Jacobite, Stuart, and Scottish Applied Arts | 13th May 2015 11:00

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LYON & TURNBULL AUCTIONEERS EDINBURGH JACOBITE, STUART & SCOTTISH APPLIED ARTS

182 Bath Street, Glasgow G2 4HG Tel. +44 (0)141 333 1992 Fax. +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel. +44 (0)20 7930 9115 Fax. +44 (0)141 7930 7274

13TH MAY, 2015

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Wednesday, 13th May, 2015 33 Broughton Place Edinburgh EH1 3RR

Jacobite, Stuart & Scottish Applied Arts

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Jacobite, Stuart & Scottish Applied Arts Including

Items previously in the Fingask Castle collection

Jacobite relics from the collection of James Graham of Airth, including The Four Peers ring

A Jacobite portrait decanter previously in the collection of Sir Hector Munro, Baron Munro of Langholm The Lord Belhaven Mary, Queen of Scots casket

Wednesday, 13th May, 2015 at 11am Sale Number LT429

Viewing Times

Sunday, 10th May 12 noon - 4pm Monday, 11th May 10am - 5pm Tuesday, 12th May 10am - 5pm Morning of Sale from 9am

Enquiries

Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ15

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Buyer’s Guide

This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought at auction before we will be delighted to advise you.

Buyer’s Premium & Other Charges

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

25% up to £50,000 / 20% thereafter.

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

Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price

* 5% import VAT payable on the hammer price

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 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 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

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

Registration

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull 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 (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. Further information on Collection & Shipment, including professional packers and shippers known to us, can be found at the back of the catalogue or on our website.

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. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed 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 the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites

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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 current condition of a lot or just want to ďŹ nd out more about the auction process.

Colin Fraser

Works of Art, Silver, Arms & Armour colin.fraser@lyonandturnbull.com

Cathy Marsden

Books, Manuscripts & Printed Material cathy.marsden@lyonandturnbull.com

Carly Shearer

Paintings carly.shearer@lyonandturnbull.com

John Batty

Arms & Armour Consultant

How to Find Us in Edinburgh

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Lyon & Turnbull Saleroom

Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; ďŹ ve minutes walk from the saleroom York Place Tram Stop Waverley Station

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The Cult of the Jacobite An essay by Peter Davidson

I For two and a half centuries, the people of Britain and Ireland occupied a divided polity, torn by conflicting claims on their loyalties and identities. What we think of as the Jacobite period in British history was a continuation of the quarrels and divisions which had existed in Britain since the reformation and Jacobitism borrowed many of its songs and visual images from earlier communities of Recusant Catholics and ‘Cavalier’ Stuart loyalists. Throughout these long quarrels, from the early 1500s to the death of Henry Benedict Stuart (or Henry IX) in 1807, the crucial focus of division was the legitimacy of religious and political rule. Elizabeth I’s claim to the throne of England was a fragile one: her Protestant regime had no alternative but to be aggressive, faced with Recusant Catholic resistance and covert promotion of the rival claims of Mary Stuart.

Thus battle-lines were drawn which remained remarkably constant throughout the struggles which followed: the communities of ‘upland Britain’ – north Wales, northern England, northern Scotland – upheld Stuart monarchy and hierarchic, ceremonial religion, either Catholic or Episcopalian.

The opposing movement, mostly based in the lowlands and cities of eastern Britain, manifested itself first as radical Puritanism, then as parliamentarian action in the Civil Wars of the mid 17th century. After the accession of the openly Catholic James VII and II in 1687, it then manifested itself as the Whiggery of the ‘Glorious Revolution’, and later in support for the House of Hanover.

Thus, Jacobitism neither begins with the deposition of James VII and II, nor ends with Culloden; there are continuities with the Stuart-loyalism of the mid-seventeenth-century wars (wars which smouldered on in Scotland throughout the reign of Charles II). Centres of Jacobite dissidence in mainland Britain tended also to be areas of Episcopalian religious conservatism (like Aberdeenshire or North Wales) or of Catholic survival (like

Front Cover Lot 64 (detail)

Inside Front Cover Lot 107 (detail)

Inside Back Cover Lot 105 (detail)

Lancashire). These geographies of resistance are highly visible in the rising of 1715, where the two areas which generated the most intense military activity were upland Scotland and northern England (Jacobite sympathy in western England being held in check by pre-emptive Hanoverian garrisons). The battle of Sherrifmuir was mirrored by the defeat of the Northumbrian and Lancastrian risings at Preston.

Even if hopes of a Stuart restoration had grown unrealistic by the mid-century, Jacobitism remained a lively (if covert) identity throughout Britain and Ireland. Many of the highly-recognisable white rose glasses were engraved for Jacobite societies in England and Wales in the middle years of the eighteenth century. Later still, the congregation of the Episcopal Chapel in Aberdeen continued to shuffle and cough when the Monarch was named in prayers, rendering the name inaudible. Memory and regret flourish when hope is gone, and it was only the European wars of the end of the century which drew the divided realities of Britain into a kind of unity.

II To maintain the claims to authenticity and authority which were essential to both sides in the long dissentions of seventeenth and eighteenth century Britain, material objects were crucial. This need has its root in the intense symbolic weight given to objects and likenesses at the time of the reformation: prohibition of the material culture of Catholic devotion was balanced by an official promotion of carefullycontrolled images of the ruling monarch. It can be no coincidence that, in defiance of rumours about substituted infants, likenesses of James Francis Edward as a small child were put into wide circulation. While civic institutions and elite individuals demonstrated their loyalties by the display of Royal portraits, dissident communities were fertile in the invention of symbolic and emblematic expressions of forbidden allegiance, shared secrets and allusions. Many of the embroideries which Mary Stuart made in her captivity draw on this emblematic language to assert her own legitimacy. Stuart loyalty was nurtured during Cromwell’s rule by the circulation of prints commemorating the dead King as a martyr and by songs such as When the King Enjoys his Own Again, which were to go on to have a century’s life amongst the Jacobites.

In this culture, where the circulation and display of likenesses is a part of the identity of individuals of all classes, objects and images were produced for the consumption of an extraordinary range of people. If at one end of the social spectrum there was an extensive market for fine replicas of

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Lot 3

continental portraits of the exiled Stuart monarchs (or for equally numerous replicas of Ramsay’s Hanoverians), so there was also a lively trade in mass market objects like ribbons and engravings. It is an index of the ambiguities of the whole period that these engravings were sometimes produced with a blank space where the sitter’s name would normally be printed, so that the purchaser could write in the identification of Prince or Pretender, depending on their own apprehension of the reality of the times. The opposition carries through into almost every production in the fine and applied arts: the roses and portraits of Jacobite glasses are answered by Whig glasses with the white horse of Hanover. If the Whigs had the celebratory music of Handel, the Jacobites continued to sing the songs which had long sustained the adherents of the Stuarts, songs which were later shaped for publication by Burns, and which remain in performance to this day.

III Jacobite culture, in hope and in eclipse, is particularly sustained by a class of objects which might be described as objects of memory; objects which recall (or, in some sense, stand in for) those who are absent, exiled or dead.

The Four Peers Ring (Lot 20) bears central symbols of the four noblemen executed after 1745, and the surrounding names of the dead of the Manchester Regiment inscribed on enamelled scrolls. It takes its form not only from mourning and ‘posy’ rings but from such composite reliquaries as the early seventeenth century Blairs Jewel with its central miniature of Mary Stuart surrounded by scrolls with the names of martyrs and saints. This leads to the more general thought that many Jacobite memorials draw on the old culture of religious relics, transforming it into a culture of dynastic and historical ‘reliques’ and memorials. Even after the political contention was effectively at an end, locks of hair and fragments of tartan clothing were conserved as family treasures.

These memorials became particularly important in the second half of the eighteenth century, as the return of the King over the Water grew less and less likely. Small format portraits of James VIII and III continued to be produced until the end of his life.

More suited to private contemplation than to ceremonial display in a public room, miniatures of Charles Edward, often elegantly mounted, continued to be valued. Of course, in Jacobite heartlands, in the kinds of secluded castles and lairds’ houses which had in earlier

centuries sheltered Recusant Catholic chapels, more overt displays were possible; a full Kaisersaal of portraits of the Stuart dynasty, or a family portrait with white rose, proscribed tartan, and Stuart miniature.

As time passed the motivation for this conservation appears to us ever more complex and more interesting; an intricate action of a society in mourning, not only for what it had lost, but for what it had been and what it might have been. The first of a series of novels which transformed nineteenth-century Europe, Walter Scott’s Waverley, was published only seven years after the death of Henry Benedict (Henry IX) in 1807. The gallantry of the Regency romance is beautifully haunted and shaded by authentic disquiet, born of the recollection of a divided society.

Lot 63

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Threipland of Fingask Castle

Fingask Castle, Perthshire (photo courtesy of Fingask Castle).

Undoubtedly one of the most important collections of Jacobite art and relics ever to be sold, the Fingask sale offered a unique opportunity into an untouched collection of material so closely and personally connected with the Uprisings.

Not only was this connection close and an unbroken line of provenance but the ownership so well recorded. The sale of contents from Fingask Castle, 26th-28th April 1993, held by Christie’s Scotland sparked the interest in collecting of such material and offered a fine range of items from all spheres of this field of interest.

Fingask Castle, near Errol in Perthshire, stands over 200 feet above the Carse of Gowrie and was said to have been inhabited, not in its current form, from as early as 1194. The main tower still surviving was however built in 1594, various additions and changes have been made from this date and two main wings were added in 1674 to the west by the Threiplands of Fingask and 1828 a northern wing by Sir Patrick Murray Threipland, 4th Baronet. The Threiplands came to Fingask around 1672 when it was purchased with the estate from the Bruce of Fingask family and it added to the established

Perthshire families’ lands in the area and as far south as Peebles. In the same year Sir Patrick Threipland was knighted and received the direct thanks for the Chancellor for his efforts in enforcing the Governments religious policies. He was later bestowed a baronetcy by King James II in 1687, confirming the families staunch and close Stuart support.

However the political field of the United Kingdom was moments from change and by Patrick’s death only two years later he had seen his King removed from his thrones in the glorious revolution of 1688 and by association the close allies of King James such as himself and family turned into rebels. Sir Patrick was imprisoned at Stirling Castle for this loyalties and passed the lands, estate and title to his son Sir David Threipland. Sir David not only inherited the title but the staunch Stuart loyalties and was among the first to pledge allegiance to the cause with the Earl of Marr in trying to regain the Stuart throne in 1715. As is well recorded the efforts were in vein, and while Marr was considered a military incompetent and the would be King a melancholy character, neither could cement the support nor finish the cause.

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Sir David Threipland was given the honour of entertaining Prince James for the night of 7th January 1716 on James’s route to Scone for his coronation. Sir David not only lost his land and title in this failed uprising but also his son, a large burden on any families support to the cause.

The house of Fingask was fortified to the victors after being occupied by Government troops through the ’15 and was sold as fortified lands to the York Buildings Company.

During the occupation Lady Threipland gave birth to Sir David’s ninth son and eventual heir, both were so ill they were expected not to survive long after the birth. However the plans for the infant’s baptism were in hand and Lady Threipland overheard these discussions and those for choice of name, even in her weakened and invalided state see was heard to whisper at the choice of name only one word ‘Stewart’, supporters through the hardest of times!

The family’s support for the Stuart cause was assured when in 1745 the uprising came again, this time under Prince Charles Edward Stuart. Sir David, by now an elderly man, was so supportive of this cause and was set to join the Jacobite army on 3rd September 1745 in the now occupied Perth. It is recorded “Sir David, though in is seventy-ninth year, was keen to take to the field; but the devoted old man was suddenly seized by Death’s arrest while drawing on his boots to ride to Perth’.

However, Sir David’s son, Stewart would play a much closer role than many within the uprising and was one of Prince Charles Edward Stuart’s closest advisors and confidants. By the ’45 Stewart was a trained physician and became, throughout the campaign, personal physician to Charles. No doubt seeing and

Accompanying label to lot 6, an early 18th century glass candlestick.

being so closely involved at the sharp end of the campaigns cemented this personal relationship with the Prince. He was at Culloden with Charles and fled after fearing further trial and retribution as family had seen after the ’15.

This was not by any means the family’s only involvement in the plight of the ’45 and Fingask again saw ‘action’ from the Government troops. They descended on the well-known families home and in an act of vandalism no doubt meant to send a very clear message destroyed the bed of Prince James (where he had slept during his visit on route to Sconce some 29 years earlier).

Indeed the inhabitants of the estate fared no better for their support and a 21 year old gardener on the estate, James Thomson, was transported as prisoner number 3274 as he ‘was seen wearing a Highland habit and white cockade and marching in arms as a sergeant in the Duke or Perth’s Regiment’.

The forfeited lands were finally resorted to Stewart Threipland some 36 years after his return under amnesty, being bought through auction in Edinburgh in 1783 for £12,000, Threipland was the only bidder.

The collections and important family relics remained untouched through these periods under the close protection of the family over the generations. The Threipland’s also were careful collectors of relics from within the circle of supports left within Scotland. They also supported the promotion of the cause through lending to the important early exhibitions on Stuart and Jacobite history in the 1880s and 1890s.

An 18th century portrait miniature of Prince Charles Edward Stuart (lot 4).

This group of objects collected at the time of the sale in 1993 are brought together from various sources for the first time, giving a new generation of collectors and academics within the field of Stuart and Jacobite history an opportunity to be connected to this most important collection.

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1 A late 18th century gentleman’s Jacobite silver and bloodstone supporter’s ring

2 A late 18th century gentleman’s Jacobite gold and bloodstone supporter’s ring

Provenance: Threipland family collection By direct descent Fingask Castle, 26th – 28th April 1993, Christies, Lot 947 Royal House of Stuart, The New Gallery London 1889, No. 527 Museum of Science and Arts, Edinburgh 1892, No.118-42B

Provenance: Threipland family collection By direct descent Fingask Castle, 26th – 28th April 1993, Christies, Lot 948

unmarked, the simple silver shank with rectangular intaglio carved bloodstone seal with displayed rose and motto ‘THE ROSE THATS LIKE THE SNAW’ above

£3,000-5,000

unmarked, the gold shank with finely engraved foliate details to shoulders and shank, the shield shaped head with intaglio engraved bloodstone seal inscribed ‘AWA WHIGS AWA’

Exhibited: Royal House of Stuart, The New Gallery London 1889, No. 527 Museum of Science and Arts, Edinburgh 1892, No.118-42B

£3,000-5,000

3 A fine 18th century gold pendant enclosing a lock of Prince Charles Edward Stuart’s hair

the oval glazed panel backed with blue silk and enclosing a coiled lock of hair, incised arched border, pierced and engraved integral suspension loop, the reverse engraved ‘Lock of Prince Charles Edward Stuart’s hair 1763’, contained in a small red morocco leather initiation book, with inscribed note to inner cover ‘Prince Charles Stuarts Hair 1745’ locket 32mm long, excluding loop

Provenance: Threipland family collection By direct descent Fingask Castle, 26th – 28th April 1993, Christies, Lot 950

Exhibited: Royal House of Stuart, The New Gallery London 1889, No. 533 Museum of Science and Arts, Edinburgh 1892, No.118-5

£5,000-7,000

4Y Attributed to Charles Dixon An 18th century portrait miniature of Prince Charles Edward Stuart

the oval portrait on ivory of Prince Charles Edward Stuart in tartan doublet with blue sash and Garter star, contained within a reeded gold frame, foliate suspender, the reverse set with a polished panel of Montrose blue lace agate, contained in an oval shagreen case with green velvet lining 50mm high (including suspender)

Provenance: Threipland family collection By direct descent Fingask Castle, 26th – 28th April 1993, Christies, Lot 834

Note: This miniature is a copy after Robert Strange’s mezzotint Prince Charles Edward Stuart circa1749. Strange (Scottish 1721-1792) is an artist synonymous with Jacobite portraiture and this image a very familiar view of the Prince, as Strange had captured his likeness in both a mezzotint and engraving.

Both of these works were very widely distributed following the rebellion of 1745, and became the most utilised basis for copies right up until 1760. In a large number of the copies, as here, the plain coat of Strange’s original outfit is transformed into a tartan coat, a type of cloth that had quickly become synonymous with Bonnie Prince Charlie and the Jacobite cause.

£2,500-3,500

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5 The Fingask ‘King over the water’ wine glass

the bell shaped bowl with engraved portrait of Prince Charles Edward Stuart within a simple cartouche, engraved above in banner ‘AUDENTIOR IBO’ the panel flanked by engraved rose and thistle, raised on broken twist stem with swollen knop, set into a turned wooden foot

10cm high

Provenance: Threipland family collection By direct descent Fingask Castle, 26th – 28th April 1993, Christies, Lot 1322

Exhibited: Royal House of Stuart, The New Gallery, London 1889, item 528

Note: A handful of deliberately broken Jacobite glasses are recorded. Some preserved with the addition of a simple wooden foot such as this and, indeed, one 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 such important 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 a safer way to support than on the battlefield and engrained in the culture of the period. In less open company it is said that Jacobites in 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.

Family tradition from Fingask dictated that this glass was last used by Prince Charles Edward Stuart to toast the uprising and was ceremonially broken by Threipland, in a defiant show of support and so that no lesser man could drink from it. The glass was then kept within the family as a relic of the close relationship with Prince Charles and the family.

The Audenitor Ibo motto is an ingenious reference to two different speeches in Virgil’s epic of an exiled prince The Aeneid, a work which is often the source of coded Jacobite references. As often with secret writings, the original contexts in which a phrase occurs are evoked by the quotation, thus ‘Audentior ibo’ ‘I will advance more bravely’ evokes the prophecy of the future of Aeneas in Book VI, ll.86-96, that he will come into his kingdom after many struggles ‘Tu ne cede malis sed contra audentior ito’ – ‘Do not yield to ills but go forth bravely against them’, as well as the speech of the young hero Euryalus at book IX, ll.280-292, which ends ‘audentior ibo in casus omnis’ –‘I will go forth more bravely to meet all dangers’.

£3,000-4,000

6 An early 18th century glass candlestick

simple bucket sconce above a tapered square section stem, on a domed foot with reeded rim. With accompanying letter of provenance

19.5cm high, base 11cm diameter

Provenance: MacDonald family collection Stuart of Appin family collection To Miss J E Oliphant Gifted to Miss Threipland of Fingask Threipland family collection By direct descent Fingask Castle, 26th-28th April 1993, Christies, Lot 1321

Note: The weight placed on the relation and custodianship the Threipland and Fingask names carried is borne out with the gift of such an important and personal gift from one Jacobite family to another. Rather than lose the item’s history or remove it from its native land it was gifted to the ‘protector’ of the cause.

Sold with accompanying label stating ‘Candle stick used by Prince Charles when in the MacDonald house, see Miss Oliphant letter indicating (?) the tale’ and with a handwritten letter detailing provenance and gift which reads

“Perth 72 George Str 15 Apr 1814 My Dear Miss Threipland I am quiting my own beloved land. I take the liberty of sending you a candlestick which in itself has no value.

But it was the one that was used by our beloved but ill used Prince while he took refuge under the roof of one of the noble family of the McDonalds who fought monfuly for him it has never been used since it was last used by Prince Charlie in his Bedroom.

Do not think my thoughts for my Dear Prince is lessened by parting with this, since that descended through my forefather the Stuart of Appin I felt certain that while a branch of the noble family of Fingask is left this, we think was an admirer at some of Prince Charles’ campaign he can fully find pardon me and say a feeling of pride rises in my chest that I have the privilege of this giving. My sincere thanks to your care and I assure you of feel happily, yes happy for hoping that can ****, should I see this country fall into the hands of those that loved not, nor would not fight for my ill used Prince.

I close this with Miss Elphinstone and great fine feelings and remain, dear Miss Threipland

Sincerely June E. Oliphant. “

£2,000-3,000

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7 A framed section of Jacobite ribbon

the section of silk ribbon woven with figure of a Highlander (likely to represent Bonnie Prince Charlie) in harlequin dress with sword and targe, in ebonised and gilt glazed frame ribbon 9cm x 3.5cm

Provenance: Fingask Castle, 26th - 28th April 1993, Christies Scotland, extra lot not in catalogue

£300-500

8 A late 18th/early 19th century Scottish silk bonnet

the tartan bonnet of conventional form with green corded rim and silk cockade

Provenance: Fingask Castle, 26th - 28th April 1993, Christies Scotland, extra lot not in catalogue

£200-300

9 A mid 18th century brass sporran cantle

of hinged square topped form with ring and dot decoration, with locking mechanism and clasp 18cm wide

Provenance: Fingask Castle, 26th - 28th April 1993, Christies Scotland, lot 1087

Note: With accompanying hand written label stating ‘Found on Culloden Field’

£500-800

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10 1715 Uprising

A compleat history of the late rebellion.

London: W. Hinchcliffe, 1716. Second edition, 8vo, contemporary panelled calf rebacked, damp-stained [ESTC T31008] Provenance: Threipland Collection, Fingask Castle, purchased privately. Private collection.

£150-250

11 Jacobite and Scottish manuscript folk music, including words by Robert Burns, early 19th century

91 manuscript pp., some interleaved with additional manuscript music and lyrics, including lyrics for Oh my Bonny Highland Laddie, The White Cockade, Bonny Charlie and music & lyrics for songs such as Burns’s O’er the Water to Charlie, My Heart’s in the Highlands, Welcome Royal Charlie, You’re welcome Charlie Stuart, Fallen Heroin [sic.], and The Last of the Stuarts, also three songs in European languages, one set of interleaved lyrics dated 1822, contemporary quarter morocco album Provenance: Threipland Collection, Fingask Castle, purchased privately

Note: By the time Robert Burns wrote O’er the Water to Charlie in 1788, Jacobites and the ideology could no longer be considered a powerful political force.

However, the romance of ‘The King over the Water’ remained and Jacobite songs became a popular Scottish folk genre.

£500-700

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The James Graham of Airth Jacobite Relics This important group of Jacobite relics come with direct provenance to a long declared Jacobite family who supported not only as men of influence but on the battle field in both the defeats of the ’15 and ’45. James Graham of Airth used political power and status as Dean of the Faculty of Advocates and Judge of the Court of Admiralty to try and find more lenient punishment for the survivors in the courts.

James Graham of Airth Snr. (born 1676), married his first wife Marion Hamilton (his first cousin), daughter of Lord Pentcaitland in 1700, they had five children three sons all of whom died young and two daughters. By 1705 James Graham had inherited his father lands and by 1707 also those of his uncle, Henry Graham W.S of Gilchriston, Haddington. By 1717 however he has purchased the lands of Airth and the associated Tower which he set about turning into Airth Castle.

After the death of his first wife, James re married Lady Mary Livingstone, daughter of Alexander the third Earl of Callendar, by his wife the Lady Anne Graeme, daughter of the second Marquis of Montrose. They had six children and James was succeeded by their fourth William.

