off-round Scottish freshwater pearls, UK hallmark Width: 4.5cm
£400-600
635
AN 18CT GOLD SCOTTISH FRESHWATER PEARL PENDANT
the abstract design set with five baroque Scottish freshwater pearls, UK hallmark Length: 2.9cm
£400-600
632
635
633
634
636
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘CROWBERRY’ BROOCH AND EARRINGS
each modelled as a stylised branch of crowberries, set with graduated Scottish freshwater pearls, UK hallmark (2)
Lengths: 3.6mm & 1.6mm
£300-500
637
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘CRANBERRY’ BROOCH
modelled as a stylised cluster of cranberries, set with six graduated Scottish freshwater pearls, UK hallmark
Length: 3.8cm
£250-400
638
A 9CT GOLD SCOTTISH FRESHWATER PEARL RING AND EARRINGS
the ring set with a single Scottish freshwater pearl, plain band, UK hallmark; together with a pair of earrings, each set with a Scottish freshwater pearl, screw back fittings, stamped 9ct (2)
Ring size: P
£300-500
639
A COLLECTION OF FOUR SCOTTISH FRESHWATER PEARL BROOCHES
including a bar brooch set with three Scottish freshwater pearls, unmarked; a 9ct gold bar brooch set with a single Scottish freshwater pearl, UK hallmark; and another stamped 9ct; the last collet-set with a single Scottish freshwater mabé pearl, stamped 9ct (4)
Widths: 4.0cm-5.5cm
£400-600
640
TWO SCOTTISH FRESHWATER PEARL BROOCHES
the first set with three graduated Scottish freshwater bouton pearls, stamped 9ct; the second mounted in 9ct gold with five graduated Scottish freshwater bouton pearls, UK hallmark (2)
Widths: 4.4cm & 3.7cm
£400-600
641
A SCOTTISH FRESHWATER PEARL NECKLACE
composed of a single strand of slightly graduated Scottish freshwater pearls, the marquise-shaped clasp set with an eight-cut diamond, modelled in 9ct gold, UK hallmark Length: 46.0cm
£2,000-3,000
642
AN EARLY 20TH CENTURY OPAL AND DIAMOND LUCKENBOOTH BROOCH
of traditional design, the two pear-shaped cabochon opals in a border of old round and cushion-cut diamonds, below an old-cut diamond knot-motif, unmarked Length: 2.2cm
£600-800
643
A SCOTTISH FRESHWATER PEARL ‘MOI ET TOI’ RING
claw-set with two Scottish freshwater pearls, plain band, indistinctly marked
Ring size: O
£500-700
642
643 641
644
A SCOTTISH FRESHWATER PEARL AND DIAMOND PENDANT NECKLACE
the bouton-shaped Scottish freshwater pearl suspended from a knife-bar link, claw-set above with three round brilliant-cut diamonds, to a 9ct gold fancy-link chain, UK hallmark
Length of pendant: 2.2cm
£700-1,000
645
AN 18CT GOLD SCOTTISH FRESHWATER PEARL AND DIAMOND RING
set with a single Scottish freshwater pearl, and two round brilliant-cut diamonds, plain band, UK hallmark
Ring size: K/L
£250-400
646
ROGER DOYLE FOR CAIRNCROSS OF PERTH: AN 18CT GOLD SCOTTISH FRESHWATER PEARL FOLIATE BROOCH
designed as a foliate cluster, set with ten graduated Scottish freshwater pearls, UK hallmark Width: 3.5cm
£500-700
647
A 9CT GOLD SCOTTISH FRESHWATER PEARL BROOCH
the flower head modelled in yellow and white gold, set with a trio of Scottish freshwater pearls, UK hallmark Length: 3.7cm
£400-600
647
646
645
648
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘THISTLE’ BROOCH
naturalistically modelled with engraved detail, set with a single ovoid Scottish freshwater pearl, UK hallmark
Length: 4.5cm
£300-500
649
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL AND AMETHYST ‘FERN’ BROOCH
modelled as a ribbon tied spray of ferns and heather, set with six round-cut amethysts and seven Scottish freshwater pearls, UK hallmark
Length: 6.0cm
£400-600
650
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH AND EARRINGS
each modelled as a ribbon tied spray of ferns and heather, set with Scottish freshwater pearls, earrings to post and butterfly fittings, UK hallmarks (2)
