Scottish Silver & Applied Arts | 16th August 2017 | 11am by Lyon & Turnbull

LYON & TURNBULL AUCTIONEERS EDINBURGH

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

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115

SCOTTISH SILVER & APPLIED ARTS 16TH AUGUST 2017

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, 16th August, 2017 33 Broughton Place Edinburgh

Scottish Silver & Applied Arts

Scottish Silver & Applied Arts Wednesday, 16th August, 2017 at 11am Sale Number LT496

Viewing Times Sunday, 13th August 12–4pm Monday, 14th August 10am–5pm Tuesday, 15th August 10am–5pm Morning of the 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: £15

Front Cover Lot 416 (detail) Inside Front Cover Lots 406-423 (detail) Inside Back Cover Lot 428 (detail)

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 £100,000/20% 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

Catalogue descriptions

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:

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.

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.

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

Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team is 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 find out more about the auction process.

John Mackie

Furniture,Ceramics & Glass john.mackie@lyonandturnbull.com

Trevor Kyle

Scottish Silver & Accessories trevor.kyle@lyonandturnbull.com

Theodora Burrell

Furniture,Ceramics & Glass theo.burrell@lyonandturnbull.com

Colin Fraser

Scottish Silver & Accessories colin.fraser@lyonandturnbull.com

Kier Mulholland

Administrator kier.mulholland@lyonandturnbull.com

How to Find Us in Edinburgh

Lyon & Turnbull Saleroom

Parking P Multi-storey car parking is available at Greenside Place, a five minute walk from theÂ saleroom York Place Tram Stop Waverley Station

Order of Sale Wednesday, 16th April, 2017 at 11am 1-125

Ceramics

126-158

Mauchline Ware

159-211

Furniture & Works of Art

180-184

The Mackenzie Sculptures

212-230

Boxes & Collectables

231-336

Scottish Provincial Silver

337-405

Scottish Hallmarked Silver

406-417

A Private Collection of Jacobite Glass

418-431

Jacobite Works of Art: OtherÂ properties

432-454

Arms & Armour

Lot 32

Ceramics 1 A PAIR OF WEMYSS LOVING CUPS

’CABBAGE ROSES’ PATTERN, CIRCA 1900 decorated by Karel Nekola, painted and impressed maker’s marks WEMYSS (2) Height: 18.5cm £800‑1,200

2 A WEMYSS WARE KENMORE VASE

’CABBAGE ROSES’ PATTERN, CIRCA 1900 decorated by Karel Nekola, impressed maker’s mark (twice) WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 37cm £600‑800

3 A WEMYSS WARE FOOTED BOWL

’CABBAGE ROSES’ PATTERN, CIRCA 1900 painted maker’s marks WEMYSS Diameter: 18cm £300‑500

6 Lyon & Turnbull

4 A LARGE WEMYSS WARE PIG

’CABBAGE ROSES’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS Length: 46cm £3,000‑4,000

5 A WEMYSS WARE PIG MONEYBOX

’CABBAGE ROSES’ PATTERN, CIRCA 1900 decorated by James Sharp, painted and impressed maker’s mark WEMYSS Length: 16cm £800‑1,200

6 A WEMYSS WARE PART TEA SERVICE

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, comprising a TEAPOT & COVER, 8.5cm high; a SIDE PLATE; SAUCER; MILK JUG; and SUGAR BOWL, each with painted maker’s mark WEMYSS (5) £150‑250

7 A GROUP OF WEMYSS WARE

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY comprising a LARGE CHESHAM FERN POT, 12cm high; a SMALL CHESHAM FERN POT, 8cm high; a MILK JUG, 6.5cm high; a SUGAR BOWL, 7.8cm diameter; and TWO PLATES, 14cm and 12cm diameter, each with painted, impressed or printed maker’s marks (6) £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 7 8 A RARE WEMYSS WARE SLEEPING PIG

’THISTLES’ PATTERN, CIRCA 1900 decorated by James Sharp, painted and impressed maker’s marks WEMYSS, hairline cracks Length: 16cm £2,000‑3,000

9 A SMALL WEMYSS WARE MONEYBOX PIG

’CABBAGE ROSES’ PATTERN, DATED 1925 decorated by Joe Nekola, bearing inscription ELIZABETH. M. WATSON/31ST JANUARY 1925., painted and impressed maker’s marks WEMYSS, hairlines Length: 16cm £400‑600

10 A SMALL WEMYSS WARE PIG

’OAK LEAVES & ACORNS’ PATTERN, POST 1930 printed maker’s mark MADE IN ENGLAND, minor damage Length: 16cm £300‑500

11 A SMALL WEMYSS WARE PIG

’BLUE CARNATIONS’ PATTERN, POST 1930 decorated by Joe Nekola, painted maker’s mark “NEKOLA PINXT”, printed marks PLICHTA/LONDON/ENGLAND Length: 16cm £400‑600

8 Lyon & Turnbull

12 A LARGE WEMYSS WARE FOOTBATH

’APPLES’ PATTERN, CIRCA 1900 bears printed retailer’s mark T. GOODE & CO., cracks Diameter: 50cm, height: 20cm £500‑800

13 A LARGE WEMYSS WARE MUG

’PURPLE PLUMS’ PATTERN, CIRCA 1900 decorated by James Sharp, painted and impressed maker’s marks WEMYSS Height: 14.5cm £300‑500

16 A WEMYSS WARE BISCUIT BARREL & COVER

’BRAMBLES’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 11.5cm

14 A LARGE WEMYSS WARE MUG

£200‑300

Height: 14.5cm

’BRAMBLES’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS, two hairlines to rim, 20cm high; and a WEMYSS PRESERVE JAR & COVER, ‘BRAMBLES’ PATTERN, impressed maker’s mark WEMYSS WARE, 12cm high, restoration under rim of cover (2)

’RED PLUMS’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS £200‑300

15 A WEMYSS WARE MATCHBOX HOLDER ’CHERRIES’ PATTERN, CIRCA 1900 printed retailer’s mark T. GOODE & CO. Diameter: 8cm £100‑200

17 A WEMYSS WARE GROSVENOR VASE

£200‑300

18 A GROUP OF WEMYSS WARE

’CHERRIES’ PATTERN, EARLY 20TH CENTURY comprising a HEART‑SHAPED INKSTAND, 18.5cm across; a TEA CUP & SAUCER, cup 8cm diameter, saucer 13cm diameter; and a PIN TRAY, 11cm across, each with painted or impressed maker’s marks (3)

19 A SMALL WEMYSS WARE GROSVENOR VASE

’IRIS’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, painted maker’s mark WEMYSS Height: 14cm £200‑300

20 A LARGE WEMYSS WARE MUG

’YELLOW IRIS’ PATTERN, CIRCA 1900 painted maker’s marks WEMYSS WARE/R.H.&S. Height: 14cm £200‑300

21 A WEMYSS WARE LOW POMADE

’VIOLETS’ PATTERN, EARLY 20TH CENTURY impressed maker’s mark WEMYSS, restoration to cover Diameter: 9.3cm £300‑500

£200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 9 22 A WEMYSS WARE SINGLE INK STAND

’SWEET PEAS’ PATTERN, EARLY 20TH CENTURY impressed maker’s mark WEMYSS, printed retailer’s mark T. GOODE AND CO./SOUTH AUDLEY ST/LONDON W., with later inkwells, minor hairline, 17cm diameter; and a LARGE WEMYSS WARE BEAKER VASE, ‘SWEET PEA’ PATTERN, EARLY 20TH CENTURY, painted maker’s and retailer’s marks WEMYSS/T. GOODE & CO., restorations to rim, 16cm high (2) £300‑400

23 A WEMYSS WARE LOW POMADE 24 A WEMYSS WARE MATCHBOX HOLDER

’CABBAGE ROSES’ PATTERN, CIRCA 1900 decorated by David Grinton and bearing the inscription DRAWING ROOM, painted maker’s marks WEMYSS, painted retailer’s mark T. GOODE & CO./LONDON

’SWEET PEAS’ PATTERN, EARLY 20TH CENTURY impressed and painted maker’s marks WEMYSS Diameter: 9.3cm £300‑500

Diameter: 8cm £300‑500

25 A LARGE AND A SMALL WEMYSS WARE DOG BOWL ’DAFFODILS’ PATTERN, CIRCA 1900 the large with impressed maker’s mark WEMYSS WARE/R.H.&S. , hairlines to rim, 21.5cm diameter; the small with impressed maker’s mark WEMYSS WARE/R.H.&S, 16.5cm diameter (2) £300‑500

26 A LARGE WEMYSS WARE BASKET

’DAFFODILS’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Width: 39.5cm £400‑600

10 Lyon & Turnbull 27 A WEMYSS WARE LETTER RACK

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY painted maker’s mark WEMYSS, printed retailer’s mark, minor hairline Length: 22.5cm £400‑600

28 A SMALL WEMYSS WARE STUART FLOWER POT ’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY decorated on a yellow ground, painted and impressed maker’s marks WEMYSS Diameter: 20.5cm £250‑350

29 A WEMYSS WARE BISCUIT BARREL & COVER ’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, bearing inscription BISCUITS, painted maker’s and retailer’s marks WEMYSS/T. GOODE & CO./LONDON Height: 13cm £200‑300

30 A RARE WEMYSS WARE INVALID CUP

’CABBAGE ROSES’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS and a printed retailer’s mark, restoration to handle and rim Across: 15.5cm £250‑350

31 A RARE WEMYSS WARE NURSERY PLATE

EARLY 20TH CENTURY decorated by Karel Nekola, bearing inscription ‘GOLLYWOG’, painted maker’s mark WEMYSS, restored Diameter: 17cm Literature: Davis, Peter; De Rin, Victoria; Macmillan, David & Rankine, Robert, ‘Wemyss Ware: A Decorative Scottish Pottery’, Edinburgh: Scottish Academic Press, 1986, p.87, fig. 132(b), where this plate is illustrated. Note: By tradition, this plate belonged to the nanny of the Wemyss family. £300‑500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 11

32 A LARGE WEMYSS WARE PUCE CAT

CIRCA 1900 covered in a pink glaze, impressed maker’s mark WEMYSS WARE/R. H. & S. Height: 33.5cm £3,000‑5,000

12 Lyon & Turnbull

33 A WEMYSS WARE BISCUIT BARREL & COVER

’BLACKCURRANTS’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted maker’s marks WEMYSS, minor damage Height: 11.2cm £300‑500

34 A WEMYSS WARE GORDON DESSERT PLATE AND BISCUIT BARREL & COVER

’PURPLE PLUMS’ PATTERN, CIRCA 1900 the plate decorated by Edwin Sandland and reserved on a black ground, painted maker’s marks WEMYSS/E.S., impressed maker’s marks WEMYSS WARE/R.H.&S., restored hairline 20.5cm diameter; the biscuit barrel inscribed to the cover BISCUITS, painted and impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO., crack to base, 12.5cm diameter (2) £300‑400

35 A WEMYSS WARE BISCUIT BARREL & COVER

’ORANGES’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted and impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 11.2cm £200‑300

36 A WEMYSS WARE BISCUIT BARREL & COVER

’RASPBERRIES’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 11cm £300‑400

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 13 37 A LARGE WEMYSS WARE BASIN

’WHITE BROOM’ PATTERN, CIRCA 1900 of circular form, impressed and painted maker’s marks WEMYSS (minor damages) Diameter: 39cm Literature: Davis, Peter; De Rin, Victoria; Macmillan, David & Rankine, Robert, ‘Wemyss Ware: A Decorative Scottish Pottery’, Edinburgh: Scottish Academic Press, 1986, p.111, fig. 222 Note: ‘White Broom’ pattern was purchased as wash sets and desk sets by William Forbes J.P. for Callendar House, Falkirk. Forbes was the grandson on the maternal side of the Seventh Earl of Wemyss and white broom was the family’s cap badge. £500‑800

38 A SMALL WEMYSS WARE JUG

’WHITE BROOM’ PATTERN, EARLY 20TH CENTURY decorated by David Grinton, painted maker’s marks WEMYSS Height: 5.3cm £200‑300

39 A WEMYSS WARE HATPIN HOLDER

’BUTTERCUPS’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, painted and impressed maker’s marks WEMYSS Height: 19cm £300‑400

40 A WEMYSS WARE CHOCOLATE POT & COVER ’BUTTERCUPS PATTERN’, EARLY 20TH CENTURY impressed maker’s mark WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 13cm £200‑300

41 A WEMYSS WARE FRILLED VASE

’BUTTERCUPS’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS, printed retailer’s mark T. GOODE & CO., 13.5cm high; a SMALL WEMYSS WARE CUP AND JUG, ‘BUTTERCUPS’ PATTERN, CIRCA 1900, both with printed retailer’s mark, jug with impressed maker’s mark WEMYSS, 6.8cm high minor restoration to inside rim of cup, 8.5cm diameter (3) £250‑350

14 Lyon & Turnbull 42 A RARE WEMYSS WARE TEAPOT & COVER ’FIGHTING COCKEREL’, CIRCA 1900 impressed maker’s mark WEMYSS, printed retailer’s mark, T. GOODE & CO., minor restoration to spout Height: 12cm £500‑700

43 A RARE GROUP OF WEMYSS WARE

’FIGHTING COCKEREL’, CIRCA 1900 comprising a LARGE MILK JUG, printed retailer’s mark, restored, 12.5cm high; a SAUCER, impressed maker’s mark WEMYSS WARE/R. H. & S., printed retailer’s mark, 13cm diameter; and a SMALL DISH, impressed maker’s mark WEMYSS WARE/R. H. & S., printed retailer’s mark T. GOODE & CO., 12cm diameter (3) £400‑600

44 A ROYAL DOULTON – WEMYSS CENTENARY GOBLET AND PRESENTATION BOX

DATED 1980 number 49 of a limited edition of 500, inscribed ‘TO HONOUR QUEEN ELIZABETH THE QUEEN MOTHER AND MARK THE WEMYSS CENTENARY’, to the reverse inscribed ‘WEMYSS 1880‑1980’ Height: 19cm £100‑200

45 A ROYAL DOULTON – WEMYSS CENTENARY GOBLET AND PRESENTATION BOX

DATED 1980 number 308 of a limited edition of 500, inscribed ‘TO HONOUR QUEEN ELIZABETH THE QUEEN MOTHER AND MARK THE WEMYSS CENTENARY’, to the reverse inscribed ‘WEMYSS 1880‑1980’ Height: 19cm £100‑200

46 A SMALL WEMYSS WARE LOVING CUP ’BUTTERCUPS’ PATTERN, EARLY 20TH CENTURY impressed maker’s mark WEMYSS, printed retailer’s mark T. GOODE & CO., hairlines Height: 10cm £150‑250

47 A WEMYSS WARE SPONGE DISH AND LINER

’BLACK COCKEREL & HENS’ PATTERN, CIRCA 1900 printed retailer’s mark T. GOODE & CO., 24cm wide; and a SMALL WEMYSS WARE ‘CABBAGE ROSES’ PATTERN EWER, impressed mark WEMYSS WARE/R.H.&S., 16cm high (2) £200‑300

48 A WEMYSS WARE ‘BONJOUR’ PART TEA SERVICE ’BLACK COCKEREL & HENS’ PATTERN, EARLY 20TH CENTURY comprising a TEAPOT & COVER, painted maker’s and retailer’s marks WEMYSS/ T. GOODE & CO., 9.5cm high; TEA CUP & SAUCER, impressed maker’s mark WEMYSS WARE/R.H.&S., printed retailer’s mark, 7cm high; MILK JUG, 7cm high; and SUGAR BOWL, impressed maker’s mark WEMYSS, 8cm diameter, some hairlines and small chips (5) £150‑250

49 A GROUP OF WEMYSS WARE

’BROWN COCKEREL & HENS’ PATTERN, EARLY 20TH CENTURY comprising a COMB TRAY, painted and impressed maker’s marks WEMYSS, printed retailer’s mark, 26cm across; a CHESHAM FERN POT, impressed maker’s mark WEMYSS, 9cm high; and a HEART‑SHAPED INK STAND, printed maker’s mark WEMYSS WARE/R.H.&S., printed (twice) retailer’s mark, 17cm across, hairlines and minor restorations (3) £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 15

50 A WEMYSS WARE GOOSE FLOWER HOLDER

EARLY 20TH CENTURY impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 16cm £150‑250

51 A WEMYSS WARE ‘BONJOUR’ TRIO

’BROWN COCKEREL AND HENS’ PATTERN, EARLY 20TH CENTURY each with inscription ‘BONJOUR’, comprising a CHOCOLATE POT & COVER, impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO., 12.7cm high; a MILK JUG, unmarked, 5.3cm high; and a PLATE, impressed maker’s marks WEMYSS WARE/R.H.&S., printed retailer’s mark T. GOODE & CO., 12cm diameter (3) £300‑400

52 A WEMYSS WARE HEART‑SHAPED INKSTAND ’BLACK COCKEREL & HENS’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS Across: 18.5cm £200‑300

53 A GROUP OF WEMYSS WARE

’BLACK COCKEREL & HENS’ PATTERN, EARLY 20TH CENTURY comprising a LARGE MUG, impressed maker’s mark WEMYSS, 14cm high; a LARGE JUG, painted maker’s mark WEMYSS/40, 14cm high; and a HEART‑SHAPED INK STAND, impressed maker’s mark WEMYSS, with later glass inkwells, 17cm across (3) £150‑250

54 A GROUP OF WEMYSS WARE

VARIOUS PATTERNS, EARLY 20TH CENTURY comprising a BEAKER VASE, decorated with ‘Sweet Peas’, 14.5cm high; a SMALL PLATE, decorated with ‘Purple Plums’, 9.5cm diameter; a MILK JUG, decorated with ‘Cabbage Roses’, 6.5cm high; a PIN TRAY, decorated with ‘Cabbage Roses’, 14cm across; and a CHAMBER POT, decorated with ‘Cabbage Roses’, 22cm across, restored handle, each piece with impressed or painted maker’s marks (5) £150‑250

55 THREE COPIES OF ‘WEMYSS WARE: A DECORATIVE SCOTTISH POTTERY’ PUBLISHED SCOTTISH ACADEMIC PRESS, EDINBURGH, 1986 Davis, Peter; De Rin, Victoria; Macmillan, David & Rankine, Robert (3) £150‑200

16 Lyon & Turnbull 56 A WEMYSS WARE HONEY BOX, COVER & STAND

’BEES & HIVE’ PATTERN, EARLY 20TH CENTURY painted and impressed maker’s marks WEMYSS, painted retailer’s marks T. GOODE & CO. Box & cover: 14cm across, tray: 19cm across £300‑500

57 A WEMYSS WARE PRESERVE JAR & COVER

’BEES AND HIVE’ PATTERN, EARLY 20TH CENTURY painted and impressed maker’s marks WEMYSS Height: 12cm £150‑250

58 A WEMYSS WARE JARDINIÈRE

’DRAGONFLIES’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, printed and impressed maker’s mark WEMYSS, hairlines to rim Height: 17cm £300‑500

59 A WEMYSS WARE FRILLED VASE

’DRAGONFLIES’ PATTERN, EARLY 20TH CENTURY painted and impressed maker’s marks WEMYSS Height: 14cm £300‑500

60 A RARE WEMYSS WARE BUTTON

’DRAGONFLIES’ PATTERN, EARLY 20TH CENTURY impressed maker’s mark WEMYSS Diameter: 3.3cm £500‑800

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 17

61 A LARGE WEMYSS WARE MUG

’TULIPS’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 14.5cm £200‑300

62 A LARGE WEMYSS WARE MUG

’LILACS’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS WARE/R.H.&S., printed retailer’s mark T. GOODE & CO. Height: 13.5cm £400‑600

63 A WEMYSS WARE BISCUIT BARREL & COVER ’FUCHSIAS’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted and impressed maker’s marks WEMYSS Height: 11.5cm £500‑800

64 A MEDIUM WEMYSS WARE BASKET ’CARNATIONS’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS Across: 30cm £300‑400

65 A LARGE WEMYSS WARE JAPAN VASE

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland and reserved on a black ground, impressed (twice) and painted maker’s mark WEMYSS, restoration to body Height: 32cm £250‑350

18 Lyon & Turnbull

66 A LARGE WEMYSS WARE MUG

’DAFFODILS’ PATTERN, EARLY 20TH CENTURY impressed mark WEMYSS, printed retailer’s mark, small restoration to rim, 14cm high; and a WEMYSS WARE ‘DAFFODILS’ GROSVENOR VASE, CIRCA 1900, impressed maker’s mark WEMYSS, small chip to rim, 21.4cm high (2) £200‑300

67 A LARGE WEMYSS WARE STUART FLOWER POT ’DAFFODILS’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, painted maker’s and retailer’s marks WEMYSS/T. GOODE & CO., two minor hairlines Height: 18cm £300‑500

68 A GROUP OF WEMYSS WARE

’DOG ROSES’ PATTERN, EARLY 20TH CENTURY comprising a MAY VASE, decorated by Edwin Sandland, 17cm high; a BEAKER VASE, 16.5cm high, hairline; and a PORCELAIN SUGAR BOWL, decorated by Edwin Sandland, 11.5cm across, each with painted or impressed maker’s mark (3) £200‑300

69 A WEMYSS WARE NAPKIN RING

’DOG ROSES’ PATTERN, EARLY 20TH CENTURY unmarked Diameter: 4.2cm £100‑200

70 A LARGE WEMYSS WARE EWER & BASIN ’CABBAGE ROSES’ PATTERN, CIRCA 1900 the ewer decorated by Edwin Sandland, painted maker’s mark WEMYSS; the basin with impressed maker’s mark WEMYSS WARE/ R.H.&S., printed retailer’s mark, hairlines and minor restorations (2) Ewer height: 25cm, basin diameter: 38cm £200‑300

71 A LARGE WEMYSS WARE EWER

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland and reserved on a black ground, painted mark WEMYSS Height: 23.5cm Provenance: Collection of Robert Rankine £200‑300

72 A GROUP OF WEMYSS ‘JAZZY’ WARES

VARIOUS PATTERNS, CIRCA 1920 comprising a TALL SQUARE CANDLESTICK, ‘Iris’ pattern, 30cm high; a COMB TRAY, ‘Cabbage Roses’ pattern, 25cm across; a PRESERVE JAR & COVER, ‘Cabbage Roses’ pattern, 10.5cm high, each with painted maker’s marks; and a TALL SQUARE CANDLESTICK, decorated with thorny tendrils, unmarked, 29.5cm high (4) £250‑350

73 A GROUP OF WEMYSS WARE

’CABBAGE ROSES’ PATTERN’, EARLY 20TH CENTURY comprising a DRUMMOND FLOWER POT, decorated by Edwin Sandland, painted maker’s mark WEMYSS, 21cm high; a LOVING CUP, impressed maker’s mark WEMYSS WARE/R.H.&S. and with painted retailer’s mark T. GOODE & CO./LONDON, 20cm high; a LARGE TWIN‑HANDLED VASE, impressed maker’s mark WEMYSS, 17.5cm high; hairlines (3) £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 19

74 A LARGE WEMYSS WARE BULB PLANTER ’CABBAGE ROSES’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS WARE/ R.H.&S., hairlines Diameter: 36cm £200‑300

75 A MEDIUM WEMYSS WARE CIRCULAR BULB PLANTER ’CABBAGE ROSES’ PATTERN, CIRCA 1900 impressed maker’s marks (twice) WEMYSS Across: 29cm £300‑500

76 A WEMYSS WARE ‘JAZZY’ ST CLAIR VASE

’CABBAGE ROSES’ PATTERN, CIRCA 1920 decorated by Edwin Sandland, painted maker’s marks WEMYSS/213, moulded marks ST CLAIR/R.H.&S., 21.5cm high and a WEMYSS WARE ‘JAZZY’ FOOTED BOWL, ‘Cabbage Roses’ pattern, painted maker’s mark WEMYSS 213, 18cm diameter (2) £200‑300