Their first son, like his father was involved in the ’45 and is described “as a devoted adherent of Prince Charles Edward, he went abroad with his Prince after Culloden and, as his name was on the list of attainder, he could never return or take up his estate; he died like many of his compatriots at the Scots College in Paris where he held the rank of colonel; a man of almost unprecedented strength, it is related how he would lift between his teeth the large round mahogany table that stands in the lobby at Airth, or taking the kitchen poker he would twist it round his wrist, or round the necks of two Highlanders!”.

Judge Graham was working judge travelling Scotland on the country court circuit. He attended after the ’15 to the prisoners of the uprisings and is said he “had gone to London at his own charges to defend some Jacobite’s taken prisoners at Preston.” Taking such a forward and open stance in the defence of the prisoners must surely have placed him as one of the most public Jacobite’s post defeat.

It is said he had “procured leave to be counsel or the prisoners, on the purpose to dispute this point, which he declares he’l maintain to the hazard of his very life, as well as his fortunes. The judges seem to hope that they shall be able to ward off this argument. And indeed the Solicitor General and the rest of our English counsel, on the Crown side, appear as loath to engage it”.

He was a man of great fortune and reputation and was painted in his Judges robes within the studio of the celebrated Edinburgh portrait painter Allan Ramsay, the portrait now within the collection of the National Trust for Scotland.

These items relate to the personal collections of Airth but also show, as seen with Threipland of Fingask, the want for relics to be kept together, cementing their value and importance, with latterly the addition of the McGrouder collection. This importance placed on the protection and guardianship of such pieces being a constant within the close group of supporters left after the defeat of the various uprisings.

James Graham of Airth (photo © The National Trust for Scotland: Gladstone’s Land).

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12 An 18th century French gold snu box

with Paris marks to lid and base, of canted rectangular form with engine decorated border with lattice panel of beaded and rose head decoration, the base and body similarly decorated 8.2cm x 3.9cm, 98.5g

Provenance: Gifted by Prince Charles Edward Stuart to William Graham of Airth By descent to Mary Graham (second daughter of William Graham) who married John Stirling of Kippendavie, 1781 By direct descent to current vendor

ÂŁ4,000-6,000

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The McGrouther Relics Although a family not well recorded within the annuals of Jacobites and their supporters, the McGrouther (aka as McGrowther, McGrouder or MacRudder) gave as much to the cause as any member of the landed gentry and were at the side through not just the ’45 but also the ’15 before.

Alexander McGouther, son of John McGrouther of Meigor and Jean Drummond (presumably a relation of the Duke or Perth’s family) was born in around 1673.

In 1715 Alexander, aged 42, was sent in place of his father (by this time aged over 80) along with his brother William to rise with the Duke of Perth in support of King James. However he was captured at Preston in November 1715 as a Captain in Logie’s Regiment, one of 778 taken at the time. He was one of those marched to London to face trial, which took place at the Court of Exchequer on 31st May 1716 with six other defendants. The result of the trial appears not to have been recorded but it appears Alexander spent the next year in Newgate Jail until he was released under the Act of Indemnity of 1717 and returned to Scotland.

During this sentence he was passed over for succession of his father’s estates in 1716, his younger brother John taking his inheritance, as he was still imprisoned for his part in the ’15.

Even after such hardship and imprisonment in the 1715 uprising, McGrouther was still an active member of the forces in the ’45, not on his own this time but with his son Alexander Jnr. By this time, aged 72, he re-enlisted in the Duke of Perth’s regiment. He and his son were both listed in the list of rebel Officers and soldiers who surrendered at Carlisle. They were transported to London on 10th February in a heavily guarded wagon train and sent to various prisons.

Alexander Jnr, Lieutenant in the Duke of Perth’s regiment, died aged only 21 in the New Gaol, Southwark, unmarried and without heir before his trial had been set.

Alexander Snr’s trial and punishment however was a much more colourful affair. Spending February - June in prison he was heard in front of the Grand Jury on 25th and 26th July 1746 when “Counsel for the prisoners begged for further time to prepare for trial, because their witnesses were not ready. This opposed by the Counsel for the Crown and refused by the Court, for on 31st July the Court met at St. Margaret’s Hill for their trial, when Alexander McGrouther, senior, of Perthshire, a

Lieutenant in Perth’s regiment, was brought to the Bar and pleaded Not Guilty”.

“He brought four witnesses to prove that the Duke of Perth, whose vassal he was, had forced him into the rebellion, threatening, if he did not immediately join the army, to burn all his houses destroy his lands and drive his cattle away. But they only swore that they heard himself say that he was ordered to join the Duke of Perth and he must comply”.

The prosecutors replied to this evidence, now shaky on the watered down testimony of his four witnesses, saying “that it was unreasonable to suppose that a man forced into the rebel army should continue so long in it, accept of a commission, and act as an officer, and that it was proved that when the rebels got possession of Edinburgh he was with them in Highland dress, a white cockade in his blue bonnet, a dirk and pistols in his girdle, and was a very vigilant and active encouraging the rebel officers to be hearty in the cause, and not to doubt of success; that he acted at the battle of Prestonpans as a Lieutenant; that he marched with the rebels into England; and that when Carlisle surrendered to the Duke, he acknowledged himself to be a lieutenant in Perth’s regiment”.

This stacked evidence against him would signal the end of his defence and the possibility of a not guilty verdict seemed, and was, impossible. After the three hour trial, and without leaving the court he was found guilty. As he was escorted from court he was recorded as stating “By my faith this is a very infamous verdict they have brought against me”. Even when led back to the Bar for sentencing he was still defiant in his defence and that he was forced into his actions, however these pleas would fall on deaf ears.

In his sentencing, The Lord Chief Justice, after a ‘pathetic speech’ pronounced sentence on McGrouther and others stating “let the several prisoners above named return to the gaol of the county of Surrey, from whence they came; and from thence they must be drawn to the place of execution, and when they come there they must be severally hanged by the neck, but not till they be dead; for they must be cut down alive, then their bowels must be taken out and burned before their faces; then their heads must be severed from their bodies, and their bodies severally divided into four quarters; and these must be at the King’s disposal”.

This was not however the end for Alexander as once the warrant for his execution was issued on 19th August – for execution on 22nd – he was reprieved only the day before. This was one of three reprieves from the gallows and he would escape hanging and be released by 1749.

13 An 18th century gold open faced pocket watch

the simple plain case with white enamel dial, Arabic numerals to outer minute and inner calendar dial, the main chapter ring with Roman numerals, gold hands, the verge movement unsigned dial 40mm diameter

Provenance: Inherited by Duncan McGrouther By descent to his wife, Margaret McGrouther (nee Stirling of Kippendavie) Gifted by his wife to female line of Stirling of Airth family By direct descent

£1,500-1,800

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14 The Alexander McGrouder snuff box

unmarked, the tapered box with reeded rim and twin hinged covers, with flush hinge with engraved decoration, the covers engraved ‘Alexander McGrouder’ and ‘Fear God and Honour thee King, Be not given to Changes’, the base of the box engraved ‘Newgate 17 July 1717’ 9.7cm wide, 2.1oz

Provenance: Gifted to Mary Stirling (nee Airth), second daughter of James Graham of Airth, from c1781 By direct descent

Note: Family tradition dictates that this box was commissioned by Alexander McGrouder while in prison in 1717 after his involvement in the ‘15, further it has been suggested the box was altered from the base of a silver drinking flask.

£2,000-3,000

15 Duncan MacGrouther memorial ring

the oval head formed as a double sided glass panel enclosing woven hair, the black enamel shank with gold detail inscribed ‘DUNCAN MCGROUDER ob. 16th SEP 1755 AE 41’

Provenance: Inherited by Duncan McGrouther By descent to his wife, Margaret McGrouther (nee Stirling of Kippendavie) Gifted to Mary Stirling (nee Airth), second daughter of James Graham of Airth, from c1781 By direct descent

Note: Duncan McGrouther, brother of Alexander McGrouther Snr, was born 12th April 1714. He appears to have not played an active role in the ’45 but served as heir general for his elder brother John by 1748. As well as looking after family affairs at these difficult and turbulent times, he was also a Surgeon based in Crieff. He ended being the beneficiary of various family bonds and annuities gifted through James, Lord Drummond. These bonds show the close relationship the family had to such staunch Jacobite supporters and again perhaps debunk the idea of Alexander Snr and Jnr being forced into the Perth regiment by the Duke.

£600-800

Other Relics

16 A fragment of blue silk garter

The small fragment of blue silk from Prince Charles Edward Stuart’s sash of The Order of The Garter, pinned to a handwritten note stating ‘Prince Charles’s Garter worn by him at Fernton, the then seat of Lord John Drummond, 1745-6’

9cm long

Note: Along with the Order of the Thistle breast badge worn by Prince Charles, the Garter sash is a constant reminder of his position and power within portraits. Such high levels of chivalry cement his claim and right to the throne showing his just cause.

A large section of what appears the same ribbon is within the collection of the National Museum of Scotland (H.NC57, gifted by Gilbert Innes, in 1798)

£500-800

17 An 18th century Continental silver gilt snuff box

apparently unmarked, of scalloped shaped outline, the straight sides with chased floral and scroll decoration, the hinged cover with scroll formed border with a country scene of three figures in a landscape

7.5cm wide, 3.3oz

Provenance: Gifted by Prince Charles Edward Stuart To Provost Hind Smith L.P of Glasgow By descent Mr Fairburn (descendant of Provost Aird Smith) Sold privately by Mrs Fairburn (widow of above) c1881 To Stirling family, Kippenross Dunblane By direct descent

£1,000-1,500

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18 CIRCLE OF ANTONIO DAVID (ITALIAN 1698–1750)

PORTRAIT OF PRINCE CHARLES EDWARD STUART And a companion, a portrait of his brother Prince Henry Benedict Clement Stuart, oil on canvas

63cm x 52cm (24.75in x 20.5in)

Provenance: By family tradition the gift of King James and Maria Sobieska Judge James Graham of Airth, by direct descent to Helen Graham of Airth Property of a Gentleman

Note: Antonio David was one of the Jacobite court’s official painters in Rome. Both he and his studio produced several copies of this pair of portraits after 1729.

£12,000-18,000

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19 ATTRIBUTED TO E. GILL, AFTER MARTIN VAN MEYTENS (DUTCH/SWEDISH 1695-1770)

A PORTRAIT OF JAMES FRANCIS EDWARD STUART, THE OLD PRETENDER And a companion, a portrait of Princess Maria Casimire Clementina Sobieska. Both half-length, he in armour, wearing the Order of the Garter and the Thistle, with a gorgoneion at his neck; she in a silver dress and an ermine-lined cape, oil on canvas, a pair (2)

69cm x 56cm (27in x 22in)

Provenance: By family tradition the gift of King James and Maria Sobieska Judge James Graham of Airth, by direct descent to Helen Graham of Airth By descent, sold Property of a Gentleman

ÂŁ12,000-18,000

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Note: Martin Van Meytens was commissioned to paint the original pair of portraits by James in 1725. They were produced in Rome upon the birth Henry and were designed as mutual gifts to be hung in each other's private rooms. Van Meytens then moved to Vienna and became the oďŹƒcial court painter. The two originals were considered among the most successful likenesses of the pair. It is not known whether the originals survive but in 1727 James commissioned an artist called E. Gill - an Englishman who was in Rome for a time - to produce ten copies which were then gifted to Jacobite supporters. One pair of Gill's copies are housed in the National Gallery of Scotland. It is not known how many of Gill's copies still exist but the quality and age of this pair are very close to the known examples. The image that Van Meytens produced of Maria Clementina became her "oďŹƒcial" portrait and is the most recognised image of her, being copied on countless occasions.

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20 The Four Peers ring - an important mid 18th century Jacobite gold and enamel ring

the shaped rectangular head of white enamel with four initials and coronets to corners with dates surrounding an executioners axe to centre in gold, the shoulders formed as a rose and thistle in green, white and pink enamels, the interwoven shank with gold detailed initials and dates on a white enamel ground Provenance: Commissioned by Lord Francis Oliphant of Gask Gifted to Judge James Graham of Airth or his son William Graham of Airth.

By direct descent to Mrs Ann Graham of Airth (nee Stirling of Ardoch) By direct descent to her great grandson Colonel Stirling of Kippendavie By direct descent

ÂŁ15,000-25,000

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The ‘Four Peers Ring’ is perhaps one of the most iconic and romantic examples of Jacobite jewellery and contemporary relic. While relic normally denotes a fragment or part of a revered place, person or object these important rings were created at a contemporary moment as a commemorative memorial for the Peers and high ranking Officers who gave the greatest sacrifice for the cause they so staunchly upheld. The execution of these men was not only a defining moment in the aftermath of the uprising and Jacobite history but shows the fear and recrimination of the Scots and the Clans which the Hanoverian dynasty dealt after the defeat of Culloden.

The aftermath of the battle was not the only recrimination for the nation, the butchery on the field of battle, the humiliation of the Prince and Stuarts, and the seizing of lands and titles from those involved was not enough. A public face had to be put to the defeat and in the absence of a Stuart the closest thing were his most trusted and closest advisors and supporters.

undisturbed, the whole day with his drummer, enlisting all who offered themselves……, ‘to each of whom a white cockade was given, and a bounty of five guineas promised.

There were nine officers from the Manchester Regiment executed on 30th July 1746. While many regiments, families and men felt the force of Hanoverian recrimination those laid down on the Manchester regiment were ferocious, a regiment of English men in the service of the Scots (as was seen by the Hanoverians) had to be punished. It is said “This unit indeed was treated with a ferocity which indicated that its degree of culpability was held to be higher than that of any other in the Jacobite army”.

FT – Francis Towneley – immortalised with George Fletcher with their decapitated heads on a spike in an anonymous contemporary engraving.

AB – Andrew Blood TD – Thomas Theodore Deacon TS – Thomas Sydall DM – David Morgan JD – James Dawson GF – George Fletcher TC – Thomas Chadwick JB – John Beswick

Those who had not fled and were captured were punished to varied degrees but those of the ‘Four Peers’ no doubt the harshest.

This important ring is one of only four recorded examples, the only in private hands and of the them, arguably, the finest in survival and provenance.

Three others are known to survive, all within institutional collections, National Museums Scotland (H.NJ 154), two within the British Museum (1418 and 1490, the latter Ex Sir A. W. Franks Collection).

Although unmarked, it has long been considered within the Jacobite families who owned these rings that they originated from Oliphant of Gask family and were presented to surviving and staunch Jacobite families for their work and effort within the cause.

It has long been considered, although never proven, that these rings were commissioned from Ebenezer Oliphant, Goldsmith in Edinburgh, by Lord Francis Oliphant of Gask. While not proven a more likely candidate cannot be considered. Ebenezer Oliphant’s place within the Jacobite establishment as brother of the Laird of Gask, cousin to Laurence Oliphant, Goldsmith and Aide de Campe to Prince Charles Edward Stuart, and his own place as renowned Jacobite Goldsmith all make him the likely, if not the only, candidate. Indeed, the production of such rings supporting the Jacobites would have been a very dangerous offence and so close to the defeat at Culloden could only have been made by the staunchest of supporters. It is not surprising that the ring is unmarked as any 18th century hallmarked Scottish jewellery is scarce. Also advertising the maker of such a piece, if it were found by Hanoverian supporters, would surely have guaranteed problems and re-crimination for the craftsmen.

The Oliphants had been key supporters of the Stuart claim and had been vocal opposition to the Act of Union in 1707. They had been with King James in the uprising of 1715 and played an active role in support, funding and propaganda for the ’45. The 10th Lord escaped after Culloden to Sweden and latterly lived in France. He bought his amnesty in 1763 and returned to Scotland but did not stop his staunch and open Jacobite support.

The original owner of this example of ‘The Four Peers Ring’ could not have been closer to the uprising and its aftermath, John Graham of Airth being not only a supporter but self-proclaimed defender of the Jacobites after the defeat in 1715.

James Graham worked on behalf of the Peers and other captives at their trials in 1716 trying to provide some defence for the prisoners and while his duty seemed destined to fail, with the full weight of Hanoverian monarchy and hierarchy against him, the case he fought was considered a victory. Although appealing for leniency, and not the death penalty, was obviously his goal the likelihood of winning such terms was minimal.

Some consider the precedents he set in 1716 as the cornerstone for the treatment of prisoners after the ’45, in particular the Peers, nobleman of the nation,

22nd August 1747

Etching of Francis Towneley and George Fletcher’s heads on spikes by unknown artist. Published 20 September 1746. © National Portrait Gallery, London.

were only hung rather than their original sentence that to be hung, drawn and quartered.

The Manchester Regiment

The men immortalised on the shank of the ring show the variety of classes, regiments and geographical origins of the officers fighting under Prince Charles.

This group of men were somewhat overlooked on their executions after those of the Peers whose involvement was even more political. The executions were staged in three batches, all commemorated on the shank.

The Manchester Regiment was formed during the end November 1745 as a regiment of foot under the command of Francis Towneley. In response to the advancing Jacobite army and success they had seen, they joined Prince Charles’ army marching south to Derby on 1st December. However, they were almost immediately forced to retreat to Carlisle. Their support of the Jacobite cause would ultimately lead to execution or transportation for many of the regiment.

The regiment had been started by a deserter from the Hanoverian troops who had been captured at Gladsmuir. He began recruitment in the city and, although reports vary, his successes were obvious, enlisting around 180 men (some reports suggesting upwards of 600, one as few as 30). This success was hardly guaranteed as he arrived in Manchester with only his mistress and drummer as support, some reports suggesting the whole affair was against superior’s orders and one of his own invention. The process, official or otherwise, in the number of 30 or 600 must have been a sight.

“Within an hour of his arrival he began to beat up for recruits. The populace did not at first interrupt him, conceiving that the whole army was near the town…….they surrounded him in a tumultuous manner, with the intention of taking him prisoner.

Dickson presented his blunderbuss, which was charged with slugs, threatening to blow out the brains of those who first dared to lay hands on himself or the two who accompanied him; and by turning around, continually, facing in all directions, and behaving like a lion, …….. those of the inhabitants of Manchester who were attached to the house of Stuart took arms, and flew to the assistance of Dickson, to rescue him from the fury of the mob; ……. He now triumphed in his turn, and putting himself at the head of his followers, proudly paraded,

JN – James Nicolson who was an owner of a coffee house in Leith, and held a commission as Lieutenant in the Duke of Perth’s regiment. It was stated at his trial that he was an uncle of Donald McDonald.

D McD – Donald McDonald or McDonell was a Captain in Keppoch’s regiment.

WO – Walter Ogilvie was a Lieutenant in Lord Lewis of Gordon’s Regiment.

28th November 1746

JW – Sir John Wedderburn, Bart., of Blackness, was captured in arms at Culloden. He had also acted in the capacity of Collector of Excise for the Jacobites in Perthshire and Forfarshire. He appealed for mercy at the end without success.

JB – James Bradshaw was serving in Elcho’s Life Guards at the time he was captured, although he had originally been in the Manchester Regiment, which likely was the reason he was executed.

JH – Colonel John Hamilton raised a considerable number of men in the Gordon country, and was Governor of the Castle of Carlisle at the time of its surrender.

AL – Alexander Leith was a Captain in Glenbucket’s regiment. Although he was said to be old and infirm he was still executed.

AW – Andrew Wood was a shoemaker from Glasgow and Captain in Roy Stuart’s regiment.

He made a speech on the scaffold stating that he raised a company at his own expense.

The belief they had in their cause is seen in the final moments in Thomas Theodore Deacon’s speech to the assembled crowd.

“I am come here to pay the last debt to nature, and I think myself happy in having an opportunity of

Image of the ‘Four Peers’ ring adapted to show the full naming on the shank.

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Charles Radcliffe, 5th Earl of Derwentwater (1693-1746)

Of the four Peers commemorated on the ring, Charles Radcliffe was the only one to be executed for his part in the 1715 uprising along with that of his involvement in 1745.

The connection of the Radcliffe family and the Stuarts was close from an early time. Their titles had been bestowed by King James II and made them amongst the most feared Jacobite families in England. Charles, along with his brothers Francis and James, were sent to the Stuart court at St Germain at the request of Queen Mary, widow of James II, to be companions and fellow pupils of Prince James Francis Edward.

James Radclyffe, 3rd Earl of Derwentwater. © National Portrait Gallery, London.

dying in so just and so glorious a cause. The deluded and infatuated vulgar will no doubt brand my death with all the infamy that ignorance and prejudice can suggest. But the thinking few who have not quite forsaken their duty to God and their King, will I am persuaded look upon it as being little inferior to martyrdom itself, for I am just going to fall a sacrifice to the resentment and revenge of the Elector of Hanover and all those unhappy miscreants who have openly espoused the cause of a foreign German usurper and withdrawn their allegiance from their only rightful, lawful and native sovereign, King James the 3rd……”

However, such impassioned pleas and the work of the Jacobite lawyers could not save the Officers and the Newgate Calendar describes their final journey and final act for the Stuart cause.

“After the sentence of the law was passed, the convicts declared that they had acted according to the dictates of their consciences, and would again act the same parts, if they were put to trial. When the keeper informed them that the following day was ordered for their execution, they expressed a resignation to the will of God, embraced each other, and took an affectionate leave of their friends.

On the following morning they breakfasted together, and having conversed till near eleven o’ clock, were conveyed from the New Gaol, Southwark, to Kennington Common, on three sledges. The gibbet was surrounded by a party of the guards, and a block; and a pile of faggots, were placed near it. The faggots were set on fire while the proper officers were removing the malefactors from the sledges.

After near an hour employed in acts of devotion, these unhappy men, having delivered to the sheriffs some papers, expressive of their political sentiments, then underwent the sentence of the law. They had not hung above five minutes, when Townley was cut down, being yet alive, and his body being placed on the block, the executioner chopped off his head with a cleaver. His heart and bowels were then taken out, and thrown into the fire; and the other parts being separately treated in the same manner, the executioner cried out “God save King George !”

The bodies were quartered and delivered to the keeper of the New Gaol, who buried them: the heads of some of the parties were sent to Carlisle and Manchester, where they were exposed; but those of Townley and Fletcher were fixed on Temple-Bar, where they remained many years, till they fell down.”

Charles and his elder brother James were involved in the uprising of 1715 and both surrendered at Preston.

Charles was tried on 18th May 1716 and found guilty and sentenced to death. This sentence was deferred until July and he latterly obtained a further stay of execution because of the change in public mood. The success of the ’15 had been limited and the defeat so definite the public mood seemed not to demand public retribution. Eventually, with several other Jacobites he escaped Newgate prison in December and fled to the continent, living in Urbino. He was appointed the Chevalier’s agent in Paris and was presumably an important and ever present member of the Stuarts inner circle and court.

Charles participation in the ’45 seems never to have been in doubt and indeed he was involved in the organisation from the continent. He, along with his son James, were captured before their part could be played. In 1745 they were travelling aboard the French privateer ship, Esperance, enroute to Scotland with arms for the Jacobite army. On this voyage they were captured by the British ship Sheerness and sent directly to the Tower of London where he was retried and condemned to death for his involvement and escape of the ’15h and his obvious support and involvement in the ’45.

William Boyd, 4th Earl of Kilmarnock (1705-1746)

Boyd’s career as a Jacobite is marred with conflicting sides and evidence. He appears to have been perhaps a soldier chasing fortune, not the complete political or religious ideal. In the uprising of 1715 he followed his father, the 3rd Earl of Kilmarnock, into battle under their own regiment in support of the government.