Lengths: 4.5-2.2cm
£300-500
651
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ASPHODEL’ BROOCH AND EARRINGS
each modelled as a cluster of Asphodel, the flowers set with graduated Scottish freshwater pearls, the earrings with screw-back fittings, UK hallmark (2)
Length of brooch: 4.0cm
£500-700
652
A SCOTTISH FRESHWATER PEARL PENDANT NECKLACE
suspending a single Scottish freshwater pearl, to a trace-link chain, stamped 9ct Length of pendant: 1.0cm
£300-500
653
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ROWAN BERRY’ BROOCH AND EARRINGS
each modelled as a branch of rowan berries, set throughout with graduated Scottish freshwater pearls, earrings to post and butterfly fittings, UK hallmarks (2)
Widths: 4.1cm & 2.0cm
£500-700
654
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘BLAEBERRY’ BROOCH AND EARRINGS
each modelled as a branch of blaeberries, set with graduated Scottish freshwater pearls, UK hallmark (2)
Width: 3.7cm & 3.2cm
£300-500
655
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL BROOCH
modelled as a stylised spray of flowers, set with five Scottish freshwater pearl, UK hallmarks
Width: 5.0cm
£250-400
656
A SCOTTISH FRESHWATER PEARL NECKLACE
composed of a single strand of graduated Scottish freshwater pearls, the marquise-shaped clasp set with an eight-cut diamond, modelled in 9ct gold, UK hallmark
Length: 40.0cm
£1,500-2,500
657
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH
modelled as a ribbon tied spray of ferns and heathers, set with seven graduated Scottish freshwater pearls, UK hallmark
Length: 6.2cm
£300-500
658
A PAIR OF SCOTTISH FRESHWATER PEARL STUD EARRINGS
each set with a single Scottish freshwater bouton pearl, post and butterfly fittings, unmarked Diameter of pearl: 6.2mm
£250-400
659
AN 18CT GOLD SCOTTISH FRESHWATER PEARL RING
set with a single Scottish freshwater pearl, plain band, UK hallmark
Ring size: J/K
£400-600
657
CAIRNCROSS OF PERTH:
A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ PENDANT AND EARRINGS
the pendant of circular outline, with offset fern motif set with three small Scottish freshwater pearls, to a trace-link chain; the earrings each modelled as ferns, set with four Scottish freshwater pearls, screw-back fittings, both with UK hallmarks (2)
Length of earrings: 3.0cm
£300-500
661
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH
modelled as a spray of ribbon tied ferns, set with eight graduated Scottish freshwater pearls, UK hallmark
Length: 4.4cm
£300-500
662
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘GEAN BERRY’ BROOCH
modelled as a branch of gean berries, set with two Scottish freshwater pearls, UK hallmark
Width: 3.8cm
£300-500
663
CAIRNCROSS OF PERTH: TWO 9CT GOLD SCOTTISH FRESHWATER PEARL ‘CROWBERRY’ BROOCHES each modelled as a branch of crowberries, set with two or three Scottish freshwater pearls, UK hallmark (2)
Lengths: 4.2cm & 3.7cm
£400-600
664
A LATE 19TH CENTURY ENAMELLED BROWN TROUT BROOCH
naturalistically modelled as a brown trout, unmarked
Length: 4.3cm
£300-500
665
A LIMITED EDITION ‘PEARL OF THE DEE’ SILVER BROOCH
No 54/100, modelled as a stylised Queen Mother salmon fly, set with small round-cut rubies, emeralds and sapphires, the terminal set with an ovoid grey pearl, UK hallmark, in a presentation box with a certificate of authenticity and an example of the real salmon fly; together with another brooch, modelled as a leaping salmon and a fishing rod, with enamel and pearl detail, stamped 9ct (2)
Lengths: 6.8cm & 6.3cm
Note: To commemorate the 100th birthday of Queen Elizabeth, The late Queen Mother, The Salmon & Trout Trust commissioned the then 28 year old contemporary jeweller, Rachel Jeffrey to design a limited edition brooch, one to represent each year of the late Queen Mother’s life.