77 A WEMYSS WARE ‘JAZZY’ VASE

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY decorated by Joe Nekola, painted maker’s mark WEMYSS/213, 27cm high; and a MEDIUM BASKET, impressed maker’s mark WEMYSS WARE/R.H.&S., hairline to rim of basket 29.5cm across (2) £200‑300

78 A GROUP OF WEMYSS WARES

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY comprising TWO LADY EVA VASES, one decorated by James Sharp, 15.5cm high; a TWIN‑HANDLED MUG, decorated by James Sharp, 13.5cm high; TWO CHESHAM FERN POTS, 9cm high; and a WEMYSS STYLE SUGAR BOWL & COVER, 12cm high, painted and impressed maker’s marks; also an EARLY WEMYSS POSY VASE, with marbled decoration, impressed mark WEMYSS/1, 8cm high, some small chips and minor restorations (7) £200‑300

79 A WEMYSS WARE HEART‑SHAPED INKSTAND

’CABBAGE ROSES’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS, 18.5cm across; and a PEN TRAY, decorated with ‘Cabbage Roses’, impressed maker’s mark WEMYSS WARE/R.H.&S., printed retailer’s mark T. GOODE & CO., 24cm long (2) Across: 18.5cm £150‑250

20 Lyon & Turnbull 80 A SMALL WEMYSS WARE PIG

CIRCA 1900 covered in a yellow glaze, impressed maker’s mark WEMYSS WARE/R.H.& S. Length: 16cm £500‑800

81 A SMALL WEMYSS WARE PIG

CIRCA 1900 covered in a brown glaze, impressed maker’s marks WEMYSS WARE/R.H.&S. Length: 16cm £500‑800

82 A SMALL WEMYSS WARE PIG MONEYBOX CIRCA 1900 covered in a green glaze, impressed maker’s marks WEMYSS Length: 16cm £250‑350

83 A SMALL WEMYSS WARE PIG

’SHAMROCKS’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS WARE/R.H.&S., printed retailer’s mark T. GOODE & CO. Length: 16cm £150‑250

84 TWO SMALL WEMYSS WARE PIGS

BLACK & WHITE SPONGED DECORATION, POST 1930 each decorated by Joe Nekola, painted maker’s marks WEMYSS, restored ears (2) Length: 16cm £600‑800

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 21 85 A WEMYSS WARE BISCUIT BARREL & COVER ’GREENGAGES’ PATTERN, CIRCA 1900 bearing the inscription ‘BISCUITS’, impressed maker’s mark WEMYSS, minor hairline Height: 16cm £300‑500

86 A WEMYSS WARE BISCUIT BARREL & COVER

’MIXED FRUIT’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, bearing the inscription ‘BISCUITS’, painted maker’s mark WEMYSS Height: 17cm £300‑500

87 A LARGE WEMYSS WARE PRESERVE JAR & COVER

’APPLES’ PATTERN, EARLY 20TH CENTURY printed maker’s marks HANDPAINTED/ WEMYSS WARE, painted mark W22 Height: 15.5cm £300‑500

88 A WEMYSS WARE BISCUIT BARREL & COVER

’STRAWBERRIES’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted and impressed maker’s marks WEMYSS, painted retailer’s mark T GOODE & CO Diameter: 12.5cm £200‑300

89 A WEMYSS WARE PRESERVE JAR & COVER

’STRAWBERRIES’ PATTERN, EARLY 20TH CENTURY with modelled strawberries handle to cover, painted maker’s mark WEMYSS, restoration to rim of cover Diameter: 11cm £200‑300

90 A MINIATURE WEMYSS WARE PRESERVE JAR & COVER ’RASPBERRIES’ PATTERN, EARLY 20TH CENTURY painted and impressed maker’s marks WEMYSS Height: 7cm £200‑300

91 A LARGE WEMYSS WARE PRESERVE JAR & COVER ’CHERRIES’ PATTERN, EARLY 20TH CENTURY impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 16cm £150‑250

22 Lyon & Turnbull

92 A LARGE WEMYSS WARE CAT

’CABBAGE ROSES’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, painted and impressed maker’s mark WEMYSS, front legs restored, eyes possibly later Height: 32.5cm £2,000‑3,000

93 A LARGE WEMYSS WARE CAT

’SHAMROCKS’ PATTERN, POST 1930 decorated by Joe Nekola, painted maker’s mark WEMYSS, restored legs Height: 32.5cm £800‑1,200

94 TWO PLICHTA CAT FIGURES

’CABBAGE ROSES’ PATTERN, POST 1930 each with printed marks PLICHTA/LONDON/ ENGLAND, one with painted mark NEKOLA/ PINXT (2) Height: 27cm £300‑500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 23

95 A WEMYSS WARE SMALL GOOSE FLOWER HOLDER EARLY 20TH CENTURY impressed maker’s mark WEMYSS Height: 15cm £200‑300

96 A SMALL AND RARE WEMYSS WARE MUG

’KITTENS’ PATTERN, CIRCA 1900 impressed maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO., restored handle Height: 7cm £300‑400

97 A LARGE WEMYSS WARE MUG

’GEESE’ PATTERN, CIRCA 1900 painted maker’s marks WEMYSS WARE/R.H.&S. Height: 14cm £250‑350

98 A LARGE WEMYSS WARE MUG

’PEACOCK’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS, restored handle Height: 14cm £300‑500

99 A GROUP OF WEMYSS WARE PRESERVE JARS & COVERS VARIOUS PATTERNS, EARLY 20TH CENTURY ’Oranges’ pattern, 11.5cm high; ‘Apples’ pattern, 12.5cm high; ‘Redcurrant’ pattern, 12cm high and an ABBOTSFORD JAR & COVER, decorated with apples, 10cm high, each with painted, impressed or printed maker’s marks (4) £150‑250

100 A GROUP OF WEMYSS WARE PRESERVE JARS & COVERS VARIOUS PATTERNS, EARLY 20TH CENTURY ’Brambles’ pattern, 12.5cm high; ‘Strawberries’ pattern, 13cm high; ‘Cherries’ pattern, 12cm high; ‘Bees & Hive’ pattern, 11.5cm high, and ‘Raspberries’ pattern, with associated ‘Brambles’ pattern cover, 12cm high, each with painted, impressed or printed maker’s marks (5) £200‑300

101 A GROUP OF WEMYSS WARE TEA WARES

’BROWN COCKEREL & HENS’ PATTERN, EARLY 20TH CENTURY comprising a TEAPOT & COVER, painted maker’s mark WEMYSS, 10cm high; a MILK JUG, bearing inscription BONJOUR, impressed maker’s mark WEMYSS, printed retailer’s mark, 11cm high; and another smaller MILK JUG, 6.5cm high, painted maker’s mark WEMYSS, restored (3) £200‑300

24 Lyon & Turnbull 102 A GROUP OF WEMYSS WARE

EARLY 20TH CENTURY comprising a LARGE WEMYSS WARE BUTE VASE, ‘Cabbage Roses’ pattern, EARLY 20TH CENTURY, decorated by Karel Nekola, painted and impressed maker’s marks WEMYSS, extensive restoration, 29.5cm high; a DOLPHIN INK STAND, decorated with ‘Cabbage Roses’, unmarked, minor hairlines, 20cm across; a PIN TRAY, of rectangular form, bearing inscription I LOOKED FOR/SOMETHING SWEET/TO/SEND YOU/AND/THE VIOLETS/ASKED/IF THEY WOULD DO, painted and impressed marks WEMYSS, re‑stuck bottom left corner, 14.5cm across; A SMALL CUP, decorated with ‘Cabbage Roses’, unmarked, 9cm diameter; A SMALL JUG, decorated with ‘Cabbage Roses’, unmarked, 7.5cm high; together with a PRESERVE JAR & COVER, decorated with ‘Strawberries’, impressed and painted maker’s mark WEMYSS, painted retailer’s mark T. GOODE & CO., minor hairlines, 7cm high (6) £500‑700

103 A WEMYSS WARE MATCHBOX COVER ’BROWN COCKEREL & HENS’ PATTERN, EARLY 20TH CENTURY printed retailer’s mark T. GOODE & CO. Across: 7.8cm £400‑600

104 A LARGE WEMYSS WARE MUG

’BLACK COCKEREL AND HENS’ PATTERN, CIRCA 1900 impressed maker’s mark WEMYSS WARE/R.H.&S., printed retailer’s mark, restored hairline to rim Height: 14.5cm £200‑300

105 A WEMYSS WARE EGG CUP

’BROWN COCKEREL & HENS’ PATTERN, EARLY 20TH CENTURY impressed maker’ mark WEMYSS, restored stem Height: 6.5cm £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 25

106 A WEMYSS WARE BISCUIT BARREL & COVER

’PURPLE PLUMS’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, bearing the inscription ‘BISCUITS’, painted maker’s mark WEMYSS, minor restoration Diameter: 13cm £200‑300

107 A WEMYSS WARE CHAMBER CANDLESTICK AND SNUFFER

’PURPLE PLUMS’ PATTERN, EARLY 20TH CENTURY decorated by James Sharp, with purple rim, painted and impressed maker’s mark WEMYSS Diameter: 16cm £400‑600

108 A WEMYSS WARE THREE‑HANDLED LOVING CUP ’PURPLE PLUMS PATTERN’, CIRCA 1900 painted and impressed maker’s marks WEMYSS, painted retailer’s mark T. GOODE & CO. Height: 14.5cm £250‑350

109 A WEMYSS WARE BEAKER

’PURPLE PLUMS’ PATTERN, EARLY 20TH CENTURY painted and impressed maker’s marks WEMYSS, 10.7cm high; and a WEMYSS WARE PLATE, POST 1930, painted with ‘Lemons’, painted maker’s mark WEMYSS, 21cm diameter (2) £200‑300

26 Lyon & Turnbull

110 A WEMYSS WARE BISCUIT BARREL & COVER ’VIOLETS’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted and impressed maker’s mark WEMYSS Diameter: 12.5cm £300‑400

111 A WEMYSS WARE BISCUIT BARREL & COVER

’SWEET PEAS’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted maker’s marks WEMYSS, printed retailer’s mark T. GOODE & CO. Height: 11cm £200‑300

112 A WEMYSS WARE BISCUIT BARREL & COVER ’DOG ROSES’ PATTERN, EARLY 20TH CENTURY bearing the inscription ‘BISCUITS’, painted and impressed maker’s marks WEMYSS Height: 10.5cm £200‑300

113 A WEMYSS WARE SUGAR BOWL

’IVY’ PATTERN, CIRCA 1900 decorated by Karel Nekola, painted and impressed maker’s marks WEMYSS, fine hairline to rim and foot rim Diameter: 6.8cm £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 27

114 A WEMYSS WARE HONEY BOX, COVER & STAND ’BEES & HIVE’ PATTERN, EARLY 20TH CENTURY painted and impressed maker’s marks WEMYSS to tray and box Width of box & cover: 13cm, width of tray: 19cm £300‑500

115 A WEMYSS WARE BUTTON

CIRCA 1900 of circular form, decorated by Karel Nekola with a bee within a black band, impressed maker’s mark WEMYSS Diameter: 3cm £700‑900

116 A WEMYSS WARE EWER

’DRAGONFLIES’ PATTERN, EARLY 20TH CENTURY decorated by Edwin Sandland, painted and impressed maker’s mark WEMYSS Height: 14.3cm £500‑800

117 A WEMYSS WARE GROSVENOR VASE

’DRAGONFLIES’ PATTERN, EARLY 20TH CENTURY decorated by James Sharp, painted and impressed maker’s marks WEMYSS, minor restoration to rim Height: 21.5cm £250‑350

28 Lyon & Turnbull

118 GROUP OF NINE SCOTTISH POTTERY CARPET BOWLS

19TH CENTURY comprising a large green and black checked example, approx. 10cm diameter; a brown and a green check, approx. 8.5cm diameter; three smaller checked examples, approx. 7.5cm diameter; and three with sponged floral decoration, two at 8.5cm diameter, one at 7.5cm diameter (9) £400‑600

119 A SCOTTISH POTTERY SERVING DISH

LATE 19TH CENTURY of ovoid outline with divided interior, slip decoration Length: 46cm, width: 36.5cm £150‑250

120 SCOTTISH POTTERY CHEESE DISH AND COVER SEATON POTTERY, ABERDEEN, DATED 1892 of tapering cylindrical form with circular base, covered with dab glazes, the cover incised with inscription MRS SMITH/1892 Height: 20cm £200‑300

121 GROUP OF SCOTTISH POTTERY

SEATON POTTERY, ABERDEEN, CIRCA 1890 comprising a MARBLED JAR & COVER, 14cm high; a MARBLED SUGAR JAR, with later wooden cover, bearing inscription BE CANNY/WITH THE/SUGAR/1893, 15cm high; and a SCOTTISH POTTERY BUTTER JAR & COVER, covered with dab glazes, 15cm high (3) £150‑250

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Ceramics 29 122 A BOUGH POTTERY LOVING CUP

CIRCA 1930 decorated by Richard Amour with tulips, painted and printed maker’s marks R.A./BOUGH/MADE IN SCOTLAND Height: 19cm Note: ‘Bough’ pottery was set up in Edinburgh by Elizabeth Amour who had attended the Glasgow School of Art from 1908 to 1912. Amour bought blanks from various sources which were decorated by herself and other members of her family and then glazed. Most pieces are marked ‘Bough’ and initialled by the decorator. The present lot is decorated by Elizabeth Amour’s brother, Richard. Bough pottery was produced until 1942. £250‑350

123 A LARGE MAK’ MERRY POTTERY JUG

DATED 1925 painted with cherry blossom and fruits, painted maker’s marks MAK’ MERRY/1925 Height: 21.5cm Note: Mak’ Merry Pottery grew out of the Scottish Women’s Rural Institute, which was founded at Longniddry in 1917 by Catherine Blair. ‘Mak’ Merry’ was the name given to the co‑operative trading organisation of the institute. Blair believed that making pottery was a way for women to have independence and the institute gave them a way of expressing themselves artistically, as well as making money in a rural economy. £300‑500

124 THREE MAK’ MERRY POTTERY JUGS

CIRCA 1924 each painted with flowering cherry blossom and fruits, all with painted maker’s marks MAK’ MERRY, the largest dated 1924 (3) Height of largest: 16cm, smallest 11.5cm £250‑350

125 THREE MAK’ MERRY POTTERY WARES

CIRCA 1925 comprising an OVOID SERVING DISH, dated 1926, 26cm across; a STORAGE JAR & COVER, dated 1925, 15cm high; and a TWIN‑HANDLED BOWL, 20cm diameter, each painted with flowering cherry blossom and fruits, all with painted maker’s marks MAK’ MERRY (3) £250‑350

Mauchline Ware The success of ‘Mauchline Ware’ owes its fame, in part, to the Smiths of Mauchline initially manufactured by brothers, Andrew and William Smith, who produced wares from the 1820s. It became an industry which was to dominate the market for wooden souvenirs during most of the Victorian era. During the course of the 19th century the factory developed new pieces, shapes and sizes and finishes. The company responded to the new Victorian taste for holidays and souvenirs, as commercial railways were developed and seaside

trips became increasingly popular and their wares were despatched to all parts of the British Isles, Europe, North and South America, South Africa, Australia and New Zealand. The Smiths’ innovations ensured the success of their business and earned them The Royal Warrant, enabling them dominate the ‘fancy goods’ market. The business rejuvenated the local economy in Mauchline, and inspired many other makers of similar wares in Scotland until its closure in the 1930s.

126 A MAUCHLINE ‘TARTAN WARE’ SNUFF BOX LATE 19TH CENTURY the cover painted with a bird in a landscape, the body covered in Davidson tartan, stamped maker’s marks for Smith, Mauchline Across: 3.5cm £200‑300

127 A MAUCHLINE ‘TARTAN WARE’ BOOK

LATE 19TH CENTURY ’Tales of the White Cockade’, by Barbara Hutton, published 1870, with McBeth tartan boards and tooled leather spine Height: 18cm, width: 12.5cm £200‑300

128 A MAUCHLINE ‘TARTAN WARE’ BOOK BOX, WITH VOLUMES BY SIR WALTER SCOTT

LATE 19TH CENTURY the rectangular box covered in Prince Charlie tartan paper, enclosing ‘Poetical Works’. Edinburgh: A. & C. Black, [not dated but circa 1870] 6 volumes, 16mo, ‘Select edition’, each bound in black quarter morocco gilt with Tartan Ware covers (Prince Charlie, Stuart x 2; McLean; McBeth & McPherson), clasp broken, paper chipped from box, a little internal damp‑staining and foxing to books Width of box 19.5cm, height: 11cm, depth: 16cm £500‑700

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Mauchline Ware 31

129 A MAUCHLINE ‘TARTAN WARE’ PLATE

LATE 19TH CENTURY of shaped outline covered with Atholl tartan and with gilt rim Diameter: 22cm £200‑300

130 A GROUP OF MAUCHLINE ‘TARTAN WARE’ LATE 19TH CENTURY

comprising a McDuff Cribbage Board; Stuart folder; Sinclair Pin Cushion Box; McFarlane needle case; Stuart Needle Holder; McBeth Rouge Pot (6) £200‑300

131 A MAUCHLINE ‘TARTAN WARE’ BRACELET

LATE 19TH CENTURY McPherson tartan, comprised of rectangular panels with ball spaces and central ‘buckle’ with engraved white metal mounts Approx. circumference (elasticated): 20cm £300‑500

132 TWO MAUCHLINE ‘TARTAN WARE’ CASES

LATE 19TH CENTURY comprising a PRINCE CHARLIE SCISSORS CASE, enclosing three pairs of steel scissors and retailer’s label CHEVALIER DE LANGRES/38 R. STE. CATHERINE/BORDEAUX, 15cm long; and a CALEDONIA SPECTACLE CASE, enclosing a pair of steel rimmed spectacles, 13.5cm long (2) £200‑300

133 THREE MAUCHLINE TARTAN WARE BUTTONS LATE 19TH CENTURY each of circular form (3) Diameter: 1.3cm £150‑250

134 PAIR OF MAUCHLINE TARTAN WARE BUTTONS LATE 19TH CENTURY of circular form in unmarked tartan with black backs (2) Diameter: 2.4cm £200‑300

32 Lyon & Turnbull

135 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

LATE 19TH CENTURY comprising Needle Case Covers; Book Covers; Blotter Plates; Unfinished Blotters; Cane Handles; Cigar Box Covers; Unfinished Calendars etc. along with a selection of mismatched covers; a set of glove stretchers and a small group of pin holders (a quantity, sold as seen and not subject to return) £300‑500

136 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

139 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

142 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

£250‑350

137 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

140 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

143 A PENWORK BOX AND COVER, PROBABLY BY CHARLES STIVEN, LAURENCEKIRK

LATE 19TH CENTURY comprising Needle Case Covers; Book Covers; Blotter Plates; Unfinished Blotters; Cane Handles; Cigar Box Covers; Unfinished Calendars etc. (a quantity, sold as seen and not subject to return)

£250‑350

138 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

141 A LARGE GROUP OF MAUCHLINE ‘TARTAN WARE’

£250‑350

MID‑19TH CENTURY of circular form, the cover painted with a tavern scene and inscribed “IT IS THE MOON I KEN HER HORN”, the base painted with THISTLES Diameter: 11cm £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Mauchline Ware 33 144 A GROUP OF MAUCHLINE WARE SEWING ITEMS

LATE 19TH CENTURY comprising a Beeswax Holder, 2.5cm high; a Tape Measure, 5cm long; two Needle Folders; two Pin Cushions; another Measuring Tape; three further Needle Folders; a Darning Mushroom; two Pin Cushions; two Chalk boxes; a bottle‑shaped Thimble Case; two cylindrical Needle cases; and three further miscellaneous Boxes (21) Provenance: The Alex Wilson Collection

Note: Alex Wilson, a successful Scottish businessman, was an enthusiastic champion and collector of Mauchline Ware. In 1985 he joined the Burns Club of London, and was elected President in 1988, serving for two consecutive sessions; the only person to do so since the Second World War. He was also Chairman of the Caledonian Club and President of the Caledonian Society of London in the same year of 1991. His support of the Society’s charities, the Royal Caledonian Educational Trust and the Royal Scottish Corporation, was constant and wide ranging. He was Chairman of the Caledonian Club’s Burns Committee for many years and was an honorary member of the Mauchline Burns Club. Significantly he was also one of the early committee members of the Mauchline Ware Collectors Club. £300‑400

145 A GROUP OF SIX MAUCHLINE WARE SNUFF BOXES

LATE 19TH CENTURY to include six Snuff Boxes, two by Smith, Mauchline, depicting Burns’ Cottage and Monument, 7cm and 8cm across; two by Joseph, London, each inscribed POOR SMITH CAN’T FIND HIS MACHINE, 8 and 3.5cm across; a box by Steven, Cumnock inscribed PART OF THE HIGH CHURCH, GLASGOW, 7.5cm across; and an unmarked example painted with a washerwoman, 3.5cm diameter; eight Boxes, various sizes; and a Pin Cushion (15) Provenance: The Alex Wilson Collection £300‑500

146 A GROUP OF MAUCHLINE WARE NOVELTY ITEMS

LATE 19TH CENTURY including ten Moneyboxes, six Barrel‑Shaped Boxes, 7.5cm high; a Clock‑Shaped Box; and three Castellated Boxes; also a group of eight Glass Holders; three Beakers; two Boxes; a Tray; and a Pin Cushion (25) Provenance: The Alex Wilson Collection £300‑400

147 MISCELLANEOUS MAUCHLINE WARE NOVELTY AND DESK ITEMS

LATE 19TH CENTURY comprising three Book Marks, 10, 11 and 14cm long; a Letter Opener, 35cm long; a Brooch, 5.2cm across; a Stationary Rack, 17cm across; a ‘Cup and Saucer’ Inkwell; a Chamberstick and Snuffer; and a Sarcophagus Box (9) Provenance: The Alex Wilson Collection £300‑400

148 A COLLECTION OF MAUCHLINE WARE DESK ITEMS

LATE 19TH CENTURY comprising a String Holder, 7.5cm high; a Wall Mounted Timer, 20cm long; a Miniature Table, 7cm across; a Blotter; a Pen Tray; a Vesta; two Photo Frames; a Horseshoe Inkwell; a Notebook; a Watch Holder; and a Ring Box (11) Provenance: The Alex Wilson Collection £300‑400

149 A GROUP OF MAUCHLINE WARE BOOKS

LATE 19TH CENTURY including a Fern Ware example, and various transfer printed examples including Burns Cottage, Auld Brig O’ Doon etc (13) Provenance: The Alex Wilson Collection £300‑400

150 A GROUP OF MISCELLANEOUS MAUCHLINE NOVELTY WARES

LATE 19TH CENTURY comprising a Plane, 11.5cm across; a Watch Stand; three Moneyboxes; a Cauldron‑Shaped String Box; and two further Boxes; two String Boxes, one in basket weave pattern; a Reel Box; seven Napkin Rings; a pail‑shaped Pin Cushion; and a Darning Mushroom (21) Provenance: The Alex Wilson Collection £300‑400

34 Lyon & Turnbull 151 A GROUP OF MAUCHLINE WARE SEWING AND DESK ITEMS LATE 19TH CENTURY comprising a Beeswax Holder, 2.5cm high; a Needle Case; three Needle Folders; a Pin Cushion; a Letter Opener; three Photograph Frames; a Ruler; and a Stamp Box (12) Provenance: The Alex Wilson Collection £300‑400

152 A MISCELLANEOUS GROUP OF MAUCHLINE WARE NOVELTY ITEMS

LATE 19TH CENTURY comprising a Fern Ware box, 14.5cm across; a Glass Holder, 10.5cm high; four further Boxes; four Egg Timers; a Cauldron; a Pair of Glove Stretchers; a Fern Ware Hand Mirror, Hairbrush and Clothes Brush; and a Mauchline Ware Hairbrush, with transfer print of Conway Castle (16) Provenance: The Alex Wilson Collection £300‑400