His father died in 1717 and he succeeded him to lands and titles. Sadly, his land by this point was encumbered and Boyd later confessed his was a ‘careless and dissolute life’ marked by ‘vanity, and addictedness to impurity and sensual pleasure’. He played an active part in the peer’s elections and rarely, if ever, voted against the ministry and establishment.

In the hotly contested 1734 election, it was noted by the opposition, he was brought back from France by the government, indeed at their expense, and both he and his wife received pensions of £200.

Present at Culloden and in the rear guard, but in the heat of the closing stages of the battle they mistook the Hanoverian Royal Dragoons as a Jacobite regiment and were captured.

Imprisoned at Inverness he was transported to London and tried for High Treason at the House of Lords, with Earl Cromarty and Lord Balmerino. While he pled guilty he repented for his part in the Jacobite actions, however to little avail. Even with supporters such as the Duke of Hamilton and Lady Townshend making pleas for leniency he was sentenced to death.

As with Lord Balmerino, he was accused of acting upon Prince Charles’s, apparent order to ‘give no quarter’, he and Balmerino opposed this view and were publicly interviewed of the facts. Although repenting his part in the ’45 he and Balmerino (staunch to the end) ended their lives together and as friends.

Dressed in black, he met his final moments bravely and in his statement said that “his punishment was just”.

Unlike many others executed in London, Boyd’s head was not displayed and was reunited with his body in the coffin, buried within the Tower of London, perhaps allowed due to his attempt to repent his part in the uprising or as a small gesture to the fact he was the highest-ranked peer to be executed for these crimes.

Arthur Elphinstone, 6th Lord Balmerino and 3rd Lord Coupar (1688 - 1746)

Arthur Elphinstone was a member of a family with the tradition of ‘fierce Episcopalian nationalism’, his father before him had been an opponent to the Act of Union in 1707, however Arthur wrestled with his beliefs and accepted (as many other Jacobite did) a commission under Queen Anne in Lord Shannon’s regiment. Fighting in the ’15 for the Hanoverians he deserted to the Jacobites and on the eventual defeat of the uprising had to flee to Avignon where he appears as a Lieutenant Colonel in the refugee lists.

By October 1745 he joined Prince Charles Edward Stuart as an Honorary Colonel commanding forty horse in the Life Guards. He was present on the march south to England and was the first commander to take his troops into Derby.

However, by the time Walpole left office his pension had been withdrawn and his leanings change markedly to becoming a high profile Jacobite – for which he will forever be remembered. He is quoted as telling the Duke of Argyll “for the two Kings and their rights, I cared not a farthing which prevailed; but I was starving, and, by God, if Mahommed had set up his standard in the Highlands I had been a good Mussulman for bread, and stuck close to the party, for I must eat”.

He was relatively late in joining the cause, in October of 1745, and had no part in the planning of the uprising. He was one of the few lowland Peers who followed Prince Charles and it can still be debated if this was with the view to restoring his fortunes alone.

After joining he quickly rose through the ranks and was named to the Privy Council. Although an advisor he generally followed the will of Charles and was not as outspoken as many other important figures. He commanded a troop of Horse Guards and led their march south into England. His local knowledge helped him distinguish himself on 17th January 1746 at the battle of Falkirk.

William Boyd, 4th Earl of Kilmarnock (1702- 1746).

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At Culloden he was at Prince Charles side and as the battle led to defeat, he helped Charles away from the field and to his eventual escape.

After the defeat, and against Lord Elcho’s advice, Balmerino gave himself up to the Hanoverian troops.

His thinking behind this is unclear, as a nobleman so closely involved in the ’45 and in ’15 (and worse as a deserter to the Hanoverians). He was charged on 29th July with high treason and pled not guilty. He conducted his own defence and, unlike Kilmarnock and Cromarty, he did not request mercy.

He is perhaps best remembered, along with Kilmarnock, as the two voices which stood beside Prince Charles and defended the Hanoverian claims that Charles had ordered no quarter be given to Hanoverian prisoners or soldiers. Not only did Balmerino refute this in a public interview with Kilmarnock but also in his final moments from the gallows before his death.

On the gallows he wore a plaid cap under his wig, showing his loyalty to Scotland to his final moments.

He also handed the executioner, John Thrift, 3 guineas requesting he carry his work out professionally and swiftly. It however still took three blows to sever his head.

His final words upon the gallows of Tower Hill were a prayer. Adamant to the end, he ended his support for the cause in such staunch manner no doubt to his commitment could be levied,

“O Almighty God, I humbly beseech Thee to bless the King, The Prince, and Duke of York, and the dutiful branches of the Royal Family. Endue them the Holy Spirit, enrich them with them thy heavenly Grace, prosper them with all happiness and bring them to thine everlasting Goodness, all my benefactors and the faithful adherents to the Cause for which I am about to suffer…….. God preserve my friends, forgive my enemies, restore the King and have Mercy upon my Soul’ At the end of this prayer he immediately gave the signal for the executioner to compete his task.

Simon Fraser, 11th Lord Lovat (1667/8-1747)

Simon Fraser came from a line of Jacobites including his father, Thomas, who had played a powerful role in the Jacobite rising under John Graham of Claverhouse, Viscount Dundee, in 1689, for which he suffered imprisonment. In 1690 Thomas Fraser served with the

Jacobite general Thomas Buchan, and six years later he allied with James, Lord Drummond (later second Duke of Perth) and other nobles in an attempt to capture Edinburgh Castle for James VII and II.

Simon had a rather colourful and, in some cases, unseemly early life, trying to bribe family members to change inheritance and lands to his benefit. Trying to force his cousin to marry him when his bribery failed, however marrying her protector under duress in her stead, only to call the marriage a sham joke years later when its value was not apparent – having married two other women while not divorced from her.

Trouble followed him most of his early life and it took a pardon from King William, only after he had been found guilty of High Treason. However, this plea to King William was for personal gain only and he was still harboring his Jacobite feelings. Shortly after he made two trips to the Jacobite Court in St Germaine.

To further cement his relationship in the Stuart court, and after King William’s death, he converted to Catholicism and met with Mary of Modena and the titular James VIII and III. He aligned himself with the Duke of Perth’s factions and was promoting an uprising from as early as 1703.

By 1715 he had bought his pardon and return to British soil and was based in London. By this time the Duke or Argyll had convinced him to support King George I. He headed north towards Inverness and took and held the city on behalf of King George. His fortunes now changing for the better, he appeared a Hanoverian. However, the disbandment of his forces and the city handed to others meant his income fell and his rise was short lived. This likely helped push him away from the Hanoverians and before long back to the Jacobites.

This toing and froing of side to side was as blatant as it was regular and it appears it was only his highly regarded charm that kept him out of trouble. This renowned charm got him not only into, but more often out of, some rather tricky situations between King George and King James on both sides.

By 1745 it was clear that his Whig allegiances had not given him the power, land and full title he had expected and this seems to have sent him back, for a final time, to the Stuart cause. As early as 1690 King James had promised him reward for his support such, as Lieutenant-General of the Highlands; furthermore, the Pretender might be willing to elevate him to a Dukedom. In 1739 Lovat was the first to join the association formed to invite the Pretender to land in Scotland; his allegiance was secured.

Although a player from the outset in the return of Prince Charles Edward Stuart, Lovat was not at Glenfinnan in August, in part due to feigned sickness possibly in part as the promised patent of Dukedom had not reached him. This countered with the nonarrival of the French troops, part of the original party’s plans perhaps caused him some points of thought.

Even throughout the campaigns. once he had pledged the Lovat Frasers and himself to the cause, he was keeping all avenues open and wrote regularly to the Whig hierarchy, with them still hoping that if they could not turn him they could at least secure his neutrality.

By 1746 Lovat was in his 80s and hardly a player on the battlefield. This fell to his son and heir who was threatened by disinheritance not to take part. He indeed was captured and imprisoned in Inverness, only to escape with help from local friends.

After the defeat of Culloden, Prince Charles fled and sought shelter from Lovat, who urged him on and promised men for another battle, presumably seeing his hopes, land, fortune and life slipping from his grasp. Charles declined and left, and Lovat fled his home too. In his escape he was captured by Hanoverian troops sailing up Loch Morar as he hid in a hollow tree to evade capture. However, the tree could not hide him and he was spotted and captured and taken prisoner to Fort William.

Effigies of the late Earl of Kilmarnock, and the late Lord Balmerino.

Transported to London, he was interviewed and famously sketched by William Hogarth. Lovat at this

Simon Fraser, Lord Lovat (1667-1747). © National Portrait Gallery, London.

time was described by the Gentleman’s Magazine:

“Lord Lovat makes an odd figure, being generally more loaded with clothes than a Dutchman with his ten pair of breeches; he is tall, walks very upright considering his great age, and is tolerably well shaped; he has a large mouth and a short nose, with eyes very much contracted and down-looking, a very small forehead, almost all covered with a large periwig; this gives him a grim aspect, but upon addressing anyone he puts on a smiling countenance”.

He was tried for High Treason before the House of Lords and gave his own defence. At the end of his case, in inimitable fashion and charm he replied “, ‘Nothing except to thank your lordship for your goodness to me. God bless you all, and I wish you an eternal farewell. We shall not meet again in the same place; I am sure of that”.

While public executions always attracted crowds, that of Simon Lord Lovat attracted a huge crowd by any measure. Perhaps the larger than life character, his life story and advanced age convinced more to turn out for this. Due to this popularity the crowds were huge and too much for the erected scaffolding platforms to hold, resulting in their destruction under the weight of the crowd, killing 20 spectators. In his larger than life character, Lovat found this implausibly funny and was seen to laugh heartily and loud all the way to the executioner’s block. It is reputed that this is the origin of the saying to ‘laugh your head off’ Lovat apparently laughing till his final moments. This seems a little extension of the truth as his final words are recorded, taken from Horace, ‘Dulce et decorum est pro patria mori’ (‘It is sweet and proper to die for one’s country’), then turned to moralising by quoting Ovid’s ‘Nam genus et proavos, et quae non fecimus ipsi, Vix ea nostra voco’ (‘For those things, which were done either by our fathers or ancestors, and in which we ourselves had no share, I can scarcely call our own’).

Among the Four Peers and 120 Jacobite executed he was last and indeed the last person to be publicly beheaded in Britain.

References:

Jacobite Rings, Proceedings of the Society of Antiquaries of Scotland 1945-46, pages 127-131 R. B. K. Stevenson, M.A., F.S.A.Scot Catalogue of Finger Rings in the British Museum, O M Dalton, 1912, No. 1417

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“I am now in my Boots to join the Prince . . . every Scotsman in his senses will go the same way”

William Boyd, 4th Earl of Kilmarnock

21 An important Scottish provincial quaich

William Clerk of Glasgow, marked to rim with indisinct makers mark sturck three times, of conventional form with engraved panels of flower head and thistle to exterior with withie line under, the twin shaped lugs with hatched borders and initials ‘IS’ and ‘MI’ within 19.5cm across handles, bowl 12.5cm diameter, 6.5oz

Provenance: William Boys, 4th Earl of Kilmarnock Christie’s, London May 9th 1898 Colonel Sir Ian Walker-Okeover, Bart Collection Thomas Lumley, London John Hyman Collection, 2008 Private Collection

Literature: Further Reflections of Scottish Silver, Antiques Magazine, Aug 1998, J Hyman ‘I am now in my Boots to join the Prince’ and that ‘every Scotsman in his senses will go the same way’

£10,000-20,000

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Note: William Boyd, 4th Earl Kilmarnock succeeded his father in 1717. Son of William Boyd, 3rd Earl and Euphemia (daughter of 11th Lord Ross). He was educated at Glasgow University and, in early life, a country Whig with a great political background. A lifelong member of the Church of Scotland, he married Lady Anne Livingstone, from an Episcopalian family, whose father was James 5th Earl of Linlithgow and 4th Earl of Callendar. Through her aunt she was also heir to the title of Countess of Erroll.

It is this family connection that likely helped sway Boyd from his Hanoverian leaning of the ’15, to his Jacobite support for the ’45. The possible restoration of his fortunes and the rumour that his wife’s aunt would disinherit them of the titles of Earl and Countess of Erroll if he did not come out for the Young Pretender in ’45.

Boyd’s involvement in the uprising is best stated in his own words, recorded by Rev James Foster who attended him in prison.

When I asked him, ‘what could be his motive to engage thus in the rebellion against his conscience, in defiance of God, and in violation of sacred oaths, and, consequently, in contempt of all laws divine and human, all types of justice and honour.’ He answered, ‘That the true root of all was his careless and dissolute life, by which he had reduced himself to great and perplexing difficulties; that the exigency of his affairs was in particular very pressing at the time of the

rebellion; and that, besides the general hope he had of mending his fortune by the success of it, he was also tempted by another prospect of retrieving his circumstances, if he follow’d the pretender’s standard.

His love of vanity, and addictedness to impurity and sensual pleasure (he said) had not only brought pollution and guilt upon his soul but debased his reason, and, for a time, suspended the exercise of his social affections which were by nature strong in him, and, in particular, the love of his country:’ So that his rebellion was a kind of desperate scheme, proceeding originally from his vices, to extricate himself from the distress of his circumstances…..”

Upon his death the lands and titles were forfeited, as with many other Jacobites. However, his eldest son, James Lord Boyd, who had fought on the government side at Culloden successfully regained them through litigation in 1751. By 1758 he had also inherited the earldom of Erroll from his great aunt.

A family divided by the ’15 and ’45, their support for both sides perhaps muddied the waters, or indeed gives a telling example of the war torn nature of the British isles with family fighting against family (rarely as closely as father against son). To try and come out on the winning side of a war that arguably had no clear winner, certainly not the nation of Scotland they aimed to support.

For further discussion on William Boyd’s involvement in the ’45 and his place within the Four Peers see proceeding lot.

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King James VIII & III 22 AFTER ALEXIS SIMON BELLE (FRENCH 1674-1734)

PORTRAIT OF KING JAMES VIII AND III In a feigned oval, oil on canvas 74cm x 61cm (29in x 24in) £400-600

23 18TH CENTURY COPY AFTER FRANÇOIS DE TROY

HALF-LENGTH PORTRAIT OF JAMES FRANCIS EDWARD STUART In a feigned oval, oil on canvas 64cm x 76cm (25in x 30in) £2,000-3,000

24 AFTER DOMENICO DUPRA

KING JAMES III & VIII AS A YOUNG MAN Oil on canvas 38cm x 32.5cm (15in x 12.75in) £2,000-3,000

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25 James Francis Edward Stuart

26 James Francis Edward Stuart

27 James Francis Edward Stuart

Engraved portrait, [Paris?:] engraved by F. Chereau after Alexis Simon Belle’s portrait of 1712, c.35.5 x 25.5cm, framed and glazed £200-300

Jacobus III. mag. Britan. &c. aRex Fidei Defensor. Paris: chez le Roï, after Alexis Simon Belle, engraved 1708, c.29 x 20cm, framed and glazed £150-250

Jacques François Edouard Prince de Galles...

Paris: engraved by N. de L’Armessin, showing James Francis Edward Stuart as a small boy, after 1690, 27 x 18.5cm, framed and glazed £150-250

28 James Francis Edward Stuart

29 AFTER ALEXIS-SIMON BELLE (FRENCH 1674-1734)

30Y AFTER FRANCOIS DE TROY (FRENCH 1645-1730)

Jacobus Tertius Magnae Britanniae Rex, engraved by Marie-Nicolle Horthemels, Paris, after A. S. Belle: Belle, c.40 x 26cm, framed and glazed, first-state engraving (with title in Latin rather than French) after Alexis-Simon Belle, 1714

Note: The print of James Francis Edward Stuart, ‘James III’ of Great Britain or ‘the Old Pretender’ depicts the sitter wearing the robes of the Order of the Garter and the chain with the Greater George jewel of the Order. Belle’s original 1714 portrait was painted at Bar-le-Duc where James had set up his court in exile. The painting is the first instance of James identifying himself in his iconography as king, having concealed his ambition whilst Anne was on the throne as he was hoping to succeed her. When George I of Hanover became king, this concealment became impossible. The original painting is lost and this print is its only record.

£80-120

PORTRAIT MINIATURE OF KING JAMES VIII AND III Watercolour

PORTRAIT MINIATURE OF KING JAMES VIII AND III, C.1698 Miniature on ivory

Note: This miniature is a copy after Alexis-Simon Belle (French 1674-1734), James III, 1712. Belle worked for the Stuart court from 1699. He was married to the miniature painter, Anne Cheron, and the couple lived in Saint-Germain, home of the Stuart court, from 1702. Belle became the official painter to the Stuart court on the finishing of his large-scale portrait James III with a Page in 1703. He continued painting portraits for the Stuarts until 1714, ultimately completing ten portraits of James III.

31 A James III ‘Peace Negotiations at Gertruydenberg’ medallion

8cm x 6cm (3in x 2.25in), oval

£1,000-1,500

7.5cm x 5.5cm (3in x 2.25in), oval £1,000-1,500

by N. Rottier, with right facing bust and motto ‘CVIVS EST’ to obverse, the reverse with map of British Isles with ships at sea 35mm £80-120

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Maria Clementina Sobieska 32 AFTER ANTONIO DAVID

PORTRAIT MINIATURE OF MARIA CLEMENTINA SOBIESKA Miniature on copper, gilt and ebonised frame 7.5cm x 5.5cm (3in x 2.25in), oval

Note: This miniature is a copy after Antonio David (Italian 1698-1737) Maria Clementina, 1719. Following her marriage to James VIII and III, a portrait of Clementina with appropriate royal regalia was urgently required to be sent to Paris as well as engraved and distributed. David was commissioned to paint this work, with the crown visible on the left hand side of the composition.

It was engraved by a variety of engravers though not always correctly attributed as after David. Some of the later copies omit the crown, making the subject more difficult to identify and thus safer for those artworks to be sent to Scotland and England.

£1,500-2,500

33 AFTER ANTONIO DAVID MARIA CLEMENTINA Oil on canvas

64.5cm x 49cm (25.5in x 19.25in) £1,500-2,500

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Prince Charles Edward Stuart

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34 Charles Edward Stuart

Carolus walliae princeps &c. &c. &c. [Paris?]: engraved by J.G. Well after L. Tocqué, 1748, engraved area c.45 x 33cm, framed and glazed Note: This half-length portrait shows Charles Edward Stuart as prince, wearing armour.

£200-300

35 Charles Edward Stuart

Everso missus succurrere seclo. Paris: chez Chereau, [n.d., between 1736 and 1792], engraving, 26 x 18.5cm, framed and glazed £200-300

36 Charles Edward Stuart

Everso missus succurrere seclo. Paris: chez Chereau, [n.d., between 1736 and 1792], engraving, c.27 x 19.5cm, framed and glazed £150-250

37 Charles Edward Stuart and Princess Louise of Stolberg-Gedern

Pair of engraved portrait miniatures depicting Charles Edward Stuart and Princess Louise of Stolberg-Gedern, engraved by Alessio Giordoni, 1774, after Ferdinando Hamerani’s marriage medal of 1772, each engraved area c.8 x 6cm, framed and glazed £150-250

38 Charles Edward Stuart - Manzi, Joyant & Co.

Coloured engraving of Charles Edward Stuart .

Asnières-sur-Seine, 1900, engraved by Manzi, Joyant & Co. after Largillière, taken from Lang’s Prince Charles Edward, 1900, engraved area c.23 x 18cm, framed and glazed £100-150

38A An early 20th century bronze plaque

Of rectangular outline with Celtic border and with interlace, enclosing a profile portrait of Prince Charles Edward Stuart, with indistinct signature, the suspender formed as a pierced Jacobite rose £200-300

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39 A mounted lock of hair and portrait of Prince Charles Edward Stuart

the red velvet backing set with oval glazed engraved portrait of Prince Charles Edward Stuart, with oval separate locket below containing a small lock of hair with a gilt metal crown above velvet board 19.5cm x 28cm £250-350

40 CIRCLE OF NICOLAS DE LARGILLIÈRE (FRENCH 1656–1746)

JAMES FRANCIS EDWARD STUART & PRINCESS LOUISE MARIE THERESA STUART AS CHILDREN Oil on board

38cm x 29.5cm (15in x 11.5in)

Note: Indistinctly inscribed in script on old label verso: “The Pretender.... and his sister... in the Gardens of the Palace of St. Germain. This rare portrait is painted by Largilliere...”. Bears further old labels verso.

In the painting the children are accompanied by a greyhound. The dog is one of the many elements in the portrait which symbolise both the loyalty of Louisa to her brother and of the Jacobins to James II and his son.

The National Portrait Gallery, London holds an almost identical version of this portrait, painted by Largilliere in 1695 (NPG 976). They record the existence of several further versions of this painting: In addition to NPG 976, full size versions are in the Uffizi; in the collection of the late HM Queen Elizabeth, the Queen Mother (from 1965), and of Mr and Mrs T. Loman, California. One was apparently among the forty family pictures sent to Florence in 1785. [2] The Uffizi version, [3] listed in the 1890 inventory, may well have been there since the 18th century while the Queen Mother’s, at Sotheby’s, 10 February 1965, lot 90, may be from the Hamilton collection, Christie’s, 8 July 1882, lot 1110, possibly painted for the Jacobite supporter James, 4th Duke of Hamilton (1658-1712). A small copy, formerly in the Bernal collection and subsequently at Clumber, was last seen at Christie’s, 23 November 1962, lot 57. Among separate copies of the figures of the Prince and Princess a three-quarter length of the Princess was lent by Sir R.T. Gerard to the ‘NPE’ 1867 (197) and a half length of the sitter was at Sotheby’s, 9 May 1951, lot 109.

£1,500-1,800

41 AFTER LOUIS TOCQUÉ

CHARLES EDWARD STUART Oil on canvas 75cm x 61cm (29.5in x 24in) £500-700

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42 PORTRAIT MINIATURE OF PRINCE CHARLES EDWARD STUART Watercolour

5.5cm x 7cm (2.25in x 2.75in)

Note: This unusual landscape-format miniature appears to be created from a combination of existing portraits and print sources, to depict a young prince in armour. The source of the Prince’s likeness was irrelevant to Jacobite supporters, as long as the image was recognisable and in some way communicated the Stuarts’ entitlement to the British throne. The window to the left-hand side of the composition seems to offer a view over sea to the British coastline, indicating the land that the Stuarts were claiming their sovereignty of but were presently separated from, hence the infamous Jacobite toast, to ‘The King over the Water.’ The composition with the landscape seen through a window in the top left hand corner strongly recalls portraits in the University and Trinity House collections in Aberdeen, attributed to Charles Whyt, suggesting a northern Scottish provenance.

£800-1,200

43 AFTER SIR ROBERT STRANGE (BRITISH 1721-1792)

PRINCE CHARLES EDWARD STUART, C.1749 Watercolour, contained in a simple silver mount previously the cover of a portrait snuff box 6.5cm (2.75in) diameter, circle

Provenance: Property of Sir Henry S Fernyham Bt., London

Note: With exhibition label (exhibition unknown) showing a description for this item.