£250-400
666
A SCOTTISH FRESHWATER PEARL AND DEMANTOID GARNET ‘SPIDER’ BROOCH
designed as a spider, the body set with a single Scottish freshwater pearl and two small demantoid garnet eyes, unmarked
Length: 4.2cm
£300-500
667
A 9CT GOLD SCOTTISH FRESHWATER PEARL BROOCH AND EARRINGS
the brooch modelled as a golf club, with small Scottish freshwater pearl ‘golf ball’; together with a pair of 9ct gold Scottish freshwater pearl earrings in a snowflake surround, both with UK hallmark (2)
Length of brooch: 6.0cm
£200-300
667
668
AN 18CT GOLD SCOTTISH FRESHWATER PEARL PENDANT NECKLACE
the curved pendant set with a single Scottish freshwater pearl, to a trace-link chain, UK hallmark
Length: 2.3cm
£200-300
669
A COLLECTION OF THREE SCOTTISH FRESHWATER PEARL RINGS
including a 9ct gold three pearl ring, plain band, and 9ct gold two pearl ring, both with UK hallmarks; and a single pearl ring, plain band, stamped 9ct (3)
Ring size: O, R & N
£300-500
670
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘CRANBERRY’ BROOCH AND EARRINGS each modelled as a stylised cluster of cranberries, set with graduated Scottish freshwater pearls, UK hallmark (2)
Length: 4.0cm & 2.1cm
£300-500
671
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘GEAN BERRY’ BROOCH
modelled as a branch of gean berries, set with two ovoid Scottish freshwater pearls, UK hallmark
Width: 3.7cm
£250-400
674
675
672
CAIRNCROSS OF PERTH:
A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘LEOD’ PENDANT AND EARRINGS
each of circular scrolling design set with Scottish freshwater pearls, earrings with post and butterfly fittings, UK hallmark (2)
Length of pendant: 4.3cm
£400-600
673
CAIRNCROSS OF PERTH: A PAIR OF 9CT GOLD ‘LEOD’ EARRINGS
each of circular scrolling design set with Scottish freshwater pearls, post and butterfly fittings, UK hallmark
Diameter: 4.5cm
£250-400
674
CAIRNCROSS OF PERTH: A PAIR OF 9CT GOLD SCOTTISH FRESHWATER PEARL ‘LEOD’ PENDENT EARRINGS
each of scrolling design, the joining link set with a single Scottish freshwater pearl, post and butterfly fittings, UK hallmark Length: 4.0cm
£300-500
675
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘LEOD’ BROOCH AND EARRINGS
each of circular scrolling design set with Scottish freshwater pearls, earrings with screw-back fittings, UK hallmark (2)
Diameters: 2.6cm (brooch), 1.45cm (earrings)
£400-600
676
A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘SUNFLOWER’ BROOCH
designed as a stylised sunflower in yellow and white gold, set with two Scottish freshwater pearls, UK hallmark
Length: 4.5cm
£400-600
677
A 9CT GOLD SCOTTISH FRESHWATER PEARL RING
claw-set with three graduated Scottish freshwater pearls, plain band, UK hallmark
Ring size: N/O
£300-500
678
AN 18CT GOLD SCOTTISH FRESHWATER PEARL AND GARNET RING
claw-set with a marquisecut garnet and two small Scottish freshwater pearls, plain band, UK hallmark
Ring size: P/Q
£300-500
679
A SCOTTISH FRESHWATER PEARL BAR BROOCH
set with three Scottish freshwater pearls in an open scrolling setting, stamped 15ct
Width: 5.4cm
£300-500
680
A SCOTTISH FRESHWATER PEARL BROOCH
modelled as a stylised bow, set with a central Scottish freshwater bouton pearl, engraved 08.10.59, unmarked
Width: 5.2cm
£300-500
676
677
678
679 680
681
A SCOTTISH FRESHWATER PEARL NECKLACE
composed of a single row of graduated Scottish freshwater pearls, the ovoid clasp set with graduated eight-cut diamonds, modelled in 9ct gold, UK hallmark Length: 46.0cm
£1,500-2,500
682
A SCOTTISH FRESHWATER PEARL ‘HEART’ BROOCH
designed as an open heart, set with small Scottish freshwater pearls, unmarked Length: 3.0cm
£300-500
683
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘BLUEBELL’ BROOCH
modelled as a cluster of bluebells, set with three Scottish freshwater pearls, UK hallmark Length: 4.5cm
£300-500
684
A 9CT GOLD SCOTTISH FRESHWATER PEARL AND DIAMOND BROOCH
the circular design with pavé-set diamond scrolling detail, with a central Scottish freshwater bouton pearl, UK hallmark
Diameter: 2.7cm
£250-400
685
AN 18CT GOLD SCOTTISH FRESHWATER PEARL AND DIAMOND PENDANT NECKLACE