153 A MISCELLANEOUS COLLECTION OF ENGLISH & CONTINENTAL SOUVENIR WARES

LATE 19TH CENTURY comprising a Hammer, ‘Home of Washington’, 29cm; a papier mache Cigar Case, with Dickensian scene, 13.5cm; a Windmill, with scene of Westminster Abbey, 26cm high; five Snuff Boxes; a pair of Glove Stretchers; two Vestas and a Covered Box (12) Provenance: The Alex Wilson Collection £200‑300

154 A MISCELLANEOUS COLLECTION OF MAUCHLINE WARE NOVELTY AND DESK ITEMS

LATE 19TH CENTURY comprising an Egg Cup, 6.5cm high; a String Box, 7cm high; a Cotton Reel Box; a Stamp Box; an Egg Timer; a Cribbage Board; two Beakers; and two Napkin Rings; a wall‑mounted String Box; a plane‑shaped Box; two Whist Markers; a cup and saucer Vesta; a Pen Nib Cleaner; and a Pencil Case (17) Provenance: The Alex Wilson Collection £300‑400

155 A COLLECTION OF MAUCHLINE WARE NOVELTY ITEMS

LATE 19TH CENTURY comprising two ‘Tam O’Shanter’ Razor Sharpeners, 26.5cm and 21.5cm long; a W&A Smith ‘Inimitable Strap’ ruler, 36cm long; two Purses; two Buttons; a Brooch and a Pocket Mirror (9) Provenance: The Alex Wilson Collection £300‑400

156 A COLLECTION OF MAUCHLINE WARE NOVELTY ITEMS

LATE 19TH CENTURY comprising three ‘Tam O’Shanter’ Knife and Razor sharpeners, 26.5cm and 21.5cm long; six miscellaneous Boxes; a Cribbage Board; a Book; and four Egg Cups (15) Provenance: The Alex Wilson Collection £300‑400

157 A GROUP OF MAUCHLINE WARE NOVELTY AND SEWING ITEMS

LATE 19TH CENTURY comprising a Pin Cushion Box, 9cm wide; a Moneybox, 11cm wide; eight other Boxes; a pair of Glove Stretchers; two Reel Boxes; two Needle Folders; a bottle‑shaped Needle and Reel Holder; a Reel Case; two Pin Cushions and a Pin Tray (20) Provenance: The Alex Wilson Collection £300‑400

158 A GROUP OF MAUCHLINE WARE NOVELTY ITEMS

LATE 19TH CENTURY comprising and ovoid String Box, 10cm high; a Photograph Frame, 16cm high; and six Boxes (6) Provenance: The Alex Wilson Collection £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Furniture & Works of Art

36 Lyon & Turnbull

159 A SCOTTISH JOINED OAK WAINSCOT ARMCHAIR

17TH CENTURY the arched and carved panelled back above open arms and turned and blocked legs linked by stretchers Width: 62cm, height: 112cm, depth: 29cm £250‑400

160 A SCOTTISH CARVED OAK ARMCHAIR

17TH CENTURY the panelled back with scroll cresting above open arms and planked seat, raised on turned and blocked legs linked by stretchers, incised to the rear of the cresting WB/1744 Width: 61cm, height: 115cm, depth: 46cm £300‑500

161 A SCOTTISH JOINED OAK BACK STOOL

17TH CENTURY with panelled back with incised decoration above panelled seat on barley twist turned and blocked legs linked by stretchers Width: 55cm, height: 118cm, depth: 35cm £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Furniture & Works of Art 37

162 THE MARQUIS OF BREADALBANE’S ARMCHAIR

LATE 17TH CENTURY with tall upholstered back above upholstered seat and patinated beech frame with scrolling open arms raised on turned and blocked legs with corresponding stretchers, bears plaque inscribed BROUGHT TO TAYMOUTH/FROM THE MARQUIS OF BREADALBANES’S/APARTMENTS AT HOLYROOD PALACE/MAY 16TH 1860 Width : 63cm, height: 112cm, depth: 48cm Note: This lot formed part of the Holyrood Palace furnishings of the Grace‑and‑Favour apartment granted to John Campbell, 2nd Marquis of Breadalbane (d. 1862) by Queen Victoria. In 1860 the Queen visited Edinburgh and the Marquis led the Grand Review of the Volunteer Forces in Scotland. This chair was among the Holyrood furnishings removed that year to the Marquis’ Perthshire estate at Taymouth Castle. Part of the Palace was refurnished in the 1740s under the direction of the architect William Adam, and the Young Pretender (Bonnie Prince Charlie) held court there in 1745. £2,000‑3,000

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163 GREENOCK – A PATINATED BRONZE CHURCH BELL

WHITECHAPEL FOUNDRY, DATED 1677 inscribed to the shoulder RP/FOR THE CHURCH OF GRINNOCK 1677 with three bell foundry mark Height: 46cm Note: The Whitechapel Bell Foundry, Britain’s oldest manufacturing company, was established in 1570 during the reign of Queen Elizabeth I and has been in continuous business since that date. Whitechapel’s famous bells include the original Liberty Bell (1752), the Great Bell of Montreal and, probably its best known bell, Big Ben at the Palace of Westminster, cast in 1858. On 22nd March 2017 the foundry closed the doors at the East London premises it has occupied since 1738 and moved to new premises at Smithfield. £2,000‑3,000

164 A GROUP OF THREE SCOTTISH PEWTER COMMUNION FLAGONS

18TH CENTURY each of slightly flared cylindrical form, with reeded foot and girdle, with S scroll handle and scroll thumbpiece to flat hinged lid, two engraved ASSOCIATE CONGREGATION FALA 1789 (3) Height: 28cm £400‑600

165 A SCOTTISH PEWTER COMMUNION FLAGON

18TH CENTURY of tall flared cylindrical form with reeded foot and girdle, engraved FALA KIRK 1775, with short V shaped spout and large S scroll handle, with scroll thumbpiece to flat hinged lid; together with three pewter communion cups, with bell shaped bowls raised on large knopped stems (4) Flagon height: 33cm £400‑600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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166 A MAHOGANY ‘COCKPEN’ SIDE CHAIR EARLY 19TH CENTURY with fretwork filled back above dished and upholstered seat on turned legs linked by stretchers Width: 58cm, height: 92cm, depth: 40cm £800‑1,200

167 A PAIR OF PLATED PLATTERS

MOULDED BORDER WITH TREFOIL DETAIL TO HEXAGONAL POINTS, ENGRAVED SCOTCH CHURCH, OLDHAM STREET, LIVERPOOL (2) Diameter: 24cm Note: Up to 1793 there was no church for the many Presbyterians who had moved from Scotland to Liverpool until Oldham Street Kirk was opened in 1793 with seating for 820 people. The first minister was the Rev. William Kirkpatrick from Dumfriesshire. In January 1824, Dr Thom assisted in forming the Presbytery of the North West of England, and then Rodney Street Kirk was opened on Friday 3rd December 1824. In 1907, when the Oldham Street Church closed, the majority of the members were accepted into Rodney Street Kirk and became one congregation. By 1975 the Church was over 250 years old and a large sum of money would be required if the building was to be put in order. This, coupled with the fact that the building was far too big for a small congregation, made it obvious that alternative premises would have to be found.

The Dean of Liverpool agreed to a suitable room in Liverpool Cathedral for the Church of Scotland for Sunday services. The Rodney Street Kirk closed in 1988 and has since been redeveloped into student accommodation, which opened in 2015. £150‑250

168 STEWART, DAVID

SKETCHES OF THE CHARACTER, MANNER AND PRESENT STATE OF THE HIGHLANDERS OF SCOTLAND Edinburgh: Archibald Constable & Co., 1822. 2 volumes, 8vo, folding map hand‑coloured in outline, lacking half‑titles £120‑180

169 A COLLECTION OF SCOTTISH COMMUNION TOKENS

18TH CENTURY AND LATER to include various 18th century and later examples (qty) £300‑500

170 CAMPBELL, LIEUTENANT

A NEW AND CORRECT MAP OF SCOTLAND, OR NORTH BRITAIN. LONDON: LAURIE & WHITTLE, 1794 hand‑coloured in outline, 96 x 124cm, framed and glazed, a few neat repairs, some slight browning £200‑300

171 KNOX, JAMES

MAP OF THE SHIRE OF EDINBURGH OR COUNTY OF MIDLOTHIAN, FROM ACTUAL SURVEY BY JAMES KNOX. LONDON: NEELE, 1812 hand‑coloured in outline, 150 x 126cm, framed and glazed, some dampstaining, soiling and browning to upper portion of map, a few closed repairs, 4 x 5cm section torn and repaired to right edge £300‑400

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172 A SCOTTISH REGENCY OAK CENTRE TABLE

ATTRIBUTED TO WILLIAM TROTTER, EDINBURGH, EARLY 19TH CENTURY the circular top inlaid with a broad band in burr walnut, the rim with applied bead and reel moulding, raised above a turned and reeded column with lappet clasps on a quatreform base with reeded sabre legs terminating in brass caps and castors Diameter: 130cm, height: 76cm £4,000‑6,000

Note: William Trotter was born into a family of merchants in 1772, descended on the maternal side from the family of John Knox. He became a member of The Merchant Company in 1797 and by 1809 he was sole proprietor of the firm Young & Trotter. In 1819 he was elected Master of The Merchant Company and from 1825‑27 he was Lord Provost of Edinburgh. In 1814‑15 he furnished the library and picture gallery which the architect Robert Reid had added to Paxton House for George Home. Trotter continued to trade from 9 Princes Street (the site on which the Balmoral Hotel stands today) until his death in 1833.

173 A SCOTTISH REGENCY ROSEWOOD SIDE TABLE

ATTRIBUTED TO WILLIAM TROTTER, EDINBURGH, EARLY 19TH CENTURY the rounded rectangular top with moulded edge above an arrangement of six drawers, each with beaded mouldings, the whole raised on square tapered column with decorative mouldings above a quatreform base with scrolled feet and castors Width: 90cm, height: 78cm, depth: 46cm £1,800‑2,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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174 A PAIR OF SCOTTISH VICTORIAN OAK SIDE CHAIRS

CIRCA 1840 each with upholstered panel back enclosing barley twist uprights, acorn finials and scrolled cresting, raised above upholstered seat on spirally turned front legs (2) Width: 48cm, height: 89cm, depth: 40cm £300‑500

175 A LARGE HOLYROOD GLASS MARRIAGE GOBLET EDINBURGH CIRCA 1876 the broad ovoid bowl, engraved with scrolling and flowering foliage and perched birds and inscribed H.M.W./AND/J.B.C./JUNE 26/1876, with hollow stem enclosing a sixpence, raised on spreading star‑cut base Height: 23cm Note: Royal Holyrood Glass Works was a flint‑glass factory operating from the Canongate in Edinburgh, run by the Ford family. They had a large premises where the glass was made, and a further glass‑engraving workshop in Norton Place, which was held to employ “forty men and boys”, mainly local employees who served

176 AFTER JOHN KAY

THE PARLIAMENT CLOSE AND PUBLIC CHARACTERS OF EDINBURGH, FIFTY YEARS SINCE engraved by John Le Conte, etched by Thomas Dobbie, published by Alexander Hill, Edinburgh October 1st 1844, within grained Gothic Revival gesso frame Dimensions: 43.5cm x 60cm Note: Engraved after the original oil, held by the Edinburgh City Art Centre. £250‑350

a six year traineeship for this highly skilled job. The company had its roots in the Caledonian Glass House, which was taken over by William Ford in 1812, before being moved to the South Bank at the Canongate. In 1839, Ford’s nephew, John Ford, took on the business, and the company assumed the title of the Royal Holyrood Glass Works in 1855 when Queen Victoria granted it the title of ‘Glass Maker to her Majesty’. They produced a large range of table wares, services, and ornaments, including a bust of Benjamin Disraeli now in the collection at the Victoria & Albert Museum, and a number of pieces held at the National Museums Scotland. £300‑500

177 AN ACID ETCHED AND CUT GLASS EWER AND GOBLET BY HOLYROOD GLASS WORKS, EDINBURGH

19TH CENTURY each with scrolled decoration and diamond borders, the ewer etched with a scene depicting Edinburgh Castle and inscribed EDINBURGH CASTLE, the goblet etched with a scene depicting Calton Hill and inscribed CALTON HILL (2) Ewer height: 32.5cm, goblet height: 18cm £300‑500

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178 A SCOTTISH REGENCY MAHOGANY OCCASIONAL TABLE

JAMES MEIN OF KELSO, EARLY 19TH CENTURY the rectangular top with plain frieze raised on ring turned and tapering legs, linked by turned and blocked stretchers, bears indistinct paper maker’s label to underside Width: 59cm, height: 75cm, depth: 48cm Note: The Mein family are recorded as cabinet makers in Kelso from 1784‑ 1851. James Mein the Elder, the founder, firmly established the firm as makers of fine quality furniture and when he died in 1830 his nephew, also called James Mein, took over the business until it went bankrupt in 1851. Their many important patrons included the 5th & 6th Dukes of Roxburghe at Floors Castle and the Earl of Haddington at Mellerstain. £800‑1,200

179 A SCOTTISH REGENCY MAHOGANY SIDEBOARD

JAMES MEIN, KELSO, CIRCA 1830 with ebonised decoration, the characteristic stage back above an arrangement of frieze and deep drawers raised on ring turned and tapered legs, bears makers label inside drawer JAMES MEIN/CABINET MAKER/KELSO Width: 178cm, height: 109cm, depth: 74cm £2,500‑3,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

The Mackenzie Sculptures The following five lots form an impressive group of figurative stonework by two leading 19th century Scottish sculptors, Sir John Robert Steell RSA (1804-1891) and Robert Forrest of Carluke (1789-1852). When building a house on his small estate in the Scottish Borders in the 1920s, construction company owner Murdoch Mackenzie purchased a number of figurative sandstone sculptures to adorn his garden. Carved by the Lanarkshire-born Robert Forrest, the romantic figures of Charles XII of Sweden and Robert the Bruce became eye-catching features in the attractive woodland setting of the estate. Continuing the family’s tradition of integrating sculptural artwork in the landscape, Mackenzie’s son, the late Donald Mackenzie, added John Steell’s ‘Providence’ to the collection in the 1970s, flanking it with two stone putti, and mounting the associated maquette for the larger piece on the wall of the greenhouse on-site.

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Robert Forrest of Carluke Robert Forrest (1789‑1852) was born in Carluke, Lanarkshire, in 1789, where he became a stonemason. His early works were of small animals, but he soon caught the attention of the local gentry from whom he received encouragement and patronage. His first commission was of a Highland Chieftain in 1817, but his first major piece was a statue of William Wallace, which resides in a niche in the Tolbooth in Lanark. In 1822 he sculpted his most recognised work, which is the statue of Lord Melville that tops the column in St Andrew Square, Edinburgh. Forrest’s main sources of inspiration came from historical and literary figures, and he was heavily influenced by Romanticism and the poetry of Robert Burns (1759‑1796) and Allan Ramsay (1686‑1758). As a result, his works take on a distinctly Romantic and sentimental attitude and often depict historical figures with particular significance to Scotland, such as Mary, Queen of Scots and Walter Scott. In addition, his works tend to have a narrative element, encompassing or making reference to a historical event, myth or work of literature.

and a replica Swiss cottage built. Statues of a lion and a unicorn stood at the top of steps in front of the main house and steps lead down through grass terraces to a red stone fountain with water coming from the mouth of a salmon held in the jaws of an otter. Around the house and in various positions in the glen the statues carved by Robert Forrest were arranged. The house and estates remained in the Watson family until 1958, however when Earnock House was demolished in 1926 the statues were sold through a Hamilton‑based auctioneer and purchased by Murdoch Mackenzie for his estate in the Scottish Borders.

View of the garden at Neilsland and Earnock Estates, Hamilton showing a sculpture by Forrest in situ. View of Calton Hill, Edinburgh showing the huts where Forrest displayed his sculptures. In 1829, the subscriptions to build the Parthenon monument on Calton Hill were running out and the Royal Association of Subscribers to the National Monument were looking for more funding. In 1831, however, Michael Linning (1775‑1838), who had been secretary to the Melville Monument Subscribers Committee and was also the secretary to the Royal Association of Subscribers to the National Monument, announced that he had secured access to a free supply of stone. He proposed that Robert Forrest create a collection of equestrian statues to be exhibited on Calton Hill to maintain and promote interest in the project. These became his ‘Duke of Wellington’, ‘Duke of Marlborough’, ‘Mary, Queen of Scots with Lord Herries’, and ‘Robert the Bruce and the Monk of Baston’. While the monument was never finished, the statues remained on Calton Hill for the next eighteen years. Forrest continued to expand the exhibition, sculpting ‘Charles XII of Sweden and a Cossack Prince’, ‘Tam O’Shanter and Souter Johnny’ and ‘King James V and the Gypsy’ among others. However, in 1834 Linning declared bankruptcy and died suddenly in the midst of having his property seized. This resulted in the Trustees demanding £800 from the Monument Association, which they could not pay. To meet this, the Association started charging Forrest rent for the display of his sculptures, which gradually increased until 1849, when he could no longer pay. Forrest had his sculptures removed, some of which went to Cheshire, whilst others, on Forrest’s death in 1852, were left to Edinburgh City Council. When eventually sold through Lyon and Turnbull in 1876, the principal buyer at the auction was David Mitchell, former head gardener to the Duke of Hamilton. Mitchell bought on behalf of the coalmine owner, Sir John Watson (1819‑1898), for the Neilsland and Earnock Estates in Lanarkshire. The purchases included ‘Charles XII of Sweden and a Cossack Prince’ and ‘Robert the Bruce and the Monk of Baston’. In 1873 Watson developed his policies, under the direction of Mitchell. Tor Lake at Torhead was constructed and a varied selection of trees planted to form an arboretum on both sides of the glen. A rockery was created

IMPORTANT NOTICE FOR THIS LOT: This sculpture will be sold in situ and is not available to view at Lyon & Turnbull. Extensive photographs and a condition report are available. Viewing can be arranged by appointment – please contact the department. The lot is currently situated approximately one hour’s drive south from either Edinburgh or Glasgow. All removal costs will be the responsibility of the purchaser.

180 ROBERT FORREST OF CARLUKE (1789‑1852)

KING ROBERT THE BRUCE AND THE MONK OF BASTON, CIRCA 1830 carved sandstone raised on a plinth Dimensions: 300 x 235 x 110cm approximately Provenance: Robert Forrest (1789‑1852) The City of Edinburgh, from 1852 With Lyon & Turnbull, 1876 Sir John Watson 1st Baronet of Earnock (1819‑98) and by descent at Earnock and Neilsland Estates, Hamilton, until 1926 L.S. Smellie & Sons Ltd., Hamilton, auctioneers, 23rd January 1926 Purchased by Murdoch Mackenzie Esq. and thence by descent Note: Robert of Baston was a Carmelite monk who was well known for his verses and songs. It is said that, as a result of this reputation, he was taken by the Kings Edward I and Edward II on their military campaigns to Scotland. According to Scottish chroniclers, he was captured by Robert the Bruce and was forced, in return for his freedom, to write and sing verses about the defeat of his own countrymen. This is the event that is depicted in Forrest’s sculpture. Baston is shown kneeling at the feet of Robert the Bruce and his horse, handing him some papers with a look of despair on his face. £8,000‑12,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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181 ROBERT FORREST OF CARLUKE (1789‑1852)

CHARLES XII OF SWEDEN AND A COSSACK PRINCE, CIRCA 1844 carved sandstone raised on a plinth Dimensions: 160cm x 190cm Provenance: Robert Forrest (1789‑1852) The City of Edinburgh, from 1852 With Lyon & Turnbull, 1876 Sir John Watson 1st Baronet of Earnock (1819‑98) and by descent at Earnock and Neilsland Estates, Hamilton, until 1926 L.S. Smellie & Sons Ltd., Hamilton, auctioneers, 23rd January 1926 Murdoch Mackenzie and thence by descent Note: Charles XII was the King of Sweden from 1697‑1718. He came to the throne when he was fifteen and, taking advantage of his youth and inexperience, the surrounding countries, including Denmark, Norway, Poland and Russia, launched an attack on Sweden and Charles’s Imperial lands. In response, he led a formidable military campaign, defeating multiple armies whilst vastly outnumbered. Once he had regained his own land, he carried on fighting, conquering swathes of Northern Europe; but he was eventually thwarted by Peter the Great of Russia during his march on Moscow. He was then exiled to the Ottoman Empire and he died in his later attempt to retake his land. His death marked the dispersal of the Swedish empire and the end of absolute monarchy in Sweden, bringing in the first parliamentary government in continental Europe. He features in Lord Byron’s poem Mazeppa (Ivan Mazepa was the Cossack leader with whom Charles allied himself in his later campaign). The poem is a recounting of Mazeppa’s love affair with a Countess Theresa and it is to Charles that the story is narrated. This is the poem and scenario on which Forrest based his sculpture. £5,000‑7,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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Sir John Robert Steell John Steell (1804‑1891) was born in Aberdeen in 1804, but moved to Edinburgh with his family in 1807. He entered into an apprenticeship with his father, who was a carver and gilder, and trained at the Trustees’ School of Design. Just five years after going into partnership with his father in 1824 he resolved to become a sculptor and travelled to Rome. On his return in 1830, he was made a member of the Royal Scottish Academy. During the course of his career he became one of the most important and esteemed sculptors of nineteenth century Scotland, being made sculptor to the Queen in Scotland in 1838. He is known for several famous statues including the statue of Queen Victoria atop the RSA building on Princes Street, Edinburgh, the statue of Sir Walter Scott in the Scott Monument, also on Princes Street, and Edinburgh’s Prince Albert Memorial monument in Charlotte Square, for which he received his knighthood in 1876. In 1832 he was commissioned to design his first architectural piece, the current lot, which would adorn the entrance to the St Andrew Square, head office of the Scottish Widows’ Fund and Life Assurance Society in Edinburgh. It was based on the decorative emblem that was used on the society’s policy documents. The sculpture depicts Providence, who is the divine representation of the ability to make provision, with a cornucopia with fruit and vegetables spilling from it. To her left is a child holding a bulging sheaf of wheat. On the left of the sculpture sits a mourning widow, shawled and seated in a Madonna‑like fashion, surrounded by her children who look up at her. On the right of the sculpture is a headstone, signifying the lost husband, with the date AD MDCCCXV (1815) inscribed on it, which was the year of the society’s establishment.

View of lot 182, above the door of Scottish Widows’ office, 141 Buchanan Street, Glasgow, 1860. In 1859 the society’s offices were moved a few doors down and the sculpture was relocated to their Glasgow branch on Buchanan Street. From there it was removed some time before the building’s demolition in the 1970s, at which point it was stored in the basement of the old Scottish Widows’ building at 9 St Andrew Square. The sculpture was subsequently gifted to Donald Mackenzie who placed it in his garden.

View of lot 182 and 184 on the move from Scottish Widows store.