This miniature is a copy after Robert Strange’s mezzotint Prince Charles Edward Stuart c.1749. Strange (Scottish 1721-1792) is an artist synonymous with Jacobite portraiture and this image a very familiar view of the Prince, as Strange had captured his likeness in both a mezzotint and engraving. Both of these works were very widely distributed following the rebellion of 1745, and became the most utilised basis for copies right up until 1760. In a large number of the copies, as here, the plain coat of Strange’s original outfit is transformed into a tartan coat, a type of cloth that had quickly become synonymous with Bonnie Prince Charlie and the Jacobite cause.

£500-800

44Y PORTRAIT MINIATURE OF CHARLES EDWARD STUART An ivory and watercolour miniature, silver plated mounts 5.5cm x 4.5cm (2.25in x 1.75in)

Note: This miniature is a copy after Robert Strange’s engraving Prince Charles Edward Stuart c.1749. Strange (Scottish 1721-1792) is an artist synonymous with Jacobite portraiture and this image a very familiar view of the Prince, as Strange had captured his likeness in both a mezzotint and an engraving. Both of these works were very widely distributed following the rebellion of 1745, and became the most utilised basis for portrait copies right up until 1760. At first the copies were drawn directly from the originals with only minor additions or subtractions, but later copies are clearly copies of copies and more visually distant from the original. This miniature remains true to Strange’s engraving.

£300-500

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45 PORTRAIT MINIATURE OF CHARLES EDWARD STUART Over-painted print

7.5cm x 5.5cm (3in x 2.25in)

Note: This miniature appears to be a copy after William Mosman (Scottish c.1700-1771).

£200-300

46 PORTRAIT MINIATURE OF CHARLES EDWARD STUART watercolour

8cm x 6.5cm (3.25in x 2.5in)

Note: This miniature is a copy after Robert Strange’s engraving Prince Charles Edward Stuart c.1749. Strange (Scottish 1721-1792) is an artist synonymous with Jacobite portraiture and this image a very familiar view of the Prince, as Strange had captured his likeness in both a mezzotint and an engraving. Both of these works were very widely distributed following the rebellion of 1745, and became the most utilised basis for portrait copies right up until 1760. At first the copies were drawn directly from the originals with only minor additions or subtractions, but later copies are clearly copies of copies and more visually distant from the original. In a large number of the copies, as here, a bonnet is added and the plain coat of Strange’s original outfit is transformed into a tartan coat, a type of cloth that had quickly become synonymous with Bonnie Prince Charlie and the Jacobite cause.

£500-800

47 CHARLES EDWARD STUART

Copper engraved portrait of Charles Edward Stuart, engraved by T.Scott, c.1745?, 19.5 x 24cm, contemporary hand-colouring, border ruled in red

Note: The engraving comprises a half-length portrait of Charles Edward Stuart facing left, wearing the order of the garter, a green sash and blue bonnet with white cockade. The portrait is framed within an ornamental cartouche and sits positioned on top of an anchor flanked by women, a rose and a thistle. A winding scroll reads Multum Ille iactatus In Alto Pervenit In Latium Tandem (Much tossed on the sea, he at last reaches Latium), identified by Neil Guthrie as words based on lines from the prologue of Virgil’s Aeneid, comparing Charles to Aeneas, who succeeded to greatness in Rome despite past misfortune . Likewise, the rose and thistle are clear references to England and Scotland, whilst the flowers surrounding the cartouche show roses in bud and full-bloom forms, a common allegory of the three Stuart claimants.

The engraving appears to have been published independently of any other work. An uncoloured version can be found in the Walter Blaikie Collection of Jacobite prints in the National Library of Scotland, as variant 6.8B.

£400-600

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48Y Prince Charles Edward Stuart’s, ivory and silver mounted baroque flute

the ivory shaft composed of four sections, shaped detail to mouthpiece, simple reeded silver collar mount

61cm long

Provenance: Property of Mrs Gordon of Hallhead Seized as a Jacobite relic from her property by Major-General Henry Hawly, from her house in Aberdeen when billited there on Hanoverian side February 1746 By repute given to a member of his staff Private Collection Notes: Amongst the most important Jacobite families of the North East were the Gordons of Hallhead. Robert Gordon, claret merchant in Bordeaux has connection to the Stuart court likely in both Scotland and mainland Europe.

Their name is attached as source and sometime owner of one of the most important Jacobite relics housed in the in the Stonyhurst College collection, the powder horn belonging to King James VII. They can be easily considered Aberdeenshire Jacobite Gentry with close family connections within this group in the North East.

£4,000-6,000

49 Prince Charles Edward Stuart’s riding crop

the ball shaft and baluster wooden handle covered in woven horse hair with embroidered red, white and blue details, small handwritten tag attached inscribed ‘Whip which belonged to Prince Charles 1745’ 61cm long £3,000-4,000

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50* A lock of Bonnie Prince Charlie’s hair

the lock of hair in simple scroll, within an inlaid wooden frame frame 9.2cm x 10cm

Provenance: Crown Prince of Bavaria Gifted to Rev Dr Donald Orman Harold Moyse Gifted to Mrs Shelagh MacLeod (nee Boyd) By direct descent

Note: With accompanying letter stating ‘This is a genuine lock of Prince Charles Edward Stuart’s (Bonnie Prince Charlie) hair. It was given to the Rev Dr Donald Omand, an Anglican Priest, by the ex crown Prince of Bavaria, whose mother was a member of the Stuart Clan.

The Rev Dr Donald Ormand requested that it should be given to me, Harold Moyse, who is of Scottish descent at my death it must be given to a Scot whom I shall name. Should the person named below refuse to accept it, it must be given to a museum in Edinburgh which has the only other lock of the Princes hair in existence. The person whom this is to be given is Mrs Shelagh MacLeod (nee Boyd) of 19 Clunie Street Banff, Grampian AB4 I47. If unable to trace there refer to her parents ‘RedLaugh‘ West Main Street Blackburn W.Lothian’

£500-600

51Y A lock of Prince Charles Edward Stuart’s hair

the woven hair mounted on a ivory plaque, lozenge shape, with accompanied lose glazed font without mount, in a circular red leather box

30mm x 15mm

Provenance: Purportedly cut from Prince Charles Edward Stuart by John Stewart, Secretary to the Prince and given directly to the grandmother of Lady Nairn, Lady Strowen.

Referred to in the 1899 book by Rev George Henderson M.A, B.D, ‘Lady Nairn and her Songs’

£300-500

52 A pair of red velvet mounted wine coasters

each of circular outline, the body formed of wood and red lacquer, covered in red velvet with applied red silk bows 11cm diameter

Provenance: The material is said to have come from the offcuts of a suit of clothing the prince was gifted from Cardinal of York, via the tailor who made the suit, a Mr Maughan, to a Mrs Henrietta Trelfs. The suit itself was worn in Rome during 1769 by Prince Charles Edward Stuart during a trip to the Opera at which Mrs Trelfs was present.

It was then given by a Mrs Trelfs to her grandson, Frank Trelfs, in 1822; her letter is printed in the 1899 book ‘Lady Nairn and her Songs’, by the Rev George Henderson M.A, B.D.

£500-800

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53 Prince Charles Edward Stuart’s breast badge of the Order of the Thistle

the ivory silk field with silver bullion fringed border and cross, with central circular badge of The Order of The Thistle, with embroidered thistle within motto EMO . ME . IMPUNE .

LACESSIT, mounted and framed badge 7cm x 9cm approximately

Provenance: Bestowed upon Prince Charles Edward Stuart by his Father King James VII (and II of England) Gifted to James Drummond, 3rd Duke of Perth, by Prince Charles Edward Stuart after the battle of Culloden Then gifted to Mr and Mrs William King of Newmill, Elgin Handed down for four generations Archibald Stewart Leslie Esq. of Lesmurdle collection Exhibited at the Scottish Print Club ‘The Jacobites and their Adversaries’ Christies Scotland 12th June 1996, lot 100d

Note: The Most Ancient and Most Noble Order of the Thistle was first established in Scotland by King James VII of Scotland (II of England) in 1678, a reestablishment of a much older order. The true history of the earlier establishment of the Order is lost in history but some, spurious, histories suggest it was started as early as the 8th century. King James bestowed the Order on Prince Charles Edward Stuart as the first Royal member and his pride in this award was obvious.

Many of the most iconic and recognizable portraits commissioned by the Stuart’s feature Charles wearing his garter badge.

This items later history not only tells of close and important Jacobite connections but also the turmoil the fleeing defeated Jacobite’s had in the aftermath of the Battle of Culloden in 1746. The example worn by Prince Charles throughout the campaigns of 1745-46 is undoubtedly the example seen in the famous portraits and was a treasured personal possession. It was gift to the James Drummond 3rd Duke of Perth one of his most trusted supporters tells of a final gift given in the hardest of times. Drummond also undoubtedly considered it if great value using it to save his life. As is recorded in the Scottish Print Club

54 An 18th century gem set locket containing a lock of Bonnie Prince Charlie’s hair

of heart shaped outline, modelled in silver, the glazed panel set with a lock of Bonnie Prince Charlie’s hair in a foliate enamel border and initials CP, pink paste set border, the bale similarly set, the reverse with engraving ‘HAIR OF PRINCE CHARLES EDWARD AT 16YRS’ 3cm high including bale

Provenance: Previously in the collection of the British Archaeologist Louis Colville Gray Clarke, Curator of the Museum of Archaeology and Anthropology, University of Cambridge 1922-1937, and then Director of Fitzwilliam Museum in Cambridge from 1937-1946.

Note: Much of Bonnie Prince Charlie’s early years were spent in preparation for his fight against the Hanoverian monarchy to restore his father to the throne. It was a topic which dominated family life during his childhood in Italy, and as a strong believer in the divine right of kings and the legitimacy of the House of Stuart, the family life was one of privilege despite their exile. In 1734, the Young Pretender had his first experience of war whilst joining the Spanish forces at the siege of Gaeta where he reportedly conducted himself bravely. The lock of hair from this locket represents an early part of his life, during a period that he and his father were in pursuit of support to return to England and attempt to reclaim the throne.

£3,000-5,000

exhibition ‘lent by Archibald Stewart Leslie Esq. of Lesmurdle consisted of an embroidered silk badge of the Order of the Thistle which was worn by ‘Bonnie Prince Charlie’ during the campaign of 1745-46. After the fated battle of Culloden it was given by the Prince to the Duke of Perth. During his flight from Culloden the Duke to refuge in the house of Grey Friars, Elgin, the residence of Mr. and Mrs. William King of Newmill.

Here he was concealed, with two companions, in a hiding hole behind the kitchen fireplace. A Hanoverian search party failed to discover the fugitives, and after the departure of the troops the Duke presented the badge to Mrs. King as token of gratitude’.

The risk taken by the King family to hide three wanted Jacobites was a great risk and showed the support that was given to the fleeing armies. This was repaid with a personal relic of Charles and the cause, showing not only the value placed by giver but also receiver, the token being payment for the possible retribution that would have befallen the King family.

Although a simple piece of embroidery, the iconic nature of the piece still resonates today.

£1,000-2,000

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55 Prince Charles Edward Stuart’s pocket watch

the French gold case with charge mark JQ, Elio Bircharch Paris 1758, with finely enamelled reverse with cypher an star within oval cartouche, crowned above all in gold, with enamel lion, unicorn, roses and thistles flanking, the out border composed of gold and enamel trailing rose bud, oak leaf and acorn border, with diamond set thumbpiece and enamel bezel, the dial with green enamel ground and roman numerals with arabic chapter ring, the verge movement signed ‘In Obsquii Rignus Devotissimus Carus’ dial 40mm, case 46mm

Note: While Jacobite symbolism is seen in many and varied objects, the wealth displayed on this piece can leave no doubt to its importance. From the obvious use of green, a Catholic colour (the crowned cypher being a standard emblem within Royal silver and jewellery); the addition of the star is seen on various Jacobite works, most notably glass. The Scottish royal supporters of lion and unicorn and the delicate thistles and roses are also used, all contained within a border of oak, the symbol of strength and used for the Stuart line as early as Charles II, hiding in the famous and celebrated Boscobel Oak during the English civil war.

The inscription to the movement leaves little doubt as to the intention of the decoration 'A most devoted dear token as an offering'.

£15,000-25,000

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56 A fine 18th century Jacobite portrait decanter

the baluster body with simple straight spout and facetted diamond stopper, the main body engraved with facing portrait of Prince Charles Edward Stuart in a circular cartouche with banner inscribed ‘AUDENTIOR IBO’ above, the reverse finely engraved with large displayed open rose head with open and closed buds within foliage 27cm high

Provenance: Previously in the collection of Sir Hector Munro, Baron Munro of Langholm, who was a conservative politician and member of parliament for Dumfries for 33 years.

Purchased at Sotheby’s 24th November 1986, Lot 34.

Note: While Jacobite glasses of all forms are well recorded, including those scarce examples with portraits, the survival of Jacobite decanters such as this in any form is extremely rare. This particularly fine example is not only rare with respect to the quality of the engraving and iconography but more so in the use of such an overt portrait of Prince Charles Edward Stuart.

As seen with surviving glasses, only a very small percentage have such overt representations of Charles and finding one in such a large and fine scale on a decanter is highly unusual. It is considered that only a very small handful of Jacobite decanters of any form survive and this is perhaps one of less than five featuring a portrait.

£4,000-6,000

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57 A large Jacobite goblet

the deep bell shaped bowl with finely engraved facing portrait of Prince Charles Edward Stuart within laurel leaf cartouche, the banner inscribed ‘AUDENTIOR IBO.’ above, flanked by intertwined displayed rose heads and bud and with displayed thistle and star above to reverse, raised on four air dropped knopped stem and large spreading circular foot 23cm high £800-1,200

58 A fine large Jacobite wine glass

the drawn trumpet bowl finely engraved with profile portrait of Prince Charles Edward Stuart within a laurel leaf cartouche with ribbon above inscribed ‘AUDENTIOR IBO’ with oak leaf spray below, the reverse with large display of an engraved open rose flanked by open and closed bud and thistle within rose leaves, on a tapered plain stem with tear drop air bubble, the domed foot with engraved Prince of Wales feather and folded foot 20cm high £1,500-2,500

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59 A scarce pair of large Jacobite ale glasses

the bucket bowls slightly tapered engraved large displayed rose head flanked by open and closed buds, the reverse with moth, on a large straight stem with domed foot with folded rim (2) 16.5cm high

£3,000-5,000

60 An impressive large Jacobite tumbler

the deep tapered bowl with engraved portrait in profile of Prince Charles Edward Stuart within a laurel leaf cartouche, each side flanked by open rose with twin open and closed buds 17cm high

Note: The large scale of this tumbler is highly unusual in Jacobite glass and probably signifying communal drinking, either within a gathered group of Jacobite supporters or possibly in the Jacobite clubs which sprang up within the wake of the failure of the ‘45.

£1,500-2,500

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(reverse)

61 An important Jacobite “King Charles III” salt glazed teapot circa 1766

of tapered bullet form with cobalt blue glaze with white rose and rose bud decoration to body and cover, inscribed C*R / III, with moulded naturalistic branch formed curved spout and C scroll handle.

14cm high

Provenance: Byrom Family collection By descent

Note: This teapot is one of only two recorded of this Jacobite decoration and a very rare relic of Prince Charles Edward Stuart titling himself King Charles III. One other example is recorded within the collection of the British Museum (1938,0218.1.CR). Although unmarked, the style, date and use of such bold cobalt blue glaze suggests Longton Hall as a possible factory. As with most Jacobite ceramics no marks are present but this theory appears universally accepted.

After the death of his father, King James, Charles considers himself the heir to the thrones that they had been fighting for his whole life. He drops his assumed title as Prince of Wales, taking his rightful one as King Charles III.

The representation of Jacobite decoration in rose head and rose buds has also changed from the more commonly encountered rose and twin buds (representing King James, Prince Charles and Henry Benedict, Cardinal Duke of York) to show only two Stuarts, with one rose and one bud. The bud still remains closed for Henry Benedict as even after the death of his father he had no future claim to the lineage having denounced all claims previously.

This teapot must therefore date tightly to 1766 when the Stuart plight would again have been in the public conscious both on the death of James but the ascension of Charles.

A newly recorded example of this rare form, this teapot formed part of a collection of Jacobite relics held with the branches of the Byrom family. The Byrom family, particularly John Byrom (1692 – 1763) appear to have been important Jacobite supporters in England, based originally in the north of Manchester.

The 1745 uprising was not solely or, in many ways, predominately a Scottish uprising. The interest and influences in the cause had resonance throughout the United Kingdom and support was found in many areas within England. The planned invasion of England, from French shores, could only have worked with the support and timed uprising of English Jacobites. Their support throughout the campaigns is unquestioned, even if the timed uprising and invasion did not come to final fruition.

The Byrom Family had been supporters throughout the ’45 although their support appears to have been less public than some. John Byrom has variously been considered a Jacobite or indeed a double agent for the Crown. Both are possible as keeping an eye on both camps was not uncommon at the time, as falling on the wrong side after any eventual victory or defeat would, and did, prove dangerous. Byrom’s Jacobite sympathies and support are seen within this teapot, the ownership of such an overt object being a dangerous affair.

It seems likely that a man of such intellect and education played an important role within the organisation of the uprisings. His invention of ‘New Universal Shorthand’ in 1716 was not only used by King George II’s clerks in the House of Lords but was taught at both Oxford and Cambridge. He was granted sole right of publishing the art and method of such for twenty one years. Although the form was superseded in the 19th century this form was widely regarded in its day and used in many forms.

John Byroms Jacobite sympathies again cannot be questioned by his membership (and possibly founding) of Jacobite societies and indeed a version of his shorthand was engraved to the glasses of the society with Jacobite mottos hidden from view. Rarely glasses of this form are found with the motto ‘Down With The Rump’ engraved in shorthand. The toasts recorded for the club again show his clever use of double negatives God bless the King! (I mean our faith’s defender!)

God bless! (No harm in blessing) the Pretender.

But who Pretender is, and who is King,

God bless us all! That’s quite another thing!

£6,000-8,000

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62 A scarce Jacobite Staffordshire teapot

(reverse)

of bullet form with polychrome enamels with portrait of Prince Charles Edward Stuart within laurel garland cartouche, flanked with thistle and white rose, the opposing side with rose and floral bouquet, with naturalistic branch handle and spout with green enamel details, the pull-off cover with branch finial and thistle, rose and bud 14cm high

Note: Jacobite ceramics, while generally unmarked, seem to have stemmed from two main centres of production. Firstly Staffordshire and secondly the export trade from China. No Scottish made examples are recorded.

The range of wares and styles seems to predominantly (even within such a small survival) to have been for portrait representations of Prince Charles Edward Stuart, mainly taken from known portraits, or representations of the Royal Arms of Scotland in connection with known Jacobite symbolism. Items in any form are rare but more often they seem to have been made for communal use in relation with drinking, whether teapots, punch bowls or beer jugs. These combined with the survival of Jacobite drinking glass, show the culture of celebrating the Stuart line and the society in which these were used.

£5,000-8,000

63 A scarce Staffordshire Jacobite commemorative plate

of shaped circular outline with moulded rim and low releif lattice and basket weave panels with scrolls between to rim, the centre well with finely enamelled portrait of Prince Charles Edward Stuart in armour wearing garter sash, with laurel wreath above suspending two pennants for battle of Preston Pans and Falkirk, with scroll cartouches between with initials C S within, the ribbon below the bust inscribed ‘Success to Bonnie Prince Charlie’ 24.5cm diameter £5,000-8,000

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64 A fine French ormolu, porcelain and tortoiseshell hidden portrait snuff box

of simple circular outline, the ormolu body with inswept sides and simple repeating linear panels, the hinged cover set with domed porcelain plaque with fine representation of white rose buds with butterfly, two moths above and a caterpillar in foliage below, opening to reveal a second inner cover with reverse painted on glass portrait of Prince Charles Edward Stuart, the base of the box set with finely formed radiating panel of pressed tortoiseshell 7.5cm diameter

Note: The culture of hidden symbolism is synonymous within Jacobite applied art. The power of the portrait and images associated with any cause go back to the roots of self-promotion; from the ancient Egyptians representation of themselves in paintings and

sculpture to the political manifesto fliers received today.

But perhaps the Jacobite movement and Prince Charles Edward Stuart took this to a new level in the 18th century arts. From effigies in portraits and miniatures showing the Bonnie Prince and his father as they wished to be considered - strong military men with a divine right to the throne - to the propaganda placed by both sides throughout the uprising in medallions, symbolism and hidden meanings were abound.

After the defeat at the battle of Culloden in 1746, showing one’s Jacobite support was not only dangerous but a treasonous offence. The Act of Proscription in 1747 had banned tartan, bagpipes and controlled the Jacobite and Scottish identity, therefore, the ownership of any Jacobite items was a high risk affair.

The outer cover of this box shows a wealth of such hidden messages, the large white rose a clear display of political affiliation. A commonly used symbol within the movement but seen in this combination of a large open displayed rose head flanked by two buds (one open, the other closed) was a greater and powerful symbol. Representing King James VIII / III (of England) (the open rose), Prince Charles (the open bud

representing his claim and right to the throne) and Henry Benedict Stuart, Cardinal Duke of York (the closed bud showing the fact he had renounced his rights and his claim to the throne was now ‘closed’), to the second layer showing the three heroines of the uprising again as butterfly, and two moths.

The caterpillar beneath perhaps a slightly more covert symbol has always been to signify the passing of time and change generating new life and evolving into one’s rightful position.

These hidden emblems would have been known and obvious to supporters of the cause but remained hidden from Hanoverian forces and perhaps saved the lives of the owners. These hidden sympathies could be outwardly shown in close and trusted company with the revealing of the hidden portrait under the cover which left no doubt to those seeing or handling the box of the owner’s true sympathies.

It is interesting to note that the majority of these boxes are made in France or Europe (while English enamel examples do exist) and it was perhaps a small but important trade on the Continent supplying the interest of the Jacobites at home as well as the exiled Jacobites on the continent.

£4,000-6,000

65 A Bonnie Prince Charlie portrait ring

the oval portrait with glazed panel, in a single border of cut steel detail, to a plain unmarked yellow metal shank Ring size: I/J

Note: The image of Bonnie Prince Charlie in this ring is taken from a portrait previously attributed Alan Ramsay, and currently in the Derby Museum and Art Gallery.

£3,000-5,000

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66 Handbill - Offering a reward for the apprehension of George II

Charles Prince of Wales, &c., Regent of the Kingdoms of Scotland, England, France and Ireland, and the dominions thereunto belonging... [Kinlocheil?:] Jo Murray, August 22nd 1745, handbill c.31 x 20cm with some wear and repairs, hole to ‘r’ of ‘Prince’ Provenance: Stirling of Keir Castle, collection Private Collection

Note: Rare - ESTC T137848 lists only 3 copies in libraries in the British Isles (1 in the British Library & 2 in the National Library of Scotland)

The handbill offers a “...Reward of Thirty Thousand Pounds Sterling, to him or those who shall seize and secure, till Our further Orders, the Person of the Elector of Hanover...”, dated August 22nd 1745 “in Our Camp at Kinlocheill” signed “Charles, P. R. By His Highness Command Jo. Murray.” The proclamation was issued in response to a similar order for the apprehension of Charles Edward Stuart, offering £30,000 for his capture.