set with a Scottish freshwater bouton pearl, below a heart-shaped link set with a round brilliant-cut diamond, to a trace-link chain, stamped 750
Length of pendant: 2.1cm
£500-700
686
TWO SCOTTISH FRESHWATER PEARL RINGS
including a 9ct gold single pearl ring, plain band, UK hallmark; and another similar example, stamped 18ct (2)
Ring size: M & O
£250-400
687
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ORCHID’ BROOCH AND EARRINGS
each modelled as stylised orchids, set with graduated Scottish freshwater pearls, earrings to post and butterfly fittings, UK hallmarks (2)
Lengths: 3.1cm & 1.3cm
£200-300
688
CAIRNCROSS OF PERTH: TWO 9CT GOLD SCOTTISH FRESHWATER PEARL ‘SNOWDROP’ BROOCHES
each modelled as a stylised cluster of snowdrops, set with ovoid Scottish freshwater pearls, UK hallmark (2)
Length: 4.0 & 4.2cm
£400-600
689
A 9CT GOLD SCOTTISH FRESHWATER PEARL PENDANT NECKLACE
suspending a single ovoid Scottish freshwater pearl, to a trace-link chain, UK hallmark
Length of pendant: 1.4cm
£300-500
690
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL BROOCH AND RING
the brooch of stylised circular outline, set with a single Scottish freshwater pearl; the ring set with a single Scottish freshwater pearl to a curved shank, both with UK hallmarks (2)
Ring size: K
£250-400
691
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ROWAN BERRY’ BROOCH
modelled as a branch of rowan berries, set with eight graduated Scottish freshwater pearls, UK hallmark Width: 4.0cm
£300-500
692
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘SLOE BERRY’ BROOCH
modelled as a branch of sloe berries, set with two Scottish freshwater pearls, UK hallmark Length: 4.2cm
£250-400
693
A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ASPHODEL’ BROOCH designed as a stylised cluster of asphodels, set with eight Scottish freshwater pearls and a cluster of nine small round-cut sapphires, UK hallmark Length: 4.2cm
£300-500
694
AN 18CT GOLD SCOTTISH FRESHWATER PEARL AND DIAMOND PENDANT NECKLACE
set with two Scottish freshwater pearls between a stylised foliate link, set with small round brilliantcut diamonds, to a trace-link chain, UK hallmark
Length of pendant: 2.4cm
£500-700
695
A 9CT GOLD SCOTTISH FRESHWATER ‘HORSE CHESTNUT’ BROOCH
naturalistically modelled as a horse chestnut branch, set with two Scottish freshwater pearls, UK hallmark
Width: 14.2cm
£600-800
696
A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ACORN AND OAK LEAF’ BROOCH designed as an oak leaf and acorn, set with a Scottish freshwater pearl, UK hallmark
Length: 3.8cm
£300-500
697
A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘ACORN’ BROOCH designed as an acorn leaf, set with two ovoid Scottish freshwater pearls, UK hallmark
Length: 3.0cm
£300-500
696
697
698
A 9CT GOLD SCOTTISH FRESHWATER PEARL NECK-CHAIN
the fancy-link neck-chain set at intervals with six Scottish freshwater pearls, UK hallmark
Length: 49.0cm
£600-800
699
A PAIR OF SCOTTISH FRESHWATER PEARL STUD EARRINGS
each collet-set with a single Scottish freshwater bouton pearl, post and butterfly fittings, unmarked
Diameter: 6.5mm
£250-400
700
A SCOTTISH FRESHWATER PEARL BAR BROOCH
designed as stylised ivy leaves with engraved detail, set with three graduated Scottish freshwater pearls, stamped 9ct
Width: 4.6cm
£300-500
701
A 9CT GOLD SCOTTISH FRESHWATER PEARL BAR BROOCH with engraved scrolling detail throughout, the central ivy leaf set with a Scottish freshwater pearl, UK hallmark
Length: 5.6cm
£300-500
702
A 9CT GOLD THREESTONE SCOTTISH FRESHWATER PEARL RING
set with three graduated Scottish freshwater bouton pearls, plain band, UK hallmark
Ring size: K
£300-500
703
A 9CT GOLD SCOTTISH FRESHWATER PEARL NECK-CHAIN
the fancy-link chain set at intervals with five Scottish freshwater pearls, UK hallmark Length: 46.0cm
£500-700
704
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘TIM’ROUS BEASTIE’ BROOCH
modelled as bullrushes with a small field mouse, set with two rows of small Scottish freshwater pearls, UK hallmark Length: 4.6cm
£400-600
705
CAIRNCROSS OF PERTH: A SCOTTISH
FRESHWATER PEARL ‘TIM’ROUS BEASTIE’ BROOCH