182 SIR JOHN STEELL RSA (1804‑1891)

PROVIDENCE WITH WIDOW AND CHILDREN, CIRCA 1832 carved sandstone figure group Dimensions: 182cm x 250cm Provenance: Scottish Widows’ Fund and Life Assurance Society, 5 St Andrew Square, Edinburgh from 1832 Removed to Scottish Widows’ office, 141 Buchanan Street, Glasgow, circa 1860 Removed to 9 St Andrew Square, Edinburgh, circa 1970 The Late Donald Mackenzie and thence by descent £2,500‑3,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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183 SIR JOHN ROBERT STEELL RSA (1804‑1891)

PROVIDENCE WITH WIDOW AND CHILDREN, CIRCA 1832 carved sandstone maquette, for the previous lot 135cm wide Provenance: Scottish Widows Building, St Andrew Square, Edinburgh Removed to Scottish Widows’ office, 141 Buchanan Street, Glasgow, circa 1860 Removed to 9 St Andrew Square, Edinburgh, circa 1970 The Late Donald Mackenzie and thence by descent £400‑600

184 A PAIR OF SCOTTISH SCHOOL CARVED SANDSTONE FIGURES CIRCA 1840 depicting a pair of reclining putti (2) Height: 99cm, width: 60cm ‑ each Provenance: Scottish Widows’ Fund and Life Assurance Society, Edinburgh, late 19th century Removed to 9 St Andrew Square, Edinburgh, circa 1970 The Late Donald Mackenzie and thence by descent £1,500‑2,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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185 A CARVED WOOD, GESSO AND PAINTED HALF BLOCK MODEL OF A SALMON

DATED 1927 mounded on an oak board and bearing plaque with inscription 14TH OCTOBER 1927/41LBS/BIRGHAM DUB. Height of plaque: 49cm, width: 134cm, height of fish: 34cm, width: 120cm Note: Birgham Dub is a beat on the Lower Tweed, situated on the Hirsel Estate between Kelso and Coldstream in the Scottish Borders. £2,000‑3,000

186 TAXIDERMY STAG’S HEAD

20TH CENTURY head and neck mount, with inset eyes and eleven points to antlers, on a shield shaped wall mount, width: 89cm(widest point of antlers), width: 60cm (tip to tip); together with a TAXIDERMY BADGER, with open mouth and glass inset eyes, 74cm long (2) £400‑600

187 VICTORIAN ANTLER CHAIR

SCOTTISH OR GERMAN, CIRCA 1900 with back and legs formed from entwined antlers, with oak framed seat, and close nailed hide‑upholstered panel seat Width: 59cm, height: 97cm high, depth: 52cm £600‑800

52 Lyon & Turnbull 188 SCOTLAND – JAMES VALENTINE

194 ALBUMEN PRINTS SHOWING SCOTTISH SCENERY, DATED 1889 mostly captioned and initialled ‘JV’ to the negative, laid into a red morocco album with ‘B.S. Scottish Scenery 1889’ to the upper cover Between 19 x 29cm and 20 x 13cm £250‑350

189 A LATE VICTORIAN ASH AND BEECH ‘DARVEL’ ARMCHAIR

19TH CENTURY with comb back above a solid seat, raised on turned legs linked by stretchers Width: 59cm, height: 108cm, depth: 37cm Literature: Jones, David, ‘Darvel Chairs’, Regional Furniture Society, 1995 Hunter, Stephen, ‘Darvel Chair Update’, Regional Furniture Society Note: The manufacturing town of Darvel, some twenty‑four miles south of Glasgow was a centre of production for linen cloth and cotton muslins during the 18th and 19th centuries. As a result of the booming trade, the population of the town increased by 75 per cent, thereby inviting a steady income and arena for furniture making too. Timber (particularly elm and ash) was plentiful and woodworking skills were developed to a high level, thanks to the local tradesmen making looms for the textile industry. Although there were changes in the industry, chair production continued during the 19th century, and extended beyond the town of Darvel into areas east of Glasgow. The chairs are characteristic due to their shape and construction, with “idiosyncratic seats, which correspond exactly with the shape of the arm bow” and it is noted that “the seats have ‘ears’ at their front corners”, according to David Jones. £250‑350

190 TWO SCOTTISH VERNACULAR STAINED HARDWOOD CHILDREN’S CHAIRS

EARLY 19TH CENTURY comprising an ARMCHAIR, with simple curved top rail and scrolled open arms on solid plank seat with square legs, 37cm wide, 57cm high, 31cm deep; and a SIDE CHAIR, with vase shaped splat on planked seat and square legs, 35cm wide, 57cm high, 25cm deep (2) £500‑700

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Furniture & Works of Art 53 191 TWO SCOTTISH SALT‑GLAZED TERRACOTTA STRAWBERRY PLANTERS

PRESTON GRANGE, LATE 19TH CENTURY each modelled as a tree trunk, the cut branches forming apertures for strawberries, one stamped twice PRESTON GRANGE (2) Height: 71cm and 92cm £300‑500

192 A PINE‑FRAMED CHILD’S ORKNEY CHAIR

EARLY 20TH CENTURY with woven straw back and open arms above solid seat on square tapering legs linked by stretchers Width: 52cm, height: 83cm, depth: 37cm £300‑500

193 MURPHY, BAILEY SCOTT

ENGLISH AND SCOTTISH WROUGHT IRONWORK. EDINBURGH: G. WATERSTON & SONS, 1904 large folio, presentation copy from the author to John Kinross (to whom the work is dedicated), 80 plates, contemporary green half morocco gilt, t.e.g., very slightly rubbed £250‑350

194 SCOTTISH SILVERED CARVED WOOD AND GESSO SHOP SIGN LATE 19TH CENTURY in the form of a scaled fish with applied hanging hooks Height: 26cm, length: 79.5cm Note: By repute removed from a fish shop in Arbroath £800‑1,200

195 CAMPBELL, LORD ARCHIBALD

RECORDS OF ARGYLL... EDINBURGH: WILLIAM BLACKWOOD AND SONS, 1885 4to, number 410 of a limited edition, original red cloth, bookplate of Arthur R. Anderson and gift inscription to endpaper; and another copy in a slightly different, but original, binding; a little foxing, some soiling to covers (2) £150‑250

196 ORKNEY – MACKENZIE, MURDOCH

THE ORKNEY ISLANDS SURVEY’D AND NAVIGATED. 1750 map engraved by Emmanuel Bowen, 55 x 81cm., framed and glazed; [Idem] The South Isles of Orkney. 1750, map engraved by Emmanuel Bowen, 62 x 68cm., framed and glazed (2) £400‑600

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197 A SCOTTISH LATE VICTORIAN MAHOGANY DESK CHAIR

CIRCA 1870 the buttoned leather‑upholstered back rail and arms above pierced splat and turned supports on a moulded solid seat raised on ring turned front legs linked by stretchers, bears stamped maker’s J & T SCOTT/ 10 GEORGE STREET/EDINBURGH Width: 67cm, height: 89cm, depth: 57cm £1,000‑1,500

198 VICTORIAN CAST IRON STICK STAND DEPICTING WILLIAM WALLACE 19TH CENTURY with removable drip tray and stick support and cast with the figure of William Wallace above the inscription WALLACE, bears registration mark verso Width: 44cm, height: 77cm, depth: 22cm £500‑700

199 SCOTTISH GOTHIC REVIVAL OAK CASED BRACKET CLOCK

D. GILL & SON, ABERDEEN, LATE 19TH CENTURY the single train fusee movement bearing inscription D. GILL & SON, ABERDEEN to the back plate, with silvered dial and Roman chapters and with maker’s inscription, enclosed within elaborate case with leaf carved finials and allover floral and foliate carving, raised on bracket feet Height: 64.5cm £700‑900

200 GLASGOW – A VICTORIAN JUBILEE CHURCH BELL

CIRCA 1887 made for Cranstonhill United Presbyterian Church by J. Miller Reid & Sons, and bearing opposed plaques, one with a profile bust of Queen Victoria and inscribed CRANSTONHILL U. P. CHURCH/1838 JUBILEE 1887, and the other with the Glasgow Coat of Arms, bearing inscription J. MILLER REID/BRASS FOUNDRY/LANCEFIELD Height: 67cm £800‑1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Furniture & Works of Art 55 201 WILLIAM BIRNIE RHIND R.S.A. (SCOTTISH, 1853‑1933)

MARBLE BUST OF JAMES BAIRD OF ELIE, DATED 1906 bears inscription, W.JAMES BAIRD/ELIE/EXECUTED BY/ BIRNIE RHIND/1906 Height: 64cm Note: William Birnie Rhind (1853‑1933) was an Edinburgh born sculptor, well known for his war memorials and public commissions, as well as statues and busts, and produced a large number of pieces during his career. He trained under his father, John Rhind, before attending the School of Design and then the RSA. His work includes important architectural pieces within Scotland such as the Boer War Memorials in Edinburgh and the statue of Science on Kelvingrove Art Gallery and Museum, as well as public works in England, Canada and Australia. He was elected ARSA in 1893, and RSA in 1905, where he exhibited his works regularly. £2,500‑3,500

202 WILLIAM BIRNIE RHIND R.S.A. (SCOTTISH, 1853‑1933)

BRONZE FIGURE OF A MAN dark brown patina, depicting a seated man or beggar with one arm outstretched, signed BIRNIE RHIND, raised on a ebonised wood base Height: 36.5cm £300‑500

203 DAVID WATSON STEVENSON (SCOTTISH, 1842–1904) BUST OF ROBERT LOUIS STEVENSON Plaster maquette, signed to reverse D.W. STENSON R.S.A./SC Height: 41cm Note: David Watson Stevenson (1842‑1904) was a Scottish sculptor, having trained at the Trustee’s Academy in Edinburgh, as well as alongside William Brodie, with whom he served an 8 year apprenticeship during the 1860s. His most famous work is arguably that of William Wallace, a bronze rendering completed in 1869 on the Wallace Monument in Stirling, but he also produced figures of Mary, Queen of Scots, James VI of Scotland and Robert Tannahill, to name but a few. The marble version of this portrait bust of Robert Louis Stevenson is held at the Scottish National Portrait Gallery, and depicts him as a dreamer deep in thought. This plaster version may have been a maquette for the final marble bust. £2,000‑3,000

56 Lyon & Turnbull 204 SCOTTISH ARTS & CRAFTS BRASS CHANDELIER

SIR ROBERT LORIMER, CIRCA 1910 the boldly turned column supporting star‑shaped arms suspending five foliate light fittings with cast pomegranate pendant drop and dished spacer, brass hanging chain Diameter: 38cm, fitting height: 66cm, height with chain: 126cm Literature: Savage, Peter ‘Lorimer and the Edinburgh Craft Designers’, pub. London 1980, p. 72 Note: For cast light fittings Lorimer would normally use Henshaws of Edinburgh, however he also used the Bromsgrove Guild of Craftsmen for cast lead tanks, garden figures and some light fittings. £2,000‑3,000

205 A SCOTTISH ARTS & CRAFTS OAK REFECTORY TABLE

WHYTOCK & REID, EDINBURGH, CIRCA 1920 the rectangular top inlaid with two burr walnut panels and enclosed by inlaid moulded edge above vase‑shaped supports with chamfered detail, linked by an upper and lower shaped stretcher and raised on ogee shaped bracket feet Length: 228cm, height: 74cm, depth: 74cm £3,000‑4,000

206 A PAIR OF SCOTTISH GRANITE CURLING STONES

CIRCA 1910 each granite stone with applied brass and ebonised wood handle (2) Diameter: 28cm £150‑250

207Y A SCOTTISH PORTRAIT MINIATURE BY HELEN C. RUTHERFORD CIRCA 1920 watercolour on ivory, within a white metal frame, bears inscription to the interior GIRL’S HEAD/BY/HELEN C. RUTHERFORD/CHURCH HILL/EDINBURGH/MEMBER OF THE SOCIETY OF MINIATURISTS Diameter: 6cm £250‑350

208 A SCOTTISH ARTS & CRAFTS BRASS WALL SCONCE

MARGARET GILMOUR, CIRCA 1910 repoussé decorated with sailing boats in a sunrise, chased monogram MG, 33cm high; and a SCOTTISH ARTS & CRAFTS BRASS WALL CHARGER, in the manner of Margaret Gilmour, repoussé decorated with Celtic knotwork, 45cm diameter (2) £300‑500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Furniture & Works of Art 57 209 SCOTTISH BORDERS & GALASHIELS INTEREST: THREE ARTS & CRAFTS ELM DINING CHAIRS

EARLY 20TH CENTURY carved by Tom Hislop, each with carved top rails, one inscribed BRAW LADS with pierced splat below carved with a fox by a plum tree, 45.5cm wide, 92cm high, 39.5cm deep; another inscribed BOLESIDE to the top rail with splat carved with a fox and fruits, 45cm wide, 91cm high, 39.5cm deep; and the third with top rail inscribed SOOR PLOOMS, and with splat below carved with fruiting foliage, 45cm wide, 92cm high, 39cm deep (3) £400‑600

210 SCOTTISH BORDERS & GALASHIELS INTEREST: TWO ARTS & CRAFTS ELM LOW CHAIRS EARLY 20TH CENTURY carved by Tom Hislop, en suite with the previous lot, each with carved top rails, one inscribed GALA with pierced splat below carved with the inscription AULD CORN MILL, 45cm wide, 82.5cm high, 41cm deep; and the other inscribed SOOR PLOOMS with splat carved with two foxes by a plum tree, 45cm wide, 80cm high, 37cm deep (2) £300‑500 Note: In 1337 a group of men from the border town of Galashiels came across some English raiders resting in a field, eating unripe wild plums. The Galashiels men attacked and killed them and, in doing so, saved their town from raids. In commemoration of this event, not only was a boiled sweet created and sold, called a ‘soor ploom’, but the town’s motto also became ‘soor plooms’ and the crest became an image of two foxes reaching for the fruit of a plum tree. It is also this event that is celebrated during Galashiels’ annual Common Riding. This is a tradition in many border towns, whereby a principle townsperson is elected who leads a procession to celebrate historical events during which individuals risked their lives to protect the town. These principles have different titles depending on the town; in Galashiels they are known as Braw Lads or Lasses, which was taken

from Robert Burns’ poem ‘Braw Lads o’ Galla Water.’ The tradition of Common Riding originated in the thirteenth and fourteenth century. At this time, the principle would be selected by the local lord to patrol the town boundaries in order to protect it from raiding parties, which were common at the time. After the necessity for this practice diminished, it was carried on ceremonially to celebrate local legends and history. Galashiels’ current tradition began in 1930. The ‘Braw Lads Gathering’ has also come to commemorate three other historical events: the engagement of James IV to Margaret Tudor (1503), whose descendants brought about the union of the crowns (1603) and the Treaty of Union (1707); the granting of a Charter as Burgh of Barony to the people of Galashiels (1599), thus establishing the town as an independent unit; and as an homage to the war memorial for those from Galashiels that died in the First World War 1914‑1918.

211 A BRITISH RAILWAYS STATION SIGN FOR ‘BANCHORY’

MEAD MCCLEAN, LONDON, CIRCA 1948 totem style, of light blue enamelled steel with white lettering and border, inscribed BANCHORY Length: 92cm, depth: 25.5cm Note: Banchory railway station was situated on the Aberdeen and Ballater branch (the Deeside Line). It was situated at 16 miles 72 chains (27.2 km) from Aberdeen, and was the terminus of the railway from its opening on 8 September 1853 until extension to Aboyne in 1859. The branch was extended to its final terminus at Ballater in 1866 and the station was reconstructed in 1902. The passenger service was withdrawn from 28 February 1966, and goods services continued until final closure on 18 July 1966. £1,500‑2,500

Boxes & Collectables

212 AN UNUSUAL CARVED NUT ‘BUG BEAR’ SNUFF BOX CIRCA 1760 the nut in carved and natural state with inlaid hardstone eyes, the hinged cover with carved portrait on male figure Length: 9cm £200‑300

213Y AN UNUSUAL CARVED WOODEN SNUFF BOX IN THE FORM OF A MONKEY HEAD CIRCA 1780 the carved wooden box with inset glass eyes and carved inlaid ivory teeth, with textured fur and details, the hinged cover with inset silver shield cartouche Length: 6.5cm £300‑500

214Y A SILVER MOUNTED SNUFF MULL

MID‑18TH CENTURY of baluster form with simple applied silver collar engrave ‘Patrick Bell Strathmartine’, the ivory cover with double butterfly hinge and thumbpiece, set to centre with oval cartouche engraved ‘PB’ Height: 6.8cm £400‑600

215Y AN IVORY SNUFF MULL

MID‑18TH CENTURY of baluster form with shaped double butterfly hinge, the ivory cover with oval cartouche engraved A*R Height: 5.2cm £200‑300

216Y A COLLECTION OF SNUFF BOXES

19TH CENTURY to include three tortoiseshell examples with hinged covers, one with masonic symbols; and a papier‑mâché engraved with faux horn inset (4) £120‑180

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217Y A FINE GEORGE II SCOTTISH TORTOISESHELL AND MOTHER OF PEARL BALUSTER SNUFF MULL

CIRCA 1740 the ivory carcass covered with alternating staves of tortoiseshell and mother of pearl with rib to lower section, reeded rim and foot and additional engraved scroll thumb piece and decoration, the hinged domed cover similarly formed, the silver base engraved in script ‘J Bruce’ Height: 6.5cm £5,000‑8,000

218Y A MOTHER OF PEARL AND TORTOISESHELL BALUSTER SNUFF MULL 18TH CENTURY the alternating bands on an ivory body with tortoiseshell base, with simple reeded foot and rim with engraved drops, the hinged cover set with an agate panel Height: 5cm £1,200‑1,500

219 A GEORGE IV GOLD MOUNTED CITRINE VINAIGRETTE

UNMARKED, CIRCA 1825 the gold frame of foliage and flower heads set around twin facetted citrines forming base and cover, the interior with simple pierced hinged grille Width: 31mm £1,500‑2,000

220 A VICTORIAN GAME COUNTER

RETAILED G & J.W. HAWKSLEY the counter of rounded rectangular form with suspension loop, with two dials per side for Pheasants, Rabbits, Partridges, and Hares each dial with Roman numerals and to thirty places Length: 6.3cm £400‑600

221 A GEORGE III SNUFF BOX

makers marks thrice but indistinct, of oval outline with straight sides and reeded rim, the hinged cover with script initials JMcG, the base with engraved crest and motto Width: 8.5cm, weight: 3.3oz £300‑500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Boxes & Collectables 61 222Y A SCOTTISH LETTER OPENER

HAMILTON & INCHES, EDINBURGH 1922 modelled on the Claymore sword, the cross hilt with quatrefoil terminals, wrythen ivory handle, silver finial Length: 33.5cm weight: 95g Note: This unusual example is a break from the standard basket hilted sword letter opener and is a direct copy of a unique four quillion claymore preserved at Hawthorden Castle. For an illustration of which see ‘Ancient Scottish Weapons’ James Drummond Plate XV. £800‑900

223 A NOVELTY SGIAN DUBH/SCISSORS

UNMARKED, CIRCA 1880 the carved basket weave wooden handle with silver studs, with foil back crystal in engraved mount to pommel, the polished wooden scabbard with engraved foliate mounts, the steel scissors with push button release Length: 17.8cm £250‑350

224 A SEAL IMPRESSION OF THE GREAT SEAL OF ALEXANDER III

THE ROUND WAX SEAL IMPRESSION WITH ALEXANDER III BEING CROWNED WITH ATTENDANTS FLANKING Diameter: 8.5cm Note: The seal impression comes from the Great Seal of Scotland under King Alexander III. Alexander, grandson of William The Lion, was crowned aged 7 on the 13th Jul 1249 at Scone and in this impression he can be seen sitting atop the Stone of Scone (Stone of Destiny). Alexander reigns was not to be simple one, with the warring factions from Norway which he deftly negotiated and won back the isles of Scotland (reducing their claim to only Orkney and Shetland) to fraught relationships with his father in law Henry III of England. Alexander died heirless and in tragic circumstances in 1286, falling from his horse while riding at night through Kinghorn in Fife. This left the country without a monarch and for six years was run by Guardians of Scotland until in 1292 John Balliol was inaugurated as King. £400‑600

225 A SCOTTISH PLAID BROOCH

UNMARKED, THE CIRCULAR PLAID BROOCH WITH TWIN APPLIED CRESTS AND MOTTOS Diameter: 9cm, weight: 3oz £200‑300

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226 ROYAL INTEREST – A VICTORIAN SHELL CAMEO OF HRH PRINCE ALBERT

SIGNED SAULINI. T The oval carved shell cameo with high relief profile portrait of H.R.H. Prince Albert, in unmarked silver frame with simple hinged pin Height: 5cm Note: Tommaso Saulini (1793‑1864) was a well‑regarded cameo carver in all materials from shell to hardstone. He carried out many commissions for Royalty and notable people of the 19th century. Through John Gibson (1790‑1866), the English sculptor living in Rome, Saulini received frequent commissions for cameos from Queen Victoria in the years 1854‑60. Examples can be found in The Royal Collection. Provenance: Property of Queen Victoria Gifted to Cecilia Beaton by her father the Steward and Architect of Balmoral Gifted upon her death in 1915 to William L. Davidson Private Scottish Collection £400‑600

227 ROYAL INTEREST – A VICTORIAN POCKET ALMANAC

CIRCA 1899 the red velvet case with pierced and engraved floral unmarked yellow metal cover, the pull out almanac printed 1899 with calendar, moon phases, important dates, people etc. Case height: 6.4cm Provenance: Property of Queen Victoria Gifted to Cecilia Beaton by her father the Steward and Architect of Balmoral Gifted upon her death in 1915 to William L. Davidson Private Scottish Collection £500‑800

228 A SCOTTISH VICTORIAN FOSSIL BROOCH

UNMARKED, CIRCA 1860 the oval panel of fossilised plants set in simple ropetwist silver mount, with hinged pin Width: 5.5cm £200‑300

229 A CELTIC REVIVAL BRACELET

ROBERT ALLISON, GLASGOW 1953 modelled in silver with Celtic boss and ship detail Length: 19cm £150‑250

230 A GOLD MOUNTED SOTTISH AGATE BROOCH

UNMARKED, CIRCA 1870 of circular outline with four inlaid hardstones flanking a saltire cross; together with a silver agate and crystal set Scottish brooch (2) Diameter: 22mm £150‑180

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Provincial Silverâ&#x20AC;&#x192;63

Scottish Provincial Silver

64 Lyon & Turnbull 231 ABERDEEN – A PAIR OF SCOTTISH PROVINCIAL TABLESPOONS

JAMES ERSKINE marked JE, ABD, gothic U, of Old English pattern with script initial D to terminal (2)

238

244

Length: 22.5cm, weight: 4oz £200‑300

232 ABERDEEN – A SET OF SIX SCOTTISH PROVINCIAL TABLESPOONS

239

248

JOHN LESLIE marked IL, the castles, omega, of Old English pattern with foliate script initial G to terminal (6) Length: 22cm, combined weight: 10.5oz £300‑500

233 ABERDEEN – A COLLECTION OF SCOTTISH PROVINCIAL TODDY LADLES VARIOUS MAKERS to include examples by James Erskine, John Leslie, Nathaniel Gillet and James Smith (4)

243

256

238 ABERDEEN – A SCOTTISH PROVINCIAL DESSERT SPOON

242 ABERDEEN – A SCOTTISH PROVINCIAL SOUP LADLE

JAMES BEGG marked JB, sporran, dog, of Old English pattern with foliate script initials to terminal

Weight: 2.25oz

Length: 16.5cm weight: 24g

£220‑280

£180‑220

234 ABERDEEN – A SET OF SIX SCOTTISH PROVINCIAL TABLE FORKS

239 ABERDEEN – A SCOTTISH PROVINCIAL DESSERT SPOON

GEORGE & ALEXANDER BOOTH marked GB, AB, GB, AB, of Hanoverian pattern with engraved foliate initial R to terminal (6) Length: 19.5cm, weight: 12.2oz

PETER GILL marked PG, stylised thistle/flower four times, of Old English pattern with foliate script initial P to terminal

£200‑300

Length: 18cm, weight: 27g

235 ABERDEEN – A SET OF SIX SCOTTISH PROVINCIAL DESSERT SPOONS

JAMES ERSKINE marked IE, omega, of Old English pattern with foliate initial H to terminal (6) Length: 17cm, weight: 4.9oz £180‑220

£180‑220

240 ABERDEEN – A COLLECTION OF SCOTTISH PROVINCIAL FLATWARE

VARIOUS MAKERS to include toddy ladles by Peter Ross and George & Alexander Booth; a butter knife by George Booth and an early teaspoon by Coline Allan (4)

JAMES BEGG marked J.B six times, of Fiddle pattern with foliate initials to terminal; together with an Old English pattern soup ladle by J Gray (of Glasgow), Edinburgh 1799 (2) Length: 31cm, weight: 10oz £120‑180

243 ABERDEEN – A SCOTTISH PROVINCIAL TODDY LADLE

ALEXANDER GRANT marked AG, A, fleur de lys, A, AG, of Fiddle pattern with foliate script initials RAS to terminal Length: 16.5cm, weight: 29g £200‑300