Exhibited: The Swords and the Sorrows. Culloden, National Trust for Scotland 1996, item 9:12

£1,500-2,000

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67 AFTER ANTONIO DAVID (ITALIAN 1698-1750) CHARLES EDWARD Oil on canvas

82cm x 64cm (32.25in x 25.25in) and another, Cardinal Duke of York, a pair (2)

Provenance: Sir James H Drummond, Hawthorden Castle By descent Private Collection

Exhibited: Stuart Exhibition at the New Gallery 1888-9 Bonnie Prince Charlie, Fact and Fiction, 2nd June 1995 - 28th April 1996

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Note: This striking pair of portraits depict the Princes’ Charles and Henry during their teenage years. David had been painting for the Stuart court for many years, including creating childhood likenesses of the boys. The slightly later pair, although very similar to the childhood portraits, present the Princes in more mature apparel, with Henry sporting a breast plate under his elaborate jacket and Charles in full armour, possibly in reference to his first military experience, witnessing the siege of Gaeta in 1734. This later pair of portraits, that the offered paintings are after, were the last portraits painted by David for the Stuarts.

£12,000-18,000

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Henry Benedict, Cardinal Duke of York

68 The Henry Benedict, Cardinal Duke of York sermon case

An important mid 18th century silver sermon case, unmarked, probably Italian, the simple rectangular hinged case cover finely engraved with the full armorials of Henry Benedict, Cardinal Duke of York, the reverse with applied cross centrally set with an emerald cut garnet, simple shaped hinged clasp, interior plain 18cm wide, 23.5cm high, weight 25oz

Note: Although an important member of the Stuart family, relics and personal property of Henry Benedict, Cardinal Duke of York are extremely rare. Although referring to himself as King Henry IX he was perhaps not as public a face of the uprisings, as may be expected. It is well recorded he worked in the background on his father’s and brother’s behalf. A fine full length portrait by Blanchet of him in his Cardinal’s robes along with his silver gilt rosewater laver and basin were in the Duke of Hamilton collection, sold through the famous Hamilton Palace sale of 1882, the latter now on loan to the National Museum of Scotland.

Henry lived his life in relative comfort, in comparison to his brother who was plagued by debts but his fortunes changed dramatically with the French Revolution, when, in 1799, his residence in Frascati was ransacked and he barely escaped with his life. He eventually settled in Venice and is recorded supporting his income by selling family and personal silver and art. It is likely this sermon case and scent flask were sold at this time to fund his life style. Old and infirm, it was undoubtedly an insult to his status but one which the touring nobles of Europe were pleased to support by visiting him and entertaining in his company, and in rare circumstances buying such personal and Jacobite relics.

Perhaps not as celebrated within the uprisings, it is not until the death of Henry Benedict in 1807 that the Hanoverian reign could finally consider the possible claim of the Stuarts to the throne extinguished.

£10,000-15,000

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69 Embroidered panel from Henry Benedict, Cardinal Duke of York livery

the silk square with embroidered full armorial of Henry Benedict, Cardinal Duke of York in fine silks and gold bullion overall 22cm x 17cm approximately

Note: While now only a part of what was presumably a much larger item of clothing this armorial would have been the focus of the piece. Its precise use or section within the original garment is unknown but it is more than likely from Henry Benedict’s personal wardrobe.

£1,800-2,500

70 A French gold mounted holy water flask

with French gold decharge marks c.1750, the pear shaped flask of panelled glass with scallop gold mounted collar and pull out stopper on chain, with red case 12.1cm long

Provenance: Henry Benedict, Cardinal Duke of York The Malatesta Family, Rome Purchased by Balfour Townley Balfour, circa 1842 By family Descent until c1985 Private Collection The Jacobites and their Adversaries, Christies Scotland 12th June 1996, lot 159 Private Collection

Exhibited: The Monarchs of England, New Gallery London, January 1902 Literature: Papers of Devotion of James II, Oxford University Press 1925

Note: The collection, now dispersed, of Balfour Townley Balfour was a fine collection of relics, portraits and miniatures formed at a very early period in the subjects interest. Buying from the early Victorian era the collection was formed at a time when good quality and finely provenanced items were becoming available and the culture and myth around objects was yet to form.

£8,000-12,000

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71Y PORTRAIT MINIATURE OF HENRY BENEDICT STUART, CARDINAL DUKE OF YORK watercolour on ivory in circular gilt brass frame 5.5cm (2.25in), diameter

Note: This miniature depicts Henry in later life, with his clothing clearly demonstrating his on-going commitment to a long career in the Roman Catholic Church. Henry was the fourth and final Jacobite heir to claim the throne, though unlike his predecessors he made no explicit effort to actually seize the throne. Following the death of his brother, Charles Edward Stuart, in 1788 the Catholic church did not recognise him as ruler. A miniature such as this suggested the owner remained committed to the Jacobite cause, even as definitive action started to seem to belong in a distant past.

£1,000-1,200

72 AFTER DOMENICO CORVI PRINCE HENRY STUART, CARDINAL DUKE OF YORK Oil on canvas 68cm x 53cm (27in x 21in) £500-800

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Stuarts: Supporters & Adversaries

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73 A Britannia standard Queen Anne sugar caster

London 1704, makers mark partially struck, of large baluster form with reeded girdle and engraved armorial within rococo cartouche, raised on a short stem and domed spreading foot, the bayonet fitted domed cover with pierced and engraved scroll and cast finial 22cm high, 17.5oz

Note: The armorial to the caster relates to the Coutts family, likely that of John Coutts of Edinburgh. Son of Patrick Coutts a tradesman of Montrose and latterly Edinburgh. John Coutts became a successful merchant in Edinburgh and was Lord Provost from 1742 1744.

Although a careful and successful business man involved in the finance and merchant banking world John was known for his lavish spending and banqueting at home during his time as Lord Provost, he was also a patron of the fine arts. His Jacobite or Hanoverian leanings were precarious as he had both family in Montrose with Jacobite sympathies but because of his position in Edinburgh a close tie with the Hanoverian ministers was safest. The family therefore seem to have carefully walked both edges of the divisive line.

The family would later help create the Coutts banking company in London and rise to become bankers to the Royal family. By 1758 in these new high standings Alexander Coutts became H.M. Heritable Usher for Scotland and held position as White Rod.

£2,000-3,000

74 A mid 18th century silver baluster snuff mull

unmarked, the baluster body with simple reeded girdle and foot rim, the hinged cover with scroll thumb piece and engraved armorial of Cluny MacPherson within foliate scroll formed cartouche 6cm high, 5cm wide, 3.2oz

Note: Ewen MacPherson of Cluny, better known as Cluny MacPherson, was chief of Clan Chatton during the 1745 Jacobite uprising. After the disastrous battle of Culloden, at which Cluny and his six hundred men weren’t present but were guarding the passes at Badenoch, and the demise of the Jacobite rebellion, Cluny went into hiding; arguably the most famous period of his life.

He headed towards Loch Ericht, and found a small cave, not much more than a hole in the ground with a fallen tree for a roof and was ultimately to remain there for nine years, hiding from the Hanoverian troops. He was joined by Bonnie Prince Charlie himself, for a period of five months; and it was said that during this time the young pretender asked Cluny for his thick plaid to keep him warm, refusing Cluny offered to share and so they reportedly slept under the same plaid for those five months.

He was later made famous by the novelist Robert Louis Stevenson in his 1886 novel ‘Kidnapped’; in which the main character David Balfour meets Cluny in his hiding place, known as ‘Cluny’s Cave’. Stevenson portrays him as a man who often entertains travellers, taking them in and entertaining them with a sense of dignity despite his meagre circumstances.

In 1765 Cluny escaped to France, but he died soon after, reportedly of a broken heart, pining for his native Speyside.

£800-1,200

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Note: The Carse of Fordelcarse family had been an important Stuart family within Scotland and Mark Carse Senior had been recorded a supporter of the Stuart line since the mid 17th century, although under the pressure of the Cromwellian advances it is noted by 1662 he apparently had switched sides when he is listed, within the Shire of Edinburgh, in the “Act containing some exceptions from the act of indemnity”.

75 The Carse of Fordelcarse snuff mull

A fine early 18th century ebony baluster snuff mull The ebony baluster body with simple girdle to lower section, the rim with applied butterfly hinge to domed ebony cover, the cover centrally set with a carved oval mother of pearl plaque with full armorial 5.5cm high

“But considering that by these troubles and rebellious courses many of his good subjects have been under great sufferings and liable to great loss for their affection and loyalty to his majesty, therefore, in order to their reparation, and for diverse important considerations of state, His Majesty, with advice and consent of his estates of parliament, has thought fit to burden his pardon and indemnity to some (whose guiltiness has rendered them obnoxious to the law and their lives and fortunes at His Majesty’s disposal) with the payment of some small sums, and in so far to except them from the benefit of his majesty’s pardon and, therefore, the king’s majesty, with advice and consent foresaid, has thought fit and, accordingly, does hereby declare, that the persons particularly after-mentioned, each of them for their own parts, are excepted from His Majesty’s pardon and indemnity, in so far as may concern the payment of the sums underwritten namely.

Within the shire of Edinburgh: ……. Mark Carse of Cockpen, £6,000”

His son Sir Mark Carse II, was not only a landowning gentleman but a military officer and is recorded;

“Of Cockpenne. Lieut. To the Master of Ross’s Troop 10 Sept 1680. Lieut. To Lord Ross’s Troop in Claverhouse’s Regt., 26 Dec. 1682; Comm. renewed by James VII. in March 1685; serving with the Regt. In England when it was struck off the establishment, Jan 1689. In the Lyon Office Matriculation Register reference is made to “Sir Mark Carse of Fordelcarse.”

Sir Mark Carse married Isobel Nicolson and had at least six children and it is most likely that their son Mark Carse III was the owner of this snuff mull.

Mark Carse III was actively trying to follow in the family line of military career and by all accounts on the side of the Stuart line. As early as 1706 he is seen petitioning the Earl of Marr for a military commission.

He was successful in this petition and was captured at Preston in the ’15 as fighting for the rebels and was taken prisoner to London, although no trial or charges appear to have been brought against him.

However, this does appear to be the beginning of the end for Sir Mark and his fortunes take a distinct down turn after the ’15, although he does manage to keep his lands and titles. In 1718 he was still owner and Laird of Cockpen but by the early 1730’s ownership and passed to Archibald Cockburn after various actions by creditors against him.

£600-800

76 A Jacobite snuff mull

with silvered metal mounts, the hinged cover with the date 1745 and inscribed beneath the collar ‘JOHN MORISON’ with a coat-of-arms and the motto ‘Uno Ictu’ 11cm long

Note: There was a John Morison of Banffshire listed as captured at the Battle of Culloden according the “Prisoners of the ‘45”. What became of him is unknown as no record of his trial or release has been found. It is possible that this snuff mull was engraved with the date 1745 at a later time to commemorate his involvement in the Jacobite uprising. Another potential candidate is John Morison of Bognie whose family had strong Jacobite ties

£400-600

77 An early horn beaker

of slightly tapered cylindrical form with concave lip and three moulded girdles, with attached handwritten note

22.5cm high, rim 8cm diameter (approximately)

Note: The attached note reading ‘Drinking cup belonging to Forbes of Culloden 70 years ago given by him to his ghillie whose son and daughter, an old pensioner before her death gave it to Mrs Souter Byrnie (?)’

Duncan Forbes, Lord Culloden 10 Nov 1685 - 10 December 1747 was a Scottish politician during the first half of the 18th century. During his years at school in Inverness he and his brother became well known for their sociable nature, to such an extent that the pair became well known as ‘the greatest boozers in the north’. Indeed, on the death of his mother in 1716, Forbes and the rest of the funeral party became so drunk that they turned up to the burial place, only to find they had forgotten the body!

In his later years, ill health having curbed his alcohol consumption, Forbes became increasingly politically active, particularly in the Whig cause. During the Jacobite uprising of 1715 he was notable for his loyalty to the Hanoverian cause, his brother joined forces with the infamous Simon Fraser, 11th Lord Lovat, to raise forces in support of the government. However, his increasingly public admonitions of the way the rebel prisoners were treated after the Battle of Sherrifmuir, aligned him more and more with the Jacobite cause. In the lead up to the 1745 uprising, Forbes travelled to the highlands to talk to many of the clan leaders, particularly Lovat in an attempt to dissuade them from supporting the Stuart claim to the throne, and after Culloden was again vocal about the cruelties inflicted by the Duke of Cumberland.

The increasing stress caused by his difficult position during the uprising ultimately lead to his death in 1747, however his legacy had by then become one of endeavouring for humanity, rather than of drunken prowess.

£200-300

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78 A mid-18th century momento mori ring

the central plaque of rectangular outline, the glazed panel with inlaid plaited hair and banded black enamel border, with engraved inscription to the rear reading ‘ James Drummond, Earl of Perth, 1746’, the shoulders with open twisted wirework detail to a reeded shank, unmarked ring size, O, plaque: 20mm x 15mm

Provenance: Family collection, Viscount Strathallan, Stobhall Castle Private Collection

Note: An important aspect of the Jacobite Rebellions was due to the success of the loyalty of clans to the Stuart attempt at the British throne; landed families used their ability to raise their own armies including voluntary fencibles.

Perthshire itself played an important geographical role, as a link between the highlands and the lowland and was the traditional seat of Kings and Queens at Scone palace. The Stuart dynasty emphasised their link to Robert the Bruce, and thus the claimant to the succession.

The background of the Jacobite rebellions meant that families risked their hereditary lands and titles to ensure the success of re-instating the Stuart line to the thrones of England and Scotland.

In the case of James Drummond (1648 -1716), the first Duke of Perth, the 4th Earl and the 7th Lord Drummond, he was attainted for supporting the Jacobite cause during the rising of 1715. He was succeeded by James Drummond (1674 - 1720), who maintained the titles under the peerage of Scotland.

In reality these titles were only acknowledged by supporters of the Jacobite cause or those adverse to the protestant royal dynasty.

Consequently the owner of this ring was the selfstyled 6th Earl and third duke of Perth. As soon as

79 A French Rosary ring

French marks to shank, the oval head with oval Miraculous medallion, on a beaded gold shank

Provenance: Family collection, Viscount Strathallan, Stobhall Castle Private Collection

£200-300

Prince Charles Edward arrived in Scotland in July 1745 Perth declared his allegiance. Awarded lieutenantgeneral of the highland army, Perth participated in the successful battle of Prestonpans. However as the tide turned in Inverness-shire Perth fled the battle of Culloden and was taken aboard the French frigate ship La Bellone, which had arrived with supplies for the highland forces. Worn out by the campaign he died at sea on 13 May of that year.

The battle of Culloden not only ended the Jacobite attempts for the British throne, it can also be claimed that it ended a history of clanship and narrowed the divide between the highlands and lowlands of Scotland. Personal effects of individuals offer an insight into this period highlighting sentiments.

Momento mori rings provide reliable dates and the inscription on the inside of this ring reads ‘James Drummond, Earl of Perth, 1746’. The inclusion of a lock of plaited hair reflects societal fashions and the ring offers a tangible link to the succession throughout the Drummond family and their titles. The attainder was eventually removed in the midnineteenth century although estates had been returned in the late 18th century.

£1,000-1,500

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80 CIRCLE OF RICHARD WAITT (SCOTTISH 1708-1733) JACOBITE PORTRAIT Oil on canvas

59cm x 36cm (23in x 14in)

Note: The artist of the original Richard Waitt (1708 - died 1733), which hangs in the Scottish National Portrait Gallery, has produced several portraits depicting individuals like this in their environment. Waitt left Scotland perhaps due to his Jacobite sympathies and the 1715 Jacobite Rising. When he returned in 1722 he resumed work for the Clan Grant based in Castle Grant, Strathspey.

This painting, a copy completed by Waitt’s circle, was made shortly after the original. The subject Kenneth Duffus Earl of Sutherland (1679-1734) himself had Jacobite sympathies after initially supporting the Hanoverian succession and political union of 1707. He joined the Jacobite cause in 1715 but after the defeat at Sheriffmuir he escaped to Sweden where he married Charlotte Christina, daughter of Eric de Sioblade, the governor of Gottenburgh.

Whilst in Hamburgh, Duffus was forcibly removed and committed prisoner to the Tower in London. However in 1717 was set free without being brought to trial in an Act of Grace. Throughout Sutherland’s life he pursued a Maritime career, after succeeding his father in 1705 he was a captain in Queen Anne’s Navy. On return of his liberty he entered the Russian naval service, in which he was a flag-officer, and died before 1734.

His only son Eric Sutherland, (born in 1710) in 1734 presented a petition to the king claiming the dignity of baron Duffus, but the House of Lords, found that he had no right to it. The elder son of Eric, James Sutherland, born in 1747, was an officer in the army and was restored to the honours of his family, by act of parliament in 1826.

It is a portrait not only of the Earl of Sutherland, but also a portrayal of the wider highland aristocracy emphasising landed pursuits such as deer hunting and the fashion for wearing full highland dress.

Depicted in martial pose, slashed jacket and a significant array of Scottish weapons, this is a good example of Highland aristocracy. In particular his belt pistol is of scroll butt type profusely inlaid with silver and typical of those made by Thomas Cadell of Doune in circa 1700. The basket hilt of his sword appears to be of silver and similar to the silver hilts made in the North East of Scotland at the time. The dirk is of early form with bi-knife and bi-fork sitting side by side in pouches on the scabbard. An impressive targe lies at the subject’s feet with evidence of hair of the deer skin lined back in view. On top of this is a long gun typical of some made in England to highland specification.

This painting is a rare example of Scotland prior to the political upheavals caused by the Jacobite rebellions of the 18th century narrating how individual members of the elite were required to choose allegiances that would alter their inheritance and ultimately changed the landscape of Scotland.

£3,000-5,000

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81 CIRCLE OF JOHN ALEXANDER (fl.1710-1757)

A FULL LENGTH PORTRAIT OF ALASDAIR RUADH MACDONELL, 13TH CHIEF OF GLENGARRY Inscribed with sitter’s name old label verso, oil on canvas 68.5cm x 51cm (27in x 20in)

Provenance: Fingask Castle, 26th - 28th April 1993, Christies Scotland lot 256

Exhibited: Loan Exhibition of Scottish National Portraits, Edinburgh 1884 No. 467 titled ‘A Portrait of Alistair MacDonnell of Glengarry’ Note: This historic portrait depicts one of the Jacobite story’s most controversial and fascinating characters: Alasdair Ruadh MacDonell, 13th chief of Glengarry of Invernesshire, alias Pickle the Spy. Correspondence from Pickle to the English Government date as early as 1752, and it is known that the information he supplied to the Duke of Newcastle and George II was at points hugely detrimental to the Jacobite cause.

Such sensitive and significant information could only have come from a close and therefore trusted ally of Prince Charles.

Over the centuries many have speculated as to Pickle’s true identity. For years the finger of suspicion pointed at James Mohr MacGregor, Rob Roy’s son. As poetic as this may have been, little evidence supported this theory and his role as a spy is now considered to be a minor one.

In 1897 the author Andrew Lang undertook a detailed analysis of Pickle’s letters - of which many survive and found that the evidence pointed emphatically to The Young Glengarry, as MacDonnell was known. The timing of events, his relationship to Charles and the sway he held over the Highland clans all strongly support the truth of Lang’s theory. Combining these circumstantial factors with the similarities in the tone of their letters (including interesting idiosyncrasies of spelling shared by Pickle and MacDonnell), the case becomes more compelling still, and culminates with the fact that he was at one point publically denounced by the widow of Archibald Cameron, the “last Jacobite Martyr”.

The MacDonells were, at that time, the most significant Catholic clan in Scotland and had begun staunchly in support of Prince Charles’ cause. In 1738 the teenaged MacDonnell was dispatched to France where in 1743 he joined Lord Drummond’s regiment of Royal Scots Guards in the French service. In 1745,

he was employed by the Highland chiefs on a secret mission to the Prince, the aim of which was to dissuade him from landing in Scotland without first securing significant European support. As we know, this advice was not heeded and the Prince continued rashly with his plan. MacDonnell nonetheless sustained his support of Charles’ mission but was captured soon after by the English and imprisoned in the Tower of London from 1745 until 1747. It was probably this period of imprisonment that secured the unwavering trust of his Prince, whilst ironically providing MacDonnell with the time to re-consider his affiliations. It was not long after his release that The Young Glengarry succeeded as Chief of the Clan in 1754, simultaneously inheriting the deep financial woes that troubled his estate.

Lang suggests that Glengarry became deeply disillusioned with the lack of remuneration afforded the loyal followers of the Jacobite cause. He took a calculated risk, born out of self-interest perhaps, or through the realisation that Charles’ plans were

becoming increasingly unworkable, and turned coat.

Through his popularity and standing within the Clans, MacDonnell was perfectly positioned to, as Lang puts it, “paralyse a serious, or promote a premature, rising in the Highlands, as seemed best to his English employers”.

This portrait, which is illustrated opposite the title page of Lang’s 1897 publication, depicts a handsome young man with a “frank and pleasing face” and a graceful bearing. One can easily picture how hard it would have been for his peers to suspect a man of such standing. It is also one of the few paintings to exist that shows the change and development in Scottish Highland dress; MacDonnell is shown earing a belted plaid, and his manservant stood behind him is wearing a version of what we know today as the modern kilt.

A further version of this painting can be found in the collection at Armadale Castle, Scotland.

£15,000-25,000

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82 A lock of Flora MacDonald’s hair

the small lock of hair pinned to a velvet pad, contained in an envelope, with various hand written notes and description Provenance: Previously in the collection of Colonel MacDonald, great-grandson of Floral MacDonald.

Given by him to a Mrs MacLeod of Inverness, and thence to a Mr Paterson of Bridge of Allan in 1884.

Sold by Lyon & Turnbull circa 197580, to the current private Scottish collector.

Note: Flora MacDonald was born in 1722 to a tenant farmer on the island of South Uist in the Outer Hebrides of Scotland. Her father died when she was still a child, and her mother was abducted and then married

by Hugh MacDonald of Skye, leaving Flora to be brought up by the chief of her clan, the MacDonald’s of Clanranald and was later educated in Edinburgh.

After his defeat at the Culloden in 1746 Bonnie Prince Charlie fled to the island of Benbecula in the Outer Hebrides, and the twenty-four year old Flora was at that time visiting her brother on the island. After persuading her to help him escape the island undetected, Flora persuaded the commander of the local militia, her stepfather, to grant her a pass of the mainland by boat for herself, two servants and a crew of six. The young pretender was disguised in a dress as Irish spinning maid Betty Burke, until he reached Skye where Flora was able to find him help; and thus she became the quintessential heroine of the Jacobite cause.