modelled as four ears of wheat with a small field mouse, set with four small Scottish freshwater pearls, UK hallmark
Length: 5.2cm
£300-500
706
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH
modelled as a ribbon tied spray of ferns and heather, set with graduated Scottish freshwater pearls, UK hallmark
Length: 4.2cm
£300-500
707
A 9CT GOLD SCOTTISH FRESHWATER PEARL RING
set with a single Scottish freshwater pearl, plain band, UK hallmark Ring size: O
£200-300
708
A SCOTTISH FRESHWATER PEARL NECKLACE the trace-link chain set at intervals with three graduated Scottish freshwater pearls, stamped STERLING
Length: 43.0cm
£400-600
709
A COLLECTION OF THREE SCOTTISH FRESHWATER PEARL BROOCHES
each bar brooch set with a single Scottish freshwater pearl, in a shaped star or floral surround, unmarked (3)
Widths: 3.8cm - 4.4cm
£300-500
710
CAIRNCROSS OF PERTH: A SCOTTISH FRESHWATER PEARL BROOCH
modelled as a foliate spray with engraved detail, set with fifteen small Scottish freshwater pearls, unmarked
Length: 4.8cm
£300-500
711
CAIRNCROSS OF PERTH: A 9CT GOLD SCOTTISH FRESHWATER PEARL ‘FERN’ BROOCH
modelled as a fern, set with twelve Scottish freshwater pearls, UK hallmark
Length: 5.8cm
£300-500
712
CAIRNCROSS OF PERTH: AN 18CT GOLD SCOTTISH FRESHWATER PEARL RING
set with a single Scottish freshwater pearl, plain band, UK hallmark; together with another 9ct gold Scottish freshwater pearl ring, plain band, UK hallmark (2)
Ring size: M/N & P
£250-400
708
710
711
712
709
CONDITIONS OF SALE 25.1
FOR BUYERS (UK)
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.
In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.
A. BEFORE THE SALE
1. DESCRIPTIONS OF LOTS
Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.
2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS
We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.
(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.
(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.
(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.
3. WITHDRAWAL
Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.
4. JEWELLERY, CLOCKS & OTHER ITEMS
(a) Jewellery:
(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.
(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report
if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.
(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.
(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.
(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.
(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.
(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.
(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.
(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.
B. REGISTERING TO BID
1. NEW BIDDERS
(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:
(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)
(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;
(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.
(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.
2. RETURNING BIDDERS
We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have
not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.
3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS
If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.
4. BIDDING ON BEHALF OF ANOTHER PERSON
(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her.
(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.
5. BIDDING IN PERSON
If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.
6. BIDDING SERVICES
The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.
(a) Phone bids
Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.
(b) Internet Bids
For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.
(c) Written Bids
While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.
C. DURING THE SALE
1.
ADMISSION TO OUR AUCTIONS
We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.
2. RESERVES
Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.
3. AUCTIONEER’S DISCRETION
The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.
4. BIDDING
The Auctioneer accepts bids from:
(a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.