244 ABERDEEN – A SCOTTISH PROVINCIAL TABLESPOON ALEXANDER THOMSON marked AT, ABD in script, of Old English pattern with bright cut edged and foliate initials ALM to terminal

236 ABERDEEN – A SCOTTISH PROVINCIAL FISH SLICE

Weight: 3.7oz

Length: 22cm, weight: 2.3oz

£220‑280

£250‑350

241 ABERDEEN – A SET OF FOUR SCOTTISH PROVINCIAL TABLE FORKS

Length: 28.5cm, weight: 4.2oz

GEORGE BOOTH marked G.B, A, B, D, N, of Fiddle pattern with vacant terminal; together with a small group of flatware (qty)

245 ABERDEEN – A SCOTTISH PROVINCIAL FISH SLICE

Weight: 18oz

Length: 29cm, weight: 4.3oz

£150‑180

£200‑300

GEORGE BOOTH marked G.B, A, B, D, N, of Fiddle pattern with vacant terminal and pierced and shaped blade £200‑300

237 ABERDEEN – A SCOTTISH PROVINCIAL SOUP LADLE GEORGE JAMIESON Marked GJ, London 1851, ABDn, of Fiddle pattern with script initials JW to terminal Length: 35cm, weight: 9.5oz £200‑300

WILLIAM JAMIESON marked W.J, A, B, D, WJ of Short Fiddle pattern with script initial R to terminal and pierced, engraved and shaped blade

246 ABERDEEN – A SCOTTISH PROVINCIAL SOUP LADLE JAMES ERSKINE marked hand and dagger, E, three castles, of Fiddle pattern with vacant terminal Length: 34.5cm, weight: 6oz £180‑220

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Provincial Silver 65

253 254 252

247 ABERDEEN – A SCOTTISH PROVINCIAL SOUP LADLE JAMES GORDON marked IG, ABD, of Old English pattern with foliate script initials MC to terminal Length: 32.5cm, weight: 5.2oz £200‑300

248 ABERDEEN – A SCOTTISH PROVINCIAL SOUP LADLE NATHANIEL GILLET marked N, thistle, G, of Old English pattern with script initial G to terminal Length: 37cm, weight: 5oz £200‑300

249 ABERDEEN – A SET OF SIX SCOTTISH PROVINCIAL DESSERT SPOONS

JOHN LESLIE marked IL, three castles, omega, of Old English pattern with foliate script initial G to terminal (6) Length: 16cm, weight: 6.8oz £180‑200

250 ABERDEEN – A SET OF SIX SCOTTISH PROVINCIAL TABLESPOONS

JAMES ERSKINE marked IE, ABD, of Old English pattern with engraved crest and motto to terminal (6) Length: 23cm, weight: 11.7oz £250‑350

251 ABERDEEN – A SET OF SIX SCOTTISH PROVINCIAL TODDY LADLES

WILLIAM JAMIESON marked WJ, ABD, of Shirt Fiddle pattern with simple oval bowls, the terminals engraved with crest with motto within belted garter and initials Length: 16cm, weight: 6.6oz £250‑350

252 ABERDEEN – A SCOTTISH PROVINCIAL SNUFF BOX JAMES ERKSINE marked to inside cover IE, thistle, IE, of rectangular form with incurved sides, the cover with floral trailing border and crest, gilt interior Width: 8cm, weight: 3.4oz Heraldry: Crest for the Baron Mortimer and Earl of March £400‑600

253 ABERDEEN – A SCOTTISH PROVINCIAL TEAPOT

NATHANIEL GILLET marked NG twice to foot rim, of vase shape, with engraved classical scrolling wave pattern border, and swagged oval medallions, raised on a pedestal stem and domed foot, with beaded rims, the domed hinged cover with simple urn finial Height: 24cm, weight: 18.5oz

Heraldry: The crest is that of the family of Johnstone (or the other variant spelling). It may be blazoned as follows: Crest: A winged spur erect rowel upwards or1 Motto: Nunquam non paratus [Never unprepared] Note: Some branches of this family often blazon the tincture of the leather of the retaining strap of the spur. The family of Johnstone, in the main, hails from the County of Dumfriesshire in the south‑west of Scotland. This crest was notably borne by the families of Johnstone of Johnstone (today the Hope‑Johnstones, Earls of Annandale and Hartfell) and Johnstone of Westerhall, Baronets of Westerhall, in the aforementioned county and their cadet branches, if so matriculated at the Court of the Lord Lyon. £800‑1,200

254 ABERDEEN – A SCOTTISH PROVINCIAL WINE FUNNEL JAMES GORDON marked IG to clip, the funnel of conventional two‑piece form with baluster bowl engraved with script initials FL (?) and corded rim, the pull off spout with fluted lower section Length: 13cm, weight: 2.44oz £250‑350

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274

263

275

269

280

259 283 255 ABERDEEN – A SET OF SIX TABLESPOONS

GEORGE BOOTH Marked G.B, A, B, D, N, of Fiddle pattern with script initial M to terminal (6) Length: 23.5cm, weight: 17oz £200‑300

256 ARBROATH – A SCOTTISH PROVINCIAL TABLESPOON ANDREW DAVIDSON marked AD, portcullis, AD, portcullis, of Fiddle pattern with script initial F to terminal Length: 22.5cm, weight: 2oz £200‑300

257 ARBROATH – A PAIR OF SCOTTISH PROVINCIAL SALT SPOONS

ANDREW DAVIDSON marked AD, pot of lilies, pot of lilies, portcullis, of Fiddle pattern with script initial to terminal; together with a Fiddle pattern teaspoon by the same maker marked AD, portcullis, AD (3) Lengths: 10cm, 22.5cm weight: 2oz £180‑220

258 ARBROATH – A SCOTTISH PROVINCIAL TODDY LADLE ANDREW DAVIDSON marked AD, plant, plant, portcullis, of Fiddle pattern with script initial L to terminal Length: 16.3cm, weight: 1.13oz £200‑300

259 BALLATER – A SCOTTISH PROVINCIAL SGIAN DUBH

WILLIAM ROBB, EDINBURGH 1898 marked ROBB/BALLATER in triangular punch, the finely carved black wood handle with basket weave decoration and silver studs, the tapered steel blade with running ostrich mark and single fuller, the leather covered wooden scabbard with Celtic knot work engraved mounts Overall length: 21cm £500‑800

260 BANFF – A SCOTTISH PROVINCIAL TODDY LADLE

WILLIAM SIMPSON marked, WS, thistle, B, of Fiddle pattern, crest engraved to terminal Length: 17cm, weight: 34g £200‑300

261 BANFF – A SCOTTISH PROVINCIAL TABLESPOON

WILLIAM SIMPSON marked WS, e, thistle, B, of Fiddle pattern with vacant terminal Length: 22.5cm, weight: 2.2oz £150‑250

262 BANFF – A SET OF SIX SCOTTISH PROVINCIAL DESSERT SPOONS

WILLIAM SIMPSON marked WS, e, thistle, B, of Fiddle pattern with crest, motto and initials to terminal (6)

263 BANFF – A RARE SCOTTISH PROVINCIAL DESSERT SPOON

ALEXANDER JACKSON (ATTRIBUTED) marked B, AJ, B, of Old English pattern with initials JB to terminal Length: 17.5cm, weight: 1.1oz £180‑200

264 BANFF – A SET OF SIX SCOTTISH PROVINCIAL TEASPOONS

WILLIAM SIMPSON marked WS, e, thistle, of slender Celtic point pattern with script initials to terminal (6) Length: 13.5cm, weight: 2.7oz £200‑300

265 BANFF – A SCOTTISH PROVINCIAL TODDY LADLE

JOHN MCQUEEN marked B, A, thistle, McQ, of Fiddle pattern with script initial C to terminal Length: 16.5cm, weight: 29.8g £180‑220

266 BANFF – A SCOTTISH PROVINCIAL DESSERT FORK AND TEASPOON

WILLIAM SIMPSON both marked WS, e, thistle, of Fiddle patter with engraved initials to terminals (2) Weight: 60g £150‑250

Weight: 7.5cm, weight: 6.4oz £300‑500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Provincial Silver 67

275

270

267 BANFF – A SCOTTISH PROVINCIAL TABLESPOON

JOHN MCQUEEN marked B, A, thistle, McQ, of Old English pattern with script initials JAGW to terminal; together with an Elgin preserve spoon and a Montrose dessert spoon (3) Length: 22cm, weight: 3.6oz £200‑300

270 CANONGATE – A SCOTTISH PROVINCIAL SNUFF BOX

BY JOHN ROBERTSON marked IR, thistle, duty head, the body with straight sides and oval outline engraved with foliate scrolls, crest and motto, the base and hinged cover formed of polished sections of agate Width: 6.8cm

268 BANFF – A SCOTTISH PROVINCIAL TABLESPOON

Heraldry: Engraved with crest of a sleeping dog proper and motto ‘Dinna waken sleeping dogs’ for Robertson of Lude (on the side)

Length: 21cm, weight: 1.6oz

271 DUMFRIES – A SCOTTISH PROVINCIAL TODDY LADLE

JOHN ARGO marked IA, BAN, of early Old English pattern with double drop heel and script initials MC to terminal £150‑250

269 BANFF – A SCOTTISH PROVINCIAL TABLESPOON

WILLIAM BYRES marked WB, BANF, of Old English pattern with vacant terminal Length: 21cm, weight: 1.8oz £180‑220

£600‑800

MARK HINCHSLIFFE marked stag, K, anchor, HINCHSLIFFE around M, of Fiddle pattern with vacant terminal Length: 16.5cm, weight: 1.1oz £200‑300

272 DUMFRIES – A SCOTTISH PROVINCIAL TABLESPOON DAVID GRAY marked anchor, unicorn, G, anchor, DG, of Fiddle pattern with script initials T H to terminal; together with a Fiddle pattern teaspoon by same maker (2) Tablespoon length: 23cm, weight: 2.9oz £180‑220

273 DUNDEE – A SCOTTISH PROVINCIAL SOUP LADLE WILLIAM CONSTABLE, EDINBURGH 1809 Ziegler retailer’s marks, WC, of Old English pattern with vacant terminal Length: 36cm, weight: 4oz £150‑250

274 DUNDEE – A SCOTTISH BASTING SPOON

WILLIAM SCOTT Marked WS, pot of lilies, WS, M, of Celtic Point pattern with crest and motto to terminal Length: 31cm, weight: 3.6oz £300‑500

275 DUNDEE – A SCOTTISH PROVINCIAL LARGE SUGAR BOWL

J. AND W. MCKENZIE, EDINBURGH 1786 marked J & W McK, pedestal foot, crest to front Length: 12cm, weight: 9.8oz £750‑850

276 DUNDEE – A SCOTTISH PROVINCIAL SOUP LADLE

WILLIAM CONSTABLE, EDINBURGH 1809 Ziegler retailer’s marks, WC, of Fiddle pattern with script initial S to terminal Length: 39cm, weight: 6.5oz £150‑250

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290

287

294

288

295

277 DUNDEE – A SCOTTISH PROVINCIAL TABLESPOON

281 ELGIN – A SCOTTISH PROVINCIAL SUGAR SHOVEL

284 ELGIN – A RARE SCOTTISH PROVINCIAL BROOCH

Length: 22.5cm, weight: 20oz

Length: 14.4cm, weight: 20.2g

£220‑280

£200‑300

278 DUNDEE – A SET OF SIX SCOTTISH PROVINCIAL TEASPOONS

282 ELGIN – A GROUP OF SCOTTISH PROVINCIAL TEASPOONS

284

WILLIAM SCOTT marked WS, pot of lilies, WS, M, of Celtic Point pattern with script initial D to terminal

WILLIAM CONSTABLE marked WC, pot of lilies, of feather edged Celtic Point pattern with script initial J to terminal (6) Length: 13cm, weight: 2.8oz (combined weight) £150‑180

279 DUNDEE – A GROUP OF SCOTTISH PROVINCIAL TODDY LADLES

VARIOUS MAKERS to include Fiddle Pattern example by W Leighton marked WL, pot of lilies thrice; Celtic Point pattern examples by J Douglas marked DOUGLAS, large crowned heart, small crowned heart and E Livingstone marked EL, heart, D, crowned heart (3)

JOSEPH POZZI & ROBERT STEWART marked J, P, ELn, RS, of Fiddle pattern with engraved initials WR to terminal

VARIOUS MAKERS to include Old English pattern examples by J Pozzi & R Stewart marked J, P, ELn, RS and an example by Charles Fowler marked CF, Eln, E; together with Fiddle pattern examples by William Ferguson marked WF, ELn, thistle and another by Thomas Stewart marked TS, ELn, (4) Weight: 2oz £200‑300

283 ELGIN – A SCOTTISH PROVINCIAL TODDY LADLE

WILLIAM FERGUSON, EDINBURGH 1824 marked ELGIN, WF, of Fiddle and Shell pattern with foliate script initials DM to terminal

Weight: 2.4oz

Length: 15cm, weight: 1.05oz

£400‑600

£200‑300

280 DUNDEE – A SCOTTISH BASTING SPOON

WILLIAM CONSTABLE marked pot of lilies struck four times, WC of Old English pattern with vacant terminal Length: 32cm, weight: 3.5oz £200‑300

JAMES R. MACKAY marked MACKAY, ELGIN, MACKAY, the open brooch formed of intertwined stag antlers naturalistically textured supporting a claw set oval amethyst within, with hinged pin to reverse Width: 54mm, weight: 21g

Note: Silver work by James R. MacKay is rare and most work which features his mark is silver plated with him acting as retailer rather than maker. This rare example in silver shows a punch unique to his silver work. It would also appear that he was the last maker to use a local town punch of ELGIN in full. For another brooch of virtually the same design with his mark see ‘The Scottish Sale – part II’ Bonham’s 29th & 30th August 2012, lot 372 (£1180 including buyer’s premium). £400‑600

285 ELGIN – A SET OF SIX SCOTTISH PROVINCIAL TEASPOONS

JOSEPH POZZI & ROBERT STEWART marked J, P, ELn, RS, of Fiddle pattern with engraved initials WR to terminal (6) Length: 14cm, weight: 3.4oz £200‑300

286 ELGIN – A SCOTTISH PROVINCIAL DESSERT SPOON

WILLIAM FERGUSON marked WF, ELGIN, thistle, of Fiddle pattern with gothic initial B and script initials McC to terminal Length: 17.2cm, weight: 1oz £120‑180

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Provincial Silver 69

293

297

287 GREENOCK – A SCOTTISH PROVINCIAL TABLESPOON

291 GLASGOW – A SCOTTISH PROVINCIAL TABLESPOON

294 GLASGOW – A PAIR OF SCOTTISH PROVINCIAL SALTS

Length: 23.5cm, weight: 2.2oz

Length: 22cm, weight: 2.1oz

Diameter: 7.5cm, weight: 5.7oz

£180‑220

£150‑250

£400‑500

288 ELLON (POSSIBLY) – A SCOTTISH PROVINCIAL TODDY LADLE

292 GREENOCK – A SCOTTISH PROVINCIAL TABLESPOON

295 GREENOCK – A SCOTTISH PROVINCIAL TABLESPOON

Length: 24cm, weight: 1.75oz

Length: 21.2cm, weight: 2.2oz

£150‑180

£200‑300

293 GLASGOW – A SCARCE SCOTTISH PROVINCIAL SUGAR BOWL

296 GREENOCK – A GROUP OF SCOTTISH PROVINCIAL FLATWARE

THOMAS DAVIE marked TD, anchor, C, oak tree, of large Celtic Point pattern with bold script initial E to terminal

JOHN MACKIE (POSSIBLY) marked JM, JM, the deep circular bowl with script initials AEG, with simple socket to straight baleen handle with simple finial cap Length: 17cm £400‑600

289 GLASGOW – A SET OF SIX SCOTTISH PROVINCIAL TABLESPOOONS

MILNE AND CAMPBELL marked M&C, Glasgow town mark, O, of Hanoverian pattern with script initials HLE to terminal (6) Length: 21.5cm, weight: 14oz £200‑300

290 GLASGOW – A SCOTTISH PROVINCIAL TABLESPOON

MILNE & CAMPBELL marked M&C, Glasgow town mark, O, of Hanoverian pattern with script initials B/GT to reverse of terminal Length: 21.5cm, weight: 2.43oz £120‑150

MILNE & CAMPBELL marked M&C, Glasgow town mark, M&C, O, of Hanoverian pattern, engraved to reverse of terminal C/AJ

JAMES ORR marked IO, G, oak tree, anchor, of Old English pattern with initials McC to terminal

JAMES GLEN marked IG, S, IG, Glasgow town mark, the baluster body with everted scalloped rim chased with fruiting foliage, shell scrolls and rocaille work, the whole raised on three scroll and paw feet Diameter: 13cm, weight: 7.8oz Note: Although this pattern of large sugar bowl was a standard pattern in Edinburgh at this period, there are very few recorded Glasgow examples. Whether this was a pattern predominant in the east coast or their survival from Glasgow/the west coast is just unusually low, this is undoubtedly a rare and unusual example. £800‑1,200

MILNE & CAMPBELL marked M&C, Glasgow town mark, O, of cauldron form raised on three hoof feet with blue glass liners (2)

JOHN CLARK AND PARTNER (ATTRIBUTED) marked IC, anchor, CK, of early Fiddle pattern with engraved initials and crest to terminal

VARIOUS MAKERS to include a pair of Fiddle pattern toddy ladles, marked anchor, tree, anchor; a Fiddle pattern teaspoon by Thomas Davie, marked TD, anchor, tree; and a Celtic Point pattern teaspoon by William Clarke, marked WC, oak tree, anchor (4) £200‑300

297 IONA – A PAIR OF SCOTTISH PROVINCIAL SPOONS

ALEXANDER RITCHIE, GLASGOW 1926 marked AR, IONA, AR (in spectacle punch), Glasgow 1926, the trefoil shaped terminals with intertwined leaves, with stipple stem and simple Celtic knotwork to join with bowl Length: 10.3cm, weight: 25g £200‑300

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298 IONA – A SCOTTISH PROVINCIAL ENAMEL BROOCH

ALEXANDER RITCHIE, CIRCA 1910 marked AR (incuse), IONA, the annular brooch with deep blue enamel fields surrounding Celtic knotwork panels and plain bosses Diameter: 4cm, weight: 13g £200‑300

299 IONA – TWO SCOTTISH PROVINCIAL BROOCHES

ALEXANDER RITCHIE including a scarce ‘Mackinnon Griffin Iona’ brooch, with registration number 654745 and marked AR (incuse), IONA; together with an annular brooch with central cross flanked by Celtic panels between arms, with integral mark to reverse ‘WMC 1919’ and marked AR, IONA (2) Widths: 3cm and 4.1cm £300‑500

300 IONA – A GROUP OF SCOTTISH PROVINCIAL BROOCHES

ALEXANDER RITCHIE to include an ivy leaf spray, marked AR, IONA, ICA (all incuse), Birmingham 1936; an oval brooch with galleon in ropetwist border, marked ICA, AR, IONA (all incuse), Birmingham 1937; and an open work Celtic knot boss, marked AR (incuse), IONA (3) Widths: 27mm, 25mm, 26mm £300‑500

301 INVERNESS – A SET OF SIX SCOTTISH PROVINCIAL TEASPOONS

ALEXANDER STEWART marked AS, C, of Old English pattern with initials JDM and number 13 – 18 to terminal; together with three matching teaspoons with indistinct maker’s mark and part Edinburgh marks, with same initials and numbered 10 – 12 (9) Length: 13.5cm, weight: 4.6oz £150‑250

302 INVERNESS – A SCOTTISH PROVINCIAL TABLESPOON CHARLES JAMIESON marked CJ, INS, camel, CJ, of old English pattern with script initials DKA to terminal Length: 22cm, weight: 62.7g £150‑180

303 INVERNESS – A SCARCE SCOTTISH PROVINCIAL LUCKENBOOTH

JAMES FERGUSON marked J.F, INS, of typical double heart form with open spectacle surmount, the whole with foliate and scroll engraved decoration, the reverse with script initials ‘JAR’ and hinged pin Height: 7.6cm, weight: 20g Note: Although the name of Ferguson is well recorded on work by Inverness goldsmiths it is mainly seen under the partnership of Ferguson Brothers or latterly Fraser, Ferguson & MacBean. Any marked work by James Ferguson is extremely rare and currently as few as three items, all luckenbooth brooches, are recorded with his mark.