Unfortunately upon arriving in Skye people became suspicious, and though Bonnie Prince Charlie was able to escape, Flora was arrested and sent to the Tower of London, she was allowed to live out with the confines of the tower for a time, under the watch of a gaoler, until her release in 1747.

She later married, and moved with her new husband to North Carolina for a period, however her husband was captured while fighting for the Hanoverian forces during the War of Independence, and upon his release they returned to Scotland via a short stay in Nova Scotia. The voyage home was anything but quiet, and after their ship was attacked by privateers, she was injured in the arm after refusing to take shelter below deck.

Flora and her husband took up residence on the Isle of Skye and she remained there until her death in 1790.

During her time in Skye she met Samuel Johnson, the English essayist who was travelling in Scotland for a period, and after meeting her he recorded ‘’her name will be mentioned in history, and if courage and fidelity be virtues, mentioned with honour.”

£400-600

83 Flora MacDonald

Miss Flora MacDonald. [London?], published according to an Act of Parliament... 6th June 1747, after J. Markluin, c.30 x 25cm, handcoloured, framed and glazed

Note: The mid-eighteenth century saw a ‘cult of celebrity’, with printed material and artworks produced in honour of society figures. This print from 1747 is such an example. Robin Nicholson writes: “There is a continuously observable trend during this period, primarily in London, whereby certain individuals enjoyed brief periods of intense public interest...and Flora MacDonald’s brief vogue between 1746-8 can readily be seen as part of this ever-evolving, commercially led process.”

£100-200

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84 A framed piece of Flora MacDonald’s plaid

the section of paisley pattern material mounted on card and title ‘from Flora MacDonald’s Plaid, Dileas gu Bas’, in a tartan ribbon border and glazed black frame frame 39.5cm x 24cm £200-300

animosity between James and Anne, Prince Henry was to remain in the care of John Erskine, Earl of Mar until his father became King of England in 1603 and the family moved south.

85 A fine 17th century horn penknife

the shaped handle form of fine translucent horn, with delicately carved intertwined trailing thistle and rose heads emanating from a displayed lion, within foliate border, the hinged steel blade marked ROI with cross above handle 85mm long, overall 15cm long

Provenance: Personal property of Prince Henry, elder brother of King Charles I, around 1612 Collection of Mrs Egiston Bairns

Note: Henry Fredrick Stuart, Prince of Wales was the elder brother of Charles I, the eldest son of James VI of Scotland and I of England and Anne of Denmark. He was born in 1594 in Stirling Castle and soon after his father had him removed from the care of his mother, for fear of him picking up her Catholic sympathies.

While this naturally created a certain amount of

It was at the same time that the title of Duke of Cornwall was bestowed on Henry, followed by that of Prince of Wales and Earl of Chester in 1610. He was widely considered as a bright young man, very active, taking part in many of the popular sports of the period including hunting, hawking and jousting; and was also keenly interested in the Kingly business into which he was to one date enter, often disagreeing with his father on matters of state. Naturally this created a certain amount of friction between father and son, particularly when Prince Henry’s popularity seemed to be over taking that of his father.

As a bright and promising heir to the throne, he was also a devout Protestant, so much so that he was said to have strongly opposed his fathers suggested French match for him, announcing that he was ‘resolved that two religions should not lie in his bed.’

His untimely death came at the age of 18, and while there were rumours of poison, it is widely accepted that he died of typhoid fever. He was greatly mourned by the nation; with esteemed poets such as John Donne and Ben Johnson writing elegies. If he had lived we may have been spared the civil war which followed during his brother’s reign, and which ultimately cost Charles his head; and would certainly have prevented the Jacobite uprising.

£3,000-4,000

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86 A mid Victorian velvet casket, set with a memoriam locket of Mary Queen of Scots hair

the rectangular casket with rounded corners, and brass lock escutcheon, the slightly domed cover set to centre with oval glass panel with hair beneath with applied brass engraved Scottish royal crown above and ribboned garter below inscribed ‘’A LOCK OF QUEEN MARY’S HAIR WHICH BELONGED TO THE LATE LADY BELHAVEN’, the interior of the casket simply lined with watered cream silk 15.5cm x 12cm x 9cm

Provenance: Part of the lock found by 8th Lord Belhaven in Holyrood Palace, Edinburgh (the main proportion bequeathed to Her Majesty Queen Victoria - see notes below) The widow of 8th Lord Belhaven This lock bequeathed to 9th Lord Belhaven Gifted to his father in law John Watson (later Sir John Watson 1st Bt.) Thence by descent to Sir Simon Watson 6th Bt. Lyon & Turnbull Scottish Silver & Accessories, 26th August 2008, lot 262 Private Scottish Collection

Exhibited: ‘Scottish National Memorials - a record of the historical and archaeological collection of the Bishops Castle’’, catalogue edited by James Paton, Glasgow 1888, item 192, lent by John Watson (later Sir John Watson 1st Bt.) where described: ‘Small Casket, containing a portion of the hair of Queen Mary. it belonged to the late Lady Belhaven and formed a small portion of the lock subsequently bequeathed by Robert, eighth Lord Belhaven, to Her Majesty the Queen, for a note on which see p. 45 (192) Lent by JOHN WATSON’.

Note: The lock of hair contained with this casket was part of a larger find made by the 8th Lord Belhaven in his position of High Commissioner of Scotland. The main part of the lock was subsequently gifted to Her Majesty Queen Victoria and formed part of her collection of Queen Mary Stuart relics.

The lock was found within his official residence at Holyrood in a secret drawer of a bureau in an envelope with the handwritten note saying ‘a lock of my own hair’ and signed ‘Mary R’. The signature was later authenticated as that of Queen Mary Stuart, believed to have been compared with original documents held in the Royal Collections.

When its importance was realised, the bequest by Lord Belhaven to Queen Victoria was made and the lock split in two.

It is also believed that before this a butler at the Palace took a small section of the hair and possibly gave it as a token to a lady in waiting of the Palace.

This piece sold within these rooms, lot 173, 31st March 2001, now in the Hawick Museum and Scott Gallery.

Great discussion on the locks of hair (and their colour) was given in the 1888 Scottish National Memorials Exhibition catalogue.

This exhibition was one of the early types of national historical exhibitions and began a trend in multi discipline exhibitions which followed on through the 19th century and could indeed perhaps be considered the forerunner of the modern day museum exhibitions. Similar exhibitions were held in 1894, 1911 and 1932 and all proved successful and of interest to the public, as the opportunity to see such collections had not been given before and the structure of public museums had not yet been fully established.

£5,000-10,000

87 DUNCAN MACKELLAR (SCOTTISH 1849-1908)

MARY QUEEN OF SCOTS’ BEDROOM, HOLYROOD PALACE Signed, oil on canvas 38cm x 53cm (15in x 20.75in) £500-800

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85 ATTRIBUTED TO COSMO ALEXANDER (SCOTTISH 1724-1772)

HALF-LENGTH PORTRAIT OF A LADY, BELIEVED TO BE JENNY (JEAN) CAMERON Oil on canvas 73cm x 60cm (28.75in x 23.5in) £4,000-6,000

89 JEAN CHRETIEN VALOIS (18TH/19TH CENTURY DUTCH)

90 MURRAY MACDONALD (SCOTTISH fl. 1889-1914)

26cm x 21cm (10.25in x 8.25in)

18cm x 14cm (7in x 5.5in) £250-350

PORTRAIT OF FARQUHAR MACRAE OF INVERINATE Watercolour

Note: Inscribed verso; “Farquhar Macrae of Inverinate, Invernesshire, XIIIth Chamberlain of Kintail. Born 1720 - Died 1789. Fought for Prince Charles in Culloden in the rising of 1745 and after the Battle of Culloden was captured and from his likeness to the Prince was taken to be him and conveyed to Fort William where he was identified and released. Great grandfather of C. Macrae.”

£600-800

A FOLLOWER OF PRINCE CHARLIE Signed and dated 1886, watercolour

91 EUAN MACALLISTER (SCOTTISH 19TH CENTURY)

VICTORIOUS GOVERNMENT TROOPS AND THE DEFEATED JACOBITES, ON A ROUTE MARCH TO INVERNE Signed and dated 1888, watercolour 28cm x 58cm (11in x 22.75in) £600-800

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92Y A PORTRAIT MINIATURE OF MARQUESS OF MONTROSE

Watercolour and bodycolour, on ivory in oval gilt border and lacquered frame 6.5cm x 5cm (2.5in x 2in)

Note: James Graham, 1st Duke and 4th Marquess of Montrose (1682 – 1742) was a Scottish nobleman, landowner and politician. Originally the fourth Marquess of Montrose, James was elevated to a dukedom in 1707 as a reward for his important support of the Act of Union against the Jacobite opposition in Scotland. Subsequently, he was elected to the House of Lords and Keeper of the Privy Seal of Scotland. Upon the death of Queen Anne, he served as Lord of the Regency for Great Britain in 1714 and in the same year he became Chancellor of the University of Glasgow until 1742. From 1716 to 1733 he served as Keeper of the Great Seal of Scotland. Furthermore, he was shortly appointed Secretary of State for Scotland at the time of the Georgian ministry of Lord Townshend. In 1719 he was one of the main subscribers to the Royal Academy of Music, a corporation that produced baroque opera on stage. He served as a Governor of London’s Foundling Hospital at the time of its foundation in 1739.

£1,000-1,500

93 William Duke of Cumberland, Battle of Culloden medallion

after M.Holtzhey, obverse with right facing bust of William Duke of Cumberland, reverse with scene of the battle with motto ‘Rebellion justly Rewarded, Culloden 1746’ 36mm diameter £100-200

94 Duke of Cumberland - a rare uniface medallion

bronze uniface medallion with portrait with and motto P WILLIAM:D.OF. CUMB BORN 13 A. 1721’ 20mm diameter £100-200

95 18TH CENTURY ENGLISH SCHOOL HANOVERIAN OFFICER Oil on canvas

73.5cm x 61.5cm (29in x 24.25in) £800-1,200

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Applied Arts including Silver, Jewellery & Glass

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96Y A mid 18th century inverted pear shaped teapot

Ebenezer Oliphant, Edinburgh 1748, Assay Master Hugh Gordon, of typical inverted pear shaped design with chased border of scrolls and flower heads within rococo scroll panels, with twin, vacant, scroll formed cartouches, with fluted S scroll spout and simple C scroll handle with ivory insulators and acanthus capped thumb piece, raised on domed foot 17cm high, 21.5oz

Note: Ebenezer Oliphant is perhaps the best known, within a very small group of true Jacobite Goldsmiths in Scotland. Whilst various craftsmen are termed Jacobite, few showed such strong allegiance as Oliphant. His views are clearly seen during his time as a member of the Incorporation of Goldsmiths when he refused (with a small group of others) to take the traditional oath to the King.

Oliphant was from the staunch Jacobite family of Oliphant of Gask whose support for the cause was without doubt. A relationship and belief shown so iconically in the commission by Gask and Ebenezer Oliphant in the production of the Four Peers Rings. (See lot 20 in this sale)

Ebenezer Oliphant was apprentice to James Mitchelson of Edinburgh in 1727 and worked successfully in the city until he retired in 1766. His work is characterised by uniform high quality with a real flare for fine chasing. At the peak of his career in the mid 18th century in Edinburgh’s ‘Golden Age’ of silversmithing he was amongst the most respected and successful makers.

The culmination of his success as a maker, quality of chasing and support for the Jacobite cause can be so clearly seen in the fine silver and gilt travelling canteen presented to Prince Charles Edward Stuart on his 21st birthday, now in the National Museum collection

£800-1,200

97 A mid 18th century chamber stick

Edward Lothian, Edinburgh 1745, Assay Master Hugh Gordon, the central sconce set to a simple dished base with C scroll handle with plain thumb piece, raised on three ball feet, the underside engraved with foliate initials base 12cm diameter, 6oz

Note: Although the nation was in turmoil and rarely had Scotland or the United Kingdom been such an uncertain place, it is interesting to see the fashion of commissioning silver still active in 1745. Life must go on and perhaps the commissioner’s intent was not only to have another piece of fine silver plate for his home, but also have his wealth in an easily portable form should the uprising and rebellion go the wrong way.

£1,200-1,500

98 An early 18th century bone and silver mounted snuff mull

of simple baluster form with hinged bone cover with silver butterfly hinge and plaque 6.3cm high, 5.3cm wide £400-600

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99 A mid-18th century Jacobite ring

collet set with an oval speckled agate with intaglio rose detail, the shoulders and shank with engraved rose and foliate detail, in unmarked yellow metal ring size O/P £600-800

100 A Jacobite supporter’s fob seal

the steel fob with simple loop terminal, the matrix with pierced heart motifs to cup setting, the oval glass matrix with intaglio carved rose and thistle with crown above 3cm high, matrix 1.7cm

101 A Jacobite supporter’s ring

£300-600

the oval blue glass cabochon intaglio carved to reverse ‘45’, in modern 9ct gold setting cabochon 12mm long £800-1,200

102 A late 19th century Samson painted porcelain and gilt metal mounted casket

the domed cover and rectangular body decorated with thistles, flowering foliage and C scrolls, painted with the Royal Coat of Arms of Scotland and the motto NEMO ME IMPUNE LACESSIT, with a red thistle mark enclosing the letter G 18cm wide £600-800

103 A late 19th century embroidered panel

with Scottish emblems and mottos, formed as a central lion rampant within shield with crowned lion above and flanked by lion rampant standards, above twin unicorns and thistles, with motto ‘NEMO ME IMPUNE LACSSIT’ 40cm x 47cm £200-250

104 A cast iron stick stand

the back formed as a standing figure of Prince Charles, with basket hilted sword and shield in foliate surround, named bellow ‘Bonnie Prince Charlie’, with rectangular base and simple stand for umbrella and sticks 75cm high £300-500

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105 A large Jacobite firing glass

the drawn trumpet bowl with engraved displayed open rose head flanked by open and closed buds with trailing rose leaves, the reverse with oak leaf, star and inscribed ‘FIAT’ above, raised on a short straight stem with enamel twist, on a thick domed foot 15.5cm high

£2,000-3,000

107 An 18th century Jacobite wine glass

the rounded funnel bowl with finely engraved displayed rose with open and closed buds in trailing foliage, the reverse with oak leaf, the straight plain stem to a domed foot with engraved Prince of Wales Feathers 15cm high

£1,500-2,500

106 A Jacobite cordial glass

the trumpet bowl above plain stem and spreading foot, engraved with intertwined displayed rose head and twin buds 15cm high £700-900

108 A pair of 18th century Jacobite wine glasses

the slightly tapered bucket bowl engraved with displayed rose head and closed bud within trailing leaves, a bird to the reverse, above a straight triple white enamel twisted stem and spreading foot

15cm high

£800-1,200

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109 A mid 18th century Jacobite wine glass

the tapered bucket bowl with large engraved open rose head with opening bud and trailing foliage, on a slightly tapered plain stem above a domed circular foot with folded rim 17cm high

£1,500-2,500

110 A continental European Jacobite soda glass

the deep bell shaped bowl with detailed engraving of two open displayed rose heads within trailing foliage, raised on a double knop air bubble stem and domed foot with moulded rim

23cm high

Note: Although most commonly encountered on British glass, Jacobite symbolism was engraved on Continental glassware as well. While difficult to prove, circumstantially the survival seems to be slightly later in period than much of the British made examples. This perhaps suggests that these pieces were being commissioned by exiled Jacobites after the ‘45 who were still staunch and overt in their beliefs.

£400-600

111 A large Jacobite goblet

the deep bell shaped bowl with profusely engraved open rose head flanked by open and closed buds within foliage, the reverse with displayed thistle and crowned initials ‘I*H’, a straight stem with fine white enamel mesh and twist, on a domed circular foot 23cm high

£1,200-1,800

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112 A pair of Jacobite silk garters, circa 1745 woven with tartan detail and inscription ‘GOD BLESS P.C AND DOWN WITH RUMP’, both still joined as one ribbon 24cm x 3cm

Note: It was the Jacobites who popularised the wearing of silk garters emblazoned with slogans supporting their political cause. While the uprising itself came to a head in 1745, feelings did not dampen straight afterwards and indeed the production of these garters was at its highest point during the ten years after the uprising and its culmination at Culloden.

There are many differing opinions as to where these pieces were produced, however Manchester seems to be the most likely location. There are references to the production of similar items in various local publications, including the Manchester Magazine in 30th December 1746 in which a satirical letter appeared stating ‘Several looms have lately been employed to furnish watch strings and garters with this elegant motto ‘’God preserve P.C and down with the rump’’.

The slogan was a popular one amongst Bonnie Prince Charlie’s supporters, the rump being a derogatory term for the Hanoverian establishment against which they were fighting; it was recorded by the same magazine in 1748 that it was used by Jacobite supporters during a riot in the city. While this was a more public display of contempt for the Hanoverians, these garters were more likely to have been worn at secret meetings of the Bonnie Prince’s supporters, rather than during public appearances which would have proved dangerous.

There are few examples of the garters which have survived, however the Victoria & Albert Museum have an example from the same period featuring the motto ‘Our prince in brave and our course is just.’ (T.121-1931), as well as a pin cushion with the same motto as our lot (T.120-1931). A pair, of identical form, are also in the British Museum’s collection (1893,0205.58). However, the condition and fact that the garters have yet to be separated makes this example more unusual.

£3,000-5,000

113* A pair of Jacobite silk pin cushions

the white silk ground of incurved rectangular form with blue silk tassels, printed to both sides with central Jacobite rose surrounded by ‘Mart: For: K & Cou :1746’ the cartouche printed with names and titles of the Peers and supporters of the Jacobite cause executed and martyred for the cause (2) 10cm wide

Note: For a similar example fo this pin cushion from the Threipland of Fingask family collection see ‘The Jacobites and their Adversaries’, Christies Scotland, 12th June 1996, lots 113 and 114

£300-500

114 A Jacobite pin cushion

the woven silk with chequered design, with motto down ribbon ‘GOD BLESS PC AND DOWN’ and to the main cushion ‘WITH THE RUMP’

cushion 8.5cm long, overall 40cm long

Provenance: ‘The Jacobites and their Adversaries’, Christies Scotland, 12th June 1996, lot 115

£600-800

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115 An early to mid 18th century brass sporran cantle

of arched form with ring and dot decoration and compressed finials, the reverse of the cantle with locking mechanism and engraved ‘Do McIM’ 15.5cm wide £400-600

116 A mid 18th century sporran

the square topped brass hinged cantle with ring and dot decoration to front, the reverse with iron loops, locking mechanism and engraved IMK, with leather and hair pouch cantle 18cm wide, 19cm long

£600-800

117 A tobacconist advertising figure of a Jacobite

the carved pitch pine figure of a highlander in full dress, on a square base 92cm high

£2,000-3,000

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Arms & Armour

118 A copy of the Earl of Huntly targe, brass and silver mounted

the leather covered wooden circular carcass with a brass domed and studded border enclosing alternating panels of lozenge and circular form, these and the outer borders with tooled Celtic knot work and trailing scrolls, surrounding a central domed and studded silver boss, the reverse with traces of mounting loops 55cm diameter

Provenance: Property of a gentleman

Note: The Highland targe is perhaps the most overlooked yet iconic aspect of a Jacobite’s apparel. The targe was as important to the men that bore them as the basket hilted sword, and its use in the deadly ‘Highland Charge’, which had proved so effective throughout the campaigns, is undeniable.

Their importance at the time, now often overlooked, was obvious, as there are many examples of portraits of important Jacobite figures with their targes and they also feature prominently in poetry of the early 18th century.

“Joyful tidings through the Highlands,

Hosts for conflict arming,

Hammers beating making targes of bossy fine devices”

Taken from Alexander MacDonald’s ‘A New Song’

Compared to swords, dirks and even pistols the survival rate of these targes is small. It is well recorded that they were often the first item to be discarded upon the aftermath of the defeat at Culloden as men trying to make their escape needed to do so unencumbered of weight, and the sword and dirk were the fighting tools needed if they were captured. Also by the nature of manufacture, they were not the type of items to survive being hidden as so many swords and dirks were post 1746 - in the romantic thatch of a roof or under floor boards.

It appears that these objects were not provincially or amateur made items but, as with swords, dirks and pistols, centres of manufacture appear to have sprung up. Sadly, no documentary evidence can be found to support this or suggest a location. However, even within the small survival there are features of design and style which must be from the same hand.

While the surface construction perhaps appears simple, the finer details of construction bear out the professional manufacture. Often formed of overlaid twin layers of oak or pine planks to give strength the, leather covering not only bound this structure

together but provided a surface to deflect softer blows. The cover to the reverse, also with deer hide, often had packing material between, to cushion the blow and the fur outwards again adding another layer of protection.

The use of the Highland targe appears to have virtually ended with the defeat at Culloden and this signalled the beginning of the loss of Scottish targes.

This example is an obvious direct copy of the famous Earl of Huntly’s targe, thought to have been carried at the battle of Sheriffmuir in 1715. Huntly was an important follower of the ‘15 and raised large forces in his Episcopalian lands of North East of Scotland. His targe, now in the National Museum of Scotland (H.LN.52) is one of the finest surviving targes and one of only a very small number silver mounted. While this example shows some differences in minor detail and placement of elements it is obviously copied from it.

£4,000-6,000

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119 An early 19th century Scottish targe

of typical circular outline with leather covering, brass studded star and roundel design, the reverse with remnants of twin straps

51cm diameter £300-500

120 A fine late 17th century powder horn, dated 1674

of typical curved flattened cow horn with finely carved decoration with interlace borders and fine celtic knotwork roundels and bosses, inscribed with initials ‘A*I’ and a cross above ‘1674’, the back edge of the horn inscribed with indistinct naming and ‘FOR THIS WAS WROVGHT THER IS MOR TO BE BOVGHT DRINK LES AND BVY AN OF THY OWN’, with integral suspension loop and wooden plug with brass studs to terminal 36cm long

£1,000-2,000

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121 An 18th century brass mounted pistol the all brass stock and butt with engraved chequering and foliate decoration, with hexagonal steel barrel and simple percussion lock 34cm long, barrel 20.5cm £700-900

122 A pair of gold mounted musket balls the spherical lead balls in simple collar gold mounts with suspension loops (2) Provenance: By repute found at Culloden Moor Private Scottish Collection

£100-200

123 A Scottish steel and silver scroll butt belt pistol the lock

by Christie and Murdoch, Doune 1752, steel stock of traditional form engraved overall with foliate scrolls, the signed lock with disc comb on cock pierced with a star, the four stage barrel with receded breech scroll, engraved centre section with flared octagonal muzzle scroll, butt with silver flattened ball pricker and matching trigger plain, silver escutcheon on one side and engraved crest of a hand grasping a raised dagger surmounted by the motto POUR MON DIEU with original pierced belt hook and original iron ramrod the engraved base inset with three bars of silver 30.5cm (12 inches) long

Note: The Partnership of John Murdoch (working 1750-1798) and John Christie (working 1750-1775) is recorded in Doune from 1750, the earliest mention of both makers.