5. BIDDING
INCREMENTS
Bidding increments shall be at the Auctioneer’s sole discretion.
6. CURRENCY CONVERTER
The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.
7. SUCCESSFUL BIDS
Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.
8. RELEVANT LEGISLATION
You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.
D.
THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY
1. THE PURCHASE PRICE
For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £800,000, plus 20% from £800,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.
2. VALUE ADDED TAX
Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.
(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.
(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique
items.
(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.
3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)
This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www.dacs.org.uk.
E. WARRANTIES
1. SELLER’S WARRANTIES
For each Lot, the Seller gives a warranty that the Seller;
(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else.
If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense.
The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.
2.
AUTHENTICITY GUARANTEE
We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom
notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.
In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.
This Guarantee does not apply if:
(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or
(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or
(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.
This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:
(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.
We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It
is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.
3. YOUR WARRANTIES
(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.
(b) Where You are bidding on behalf of another person You warrant that:
(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant antimoney laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;
(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;
(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.
F. PAYMENT
1. MAKING PAYMENT
(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.
(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.
(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.
(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will
transfer to You from whichever is the earlier of the following:
(i) When You collect the Lot; or
(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.
(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.
(f) No purchase can be claimed or removed until it has been paid for.
(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.
2. IN THE EVENT OF NONPAYMENT
If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
(a) To proceed against You for damages for breach of contract;
(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;
(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).
(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;
(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;
(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;
(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied.
You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and
(i) Take any other action we see necessary or appropriate.
G. COLLECTION & STORAGE
(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website
(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.
(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;
(i) Charge You storage costs at the rates set out on our Website.
(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.
(iii) Sell the Lot in any way we think reasonable.
H. TRANSPORT & SHIPPING
1.
TRANSPORT AND SHIPPING
We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.
2. EXPORT OF GOODS
Buyers intending to export goods should ascertain;
(a) Whether an export licence is required; and
(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.
3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION
Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/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
1. OUR ABILITY TO CANCEL
In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;
(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or
(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.
2. RECORDINGS
We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.
3. COPYRIGHT
We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.
4. ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.
5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.
6. REPORTING ON WWW.LYONANDTURNBULL.COM
Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.
7. SALE BY PRIVATE TREATY
(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.
(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.
(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.
(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.
8. THIRD PARTY LIABILITY
All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security
arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.
9. DATA PROTECTION
Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.
10. FORCE MAJEURE
We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.
11.
LAW AND JURISDICTION
(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law
(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.
K. DEFINITIONS & GLOSSARY
The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.
1. DEFINITIONS
“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;
“Bidder” a person who has completed a Bidding Form
“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.
“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your”
“Buyer’s Premium” the sum calculated on the Hammer Price at the rates
stated in Catalogue.
“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website
“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.
“Estimate” a statement of our opinion of the range within the hammer is likely to fall.
“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;
“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;
“High Value Lot” a Lot with a lower Estimate of £30,000 or above;
“Lot” each Item offered for sale by Lyon & Turnbull;
“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;
“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;
“Sale” the auction sale at which a Lot is to be offered for sale by us.
“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.
“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;
“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.
“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com
2. GLOSSARY
The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:
“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.
“Lien” a right for the person who has possession of the Lot to retain possession of it.
“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.
“Title” the legal and equitable right to the ownership of a Lot.
GUIDE TO BIDDING & PAYMENT
REGISTRATION
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:
1 – Government issued photo ID (Passport/Driving licence)
2 – Proof of address (utility bill/bank statement).
We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.
BIDDING IN THE SALEROOM
At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable.
BIDDING OUTSIDE THE SALEROOM
BY PHONE
A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.
IN WRITING
Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.
ON THE INTERNET
- ABSENTEE BIDDING
Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com
- BID LIVE ONLINE
Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.
PAYMENT
Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.
Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:
BANK TRANSFER
Account details are included on any invoices we issue or upon request from our accounts department.
ONLINE CREDIT OR DEBIT CARD PAYMENTS
We no longer accept card payments by phone. Please use our online payment service (provided by Stripe).
You will find a link to this service in any email invoice issued or you can visit the payments section of our website.
CASH
No cash payments will be accepted for this auction.