304 INVERNESS – A SCOTTISH PROVINCIAL SPORRAN

FRASER, FERGUSON & MACBEAN marked F.F&, camel, INVSS, the arched cantle of 18th century style with stamped ring and dot decoration, with simple white seal skin bag and red leather backing Cantle width: 14cm £400‑500

305 INVERNESS – A SCOTTISH PROVINCIAL FISH SLICE ROBERT NAUGHTON marked RN, cornucopia, thistle O, of Fiddle pattern with vacant terminal and pierced and shaped blade Length: 30.5cm, weight: 5oz £250‑350

306 INVERNESS – AN UNUSUAL SCOTTISH PROVINCIAL LARGE TODDY LADLE

DONALD FRASER marked DF, INS, of Fiddle pattern with foliate initials WT to reverse of terminal Length: 21cm, weight: 1.6oz £150‑180

307 INVERNESS – A SCOTTISH PROVINCIAL STEWART CLAN BADGE

MEDLOCK & CRAIK marked M&C, INVSS, Edinburgh 1949, of belted garter form with motto and cast crest to centre Width: 31mm £100‑200

£400‑600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Provincial Silver 71

308

313

311

317

308 INVERNESS – A SCOTTISH PROVINCIAL TABLESPOON

ALEXANDER MACLEOD marked AML, INS, device, flower/thistle, of Fiddle pattern with original gothic initial G to terminal and later initials AL Length: 23cm, weight: 2.3oz £180‑220

309 INVERNESS – A SCOTTISH PROVINCIAL MASKING SPOON

JAMIESON & NAUGHTON marked J&N, INS, of Fiddle pattern with twisted stem and script initials AF to terminal Length: 17cm, weight: 20g £180‑220

310 INVERNESS – A GROUP OF SCOTTISH PROVINCIAL FLATWARE

VARIOUS MAKERS To include a tablespoon by Donald Fraser, marked DF/INS; a toddy ladle by Charles Jamieson marked CJ, INS, J and a pair of sugar tongs by Alexander Stewart with maker’s mark only (3) Weight: 3.2oz £200‑300

311 MONTROSE – A PAIR OF SCOTTISH PROVINCIAL DESSERT SPOONS

JAMES STURROCK marked thistle, JS, rose head, of Old English pattern with script initials JA to terminal (2) Length: 18cm, weight: 2oz £200‑300

312 MONTROSE – A SCOTTISH PROVINCIAL TABLESPOON

JOHN GLENNY marked IG incuse star, IG, incuse star of Oar pattern with simple stylised foliate initials G/ HL to terminal; together with two Montrose teaspoons, one by Benjamin Lumsden marked rose head, B.L, rose head, the other marked II rose head twice (3) Tablespoon length: 23.3cm, combined weight: 2.55oz £220‑280

313 MONTROSE – A SCOTTISH PROVINCIAL CREAM LADLE WILLIAM MILL marked WM, rose head, WM, rose head, WM, of Old English pattern with wide terminal and engraved initials TEW Length: 14.5cm, weight: 19.7g £120‑180

314 MONTROSE – A SCOTTISH PROVINCIAL DESSERT SPOON WILLIAM MILL marked WM only, of Old English pattern with script initial ‘g’ to terminal; together with a dessert spoon by James Cornfute of Perth, maker’s mark twice and a similar example by James Erskine of Aberdeen (3) £150‑180

315 PAISLEY – A SCOTTISH PROVINCIAL SERVING SPOON WILLIAM HANNAY, GLASGOW 1831 marked W.H, of Fiddle pattern with script initials to terminal Length: 35.5cm, weight: 5oz £200‑300

316 PAISLEY – A PAIR OF SCOTTISH PROVINCIAL TABLESPOONS

PATRICK HANNAY (ATTRIBUTED) maker’s mark PH only, of Old English pattern with foliate script initial P to terminal; together with two Old English pattern teaspoons by William Hannay of Paisley (4) Tablespoons length: 21cm, weight: 3.8oz £300‑500

317 PERTH – A SET OF SIX SCOTTISH PROVINCIAL TABLESPOONS

JAMES CORNFUTE marked IC, eagle, IC, eagle, of Hanoverian pattern with initials ‘AW/JC’ to reverse and initials ‘DS’ to obverse of terminal (6) Length: 21cm, weight: 10oz £300‑500

318 PERTH – A SET OF SIX PROVINCIAL TEASPOONS

CHARLES MURRAY marked CM, eagle, CM, eagle, of Fiddle pattern, initials engraved to terminal; together with a set of six tablespoons, Edinburgh various makers and dates of Fiddle pattern, W L engraved to terminal and five teaspoons, William Coghill, Glasgow 1874, of Fiddle pattern, K engraved to terminal Length: 14cm, weight: 20.7oz £200‑300

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322

319 PERTH – A SET OF SIX SCOTTISH PROVINCIAL TABLESPOONS

ROBERT KEAY marked RK, Edinburgh 1804, of Old English pattern with script initials ALH and numbered to terminal (6) Length: 23.5cm, weight: 13.5oz £200‑300

320 PERTH – A SET OF SIX SCOTTISH PROVINCIAL TABLESPOONS

ROBERT KEAY marked RK, eagle, RK, eagle, of Old English pattern with script initial to terminal (6) Length: 22.5cm, weight: 10.8oz £150‑250

321 PERTH – A SET OF TWELVE SCOTTISH PROVINCIAL DESSERT SPOONS ROBERT KEAY marked RK, eagle, RK, eagle, RK, of Fiddle pattern with script initial S to terminal (6) Length: 17.8cm, weight: 13.5oz £250‑350

322 PERTH – A SCOTTISH PROVINCIAL TABLESPOON

JOHN AND FRANCIS BROWN Marked IB, armorial shield twice, FB, of Hanoverian pattern, with deep bowl, the reverse of the terminal engraved WF/SG, with double drop heel and beaded and engraved fleur de lys ‘rat tail’ Length: 20.1cm, weight: 59.5g Note: The working careers of John and his son Francis Brown is somewhat confused. Although recorded in Perth as early as 1724 they appear to have worked in Edinburgh and possibly Elgin as well. No marks have been confidently ascribed to either of these periods and all their work is tied to Perth. The marks they used fall into three groups (all with the very recognisable IB and FB maker’s marks), with PERTH in full, a large Fleur de Lys and, as seen on this spoon, what appears to be an armorial bearing. The use of the armorial bearing has not been explained and the use of the punch is certainly their rarest. Its large size means that when encountered it is often poorly struck leaving details hard to ascertain. This example is one of the best noted. The double drop and engraved ‘rat tail’ is also a feature unique to these makers in Scottish silver and shows much closer comparison to continental European work than British. Where this influence and the use of the fleur de lys comes from is unknown for makers with a Scottish pedigree and no obvious continental European connections. For another example of this mark ex Sir John Noble Collection, see Lyon & Turnbull, Fine Scottish Silver, 19th August 2013, lot 452

323 PERTH – A SCOTTISH PROVINCIAL SOUP LADLE

ROBERT KEAY marked RK, eagle, RK, eagle, of Fiddle pattern with vacant terminal Length: 36cm, weight: 7.5oz £200‑300

324 PERTH – A PAIR OF SCOTTISH BASTING SPOONS ROBERT KEAY Marked RK, eagle repeated four times, of Fiddle pattern with script initial P to terminal (2) Length: 32.5cm, weight: 7.1oz £300‑500

325 PERTH – A PAIR OF SCOTTISH PROVINCIAL TABLESPOONS

DAVID GRIEG marked DG, eagle, DG, eagle, of Fiddle pattern with script initials WJG to terminal (2) Length: 22cm, weight: 3.7oz £180‑220

326 PERTH – A SCOTTISH PROVINCIAL TABLESPOON

HUGH CLARK marked HC, eagle, HC, eagle, of Hanoverian pattern with script initial to reverse of terminal Length: 21cm, weight: 2.2oz £120‑180

£800‑1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Provincial Silver 73

325

330

329

332

333

327 PERTH – A COLLECTION OF SCOTTISH PROVINCIAL FLATWARE

VARIOUS MAKERS to include an Old English pattern toddy ladle by John Urquhart marked eagle thrice JU; a Fiddle pattern dessert spoon by D McLean marked DMcL, pot of lilies, eagle, pot of lilies, eagle; a Fiddle pattern toddy ladle by D Greig marked eagle, DG, eagle, DG and an Old English pattern tablespoon by J Cornfute marked eagle, IC, eagle, IC (4) Weight: 4oz £180‑220

328 PERTH – A SCOTTISH PROVINCIAL SOUP LADLE

ROBERT KEAY, EDINBURGH 1801 marked RK, of Celtic Point pattern with script initial L to terminal Length: 42cm, weight: 6oz £200‑300

329 PETERHEAD – A SCOTTISH PROVINCIAL TEASPOON WILLIAM FERGUSON marked WF, PHD, WF, of Fiddle pattern with vacant terminal Length: 13.2cm, weight: 15.3g £400‑600

330 PETERHEAD – A SCOTTISH PROVINCIAL TODDY LADLE WILLIAM SIMPSON marked WS, PHd, fouled anchor, of Fiddle pattern with script initial G to terminal Length: 16.5cm, weight: 29.2g £1,200‑1,800

331 TAIN – A SCOTTISH PROVINCIAL SERVING SPOON

RICHARD WILKIE marked RW thrice, of Old English pattern with vacant terminal; together with another example London 1807 (2) Length: 30cm, weight: 6oz £200‑300

332 TAIN – A SET OF SIX SCOTTISH PROVINCIAL TEASPOONS

HUGH ROSS marked HR, of Scots Fiddle pattern, WA/GA engraved to reverse of terminal Length: 12.7cm, weight: 1.8oz £2,500‑3,500

333 WICK – A SCARCE SCOTTISH PROVINCIAL TABLESPOON

JOHN SELLAR marked JS, WICK, JS, JS, of Fiddle pattern with foliate script initial B to terminal Length: 23.3cm, weight: 75.8g £600‑800

334 WICK – A SCOTTISH PROVINCIAL TEASPOON

JOHN SELLAR marked JS WICK, of Fiddle and Shell pattern Length: 15.5cm, weight: 18.6g £500‑700

335 A COLLECTION OF SCOTTISH SILVER

to include a quaich attributed to George Ritchie, Arbroath; a toddy ladle, Alexander Cameron, Dundee; and two further teaspoons; together with a table fork of fiddle pattern, EW, Leith (5) Weight: 5.9oz £500‑600

336 A COLLECTION OF SCOTTISH SILVER

to include a teaspoon, J Pirie of fiddle pattern, a table fork, John Leslie, Aberdeen of oak pattern, a toddy ladle, William Simpson, Banff of fiddle pattern, two Celtic style spoons, John Keith, Banff; together with a toddy ladle, Charles Jamieson, Inverness and a horn spoon from Shetland (7) Weight (All in): 4.1oz £550‑650

Scottish Hallmarked Silver 337 A MODERN SCOTTISH MUG

BERNARD HARRINGTON, EDINBURGH 1953 of slightly planished baluster form, engraved initials to front, bold c‑scroll handle, flared foot Height: 12.5cm, weight: 16.6oz Note: Bernard Harrington registered his punch at the Edinburgh Assay Office between 1948 and 1975 when he was an active silversmith, designer and University lecturer. His legacy is not confined to his output of fine silver, which encompasses various civic items, including the Maces for the City of Dundee in 1954 and that of the Deacon Convener of the Nine Trades of Dundee in 1953. He will also be remembered for his influence on a much wider sphere of Scottish silversmith and jewellers as the head of Silversmithing and Jewellery Department at Duncan of Jordanstone College of Art and Design in Dundee. He held this position from 1943 until 1974 influencing a generation of students. His bold use of simple lines and traditional techniques set him apart from the mass produced/manufactured wares which had become commonplace throughout Britain since the end of WW1. £250‑350

338 A EDWARDIAN SET OF SIX TASTERS HAMILTON & INCHES, EDINBURGH 1904 formed as diminutive continental single handled tasters (6) Width: 7.5cm, weight: 8oz £300‑500

339 TWO SCOTTISH MEDALLIONS

EARLY 20TH CENTURY a large medallion, Birmingham 1907, of oval form with cast thistle suspender, inscribed ‘Junior Captaincy medal, Carnegie Swimming Club Dunfermline, with awards 1906 – 1920; together with a Dunfermline & West of Fife Horticultural Society medallion, hallmarked Birmingham 1900, with cast foliate border and presentation inscription ‘’Presented by Mrs Andrew Carnegie to John M Birkett first prize for Vegetable Garden August 1900’ (2) Heights: 10cm, 5.8cm, weights: 3.1oz and 1.4oz £300‑500

340 A MODERN MUG

RETAILED BY SORLEY OF GLASGOW, BY CHARLES JAMES ALLEN, SHEFFIELD 1936 the flared cylindrical body with moulded rim and foot, engraved with presentation for ‘British America Cup Races... 1936’, with S scroll handle Height: 10.9cm, weight: 11oz £200‑300

341 A SET OF FOUR REPRODUCTION TRAPRAIN SPOONS

BROOK & SON, EDINBURGH 1933 the shallow bowl with Chi‑Rho marks for Christ’s name in Greek, leaf detail to underside to a long tapered handle Length: 21.3cm, weight: 4.3oz

342 A VICTORIAN AGATE SET SILVER MOUNTED GLASS INKWELL

BIRMINGHAM 1898 the hinged cover with an applied agate saltire in a border of engraved floral detail, the heavy glass body with two deeply incised pen rests Width: 11cm £200‑300

343 A GEORGE II STYLE COFFEE POT

THOMAS SMITH & SONS, EDINBURGH 1897 of tapered cylindrical form, stepped cover, turned finial, scroll spout, S scroll wooden handle with thumbpiece Height: 24.5cm, weight: 22.35oz £400‑600

£200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Hallmarked Silver 75

344 A VICTORIAN RAMS HEAD SNUFF MULL

HENRY W DEE, LONDON 1872 the full taxidermy head with well coiled horns the tips with engraved foliate mounts and foil back crystals, the head with thistle formed box to top with gilt interior, tools suspended Maximum width: 39cm £2,000‑3,000

345Y A VICTORIAN CLARET JUG

J.M., GLASGOW 1857 of baluster form with lower gadroon body, leaf clasped scrolling handle, floral finial and moulding to spout, raised on a spreading foot Height: 32cm, weight: 35oz £500‑700

346 A CASED SET OF FOUR VICTORIAN SALTS

HAMILTON & INCHES, EDINBURGH 1897 each of small open form with twin leaf capped scroll handled and reeded rims, with engraved crest; together with four matched trefid terminal spoons, in original fitted case Diameter: 5.8cm, weight: 10oz £300‑500

347 A VICTORIAN SPORRAN AND PLAID BROOCH

THOMAS ROSS AND SONS OF GLASGOW, GLASGOW 1891 the arched cantle with Celtic knot work with applied crest of a hand holding a dagger, with brown fur body and twin silver capped tassels; together with a matching plaid brooch of annular form with Celtic border and applied crest (2) Width of cantle: 18.7cm £400‑600

348 A SET OF SIX VICTORIAN TABLE FORKS

WILLIAM CUNNINGHAM & CO, EDINBURGH 1879 of Old English pattern with vacant terminal (6) Length: 21cm, weight: 11oz £120‑180

349 A COLLECTION OF VICTORIAN FLATWARE

JOHN MUIRHEAD & SON, GLASGOW 1866 to include; twelve dessert spoons, twelve dessert forks, two fish knives, six condiment spoons, all of Bright Cut Old English pattern (32) Weight: 37.7oz £500‑700

350 A VICTORIAN DESK INKSTAND

HENRY WILKINSON & CO, SHEFFIELD 1837 the stand of rounded rectangular form, heavily embossed floral cast detail, set with two square canted corner ink wells and central circular compartment, inscribed with presentation details to rear and crest to front, all raised on four bracket feet Width: 29.5cm, weight: 12.8oz £500‑600

351 A VICTORIAN PAP BOAT

MITCHELL & RUSSEL, GLASGOW 1838 of conventional form with reeded rim and pouring spout Length: 14cm, weight: 2.4oz £200‑300

76 Lyon & Turnbull

352 A CARVED OAK, MOTHER OF PEARL AND SILVER MOUNTED QUAICH

LAURENCE URQUHART, EDINBURGH 1828 maker’s mark worn, the body formed as twin eagles with wings intertwined, the heads forming handles, the interior of bowl lined with silver and with mother of pearl base, the underside of the base inscribed PART OF A VERY ANCIENT COFFIN OF BLACK OAK 14 FEET LONG FOUND UNDER A CAIRN IN ABERDEENSHIRE – FOR AN ACCOUNT OF WHICH SEE EDIN ANNUAL REGISTER FOR 1810 VOL 3 PART 2ND PAGE 538 Width across handles: 14.5cm Note: The discovery of a 14 foot long black oak coffin is well recorded at the spot under which a Cairn had previously stood. The discovery left more questions than answers as no grave goods were found (apart from a broken pot). There was evidence of burning and more unusually no other excavated Cairn had been found with a coffin underneath. £500‑700

353 A GEORGE IV CASTER

GEORGE MCHATTIE, EDINBURGH 1824 of octagonal baluster form with moulded rib, with pierced and engraved pull off cover and stepped octagonal foot, the body engraved with a crest and motto Length: 21.cm, weight: 11.7oz

354 A VICTORIAN SOUP LADLE

JOHN FINDLAY, GLASGOW 1840 of single struck Queens pattern with vacant terminal and deep round bowl Length: 37cm, weight: 8.6oz £150‑180

Heraldry: The crest is that of the family of Hering or Herring. It may be blazoned as follows:

355 A SET OF SIX WILLIAM IV TABLE FORKS

Crest: A dexter arm in armour embowed in the hand a dagger all proper

Length: 20cm, weight: 13.5oz

Motto: Arma tuentur pacem [Arms maintain peace] Note: From an evidential point of view, it is found that a Captain Julines Hering (or Herring), of Heybridge in the County of Essex and of Pauls Island in the Parish of Westmorland on the Island of Jamaica used this as his crest with the motto as cited above displayed in the Scottish fashion, whilst the second motto of the family: ‘Fortitudine non vi’ [With fortitude not force] is found below their arms. It is certainly known that he petitioned the Earl Marshal of England via his solicitor for a confirmation of the arms that his family anciently bore when living in the Counties of Warwickshire and Salop (Shropshire). He was the grandson of John Hering who had served as the Mayor of Coventry in 1612. From this evidence, one may assume that this piece of Scottish silver was in all probability acquired by Captain Hering either whilst resident in Jamaica or, perhaps, more likely from the London market and thereafter engraved with his crest. Certainly, from an examination of a published pedigree of the family there appears not to be an overt Scottish connection. £800‑1,200

PATRICK ARTHUR, GLASGOW 1832, of Fiddle pattern with vacant terminal (6) £150‑250

359 A VICTORIAN CLARET JUG

WILLIAM CUNNINGHAM, EDINBURGH 1839 of neoclassical urn form with engraved acorn and oak leaf borders and armorial, with short stem and domed foot Length: 32cm, weight: 31oz £1,000‑1,500

360 A PAIR OF GEORGE IV WINE COASTERS

GEORGE MCHATTIE, EDINBURGH 1824 the turned wooden based mounted with fluted baluster silver sides and gadrooned rims (2) Diameter: 14cm

356 A SET OF SIX WILLIAM IV TABLE FORKS

£800‑1,200

Length: 21cm: weight: 14.5oz

GEORGE PATON & GEORGE MCHATTIE, EDINBURGH CIRCA 1820 comprising a matched graduated set of two large for MADEIRA and GINGER and a smaller pair for HOLLANDS and WHISKY, with scroll and shell borders suspended from belcher link chains (4)

PATRICK ARTHUR, GLASGOW 1832 of single struck Queen pattern with vacant terminal (6) £150‑180

357 A COLLECTION OF TODDY LADLES

VARIOUS MAKERS to include five single struck Queen’s pattern variant by R Grey of Glasgow; an example by W Jamieson of Aberdeen; and various Edinburgh made examples (qty.) Weight: 12oz £150‑180

358 A COIN SET PUNCH LADLE

UNMARKED the circular bowl heavily chased with flower heads and scrolls, the base set with a Queen Ann 1708 Edinburgh mint crown, with simple socket attachment to twisted baleen handle (broken but present)

361 A MATCHED GROUP OF FOUR WINE LABELS

Widths: 5.5cm and 4.3cm £200‑300

362 A SET OF FOUR SPIRIT LABELS

MACKAY & CHISHOLM, EDINBURGH CIRCA 1840 modelled as letters G, P, B, and S, engraved detail throughout (4) Height: 41mm, weight: 38.9g £150‑250

Bowl diameter: 6.5cm £120‑180

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

363 A RARE SUITE OF THREE GEORGE IV TUREENS

ALEXANDER EDMONSTONE, EDINBURGH 1823 retailed by Alexander Murray of Dundee, comprising a large soup tureen and cover and a pair of vegetable tureens, liners and covers, each of oval outline with baluster bellied form with cast acanthus handles and scroll supports, the pull off covers on domed form with gadrooned border and shell details, with cast artichoke and foliate finial, each piece with engraved armorial to body and crest to cover (3) Soup – width: 39.5cm weight: 102oz, vegetable – width: 23cm weight: 37oz each Heraldry: The engravings may be blazoned as follows: Arms: Argent a man’s heart gules ensigned with an Imperial crown proper on a chief azure three mullets of the field

Note: These arms pertain to the ancient Scottish lowland family of Douglas. They are generally borne as a quarter, either undifferenced or differenced, in order to show which branch of the family they pertain. Often the other quartering with which they are borne is difference enough. Here is shown the ‘plain’ arms of Douglas which should ordinarily be borne by the chief of the family/clan which is vested in the Douglas‑Hamiltons, Dukes of Hamilton (and Brandon) as Heirs Male of the House of Douglas since 1761, but as the Dukes of Hamilton (and Brandon) bear the compound surname of Douglas‑Hamilton they cannot at present be recognised as the Chiefs of the Clan Douglas. Although it cannot be stated with any degree of certainty, but given the penalties for using arms without authority in Scotland, perhaps this tureen was indeed part of the household silver of the Douglas‑Hamiltons or another branch of the family who could very well prove their Douglas antecedents with a fair measure of certitude. £12,000‑18,000

78 Lyon & Turnbull 364 A RARE PAIR OF GEORGE III SURGICAL/MEDICAL SCISSORS

EDINBURGH 1816 by JH (unknown), of conventional scissor form with loop handles and tapered point Length: 16.5cm, weight: 43.7g Note: During the 19th century Edinburgh lead the world in the study and practice of medicine and surgery. It is therefore not surprising that the upper class worlds of the silversmith and doctor/surgeon met in creating fine instruments. Indeed, even from the times of the ancient Greeks, the purifying and antibacterial properties of silver were known and its use in treatments considered a great benefit. £200‑300

365 A LARGE GEORGE III SALVER

WILLIAM & PATRICK CUNNINGHAM, EDINBURGH 1802 of circular outline with reeded rim and engraved arched inner border, the centre engraved with armorial, raised on four bracket feet Diameter: 46cm, weight: 84.5oz Heraldry: They may be blazoned as follows: Arms: Gules a chevron ermine between three antique crowns or Crest: A Roman fasces erect proper Motto: Leges juraque serva [Observe the laws and ordinances] Note: The family of Grant of Kilgraston, in the County of Perthshire are lineally descended from the Grants of Grant, the Chiefs of the ancient clan of Grant. The Kilgraston Grants were originally designated ‘of Glenlochy’, but this estate was alienated from the family by Patrick Grant of Glenlochy in the County of Inverness‑shire. The family bore as their crest: ‘A mountain in flames proper’ and used this motto: ‘Ferti citi flammas’. It was Patrick’s eldest son, John Grant (died 28th March 1793) who served as the Chief Justice of the Island of Jamaica from 1783 to 1790, who later purchased the estate of Kilgraston. The crest and motto as engraved on this salver were granted to John Grant (now designated ‘of Kilgraston’) by the Lord Lyon King of Arms in substitution of his family’s original crest and motto by Letters Patent dated 21st December 1790. As will be noted, the new crest and its accompanying motto reflected John’s career as a lawyer. So, with this evidence alone (together with the presumed date of manufacture) we may conclusively say that this salver was certainly in the possession of John Grant of Kilgraston between the granting of his new crest and motto in 1790 and his death three years later in 1793. John married Margaret Macleod, the sister of Sir Alexander Macleod, Lord Bannatyne, a Lord of Session. As there were no children from John and Margaret’s marriage, the Kilgraston estate was inherited by his brother, Francis Grant. £2,500‑3,500

366 A COLLECTION OF FLATWARE

19TH CENTURY to include a set of eight Celtic Point dessert spoons by F. Howden, Edinburgh 1800; dessert spoons; and twelve Fiddle pattern teaspoons, Edinburgh 1852 Combined weight: 13.5oz £200‑300

367 A GEORGE III SNUFF BOX

ROBERT HAXTON, EDINBURGH CIRCA 1800 marked RH in oval with part Edinburgh marks, of rectangular form with rounded edge, laurel engraved to cover Length: 8.5cm, weight: 3.5oz £300‑500

368 A GEORGE III WINE FUNNEL AND STAND ROBERT SMEATON (OF LEITH), EDINBURGH CIRCA 1810 the shallow bowl with reeded rim and original muslin ring, the tapered stem with three tapered supports, the dished stand with domed centre and reeded rim, both with matching initials WD engraved

370 A PAIR OF GEORGE III HARE COURSING CUPS

Funnel height: 13cm, stand diameter: 9cm weight: 3.6oz

MCHATTIE & FENWICK, EDINBURGH 1799 of tapered goblet form, embossed leaves to the cup, each engraved with the scene of a greyhound in landscape and inscribed ‘Spring Belonging to Robert Wellwood of Garrick, won this cup 6th November 1800 by beating 5 other dogs’, raised on spreading foot with threaded detail (2)

£500‑800

Height: 18.4cm, weight: 21.9oz

369 A TWIN HANDLED PRESENTATION CUP WILLIAM & PATRICK CUNNINGHAM, EDINBURGH 1804 of tapered goblet form, engraved borders, presentation inscription to front, angular handles with cast foliate detail, raised on a spreading foot with engraved border

£1,500‑2,000

371 A SET OF SIX GEORGE III TABLESPOON

FRANCIS HOWDEN, EDINBURGH 1798 of Celtic Point pattern with crest to terminal (6) Length: 23.5cm, weight: 13oz £150‑250

Height: 24.6cm, weight: 20.1oz £600‑900

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Hallmarked Silver 79

372 A GEORGE III FOUR PIECE TEASET

WILLIAM ROBERTSON, EDINBURGH 1791 comprising teapot, stand, swing handled sugar basket and cream jug of all oval form, engraved border and crest to centre (4) Height: 14.5cm, weight (all in): 40oz £1,500‑1,800

373 AN UNUSUAL PAIR OF GEORGE III BASKETS

WILLIAM ROBERTSON, EDINBURGH 1792 of shaped circular outline with cast foliate scroll border, the inner semi spiralled fluted panels with alternating pierced designs, raised on simple collet feet Diameter: 13cm, combined weight: 9.5oz Note: Although in style these baskets look similar to baskets from a larger epergne, these are both fully hallmarked – rather than part‑marked as expected for epergne baskets – and this dispels this theory. They would appear to be a rare pair of sweetmeat/fruit or dessert baskets. £300‑500