Only two pairs of pistols under this partnership are recorded (see The Scottish Pistol, by Martin Kelvin). John Christie is considered amongst the finest makers of Scottish pistols and fine examples of his work are in the National Museum of Scotland, ex Sir Noel Paton collection who commented on them ‘I have nowhere seen pistols more, or, indeed, so beautiful as these’. The Royal Collection at Windsor also houses a particularly fine example with a gold plaque to the butt believed to have been gifted to King George III on his accession to the throne in 1760. John Christie, and also when in partnership with John Murdoch, uniquely for Doune gunsmiths, engraved the date of manufacture to the inside of the lock plate. This example dated 1752.

John Murdoch was a far more prolific maker of Scottish pistols and although a high quality was constant it appears that the peak of his work was under the partnership with Christie.

£4,000-6,000

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124 The Preston Blunderbuss - A rare trophy brass blunderbuss barrell, circa 1690

barrel by James Spencer of London, octagonal at the breech, then polygonal, terminating in three raised lines, then round section for fourteen inches to the flared muzzle, struck with gun makers view and proof marks and initials IS surmounted by a crown, engraved at the breech in contemporary hand “This was taken from a Highlander at Preston 1715 loaded 17 balls“, raised ramp cut with a back sight with iron tang, the walnut full stock mounted with brass furniture, trigger guard and heel of the brass butt engraved with martial trophies with union flag, fine deep chequered grip with each section punched with four stars within a cross, mounted with a flintlock, circa 1770, signed HW MORTIMER, with its original horn-tipped ramrod 57cm (22.5 inch) barrel 96.5cm (38 inches) overall

Note: The 17th century brass barrel is marked for James Spencer (working 1689-1699) in business in Aldgate London and would have been a fine piece of the period. The contemporary engraving denoting it taken from a Highlander, suggests that it was captured by a Hanoverian solider and most likely a high ranking officer. Such a valuable trophy of war would not have been the preserve of lower ranks.

Its re modelling in c.1770 by the gun maker to the King, Henry W Mortimer, perhaps suggests that when it was taken it had a broken or damaged stock and even if not, it shows the high regard in which this firearm was held, some 50 year later.

It seems highly unlikely it was re-mounted for use, only to preserve and display a fine and, by 1770, historic object. The preservation and in many cases remounting of earlier historic weapons is seen throughout the Jacobite uprisings with the famous Captain Goodenough Blunderbuss (collection of National Trust for Scotland, Culloden Battlefield), and various basket hilted and earlier swords and their blades being re fashioned and preserved.

A similar barrel is illustrated page 206 Great British Gunmakers 15401740 by William Keith Neal and David Back

£10,000-20,000

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125 An 18th century sgian dubh/sgian ochle and scabbard

the tapered tubular box wood handle with triple carved band of Celtic interlace, with pewter mounts to short point blade, simple tooled and stitched leather scabbard

125

blade 6cm long, overall length 16.5cm

126

£300-500

126 An 18th century sgian dubh/sgian ochle

the tapered burr walnut handle with carved celtic interlace with a short pointed steel blade blade 4.7cm long, overall length 14cm £300-500

127 A Scottish Highland dirk circa 1700

with carved dark hardwood grip with brass mounts and with brass disc top retained with flower head nut, carved with interlace below the shallow pommel, the blade of cut down back sword struck with running wolf, orb and cross marks, in black leather damaged scabbard with brass mounts

blade 40.5cm (16 inch) long

£2,000-2,500

128 An 18th century silver mounted Highland dirk

the finely carved wooden grip with celtic interlace, the haunches and pommel set with silver mounts, the tapered blade with plain back edge and spear point, with single fuller, the leather mounted scabbard with simple mounts (chape mount lacking)

overall length 48cm (18.75 inches), blade 36cm (14.25 inches) long

127

128

129

130

131

£1,800-2,500

129 A mid 18th century Highland dirk

the carved wooden grip with celtic interlace and carved haunches, the haunches and pommel with silver mounts, the tapered blade with plain back edge and spear point, indistinctly marked, the leather scabbard with silver mounts set with bi knife and fork, with basket carved grips and plain caps, the knife blade signed ROBTSORBY & SONS’ overall length 50cm (19.75inches) , blade 39cm (15.25 inches) long £1,800-2,200

130 A mid 18th century Highland dirk

the boldly carved wooden grip with interlace and haunches, the pommel with plain cap and facetted nut, the tapering blade with plain back edge and single fuller signed ‘PALMER’, in leather scabbard with scalloped mounts overall length 44cm (17.25 inches), blade 22cm (8.75 inches) long £2,000-3,000

131 A Scottish Highland dirk, circa 1730

the carved dark root wood grip with brass mounts, the brass disc top retained with flower head nut, cut with interlace below the shallow pommel and interlace and Celtic strap work over the entire grip, the blade of cut down back sword struck with Andrea Ferrara in off centre fuller, in black leather damaged scabbard the brass mounts with scalloped edges blade 40.5cm (16 inch) long £1,500-2,500

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132 A Scottish ribbon hilted broadsword, circa 1690

the basket of flat section iron plate formed into saltires with S at each side guard, slight stub wrist guard and neb forward guard with remnant of leather liner, flattened bun shaped pommel, plain double edge blade with two six inch fullers at each ricasso blade 76cm (30 inches) long £2,000-3,000

133 Scottish basket hilted back sword, circa 1720

the guard of round section bars, the side and forward guards pierced with two apertures above pierced shields, small scrolled wrist guard, replacement chequered wooden grip with turned collar, bun shaped pommel cut with lines at each join of the saltire bars the single edge Anti Union German blade etched with St Andrew holding a saltire above PROSPERITY TO SCHOTALAND AND NO UNION on the reverse GOD SAVE KING JAMES8 (all rubbed) with a laurelled male bust and a crown and scepter on a cushion blade 86.5cm (34 inches) long

Literature: Swords and Sorrows Catalogue 1996, no.1: 26, page 35, depicts an identical blade.

£3,000-5,000

134 A Scottish basket hilted back sword, circa 1730

the patinated basket formed of round section bars, the side guards pierced with hearts, with plain forward guard plate, missing wrist guard the spiral wooden grip covered in black dogfish skin missing its binding wire but retaining one interlaced ferrule, large rounded plain pommel, the single edge blade retaining some rubbed engraved decoration of a warrior holding a raised sword with indistinct engraving blade 86.5cm (34 inches) long £1,200-1,800

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135 A Scottish basket hilted broadsword, circa 1730

with elongated dark patinated basket formed of round section bars with the side guards pierced with hearts with two S ‘s forming the back guards at each side with a large wide wrist guard, the spiral wooden grip covered in black dogfish skin missing its binding wire but retaining one scalloped ferrule conical pommel cut in quartered groves, the German double edge blade struck with a running wolf mark of Solingen blade 76cm (30 inches) long £1,000-1,500

136 A Scottish basket hilted broadsword, circa 1730

with elongated dark patinated basket formed of round section bars with the side guards pierced with hearts, with two S ‘s forming the back guards at each side with a small scroll wrist guard the spiral wooden grip in pieces, conical pommel cut in quartered shaped groves wide double edge blade with two fifteen inch fullers blade 79cm (31 inches) long £2,000-3,000

137 A Scottish basket hilted broadsword of Glasgow type, circa 1700

the basket formed of round section bars with grooves, side guards with hearts pierced on each plate, small wrist guard, the pommel cut with grooves, the replacement wooden grip bound with leather, the blade with three long fullers struck FERRARA in the centre groove blade 81cm (32 inches) long £1,200-1,800

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138 A Scottish basket hilted broadsword of Stirling type, circa 1700

the basket formed of round section bars with grooves, side guards with hearts pierced on each plate, the pommel cut with grooves, the wooden grip with black dogfish skin bound with a double twist of silver wire, the wrist guard reattached, the blade with two fullers each struck ANDREA FERRARA blade 74cm (29 inches) long £1,500-1,800

139 Walter Allen, Stirling - A fine Scottish basket hilted broadsword of Stirling type, circa 1700

bearing signature for Walter Allen of Stirling, the basket formed of flat section bars with incised lines, elongated side guards with hearts pierced on each plate, the pommel of flat bun shape, the wooden grip covered in black dogfish, missing its binding with two large ferrules, struck with the initials WA by the wrist guard, the blade with two fullers struck with a series of marks blade 89cm (35 inches) long £2,000-3,000

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140 A Scottish basket hilted broadsword of Glasgow type, circa 1730

by John Simpson of Glasgow, with basket formed of flat section bars and side guards pierced with slotted aperture forming a cross on both saltire plates with the edges filed into decorative edging, the bars all cut with lines struck at the base of the forward guard I -S, missing wrist guard the wooden grip covered in black hide bound with brass wire and with ferrules top and bottom, conical pommel cut in quartered groves, the German single edge blade struck with ANDREA FERRA in each fuller blade 84cm (33 inches) long

Note: James Simpson I of Glasgow is recorded as working from 1683 until 1718. He appears unique in the placement of his signature ‘IS’ on the main knuckle guard to the front of the basket, rather than the underside as more commonly seen. For a similar example in the Kelvingrove Art Gallery & Museum collection (W.1940.45.ef) see British Basket-Hilted Swords, Cyril Mazansky, sword F5b(IS) page 102.

£8,000-12,000

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141 A Scottish basket hilted broadsword, circa 1730

by Thomas Biggart of Irvine, with patinated basket formed of flat section wavy bars with the side guards pierced with hearts, the forward guard engraved with ‘1M D 2’ above inventory number ‘93’ and struck at the quillon TB over I, with small wrist guard, the spiral wooden grip covered in brown hide missing its binding wire but retaining one ferrule, bun shaped pommel cut in quartered groves, the double edge blade struck with a series of long fullers blade 96cm (35 inches) long

Note: This sword appears to be a unique survival of a signed basket hilted sword from Irvine. The family of Biggart was long associated with fine steel work in both Kilmaurs and Irvine, unqiuely seen in this instance in a basket hilted sword. The family specialised in working with steel to a very fine quality and often combined with work in tortoiseshell. This is seen in a small group of silver and tortoiseshell cutlery, a particularly fine hunting hanger (Kelvingrove Museum and Art Gallery).

The later engraved numbering to the sword shows its continued use up to 1800 when it had been brought into military service, possibly within a volunteer or Fencibles regiment. The number likely denoting 1st Mounted Dragoons, 2nd Company, 93rd sword or soldier.

£7,000-9,000

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Books, Manuscripts & Other Printed Material

142 Stuart monarchs of Scotland

of the Stuart monarchs of Scotland (James I to James VI, with Mary Queen of Scots), late 17th century, each c.33 x 24cm, loose, and prints of Charles I and Charles II (making 9 in all) by James Clark (9)

Note: The seven prints of earlier Stuart monarchs are re-issues of engravings from around 1602 (date assigned by the National Portrait Gallery, London, which lacks James III).

The copper plates used to produce these prints appear to have been pierced top centre as if for decorative hanging. The prints of Charles I and II originate from the late 17th century.

ÂŁ350-400

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143 William Hamilton of Bangour, poet and Jacobite Strange, Sir Robert

William Hamilton of Bangour (1704-54) engraved by Sir Robert Strange, after Jean-Baptiste Descamps (1706-91), Rouen: 1747-8, 23 x 27.5cm including mount (not laid-down)

Note: Both the original oil and the engraving were done in Rouen in 1747-8 (not in Rome, as stated in ‘Notices of the Life of William Hamilton of Bangour, Esq, Communicated

by James Chalmers to David Laing’, Archaeologia Scotica. Transactions of the Society of Antiquaries of Scotland, III,1831, pp. 255-66). The present image, as engraved by Strange after Descamps, was re-engraved for the article in Archaeologia Scotia, but that version bears the sitter’s name and indicates the ownership of the original oil (Threipland of Fingask Castle). This small print is rare, only a few copies being known. One was presented by the 11th Earl of Buchan to the Society of Antiquaries of Scotland in 1782 (now in SNPG). Another was in the collection of Charles Kirkpatrick Sharpe. Besides the re-engraving for Archaeologia Scotica in 1831, the print appeared again, in poor lithographic form, as frontispiece to James Paterson’s edition of the poems and songs of William Hamilton of Bangour, Edinburgh 1850.

See p. xvii of this work for the scarcity of the original print. This print is not in the National Portrait Gallery, London, nor is it in the Walter Biggar Blaikie Jacobite Collection (National Library of Scotland).

£100-150

145 Charles I - Oliver Cromwell Pierre Lombart

Oliverius Magnae Britanniae, Hiberniae et Totus Anglici... [N.p. but London?, c.1660]; Carolius I Dei Gratia Magae Britanniae, Franciae et Hiberniae Rex... [N.p. but London?, c.1660]; each c.55 x 37cm, rebacked, some repairs (2)

Note: These two prints from a celebrated series illustrate the changing taste and political priorities in the art market. The image is popularly known as the ‘Headless Horseman’. Just before the Restoration of 1660, Pierre Lombart made his plate of Oliver Cromwell. Sara Stevenson writes that Lombart was thus ‘caught just before the arrival of Charles II with, at best, an unfortunate choice of subject.’ Cromwell’s head and the identifying text below the image were speedily removed and Charles I was substituted, the royal collar and the page’s breeches being made more dressy and an attempt being made to give the King the badge of the Order of the Garter.

The entire composition is based upon a famous Van Dyck of Charles I which had become an icon of Stuart and subsequent Jacobite imagery.

£80-120

144 Robert Dalziell - Petit the Younger

The Hon.ble. Robert Dalziell Esq. aged 84... [N.p., c.1745], engraved by Petit the Younger after Cosmo Alexander (1724-72), 32 x 23cm, framed and glazed

Note: Robert Dalziell (1661/2-1758) was a kinsman of the attainted 5th Earl of Carnwath who came out with the Earl of Mar in the ‘15. He, however, was of a different political persuasion and served both Stuart and Hanoverian monarchs. He died aged 96 in 1758. This print shows him as a full general - he reached that rank in 1745 - of 84, the oldest general in the British Army. Dalziell had been commander in chief in North Britain in 1732. His remarkable coat of arms says a lot about a man of his toughness, as do some anecdotes of his life and character. The unusual fauxbrickwork surround to the image also suggests rugged solidity. Paradoxically, Alexander, who probably painted Dalziell’s portrait just before going into exile in Rome, was a Jacobite.

A scrace print, not in the Scottish National Portrait Gallery collection.

£200-250

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146 A collection of prints of Jacobite interest

Simon Fraser, 11th Lord Lovat Lovat’s ghost on pilgrimage. [London?], 1747 [second state, 1788], engraved by Samuel Ireland, 22 x 33cm, framed and glazed, a satire using Hogarth’s caricature of Lovat’s distinctive features on the execution for high treason of the elderly Jacobite at the Tower of London in April 1747, the last man to be publicly beheaded in Britain, uncommon; John Campbell, 4th Earl of Loudon The Rt. Hon.ble.: the Earl of Loudoun, c.1756-7, engraved by Charles Spooner, after Allan Ramsay 1747, mezzotint, c.49 x 39cm including attractive gilt wood frame: Loudon (shown here much as he must have looked, shortly after the Rebellion, as a Highland officer of the British Army), had raised a regiment for service in the ‘45 but did not distinguish himself, nor were his later North American services, alluded to in the inscription of this print, any more successful; John Campbell, Second Duke of Argyll John Duke of Argyll and Greenwich, [N.p., n.d. but c.1750?], engraved by Johann Sebastian Müller, after William Aikman, c.20 x 12cm, in mount, Argyll claimed victory over the Jacobite Earl of Mar at Sheriffmuir in 1715; Ruthven Barrack Ruthven Castle, 1785, engraved by Peter Mazell, after Charles Cordiner, 22 x 17cm, mounted: the plate calls the Barrack ‘Ruthven Castle’ and ‘Ruthven Ruins’, this title being inscribed upon an ornate fragment of

masonry. Ruthven Barrack, Badenoch, was built in 1719 as one of several such fortification to be ‘a curb upon the Highlands’.

It was besieged by the Jacobites in August 1745 and held by Sergeant Terence Molloy and twelve men of the 6th Foot against some 300 attackers but was destroyed by the Jacobites in 1746 (4) £150-200

147 Smith, George - map of Carlisle

A map of the countries adjacent to Carlisle shewing the route of the rebels with their principal fords over ye Rr. Eden. London, 1746, c.21x27cm, hand-coloured, framed and glazed

Note: Smith’s map appeared in volume 16 of the Gentleman’s Magazine in 1746, accompanied by a letter describing the taking and retaking of Carlise during 1745.

£100-200

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148 Battle of the Boyne interest Richard Talbot, 1st Earl of Tyrconnell letters patent

Letters patent, c.47 x 68cm, from King James II & VII granting Richard Talbot Earl of Tyrconnell “to commission officers and men of horse and foot in the defence of our Kingdom of Ireland”, 1688, manuscript and engraving on vellum, lacking seal, large section lacking due to fire damage affecting text and engravings Note: Richard Talbot, 1st Earl of Tyrconnell, 1630-14 August 1691, was an Irish royalist and Jacobite soldier. Upon the accession of James II/VII, he was appointed commander in chief of the forces in Ireland and during his time as Lord Deptuty of Ireland (1687-88), appointed Irish Catholics to high positions. As a consequence, the Irish Catholic population largely sided with James II during the ‘Glorious Revolution’. In 1689, James arrived in Dublin and was supplied by Tyrconnel with a ready army. Despite this, King James and Tyrconnel were defeated by William and Mary’s Protestant forces in 1690 - a defeat often considered to have turned the tides in William and Mary’s favour.

This letters patent is King James’ authorisation for Talbot to appoint his army.

£700-900

149 Lockhart of Lee, of Carnwath (?1681-1731)

eldest son of Sir George Lockhart of Lee, of Carnwath (c.16301689), volume recording legal transactions, regarding a “tutor” (the guardian and administrator of the estate of a pupil, for George Lockhart (?1681-1731), eldest son of Sir George Lockhart of Lee, of Carnwath, folio volume, 42pp., contemporary calf, clasps, worn, cover detached, [1690-92]

Note: On his father’s death, the young George needed a tutor (the guardian and administrator of the estate of a pupil [a minor - girls under 12 or boys under 14]), and his uncle, Sir John Lockhart, Lord Castlehill of the Court of Session, was appointed. The volume seems to record some of the subsequent legal transactions.

150 Hogarth, William

The Gate of Calais (O the Roast Beef of Old England), engraved by Hogarth and Charles Mosley, after Hogarth’s oil painting, London: 1749, first state, c.39 x 49cm, framed and glazed

Note: Unlike most contemporary engravings, this print does not reproduce the painting in reverse but shows the scene in the same way as the original. This was necessary as it includes Hogarth himself, sketching the scene at the left, and about to be arrested as a spy.

Packed with telling and wickedly observed anti-French and anti-clerical detail, the scene famously shows a miserable Highland Jacobite in his French exile, dressed in tartan and with a white cockade in his bonnet and black patches on his forehead concealing wounds. He lolls disconsolately in the right foreground accompanied by his meagre fare of an onion and a hunk of dry bread and with an empty spirit measure.

This is the first state of a print sold in 1749 at 5 shillings a copy. The plate was subsequently reworked, and the print several times reissued: originals are, however, not common.

£400-500

Lockhart, who was member for the shire of Edinburgh in the Parliament of Scotland, was appointed a commissioner for arranging the union with England in 1705. After the union he continued to represent Edinburgh and, later, the Wigtown burghs. His sympathies were with the Jacobites, whom he kept informed of all the negotiations for the union; in 1713 he took part in an abortive movement aiming at the repeal of the union. Lockhart was the source of intelligence revealing the extensive bribery of Scottish parliamentarians prior to the Treaty of Union, giving rise to the famous Robert Burns line: “bought and sold for English gold”. He published a list of bribes paid by the English Treasury, and was deeply implicated in the rising of 1715.

We would like to acknowledge the help of the National Records of Scotland in cataloguing this lot.

£200-250

151 Contemporary account of the defence of Edinburgh, 1745, Manuscript letter

from Alexander Tait, stating “the alarm of the Highlanders still continues.. we are beginning to put ourselves in a posture of defence”, noting an unaccountable slowness to do this, “resolved to put the walls in repair and plant cannon at the Gates”, noting that “The Highlanders are said to be about 5000 strong but very poorly armed, and many of them very despicable, they have however behaved very civilly to the inhabitants of Perth”, noting that Lord Ogilvie and the Duke of Perth have joined them, and reporting the murder of Stewart of Glenbuckie, 1 page, Edinburgh, 7 Sept, 1745; and a typed list of Relics purchased by the clan Macpherson on 3rd May 1943, 4pp. (2) £300-400

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152 John Campbell, the Equivalent Company

Letter from James Mathias [secretary of the Equivalent Company] to John Campbell, regarding payments, written on one side of folded notepaper with address and seal to verso, page dimension 23 x 19cm, dated London 10. September 1745 (note states that the letter was answered on 17th September 1745)

Note: Between 1745 and 1777, John Campbell was cashier for the Royal Bank of Scotland, having started working with the bank at its foundation in 1703.

Campbell’s diary of the 1745 Jacobite uprising explains how he helped to protect the bank following the Jacobite army’s entry into Edinburgh on 17th September 1745. Campbell orchestrated a payment from the bank to Charles Edward Stuart, in spite of a lockdown in Edinburgh Castle where the bank’s gold was kept. He destroyed a large number of the bank’s unissued notes to prevent them becoming a liability in the turbulent climate.

It was on this day, 17th September, that Campbell replied to James Mathias’s letter. In the letter sent to John Campbell, Mathias states that he has debited Campbell’s account with the Equivalent Company, “...for the quarter annuity and charge of management...” and asking that he remits the Company, “...as soon as possible in the Royal Bank’s Bills as usual...payable to the Committee of Treasury of the Equivalent Company.”

James Mathias was the London Secretary of the Equivalent Company at the time and John Campbell, alongside his position at the Royal Bank of Scotland, was also the Company’s Agent in Scotland. One of the first customers of the Royal Bank of Scotland, the Equivalent Company was set up to compensate Scotland for taking a share in England’s national debt following the Union of Crowns. In particular, losses suffered by the investors in the Darien Campaign were to be compensated, and many joined the ‘Equivalent Society’.

This letter is an example of banking procedures between England and Scotland taking place at the time of the 1745 Jacobite uprising.

£250-350

153 After Culloden - Hanoverian soldier’s letter, May 1746

Letter written by a Pat.? Russell home to his father [in London?], dated Darlinton [sic.], 15.

May 1746, 2pp. on one sheet of notepaper c.21 x 23cm torn into 4 pieces, wax seal

Note: This letter would appear to be a young man’s description of riding south to London from Scotland.

He describes his progress from Edinburgh, crossing the Tweed, through Morpeth, Newcastle and Durham to Darlington, mainly concentrating upon where he has spent the night and dined. A reference to “Drink[ing] the Duke of Cumberlands health and our Friends in Scotland” suggests that the author of the letter had been engaged in fighting Jacobite forces at Culloden on 16th April. He also refers to England as the “land of Canaan”.