374 A GEORGE III COMMUNION CUP

ALEXANDER GAIRDNER, EDINBURGH 1784 the deep bowl with slightly everted rim engraved to the obverse within laurel cartouche ‘Relief Church Paisley 1785’, engraved to opposing side within similar cartouche ‘Drink abundantly o beloved for my blood is drink indeed’, raised on a tapered knopped stem and slightly domed circular foot Height: 21cm, rim diameter: 12cm, weight: 16.9oz £2,000‑3,000

375 A CASED SET OF TWELVE TABLESPOONS AND SOUP LADLE

376 A MATCHED PAIR OF GEORGE III BASTING SPOONS

Ladle length: 38cm, weight: 36oz

Length: 30.5cm, weight: 5.2oz

£400‑600

£180‑220

ALEXANDER ZIEGLER, EDINBURGH 1793 of Celtic Point pattern with engraved crest to terminal, in later fitted mahogany case with lift out tray and fitted in red suede

ALEXANDER SPENCE, EDINBURGH 1793 AND 1795 of Celtic Point pattern with script initials WS to terminal (2)

80 Lyon & Turnbull

377 A GEORGE III TABLESPOON

DAVID DOWNIE, EDINBURGH 1788 of Celtic Point pattern, engraved script initials IL to terminal, numbered to stem 10 Length: 22cm, weight: 1.8oz Note: David Downie was born to an Edinburgh watchmaker and a former housekeeper in around 1736. He was taken on as an apprentice by William Gilchrist, the Deacon of the Incorporation of Goldsmiths and then married in 1773, after establishing his trade in Edinburgh. The following three decades were a time of significant social and political upheaval. Civil unrest was brought on by the influx of the population into cities and the huge commercial competition caused by the industrial revolution. This, combined with increasingly popular Enlightenment political ideas, manifested in and encouraged by the successful American War of Independence (1776‑1783), the French Revolution (1789), and the economic strain inflicted by the French Revolutionary Wars (1792‑1802), increased calls for political reform and created an atmosphere of anxiety within the establishment. The Incorporation of Goldsmiths, however, had a reputation for conservatism and anti‑radical sentiment, releasing statements supporting the establishment on multiple occasions. David Downie, however, is thought to have been the only Catholic in the Incorporation and is known to have made enemies of other members known for their conservatism. He became increasingly involved with radical politics, attending radical conventions and contributing to the formation of various radical committees. In 1794, he and his associate, Robert Watt, plotted to occupy various public buildings in Edinburgh, seize the Castle and demand of the King the dismissal of government and Parliament, the instigation of a democratic constitution and a withdrawal from the war in France. Prior to its undertaking, however, Downie and Watt were arrested and found guilty of high treason, (the first trial of its kind since 1709) for which they were sentenced to be hung, drawn and quartered. This particular sentencing is seen to be significant as its severity caused reluctance in later juries to find people guilty of high treason. Three days before they were due to be executed they were given reprieves; Watt’s sentence was reduced to being hanged until dead, while Downie’s sentence was reduced to a year’s imprisonment and subsequent banishment from Great Britain. On his release, he emigrated to Augusta, Georgia, USA, where he died on Christmas Day in 1816. For further information please see, Fortescue, W. I.: Edinburgh Goldsmiths and Radical Politics, 1793‑94: The Case of David Downie Book of the Old Edinburgh Club New Series Vol. 9 (2012) pp.33‑57 £300‑500

378 A GLASS SEAL BOTTLE

18TH CENTURY the olive green glass bottle with applied seal reading Mr. JAs WATSON/KIRKLAND 1770, chip engraved to opposing side M & A McINZIE above a crowned display thistle, with later Britannia standard silver mounts hallmarked Glasgow, 1898, with engraved presentation and crest, with matching bottle stop Height: 36cm £500‑700

379 A PAIR OF GEORGE III BASTING SPOON MITCHELL & RUSSELL, EDINBURGH 1814 of Fiddle pattern with script initial P to terminal (2) Length: 32.5cm, weight: 7oz £180‑220

380 TWO GEORGE III WINE FUNNELS

WILLIAM DEMPSTER, EDINBURGH CIRCA 1780 each of conventional form with shallow bowls and curved spouts, with unusual spiral chased decoration and engraved initials Heights: 11cm and 10cm, weight: 3.8oz £200‑300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Hallmarked Silver 81

381 A GEORGE III TEAPOT AND STAND

WILLIAM DEMPSTER, EDINBURGH 1776 of inverted pear form with chased floral swag and scroll cartouche, hinged dome cover with gadrooned rim and cast finial, C scroll handle and fluted scroll spout, together with matching stand of oval form, with gadrooned and engraved borders, raised on four hoof feet (2) Height of teapot: 16cm, width of stand: 18cm, combined weight: 28oz £1,200‑1,800

382 A RARE GEORGE III DRUM TEA CADDY

BY WILLIAM KERR, EDINBURGH 1772 The drum formed caddy with finely engraved border of foliate decoration around rim, keyhole pendant cartouche with crest and motto within, flush hinged lid similarly engraved with cast fruiting bud finial to centre, with original steel key Height: 12cm, diameter: 9.5cm, weight: 10.2oz Note: This fine tea caddy represents a very rare survivor of Scottish silver. The use of tea caddies in Scotland would have been as commonplace as elsewhere in Britain, however the survival of Scottish‑made silver tea caddies are extremely rare. Even into the third quarter of the 18th century, when tea drinking and silver tea wares were far more common and accessible. It has often been considered that either the fashion in Scotland was for wooden caddies, with various examples of Scottish origin known, or that specialist makers in England were supplying the trade in Scotland with silver examples. Both theories seem to carry weight and these combined perhaps give reason to the rarity of such fine Scottish-made examples. £3,000‑5,000

383 A GEORGE III WAITER

ROBERT CLARKE, EDINBURGH 1773 of shaped circular outline with cast shell and scroll border and chased fruit, floral and foliate inner border around an engraved crest, raised on three hoof feet Diameter: 19cm, weight: 9oz £300‑500

384 A GEORGE III SOUP LADLE

WILLIAM DEMPSTER, EDINBURGH 1770 of Hanoverian pattern with a shell bowl, engraved to terminal with a crest of a boar’s head Length: 39cm, weight: 7.7oz £300‑500

385 A SCOTTISH GEORGE III BULLET TEAPOT

EDINBURGH 1770 maker’s mark lacking, of tapered bullet form with heavy flat chased decoration to most of the body, with feathered scroll and cross hatching, large slender spout, simple C scroll handle Height: 15cm, weight: 21oz £400‑600

82 Lyon & Turnbull

386 A GEORGE II COFFEE POT

LOTHIAN & ROBERTSON, EDINBURGH 1759 of slight baluster form with chased scroll and foliate pendant borders with masks hidden in cartouches, the S scroll spout with acanthus clasping and chased shell detail to join with body, S scroll wooden handle and domed hinged lid Height: 25.5cm, weight: 35.5oz £2,000‑3,000

387 AN UNUSUAL GEORGE III CRUMB SCOOP

ROBERT GORDON, EDINBURGH 1757 of typical form with large curved ‘blade’ with long slender rat tail, tapered socket to baluster turned ebony handle Length: 26.5cm £800‑1,200

388 A PAIR OF GEORGE III SALTS

WILLIAM DEMPSTER, EDINBURGH 1767 of cauldron form, with scalloped rim, raised on three hoofed feet with glass liners Diameter: 7cm, weight: 4.9oz £300‑500

389 A GEORGE II SALVER

ROBERT LOWE, EDINBURGH 1758 Assay Master Hugh Gordon, moulded shell border, foliate engraving with crest to centre Diameter: 28cm, weight: 22oz £600‑800

390 A SET OF SIX GEORGE II TABLESPOONS

391 A GEORGE II HASH SPOON

393 A SET OF SIX GEORGE II TABLESPOONS

Length: 41.5cm, weight: 8oz

Length: 22cm, weight: 14.5oz

£800‑1,200

£200‑300

392 A GROUP OF GEORGE II TABLESPOONS

394 A SET OF FOUR GEORGE II TABLESPOONS

ROBERT GORDON, EDINBURGH 1755 Assay Master Hugh Gordon, of Hanoverian pattern, with initials I/ET engraved to reverse of terminal

WILLIAM DEMPSTER Edinburgh, various dates, of Hanoverian pattern, variously engraved with crest and initials; together with three Glasgow made examples (9)

ALEXANDER AITCHISON, EDINBURGH 1748 Assay Master Hugh Gordon, of Old English pattern with bright cut borders and script initials RD within cartouche (6)

WILLIAM AYTOUN, EDINBURGH 1735 Assay Master Archibald Ure, of Hanoverian pattern, with engraved initial B to reverse of terminal (4)

Weight: 19.5oz

Length: 20.3cm weight: 8.5oz

£180‑220

£500‑800

ROBERT GORDON, EDINBURGH 1755 Hanoverian pattern with engraved script initials L/ET to reverse of terminal (6) Length: 21cm £300‑500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Hallmarked Silver 83 395 A GEORGE II SPIRIT KETTLE AND STAND

WILLIAM AYTOUN, EDINBURGH 1749 Assay Master Hugh Gordon, the body of inverted pear shape design with finely chased border of flower head clusters within scroll and shell borders, with twin vacant cartouches, the domed hinged cover with spiralled foliate decoration emanating from a cone finial, the whole raised on a tripod stand with leaf capped S scroll and shell supports with integral burner suspended and pierced scrolling borders Height: 36cm, weight: 56.3oz £5,000‑8,000

396 A GEORGE II BULLET TEAPOT

JAMES KER, EDINBURGH 1742 Assay Master Edward Lothian, of slightly compressed bullet form with finely chased floral, shell and fruit border, the interior grill finely pierced in scrolling patterns, swan neck curved spout and C scroll wooden handle with carved thumbpiece, raised on a simple short stem and domed foot Height: 14.6cm, weight: 19.1oz £2,500‑3,500

397 A GEORGE II MUG

DOUGAL GED, EDINBURGH 1734 Assay Master Archibald Ure, the body of slight baluster form with slightly flared rim and engraved crest and motto, resting on a socle foot, with simple S scroll handle with plain thumb piece Height: 7.5cm, weight: 5oz Heraldry: With crest and motto of VIRTUTI FORTUNA COMES Fortune is the attendant of virtue for MAYNE of Powis and Logie, Clackmannanshire, derived from the MAINS of Lochwood, co. Stirling Provenance: Pheonix Collection Lyon & Turnbull 30th November 2010, lot 310 Literature: ’Compendium of Scottish Silver II’ R & J Dietert, illustrated plate 54, listed page 363 £1,500‑1,800

84 Lyon & Turnbull 398 A RARE GEORGE I SUGAR BOWL AND COVER

HENRY BETHUNE, EDINBURGH 1725 the deep hemispherical plain bowl with engraved crest, raised on a short stem and domed spreading foot, the pull of stepped cover with flat central section, the rim with matching engraved crest Diameter: 11.8cm, height: 9.5cm, weight: 12.5oz Note: When compared to the survival of early teapots the rarity of early sugar bowls becomes much more apparent. However, when this is looked at more closely it would appear that fewer than 20 per cent of these still have their original cover. While it cannot be guaranteed that all were created with a cover, it does appear that the finest tea services had covered sugar bowls and, in some cases, covers which could be used as a tea pot stand as well. Examples of this pattern are obviously meant to match with the fine bullet teapots of the period and when looked at closely the scale of the bowl matches, almost identically, the size of the teapots. This, combined with the use of the same short stems and domed feet, would appear to suggest these are the beginning of the matching tea service. This said, at this early period it would only have been very high status clients who would have been able to afford a full tea service in silver, again pointing to the rarity of some of the constituent parts which would likely have been supplied in porcelain or ceramics. £6,000‑10,000

399Y A FINE GEORGE I BULLET TEAPOT

HENRY BETHUNE, EDINBURGH 1725 the spherical body with tapered spout and bold S scroll handle with ivory insulators, the domed cover with ball finial and cast moulded hinge, the whole raised on a short stem and stepped domed foot Height: 16cm, weight: 20oz

Note: Although the earliest Scottish bullet teapot dates to 1714 this is rather an anomaly in its survival as most early Scottish teapots are of the more conventional apple form. It was perhaps not until just after 1720 when the classic bullet teapot takes over from this form and would become a favourite of Scottish makers for the next 50 years. This example is therefore among the earliest of the true bullet teapots and shows the fine skills of the maker to create an apparently simple, elegant spherical body and cover with bold handle and balanced tapered spout. £5,000‑8,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Hallmarked Silver 85

400 A GEORGE I STRAWBERRY DISH TEAPOT STAND HENRY BETHUNE Edinburgh 1719, Assay Master Edward Penman, with sixteen everted flared lobes and a plain circular well, raised on a circular foot with wooden inset rim Diameter: 17.7cm, weight: 7.7oz £2,000‑3,000

401 A GEORGE I APPLE FORM TEAPOT

JAMES MITCHELSON, EDINBURGH 1717 of typical tapered form with slightly inswept lower foot, with socket set wooden C scroll handle and straight tapering spout, the rim with lightly chased corded decoration and plain pull off cover with compressed wooden finial Height: 12.5cm, weight: 15.6oz £5,000‑8,000

402 GED, WILLIAM

BIOGRAPHICAL MEMOIRS OF WILLIAM GED including a particular account of his progress in the art of block printing. Newcastle: E. Charnley, 1819. 8vo, one of 160 copies signed by Thomas Hodgson, later paper covered boards, a little dampstaining Notes: William Ged, Edinburgh Goldsmith, was apprenticed to Robert Inglis in 1697. He became a Freeman on producing a plain gold ring and a silver tankard with John Penman and Patrick Murray as his assay masters in 1706. Although recorded as a Goldsmith, Ged’s lasting legacy is the process which he invented to print whole pages from cast plates, known as stereotyping, an invention he made between 1725 and 1727. The new process helped revolutionise the printing methods in Britain and indeed help Edinburgh and the Royal Mile to be one of the centres of book printing. Although the process become widely adopted, Ged did not reap the full reward as he was taken advantage of through various poor partnerships, and his legacy did not give him either the financial or personal renown it should have. £200‑300

86 Lyon & Turnbull 403 A RARE WILLIAM III DOG NOSE SPOON THOMAS KER, EDINBURGH 1696 Assay Master James Borthwick, the wide dog nose terminal with engraved initials M/AG/IL, the large bowl with reeded rat tail Length: 18.9cm, weight: 52.4g

Note: This Dog Nose spoon appears to be one of the earliest of the pattern recorded of Scottish manufacture. The majority of the pattern are made post 1700 and it is very unusual to see one before the turn of the century. Originally from a group of three this example pairs that sold in these rooms within the inaugural Fine Scottish Silver & Accessories auction 13th February 2008, lot 368. £3,000‑5,000

404 AN EARLY 18TH CENTURY THISTLE TOT CUP

JOHN SEATON maker’s mark in monogram only, of typical form with ten tapered beaded lobes, with reeded girdle and engraved armorial shield above Height: 4cm, diameter of rim 4.2cm, weight 33.7g £2,000‑3,000

405 A GEORGE I HASH SPOON

WILLIAM AYTOUN, EDINBURGH 1721 Assay Master Edward Penman, of Hanoverian pattern with original initials AV/KA with (slightly later) crest underneath, the bowl with large rat tail Length: 44cm, weight: 9.5oz £800‑1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

A Private Collection of Jacobite Glass

406 A SCARCE ENGRAVED JACOBITE ALE GLASS

18TH CENTURY the deep drawn trumpet bowl engraved with displayed rose head flanked by single bud and foliage, raised on a tapered stem with elongated tear drop air bubble raised on a domed circular foot Height: 19.5cm, diameter of rim 6.5cm, diameter of foot 7.5cm £800‑1,200

407 AN UNUSUAL JACOBITE TRAVELLING GLASS

18TH CENTURY the rounded funnel bowl wheel engraved with displayed rose head flanked by open and closed buds, to the opposing side with oak leaf and motto Fiat, raised on an air twist stem and slightly domed rounded foot 7.6cm high, diameter of rim 4.5cm, diameter of foot 5.6cm Note: This glass is highly unusual in style and seems to have few, if any comparisons, within the Jacobite survival. The exact use of this glass is unknown as it does not have the typical heavy foot of a firing glass of the period. It has previously been considered as a travelling glass, perhaps fitting into a wooden or leather fitted case. The engraved decoration to this glass shows some close similarities to the recorded work of Engraver A, the style of lettering to the motto Fiat and the detail within the rose buds show the closest comparison. £1,000‑2,000

408 A JACOBITE ENAMEL TWIST FIRING GLASS 18TH CENTURY the ogee bowl with finely engraved sweeping thistle with crown above, raised on a short multi white enamel twist stem and thick circular foot Height: 9cm, diameter of rim: 5cm, diameter of foot: 6.4cm £1,000‑2,000

409 A FINE JACOBITE PORTRAIT WINE GLASS

18TH CENTURY the conical bowl with finely engraved portrait of Prince Charles in tartan jacket with bonnet, with motto ‘Audentior ibo’ below, the opposing side with engraved displayed rose head flanked by twin buds, raised on a plain stem and domed circular foot Height: 15.5cm, diameter of rim: 6cm, diameter of foot: 7.4cm Note: Jacobite wine glasses engraved with such bold and obvious portraits of Prince Charles are a rare survival. Indeed, such an obvious show of support in any form for the Jacobites is unusual. Considered by many the peak of wheel engraved glasses, these must surely have been owned not only by the higher ranking supporters but also those confident in their safety and situation, as owning such pieces would have been considered treason. This finely engraved glass appears to be by the hand of Engraver A. The fine quality and detail seen to this portrait and the roses is very typical of his work. £3,000‑5,000

90 Lyon & Turnbull 410 AN IMPORTANT SILVER MOUNTED JACOBITE WINE GLASS

MOUNTS BY PATRICK MURRAY OF STIRLING CIRCA 1745 marked to underside of base PM in shield cartouche, the large drawn trumpet bowl above a tapered stem with internal tapered tear drop air bubble, the foot set with a stepped domed silver foot with wide flat rim, mounted to glass stem set in red sealing wax with six lobes engraved GOD BLIS KING JAMES THE EIGHT Height: 17.5cm, diameter of rim: 9.2cm, diameter of foot: 8.7cm Provenance: Bruce of Cowden family collection By direct descent to Hon. Bruce Ogilvy Sotheby’s 1924, where sold as The Bruce of Cowden ‘Amen Glass’ Private Collection Mr. T Waugh Collection (sold Sotheby’s) Note: This iconic glass not only connects the story of Prince Charles Edward Stuart, Jacobites and the art they left behind, but crosses into the lives of ordinary supporters who would in the end pay the ultimate price for their support of the Jacobite Cause. The Bruce of Cowdens glass allows us the rare opportunity to say who was involved in the making of such an object, rare in many forms of Jacobite art, other than portraiture. While the maker of the glass still remains anonymous in this case, perhaps more interestingly and importantly, the man tasked with preserving such an important object is known: Patrick Murray, Goldsmith in Stirling. Firstly, we must consider the need for the repair to a relatively simple plain glass. Family history suggests that the glass was broken by the Bruce family after it had been drunk from and the toast given to ‘The King Over the Water’ by Prince Charles Edward Stuart himself. Charles is recorded in the area during the ‘45 and was likely gathering support and men to continue the uprising. It is considered likely he met with Bruce of Cowdens, an important member of the local community, to garner such support and dined with them, using this glass. The tradition of breaking glasses after the toast so that no lesser toast could be given from the glass is regularly discussed and indeed a glass with such tradition, and a later wooden foot, from the Thriepland of Fingask collection was sold within these rooms on 13th May 2015, lot 5. The repair in itself is not only interesting but confirms the true Jacobite nature of the glass, otherwise just a simple plain 18th century drinking glass. Patrick Murray of Stirling has been a goldsmith little considered and almost totally overlooked until recently when a pair of Hanoverian pattern tablespoons by his hand were sold (within these rooms 13th August 2014, lot 341). Currently recorded are only one other pair of spoons (from the same original set), the foot to this glass, and a pair of

sugar tongs (in Jersey Museum) are all that is known by his hand. The maker’s mark (no town or other marks are recorded with his work) to the foot of this glass is by far the best preserved striking of his mark. Little is recorded about Murray other than to say he was working in Stirling as early as 1732. No record of his training or apprenticeship is known. During this time he appears to have been the only working goldsmith in the Burgh and it is surprising not more work by him is known considering the wealth of the area. Murray, whilst an obvious choice to repair the glass due to his geographical proximity to the family, was the obvious choice on a more important level, as he too was a Jacobite. Indeed, giving this work to a goldsmith and not knowing his leanings could have resulted in the owner’s imprisonment for treason. Murray is among a small handful of true Jacobite craftsmen not only working for Jacobite sympathisers but taking to the cause himself. Prince Charles’ rally in Stirling must have inspired Murray as he signed and served in Lord George Murray’s Brigade. Murray’s career as a solider was short lived and less successful than that as a goldsmith and he was taken prisoner as a Jacobite in November 1745, possibly under the Surrender Act invoked by Marshal George Wade which offered clemency to those who surrendered and became loyal to the Government. Whether or not they in fact surrendered under this Act is unknown, but Murray would be imprisoned from November 1745 until November 1746, in Airdrie, Perth, Edinburgh Castle and Carlisle, where on 14th November 1746 Patrick Murray was executed for his part in the rebellion. While other goldsmiths (perhaps most notably Ebenezer Oliphant) are considered Jacobites, it is only Patrick Murray whose name and work paid the greatest price for his convictions. The engraving to the lobes of the foot is interesting. It is a regularly recorded Jacobite toast and undoubtedly the toast which the glass gave. It is also very similar in wording to the Jacobite national anthem immortalised on the fabled ‘Amen Glasses’. While this glass is simpler in style to the engraved Jacobite glasses with roses, buds, oak leaves, portraits etc. and much plainer than the Amen glasses, the connection between the two is important and without doubt. Showing such an obvious toast to the Stuart King without symbolism and hidden intent shows the confidence its owners felt. The addition of silver to a broken glass again promotes the importance this revered glass had so early in its life. And perhaps most important the fact that all these aspects can be dated to before November 1745 when Patrick Murray was first imprisoned. These aspects combine to create a glass while plainer, simpler and indeed damaged, it is arguably more important than any engraved example, and on a par with even the most important Amen glasses. £8,000‑12,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

411 A ‘DOWN WITH THE RUMP’ JACOBITE WINE GLASS

18TH CENTURY the trumpet bowl with diamond point engraving under the rim ‘God Bliss Prince Charles and Down With the Rump’ raised on a swollen stem and spreading domed foot, the foot engraved PC Height: 16.2cm, diameter of rim 6.7cm, diameter of foot 7.5cm £600‑800

412 A RARE BOSCOBLE OAK ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the ogee bowl with finely engraved scene of King Charles in the boughs of an oak tree with three crowns suspended from the branches, raised on a multi enamel twist stem and on a slightly domed circular foot Height :15.6cm, diameter of rim: 5.1cm, diameter of foot: 7.1cm Note: The use of the oak tree in Jacobite symbolism is not rare and is used in various forms. Whether the oak leaf (a symbol of the Stuart Clan), the acorn (showing mighty things start from small beginnings) or even the stricken oak with its green shoots emanating (showing that things can be re‑born from considered lost causes). However, the symbolism of the Boscobel Oak tree goes far deeper within Stuart history and legends. The story of the Boscoble Oak goes back to the Stuart monarch King Charles II who, during the Commonwealth uprising and after the battle of Worchester in 1651, had to flee for his life. With Cromwellian forces in pursuit, he and Colonel William Careless tried to make their escape only to have to hide in the boughs of an ancient oak tree. Safe in this hiding place, they made their escape afterwards. The story became so important to Royalists and Stuarts alike that the tree became a revered place and the story a legend. This culminated in the original Boscobel Oak being cut down and turned into souvenirs after the Restoration of the monarchy and beyond, as far as Victorian times. It is said that the oak tree which now stands in its place grew from an acorn of the original. The iconography of this glass not only shows the tree, a symbol of the Stuart monarch but, importantly, the three crowns to which he laid claim: England, Scotland and Ireland. The potent symbolism demonstrates the original owners’ strong allegiance to the Jacobite cause and the rightful monarchy. These Boscobel Oak glasses are an extremely rare type of Jacobite glass and among the finest quality of their type to survive. On comparison with the few others recorded, the current example appears to be by the most accomplished engraver. £4,000‑6,000