£400-600

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154 Rebellion in Scotland Gentleman’s Magazine

Over 300pp. of articles and excerpts, mainly from The Gentleman’s Magazine, chronicling the 1745 Jacobite Rebellion, inset into each leaf, including the magazine’s Account of the Battle of Culloden from volume xvi (1746) and A short account of the trials of the Manchester rebels from July 1746, also containing numerous engravings: Earl of Kilmarnock aged 42; Lord Balmerino aged 58; Manner of the execution; Scotch pride humbled or the rebellion crushed 1745; Map of the counties adjacent to Carlisle shewing the route of the rebels; William Duke of Cumberland; and a miniature of George II; battle plans of the Battles of Falkirk, Gladsmuir, the Battle of Culloden House; a few relevant manuscript notes, all neatly presented in full morocco album with gilt lines and raised bands on spine, marbled endpapers, all edges gilt, 29.5x23.5cm Note: Armorial bookplate of John MacLachlan, appears to be compiled from a Hanoverian perspective.

£300-400

155 The Stuarts

Some papers given in by the commissioners of the Parliament of Scotland to the honourable houses of the Parliament of England, in answer to their votes of the 24. of September 1646. concerning the disposing of his majesties person. Edinburgh [i.e. London?]: Evan Tyler [Robert Bostock?], 1646.

Third impression, 8vo, false imprint, later half calf [ESTC R201195]; Duke of Lorraine The Duke of Lorraine’s letter to Her Majesty, containing a description and character of the pretender...

London: J.Roberts, 1714. 8vo, modern red half calf gilt [ESTC T128514]; [Lindsay, Colin], Earl of Balcarres An account of the affairs of Scotland relating to the revolution in 1688. As sent to the late King James II. when in France. Edinburgh: Gideon Crawfurd, 1754. Second edition, 8vo, modern boards [ESTC T81820] (3) £150-200

156 Mackenzie, Sir George

Jus regium: or, the just and solid foundations of monarchy in general; and more especially of the monarchy of Scotland... London: R. Chiswel, 1684.

8vo, portrait, contemporary speckled calf, blindstamps, bookplate [ESTC R945]; [Atwood, William] The superiority and direct domain of the imperial crown of Scotland and the divine right of succession to both crowns inseparable from the civil... London: J. Hartley, 1704. 8vo, errata leaf bound following text, contemporary panelled calf rebacked with modern spine, bookplate of Los Angeles Board of Law Library Trustees [ESTC T99914]; Defoe, Daniel The history of the union between England and Scotland to which is added the articles of union, &c. Dublin: printed by John Exshaw, 1799. 8vo, lacking half-title, contemporary tree calf gilt, bookplate [ESTC T71935] (3) £150-200

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157 Sir William Parkyns

The arraignment, tryal and condemnation of Sir William Parkins Knt. for the most horrid and barbarous conspiracy to assassinate his most sacred Majesty King William... London: Samuel Heyrick..., 1696. Small folio, imprimatur on leaf [A]1v, some shaving to page numbers [ESTC R11595]; Robert Charnock, and others The tryals and condemnation of Robert Charnock, Edward King, and Thomas Keyes, for the horrid and execrable conspiracy to assassinate His sacred Majesty, K. William. London: Samuel Heyrick..., 1696. Small folio, imprimatur on leaf [A]1v , holes to final leaf with some loss [ESTC R4539]; modern quarter calf over blue boards, some damp-staining and soiling £200-300

158 Acts of Union

The act of security... [Edinburgh?], 1704. Small 4to, later half calf [ESTC T19164]; An inquiry into the reasonableness and consequences of an union with Scotland. London: Ben. Bragg, 1706. 8vo, contemporary calf rebacked with modern spine, some dampstaining [ESTC T88638]; Marshal, Ebenezer The history of the union of Scotland and England...

Edinburgh/London: Peter Hill/ Longman & Rees, 1799. 8vo, modern quarter calf [ESTC T93850] (3) £200-300

159 [Maiseaux, Pierre Des or Daniel Defoe or Arthur Maynwaring]

A letter from a gentleman at the court of St. Germaiins to one of his friends in England; containing a memorial about methods for setting the pretender on the throne of Great Britain. London: 1710. 8vo, modern quarter morocco, note to half-title verso in early hand: “King James ye Third or the Pretend Prince of Wales” [ESTC T66275]; Hooke, Colonel The secret history of Colonel Hooke’s negotiations in Scotland, in favour of the pretender.

London: T. Becket, 1860. 8vo, original boards with paper label to spine [ESTC T71121] (2) £100-150

160 John Erskine, 6th Earl of Marr

A journal of the Earl of Marr’s proceedings, from his first arrival in Scotland, to his embarkation for France. London: J.Baker, [1716?]. Second edition, 8vo, modern half calf, [ESTC T69397 listing 8 copies in libraries in the British Isles and 1 copy in a North American library]; [Defoe, Daniel] A trumpet blown in the north, and sounded in the ears of John Erskine, call’d by men of the world, Duke of Marr. By a ministering friend of the people call’d Quakers. [Glasgow:] Henry Luke, 1715.

8vo, modern half calf, darkening to pages [Rare: ESTC T177253 listing only one copy in a library in the British Isles and another in a North American library] (2) £150-200

161 [Lockhart, George]

Memoirs concerning the affairs of Scotland from Queen Anne’s accession to the throne to the commencement of the union of the two Kingdoms of Scotland and England... London: J. Baker, 1714. Second edition, 8vo [ESTC T39119]; [bound with] A key to the memoirs of the affairs of Scotland. London, 1714. 8vo [ESTC N72124]; contemporary calf rebacked with modern spine; [Oldmixon, John] Memoirs of North-Britain. London: J. Baker..., 1715. 8vo, contemporary panelled calf rebacked with modern spine [ESTC T83144]; Ker, John The memoirs of John Ker of Kersland in North Britain, Esq. London, 1726.

8vo, first part of Ker’s memoirs, eighteenth century mottled calf, bookplate, joints split (3) £150-200

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Jacobite, Stuart & Scottish Applied Arts 87

162 Patten, Robert

The history of the rebellion in the year 1715.

London: James Roberts, 1745. Fourth edition, 8vo, repairs, later panelled calf, rebacked with modern spine, spotting, some loss to text on p.232 and final leaf [ESTC T1958]; Boyse, S. An impartial history of the late rebellion in 1745.

Reading: J. Robinson, 1748. 8vo, portrait, 2 maps (one folding), 2 plans, errata leaf, contemporary half calf, rubbed, bookplate [ESTC T83111, listing 9 copies of this variation] (2) £150-200

163 [Boyd, William, 4th Earl of Kilmarnock?]

The chronicle of Charles, the young man.

[Edinburgh: 1745?] 8vo, 8pp. tract published in support of Charles Edward Stuart following the Battle of Prestonpans, 19th or 20th century half calf gilt [ESTC T116754, listing 12 copies in libraries in the British Isles and 4 in North American libraries] £150-200

164 [Gordon, Thomas]

Four letters taken from the General Evening Post, relating to the present rebellion...

[London:] 1745. 8vo, modern half calf [ESTC T109436, listing 6 copies in libraries in the British Isles and 2 copies in North American libraries] £200-300

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165 Archibald Stewart

The trial of Archibald Stewart Esq... Edinburgh: Gideon Crawfurd, 1747. 8vo, 2 parts in one book, contemporary half calf, ownership signature to title verso, several small tears [ESTC T140658]; [Henderson, Andrew] A full and authentic history of the rebellion MDCCXLV. and MDCCXLVI. London: W. Reeve..., [n.d. but 1755?] 12mo, contemporary calf, rubbed [ESTC N7858]; Hooke, Colonel The secret history of Colonel Hooke’s negotiations in Scotland, in favour of the pretender; in 1707. London: T. Becket, 1760. 8vo, contemporary calf, ownership signature to endpaper [ESTC T71121] (3) £200-250

168 [Henderson, Andrew]

The history of the rebellion, 1745 and 1746…

London: R. Griffiths, 1748. Second edition, reprinted from the Edinburgh edition, 8vo, modern quarter morocco, a few tears [ESTC N246]; The Maitland Club.The Cochrane Correspondence regarding the affairs of Glasgow, M.DCC.XLV - VI. Glasgow, 1836.4to, frontispiece, 5 leaves of facsimile letters and signatures (2) £150-250

166 Elphinstone, Arthur, 6th Baron Balmerino, and others

167 Charles Edward Stuart

[Anonymous] The wanderer: or, surprizing escape. A narrative founded on true facts.

London: Jacob Robinson, 1747. 8vo, attractive modern half calf gilt, some soiling, title-page repaired [ESTC N66339 lists only 3 copies of this variation of this work in libraries in the British Isles and North America, the ESTC lists 6 variants altogether]

True copies of the papers wrote by Arthur Lord Balmerino [and others]. [London, 1746?]

8vo, modern half calf gilt [ESTC T51840]; [Idem] True copies of the papers wrote by Arthur Lord Balmerino [and others]. London, 1746. 8vo, modern half calf, lacking pp.35-38 in second part [ESTC T51841]; [Griffiths, Ralph] Authentic copies of the letters and other papers delivered, at their execution, by the nine rebels... London: sold by the publishers and pamphlet-sellers, [1746]. 8vo, modern half calf gilt, hole to p.24 with slight loss to letters; [Willison, John] A letter to an English member of Parliament, from a gentleman in Scotland... London: M. Cooper, 1746. 8vo, modern half calf gilt [ESTC T67599]; [Mansfield, William, Earl of Murray] The thistle... London: H. Carpenter, 1747. 8vo, modern blue half calf [ESTC T50150] (5) £200-250

Note: A contemporary note to the title-page verso, possibly

by Lady Douglas, reads: “This pamphlet is filled with many gross falsehoods in the relation of facts. To those which consist with my own personal knowledge I have affixed on the margin this mark m”. Several passages are accompanied by the ‘m’ mark, and many of the omitted names in the text have been filled out with the same hand. The work is a criticism of Ralph Griffiths’ descriptions of Charles Edward Stuart’s actions in his Ascanius.

169 Johnson, Samuel

170 Hogg, James

A journey to the Western Islands of Scotland.

London: W. Strahan [&] T. Cadell, 1775. 8vo, lacking errata leaf and part of quire A? [ESTC T84319]; Boswell, James The journal of a tour to the Hebrides with Samuel Johnson...

London: Charles Dilly, 1786. Third edition, 8vo, half-title, advertisement leaf, contemporary calf with gilt tooling to spine [ESTC T53587]; Anderson, John Prize essay on the state of society and knowledge in the Highlands of Scotland... Edinburgh: William Tait, 1827. 8vo, inscribed on half-title: “To James Hope Esq. from the Author”, advertisement leaves, bluegreen cloth Skene, William F. The Highlanders of Scotland. London: John Murray, 1837. 2 volumes, 8vo, original boards (5) £200-300

Provenance: A trimmed ownership signature to the title-page reads: ‘My Lady Douglas book’

£200-300

The Jacobite relics of Scotland...

Edinburgh/London: William Blackwood/T. Cadell and W. Davies, 1819. First edition, 8vo, first series only, contemporary calf rebacked with modern spine; [Idem] Another copy, 1874, 2 volumes, 8vo, portrait, finely bound in contemporary calf with gilt tooling and red morocco gilt labels to spine (2) £180-220

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Jacobite, Stuart & Scottish Applied Arts 89

171 Charles Edward Stuart

An authentic account of the conduct of the young chevalier. From his first arrival in Paris, after his defeat at Culloden, to the conclusion of the peace at Aix-la-Chapelle.

Londod [sic.]: Nutt, Dodd [&] Barnes, 1749. Second edition, 8vo, half-title [ESTC N43377 listing only one copy of this printing in libraries in the British Isles and one in a Canadian library]; [bound with] Burton, John A genuine and true journal of the most miraculous escape of the Young Chevalier... London: W. Webb, 1749. 8vo [ESTC T40754]; [bound with] Pasquin and Marforio on the peace... London: W. Webb, [1748]. Second edition, 8vo, half-title [ESTC T43732]; contemporary calf rebacked £300-400

172 Ray, James

A compleat history of the rebellion.

[York?], 1757. 12mo, portrait, map, later blue quarter morocco gilt; Ascanius Or, the young adventurer...

Edinburgh: J. Ogle..., 1812. 12mo, hand-coloured frontispiece, folding table and 3 hand-coloured plates, contemporary dark red morocco (2) £100-150

173 Scottish History Society

A list of persons concerned in the Rebellion.

Edinburgh: T. and A. Constable, 1890. 8vo, original blue gilt stamped cloth; Seton, Sir Bruce Gordon - Arnot, Jean Gordon The prisoners of the ‘45, edited from the state papers. Edinburgh: T. and A. Constable, 1928.

3 volumes, 8vo, original green gilt stamped cloth, bookplate of Sir Norman Lamont in volume 1 (4) £150-200

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90 Lyon & Turnbull

174 Culloden House - auction catalogue 1897

Purchasers’ catalogue of the valuable contents of Culloden House which were sold by auction for Messrs A. Fraser & Co., Inverness, on Wednesday, 21st July, 1897, and following days, by R.J. Doglas, Auctioneer, Forres. 4to, rebound in modern boards with original tartan cloth gilt pasted to upper and lower covers £100-150

175 Lang, Andrew

Prince Charles Edward. Edinburgh: William Brown, 1900. Folio, number 1384 of 1500 copies on fine paper, colour portrait, 35 plates, red morocco with tooled gilt ‘CE’s and thistle and rose motif to upper cover by Riviere & Son, red morocco doublures with gilt tooled roses, t.e.g., a little wear and fading; Paton, James, editor Scottish history & life.

Glasgow: James Maclehose & Sons, 1902.

Folio, original blue cloth gilt (2) £200-300

176 Lang, Andrew

Prince Charles Edward. Edinburgh: William Brown, 1900. Folio, number 366 of 1500 copies on fine paper, colour portrait, 35 plates, original paper covers, dust-jacket, some spotting, soiling and tears to dust-jacket £100-150

177 Norie, W. Drummond

The life and adventures of Prince Charles Edward Stuart. London: Caxton Publishing Company, [1900]. 4 volumes, 4to, number 211 of 850 copies, original blue cloth gilt, bookplates, some wear; Culloden papers Comprising an extensive and interesting correspondence from the year 1625 to 1748...

London: T. Cadell and W. Davies, 1815. 4to, portrait, additional title, contemporary half morocco gilt (5) £150-200

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Jacobite, Stuart & Scottish Applied Arts 91

178 Buchanan, William

A historical and genealogical essay upon the family and surname of Buchanan. Glasgow: printed by William Duncan, 1723. First edition, small 4to, engraved plate torn with loss and laid-down, pp.107-8 torn with some loss [ESTC T154470]; Arnot, Hugo The history of Edinburgh. Edinburgh/London: W. Creech/ J. Murray, 1779. 4to, frontispiece, folding map of Edinburgh, contemporary calf gilt with tooling to spine and ‘XS’ with a crown in gilt to upper cover, joints split [ESTC T142880]; Johnston, T.B. - Robertson, James A. Historical geography of the clans of Scotland. Edinburgh and London: W. & A.K. Johnston, 1899. 4to, loose linen-backed folding map, original red cloth gilt; Kilgour, Wm. T. Lochaber in war and peace. Paisley: Alexander Gardner, 1908.

8vo, modern quarter calf (4) £200-250

179 Treaty of Union - Lizars, William Home

The signatures and seals of the English and Scottish commissioners for the Treaty of Union, signed 22 July 1706, facsimile engraved

by William Home Lizars, c.1815, and printed subsequently Edinburgh: c.1825 (watermark J. Whatman 1825), hand-coloured seals, framed and glazed, c.52 x 65cm including frame

Note: This facsimile was intended for inclusion in the Appendix to Acts of the Parliament of Scotland, volume XI (Reign of Queen Anne), 1824. However, most copies of the work are published without this illustration. A small stock of the printed but unbound sheets survived into the 1970s but is now dispersed.

The copperplate remains in the National Records of Scotland. This example is untrimmed.

£150-200

END OF SALE

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Page 92

Conditions of Sale

SELLERS

1. DEFINITIONS

In these Conditions of Sale (Sellers):

“Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate;

“Buyer“ is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent;

“Buyer‘s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT;

“Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a post-auction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot“ means each Item offered for sale by Lyon & Turnbull;

“Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds;

“Proposed Sale” means the intended sale through which the items will be sold on

“Purchase Price” is the Hammer Price and applicable Buyer‘s Premium;

“Reserve” means the lowest price below which an item cannot be sold;

“Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller;

“Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller

“Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:-

(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims.

(b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past.

(c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and

(d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

3. PREPARATION FOR SALE

(a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale.

(b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised from time to time.

(d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing 4. TERMS OF SALE

The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

5. STANDARD SELLER FEES AND CHARGES (Subject to VAT)

(1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold.

Photography: min charge £30. Online Listing: £10 per lot.

(2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense.

We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. RESERVES

(a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve.

(b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement.

(d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies.

(e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price.

7. LOSS & DAMAGE WARRANTY

(a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of;

(i) when risk passes to the Buyer of the lot following its sale;

(ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement).

(b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT.

(c) If any loss or damage should occur to the lot during

the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower.

This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).

8. UNSOLD ITEMS

(1) If an item is unsold it may, with your consent, be reoffered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate;or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred.

(2) Aftersales: We reserve the right to accept an afterauction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply.

9. LOT WITHDRAWAL

If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate.

(b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if:

(i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot‘s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or

(iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or

(iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it.

(d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST.

The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

11. NON-PAYMENT BY THE BUYER

(a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer.

(b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer

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to enforce payment of the amount due to the Seller.

(e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot.

12. SETTLEMENT PAYMENTS

Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested).

13. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Sellers) 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) Lyon & Turnbull undertakes 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.

14. 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 accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as

BUYERS

The Auctioneer carries on business with bidders, Buyers and all those present in the auction room prior to, or in connection with, a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein..

1. DEFINITIONS

In these Conditions of Sale (Buyers):

"Auctioneer" means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate;

"Hammer price" means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; "Lot" means each Item offered for sale by Lyon & Turnbull;

"Purchase Price" is the Hammer Price and applicable Buyer's Premium;

"Reserve" means the lowest price below which an item cannot be sold;

"Total amount due" means 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; “You”, “Your” means the Buyer

“Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

3. BIDDING PROCEDURES AND THE BUYER

(a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid;

(b) 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.

Page 93

required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

15. GENERAL

(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

(b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting.

(c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.

(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect.

(e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives.

No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

16. AGENCY

Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

(c) Once made, no bid may be withdrawn.

(d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved.

(f) Commission 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.

(g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone.

We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: 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.

4. INCREMENTS

Bidding increments shall be at the Auctioneer's sole discretion.

5. THE PURCHASE PRICE

For each lot purchased a Buyer's Premium of 25% is payable on the first £50,000 of the hammer price, 20% 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 is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above.

6. 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.

(1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

17. DATA PROTECTION

In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

18. 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 Seller 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.

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.

(2) 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 outwith the European Union. This reduced rate is applicable to Antique items.

(3) 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 outwith the European Union and do not fall within the reduced rate category outlined above.

7. 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 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), 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. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

8. PAYMENT

(1) Within 7 days of a lot being sold you will:

(a) 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. We do not accept American Express. (b) Please note there is a surcharge of 2% when using credit cards.

(c) Please note that under The Money Laundering Regulations 2007 we cannot accept cash payments over €15,000 (euros).

(2) Any payments by you to us may be applied by us

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towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied..

9. TITLE AND COLLECTION OF PURCHASES

(1) 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.

(2) 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 cheque used for payment whichever is later. 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.

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

(4) 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.

(5) 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.

10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES

(1) 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 (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 not exceeding 1.5% per month above the current base rate 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.satisfied.

11. DESCRIPTIONS AND CONDITION

(1) 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.

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(2) 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 endeavor 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 Lyon & Turnbull 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 Lyon & Turnbull and the Buyer. The Condition Reports do not affect the Seller’s obligations in any way.

(3) 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.

(4) 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.

(5) 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.

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with current safety regulation. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

(7) 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.

12. BOOKS, CLOCKS & WATCHES

(1) 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.

(2) 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, Lyon & Turnbull makes 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 Lyon & Turnbull 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.

13. CITES

Please be aware that all lots marked with the symbol Y are 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/

Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

14. 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) Lyon & Turnbull undertakes 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.

15. 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 accommodation, 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.

16. GENERAL

(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

(b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.

(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect.

(e) These Conditions of Sale are not assignable by either party without the other's prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights.

(f) The contract between the parties may be varied by the parties by agreement and in writing.

17. DATA PROTECTION

In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull's services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844..

The Buyer hereby agrees to the release by Lyon & Turnbull of the Buyer’s name and contact details to the seller or the seller’s solicitor in the event of any dispute between Lyon & Turnbull and the Buyer and/or Lyon & Turnbull and the Seller. Lyon & Turnbull will give prior written notice of the release of any such details to the Seller of the Seller’s solicitor.

18. FORCE MA JEURE

Lyon & Turnbull 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.

19. 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.

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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, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull 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

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 non-transferable.

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 endeavor 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 entirely at the bidder’s risk.

On the internet A fully-illustrated catalogue is available on our website.

Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid.

Live online bidding (powered by Invaluable) is also available, accessible either through our website or at www.invaluable.com. Please note that an additional 3% premium is charged by Invaluable for this live online service.

Payment

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.

Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Please note there is a 2% surcharge on credit card payments and we do not accept Amex.

Online Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax. You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request.

Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice.

Cash Cash payments can be made at the accounts desk during or after a sale.

Cash payments limited to €15,000 (euros).

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Collection & Shipping Transport & Couriers

Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

Local Deliveries

A&S Pert Removals Tel. +44 (0)7876 343520.

New Leaf Removals Tel: +44 (0)7999 926261 info@newleafremovals.co.uk

Thistle Removals Tel: +44 (0)7836 774712 thistleremovals@hotmail.co.uk

Smaller Items & Pictures

Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 edinburgh@mbescotland.com

Book online at www.mbe.co.uk/the_auction_room

Furniture & Larger Items

Constantine Fine Art Logistics Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 enquiries@constantinemoving.com

A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 office@avmt.co.uk

Aardvark Art Services Ltd Birks Farm, Ballam Road Lytham, Lancashire FY8 4NL Tel: +44 (0)1253 794673 Fax: +44 (0)1253 730580 info@aardvarkartservices.com

© Lyon & Turnbull Ltd. 2015. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon & Turnbull Ltd.

Arrangements for Sold Lots

All bought items will be held free of charge for 7 days following the sale..

Thereafter lots will be removed to storage and a charge incurred.

Administration fee: £20 + VAT

Storage charges per lot per day are:

Large Items £5 inc. insurance + VAT

Small Items £2.50 inc. insurance + VAT

It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom.

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LYON & TURNBULL AUCTIONEERS EDINBURGH JACOBITE, STUART & SCOTTISH APPLIED ARTS

182 Bath Street, Glasgow G2 4HG Tel. +44 (0)141 333 1992 Fax. +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel. +44 (0)20 7930 9115 Fax. +44 (0)141 7930 7274

13TH MAY, 2015

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Wednesday, 13th May, 2015 33 Broughton Place Edinburgh EH1 3RR

Jacobite, Stuart & Scottish Applied Arts