413 A FINELY ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the conical bowl with finely engraved displayed rose head and bud with thistle intertwined, raised on a tapered plain stem and domed circular foot Height: 15.7 high, diameter of rim 5.8cm, diameter of foot 7.2cm Note: The decoration is attributed to ‘Engraver C’. The sweeping thistle and details of the thistle head, stem and rose seem closely tied to his hand. £1,000‑1,200

414 A FINELY ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the conical bowl engraved with a displayed rose head flanked by a single bud and moth to opposing side, raised on a multi air twist stem and domed circular foot Height: 15.2cm, diameter of rim 5.7cm, diameter of foot 6.8cm £800‑1,200

415 AN ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the drawn trumpet bowl engraved with displayed rose head flanked by open and closed buds, on a tapered stem with air bubble within, raised on a large circular foot Height: 16cm high, diameter of rim 7cm, diameter of foot 7.2cm £800‑1,200

416 AN ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the tapered funnel bowl engraved with displayed rose head flanked by open and closed buds, the reverse with oak leaf and star, raised on a knopped multi air twist stem and domed circular foot Height: 15.8cm, diameter of rim: 5.5cm, diameter of foot: 6.5cm £1,200‑1,800

417 AN ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the conical bowl with engraved displayed rose flanked by twin buds and a star behind, raised on a straight plain stem to a domed circular foot Height: 15cm, diameter of rim 5.5cm, diameter of base 6.2cm £600‑800

Jacobite Works of Art: Other properties

418 A JACOBITE ENGRAVED WINE GLASS

18TH CENTURY the ogee bowl engraved with spray of honeysuckle and moth, raised on a straight stem with swollen knop and domed circular foot with folded foot rim Height: 14.7cm, diameter of rim: 5.7cm, diameter of foot: 6.5cm £300‑500

419 A JACOBITE ENGRAVED WINE GLASS

18TH CENTURY the drawn trumpet bowl engraved with a sunflower flanked by buds within foliage, the tapered stem with an air bubble inclusion, on a slightly domed circular foot Height: 17.5cm, diameter of rim: 7.7cm, diameter of foot: 7cm £500‑800

420 A JACOBITE ENGRAVED WINE GLASS

18TH CENTURY the trumpet bowl with engraved displayed rose heads flanked by buds and foliage, raised on a quadruple knopped multi air twist stem and domed circular foot Height: 16.4cm, diameter of rim: 6.4cm, diameter of foot; 6.5cm £600‑800

421 AN ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the conical bowl engraved with displayed rose head and open bud within foliage, raised on a reeded join to a double knopped air bubble stem and circular foot Height: 16cm, diameter of rim: 5.5cm, diameter of foot: 6.5cm £600‑800

422 AN ENGRAVED JACOBITE WINE GLASS

18TH CENTURY the bucket bowl with engraved rose bud and foliage, raised on a multi air twist stem and ogee domed foot Height: 17.3cm, diameter of rim: 5cm, diameter of foot: 6.7cm £800‑1,200

423 A LARGE JACOBITE WINE GLASS

18TH CENTURY the large drawn trumpet bowl above a knopped stem and folded circular foot, the bowl engraved with open rose head flanked by open and closed buds Height: 18.5cm, diameter of rim 9.5cm, diameter of foot 8.5cm £800‑1,200

Jacobite Works of Art 97

424 AN 18TH CENTURY PORTRAIT MINIATURE OF BONNIE PRINCE CHARLIE

AFTER ANTONIO DAVID oil on copper, in a glazed giltwood frame Dimensions: 4cm x 3cm £2,500‑3,500

425 A SECTION OF PRINCE CHARLES EDWARD STUART TARTAN MID‑18TH CENTURY the section of tartan accompanied by a manuscript note Tartan width: approx 30cm Provenance: A gift from Prince Charles Edward Stuart to Lady McIntosh of Moy Hall Inverness 1745/6 Presented as a gift, 1872 and by descent Note: The well recorded gift of Prince Charles of his plaid at Moy Hall has gained somewhat mythical status. Various fragments taken from the plaid and given to supporters are recorded from this provenance. For another similar example with the same provenance see Lyon & Turnbull ‘Scottish Silver and Accessories’ 13th August 2014 lot 520 (sold for £3200) £500‑800

98 Lyon & Turnbull

426 A FRAMED SECTION OF PRINTED FABRIC

18TH CENTURY the torn section of fabric printed with foliate sprigs on a natural ground, framed on a red background with handwritten label reading THE FRAGMENT FROM A DRESS GIVEN TO BONNIE PRINCE CHARLIE FOR HIS DISGUISE AS BETTIE BURKE, MANY YEARS LATER HE GAVE IT TO LADY MARY STEWART, WIFE OF LORD FORTROSE Fabric 16.5cm x 16cm (approx), frame 30cm x 37cm Note: Charles Edward was fleeing for the safety of the continent after the defeat at Culloden. His escape from the mainland via the Isle of Skye has been immortalised in song, poem and art since the 18th century, however the period where, with Flora MacDonald’s help, Charles dressed as her maid Betty Burke to escape detection, is often overlooked for the more romantic idea of the gallant Charles retreating. Relics and propaganda of Flora MacDonald are scarce, despite the fact that she is considered such a famous supporter of the Jacobite cause to the modern mind. Some confusion has surrounded the imagery of Flora/Betty Burke in the past and a how famous print of Flora was, for a long time, considered to be of Prince Charles as Burke. A small handful of engraved glasses showing Charles dressed as Betty Burke survive, giving an insight into the importance the contemporary Jacobites held for this event, which has almost been forgotten. 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 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. She was later educated in Edinburgh. After his defeat at Culloden in 1746, Bonnie Prince Charlie fled to the island of Benbecula in the Outer Hebrides, where the 24‑year old Flora was visiting her brother. Charles persuaded Flora to help him escape the island undetected, and she was granted, via her step‑father, the commander of the local militia, a pass by boat to reach the mainland 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. However upon arriving in Skye, people became suspicious, and although Bonnie Prince Charlie was able to escape, Flora was arrested and sent to the Tower of London. She was allowed to live outwith 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, before her husband was captured whilst fighting for the Hanoverian forces during the War of Independence. 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 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, who recorded that ‘’her name will be mentioned in history, and if courage and fidelity be virtues, mentioned with honour.” £1,000‑3,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Jacobite Works of Art 99

427Y A PORTRAIT MINIATURE OF FLORA MACDONALD

AFTER I. MARKLUIN oil on ivory with figure of Flora MacDonald with green dress and tartan shawl, holding a portrait miniature of Prince Charles Edward Stuart from a concealed case, in a gilt brass frame with pierced floral border, the reverse with blue material backing with white Jacobite rose decoration Height: 11cm Note: The painting from which this portrait miniature was taken was by I. Markluin; however, it is unknown where it currently resides. The National Portrait Gallery has three mezzotint prints (from the same plate) that were taken after the original oil and were published in 1747. Portraits of Flora MacDonald are rare, but there are a few well‑known portraits of her, all in public collections. The National Portrait Gallery has one by Richard Wilson, painted in 1747; The Ashmolean in Oxford has one by Allan Ramsay from 1749; and there is one by Richard Wilson, also from 1747, in the collection of National Galleries Scotland. She is often depicted with white roses, symbolising her support for the Jacobite cause. £400‑600

100 Lyon & Turnbull

428 A FINE JACOBITE REVIVAL CARVED WOOD FRAME

MID 19TH CENTURY the engraving showing the return of Bonnie Prince Charlie to Edinburgh after the Battle of Prestonpans, engraved by Francis Bacon after the painting by Thomas Duncan, signed in the margin, the heavily carved frame with a cresting of a plumed crown above a central figure of Charles Edward on horseback, draped with colours, canon, shields and including the dress targe presented to Prince Charles Edward Stuart by James, 3rd Duke of Perth, the corners with further clusters of arms and armour, the engraving flanked by bold Highland figures holding flags and standing on scrolls with carved crests in shields for the MacPhersons to the left and MacDonald to the right, the lower section with carved central Royal Standard flanked by oval portrait of Prince Charles Edward Stuart, further trophies of arms and various Scottish musical instruments Dimensions: 112 x 128cm (overall) Provenance: Formerly at Glentruim, with the MacPherson family by descent Note: Although the exact provenance and history of this commission is unknown, its long connection with the MacPherson family and the obvious iconography tells an interesting and important story. The frame dates firmly to the Jacobite/Highland revival period when the turn in Scots’ attitudes to being Scots meant that all parts of a family’s history were re‑evaluated and relics were not only brought out to display but new ‘heritage’ was created. It would appear that this frame falls into both camps. While it is firmly a revival piece of the highest quality, its purpose was not confined to showing off the wealth and artistic style of its owner and their interest in the Jacobite revival. With the very obvious heraldic motifs and armorials, it also demonstrates the family’s connections with the past and the uprising of 1745. Its choice not to commemorate the ‘45 but in particular one of the key victories at Prestonpans indicates the high regard in which their ancestors were being placed, even when the ultimate result of their involvement would have been as ill‑fated as the uprising itself. The fine carving depicts trophies of war and displays of Highland regalia and figures of the time, many being seen in prints, glassware and other works of art and which would have been very recognisable to not only a 19th century revivalist but an 18th century Jacobite. This is no better demonstrated than in the portraits of Charles Edward Stuart within the decoration and his iconic silver mount targe which is unquestionably located in the lower section. £5,000‑7,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Jacobite Works of Artâ&#x20AC;&#x192;101

102 Lyon & Turnbull

429Y JACOBITE INTEREST – AN UNUSUAL EARLY/MID 18TH CENTURY DOUBLE SNUFF BOX

UNMARKED, CIRCA 1720/1730 of oval outline, the plain straight sided silver body with reeded rims, the hinged ivory cover with traces of blue staining and inlaid lattice and pins, the centre set with an almost flush hinged silver cover with finely engraved armorial with rococo scroll mantling, when open reveals a mirror to interior and blue stained ivory inner, the inside of the main cover with three displayed open rose heads on a greenish blue background, the base of similar colour with foliate scroll to outside Width: 9cm Heraldry: Belsches of Innermay (or Invermay) in the County of Perthshire (the arms and crest as found on the lid) and the crest of the family of Robertson of Lude in the County of Perthshire (as found on the side of the box). They may be blazoned as follows: Arms and Crest of Belsches of Innermay Arms: Or three pallets gules a chief vair a crescent for difference Crest: A trunk of oak eradicated sprouting leaves proper Motto: Revirescit [It flourishes again]

Note: The Belsches originally held lands at Tofts in Berwickshire, but some of the family moved to Perthshire in 1717. The most likely original owner of this snuff box is Thomas Belsches of Greenyards (baptised on 1st October 1702). He served as Depute Sheriff Clerk for Edinburgh and was admitted a Burgess of the city by right of his father, and for his good services to the city, on the 25th July 1739. He was the second son (hence the use of the cadency mark of a crescent upon the arms) of Alexander Belsches of Innermay (the 1st of Innermay) and Emelia Murray, the daughter of Sir Thomas Murray of Glendoik. Thomas firstly married Margaret Hepburn of Baads, the daughter of Robert Hepburn of Baads on the 8th November 1741, and later, his cousin, Helen Belsches of Tofts, the daughter of John Belsches of Tofts. The fact the eradicated oak tree is used as the crest of the Belsches is interesting and may suggest early Jacobite leanings and support. Such an oak tree was a badge employed by the Royal House of Stuart and there are certainly strong connotations with the Jacobite cause. This symbol is regularly depicted in medallions, glass and other forms of Jacobite art, almost exclusively in connection with the motto, as seen with this example. Although ascertaining the Belsches Jacobite support has proved almost impossible, the family through marriage are later very closely connected with Alexander Forbes, 4th Lord Pitsligo (1678 – 1762). He was a staunch Jacobite who not only fought in the 1715 uprising, but also in the 1745 uprising. His support for the ill‑fated ‘15 saw him flee to the safety of the continent and the Jacobite court, but his stay would not last long: by 1720 he was travelling back to Scotland. This support of his countrymen would be seen some 25 years later with Prince Charles Edward Stuart’s return to Scotland, when Forbes raised a regiment of over 100 men and fought closely with the Prince until their eventual defeat at Culloden. After the defeat of Culloden, Forbes went into hiding on and around the estates of Pitsligo. However, the house and farms were not safe so he created a hidden lair in a cave underneath a bridge, where he lived for many years disguised as a beggar. Throughout this time he was a wanted man and local legend tells of him – in full disguise – helping Hanoverian troops look for himself and even give away the location of his hiding place, feigning assistance. This daring attitude and continued disrespect for the Hanoverian rule in the staunchly Jacobite North East created a man of legend, whose daring acts live up to the stories told. £1,000‑2,000

430 JACOBITE INTEREST – ACTS OF KING GEORGE II

[AN ACT TO PREVENT THE RETURN OF SUCH REBELS AND TRAITORS CONCERNED IN THE LATE REBELLION...] LONDON: ROBERT BASKETT, 1747 Pp.957‑962 from a larger volume, unbound; [An act for the further continuing an Act... intituled An act to impower His Majesty to secure and detain persons as His Majesty shall suspect are conspiring against His Person and Government.] [London, 1746.] Pp.3‑4 from a larger volume; [An act to explain and amend an act...intituled An act for sale of such forfeited estates in that part of Great Britain called Scotland...] London: John Baskett, 1728. pp. 641‑646 from a larger volume, unbound (3)

431 CULLODEN PAPERS

COMPRISING AN EXTENSIVE AND INTERESTING CORRESPONDENCE FROM THE YEARS 1625 TO 1748 London: T. Cadell and W. Davies, 1815. Small 4to., frontispiece portrait, plate of facsimile signatures and another portrait, contemporary half calf, covers detached £200‑300

£150‑200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Arms & Armour 432 A BASKET HILTED BROAD SWORD

CIRCA 1735 the basket formed of flattened bars with incised lines to guards, with elongated side guards with pierced heart and stars, with horseman’s loop and compressed bun pommel, the wooden grip with fish skin and wire bound, the wide blade with triple fullers Overall length: 89cm, blade length: 74cm £1,600‑1,800

433 A SCOTTISH BASKET HILT SWORD

CIRCA 1730 elongated side guards pierced with hearts, and unusually inset with copper alloy lines some in saltire shape, small curved wrist guard, conical shaped pommel, the wooden grip covered in ray skin and bound with a double twist of brass wire, double edge blade with twin fullers at the back edge Overall length: 95cm, blade length: 78cm £1,800‑2,000

434 A SCOTTISH BASKET HILTED BACK SWORD

CIRCA 1730 the hilt with elongated side guards pierced with hearts, short wrist guard, bun shaped pommel, the wooden grip covered in black leather and bound with a twist of wire with Turks head ferule, single edge blade with twin fullers at the back edge Overall length: 96cm, blade length: 79cm Note: This hilt closely resembles that worn by James Moray of Abercariney in his portrait by Jeremiah Davidson circa 1737. See ‘Swords and Sorrows’ Exhibition Catalogue 1996, Culloden, page 32 no. 1:21. for a similar sword. £1,800‑2,000

104 Lyon & Turnbull 435 A SCOTTISH RIBBON HILTED BASKET HILTED SWORD

LATE 17TH CENTURY the basket guard of flat section hammered bars, forming a close ribbon hilt, with shot beak/neb to front, with bun shaped pommel, with replaced wooden grip, the double edge blade with running wolf mark and signed FERARA, with tooled leather scabbard with top mount (chape lacking) Overall length: 107cm, blade length: 92cm £3,000‑5,000

436 A RARE SCOTTISH MEDIEVAL KNIGHTLY SWORD

15TH CENTURY in excavated condition with corroded double edged blade, shallow central fuller, with plain square section down turned quillions formed at a steep angle, the narrow tang surmounted by a large ovoid pommel with flat sides and faces Overall length: 95cm, blade length: 76.5cm £3,000‑5,000

437 AN EARLY 20TH CENTURY OFFICER’S BASKET HILTED SWORD

WILKINSON SWORD CO. LTD., LONDON of traditional basket hilted form with red felt lining and tassel, with wire bound fish skin grip and leather scabbard, the single fullered blade with etched decoration and royal cypher Length: 104cm £500‑800

438 AN 18TH CENTURY SCOTTISH KNIFE AND FORK

CIRCA 1760 the finely carved wooden handles with interwoven basket weave pattern with simple brass pommel cap with finely cut steel nut, set with brass collar mounts to simple tapered knife blade and two prong fork (2) Lengths: 18cm and 17.5cm £300‑500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Arms & Armour 105 439 A MODERN MODEL OF A HIGHLAND OFFICER

GARRARD & CO., LONDON 1986 the standing figure of an Officer in full dress with sword and feather bonnet, raised on a simple ebonised wooden plinth with vacant presentation plaque, in original cardboard box Height: 21.5cm £500‑800

440 ARGYLL AND SUTHERLAND HIGHLANDERS OFFICER’S DIRK

JOHN M. TALBOT, EDINBURGH 1899 the finely carved basket weave handle with silver studs, the pommel set with collet set foil backed crystal, the leather covered scabbard with cast Celtic beat mounts with applied regimental blades, set with bi‑knife and fork Length: 46cm £1,000‑1,500

441 AN EARLY 20TH CENTURY QUEEN’S OWN CAMERON HIGHLANDERS OFFICER’S DIRK W. M. ANDERSON & SONS, GLASGOW AND EDINBURGH the carved baluster handle with basket weave decoration and brass studs, with thistle mount to pommel enclosing a foil backed crystal, the leather covered scabbard set with bi‑knife and fork and gilt brass mounts with applied thistles Length: 46cm £1,200‑1,500

442 A SCOTTISH POWER HORN

CIRCA 1700 the flattened cow horn point with incised Celtic knot work and interlaced panels, with wooden plug to wide end and bung to point Length: 19.5cm £1,200‑1,500

106 Lyon & Turnbull

443 AN OTTER MASK SPORRAN

THE OTTER FUR BAG WITH HINGED HEAD COVER AND BROWN LEATHER BACKING Length: 26cm Provenance: Collection of the late Donald MacKenzie £300‑500

444 ARGYLLSHIRE HIGHLANDERS – A VOLUNTEER BATTALION POWDER HORN

448 A CURLY HORN SNUFF MULL

Length: 34cm

Length: 8.5cm and 9.5cm

the polished cow horn point engraved Robert Anderson, Argyllshire around a displayed thistle and laurel leaves flanking XCI: REGt

EARLY 19TH CENTURY the well coiled horn with pull off domed horn cover with cork bung; together with a polished horn point snuff mull with brass measure to pointed terminal (2)

£500‑800

£200‑300

445 INVERNESS – A SCOTTISH PROVINCIAL DIRK

449 A GORDON HIGHLANDER’S CROSS BELT PLATE

BY J. HODGE Marked to blade HODGE/INVERNESS, the carved basket weave handle with pin top pommel, leather covered scabbard with engraved thistle mount, chape and bi‑knife and fork, the blade with pierced back edge and spear point Length: 41cm £1,000‑2,000

446 AN EDWARDIAN SGIAN DUBH

YOUNG AND TATTON, EDINBURGH 1903 the carved basket weave wooden handle with applied pins and engraved pin top pommel cap, the leather covered scabbard with engraved mounts featuring Celtic beasts and knot work Overall length: 19.8cm £300‑500

447 A 17TH CENTURY STYLE PLAID BROOCH

of annular form with Celtic bosses and running beasts within, with integral swing pin Length: 11cm

of oval form with crowned thistle above 92, with motto GORDON HIGHLANDERS, the reverse with twin lugs and pin Height: 7cm £150‑250

450 A SCOTTISH BADGER MASK SPORRAN

the badger fur bag with hinged head cover and brown leather backing, together with a white and natural seal skin dress sporran with six tassels, with silver plated mounts (2) Length: 33cm Provenance: Collection of the late Donald MacKenzie £300‑500

451 A SILVER MOUNTED SPORRAN

R. G. LAURIE, GLASGOW 1921 the cantle heavily cast with displayed thistles and central scalloped cartouche with engraved crest, with white goat hair body with silver capped black tassels Cantle width: 15cm £600‑800

452 A VICTORIAN BLACK WATCH OFFICER’S SPORRAN the gilt metal arched cantle with applied regimental badge of St Andrew on the cross, with white goat hair body with black leather capped tassels, in original japanned case with brass name plate of J. Davison Millburn 11th Black Watch Length: 44cm £300‑500

453 FORREST FAMILY – TWO GROUPS OF MEDALS, ARMY AND NAVY

LATE 19TH CENTURY A pair to 4656 pte. T Forrest, 1/Scots, Khedive Star 1882, Egypt Medal 1882‑89 with bar Tell El Kebir; a WW1 trio to M.21456 R. M. Forrest, E. R. A. 3. R.N. AVM, BWM, 1914‑15 Star; together with ephemera relating to the later group; RNVR Clyde division service certificate, capability certificates, protection and ID certificate, boxes for medals etc (qty) £300‑500

454 RICHARD SIMKIN (BRITISH 1850‑1926)

OFFICER, REVIEW ORDER, QUEEN’S OWN CAMERON HIGHLANDERS Signed, gouache and watercolour on coloured paper, 12.5cm x 8cm and three further watercolours of the Queen’s Own Cameron Highlanders’ uniforms by the same hand, ‘Private, Review Order,’ ‘Sergeant‑Major, Review Order,’ ‘Colour‑Sergeant, Review Order’ (4) £500‑800

END OF SALE

£500‑700

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860 Wednesday, 25th October, 2017

ERNEST GIMSON (1864-1919) ARTS & CRAFTS OAK CHEST, CIRCA 1910

£4,000-6,000

Enquiries John Mackie +44 (0)131 557 8844 john.mackie@lyonandturnbull.com

33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com

Elements 3 ad resized for Catalogue L and R_Layout 1 19/07/2017 09:56 Page 1

02-05 November 33 Broughton Place Edinburgh EH1 3RR elementsfestival.co.uk

Conditions of sale for sellers 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Authenticity guarantee” is the obligation undertaken by Lyon & Turnbull to the buyer in respect of any forgery. “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, EH1 3RR registered in Scotland No. 191166 “Forgery” is an imitation intended by the maker or any other person to deceive as to (but not limited to); authorship, attribution, origin, authenticity, style, date, age, period, provenance, and/or culture, at the sale date had a value materially less than it would have had if the lot had not been such an imitation, and which is not stated to be such an imitation in any description of the lot. A lot will not be a forgery by way of any damage, restoration, and or modification work, (including repainting or over painting) on the lot, where that damage, restoration or modification work, does not substantially affect the identity of the lot as one conforming to the description of the lot. “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; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “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; “You”, “Your” means the Seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it; “Without Reserve” means where there is no minimum price at which a lot may be sold (whether at auction or by private treaty); “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 at any 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 £45). 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. A lot will be sold without reserve unless a reserve has been agreed. (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 longterm 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 re-offered 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) If 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 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 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 the Managing Director 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. RECISSION OF SALES Lyon & Turnbull may rescind the sale where it reasonably believes that the lot falls within the terms as defined by Lyon & Turnbull’s Authenticity Guarantee (see Buyer’s conditions), in this event Lyon & Turnbull shall send the Seller notice of such rescission. The Seller agrees to return to Lyon & Turnbull the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by Lyon & Turnbull. Lyon & Turnbull will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith Lyon & Turnbull’s control. 17. 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. 18. 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. 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 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.

Conditions of sale for 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 (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) 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) High Value Lots and High Cumulative Value of Lots: If you wish to bid on any High Value Lot (a lot with a lower estimate of £30,000 or above) or if you are bidding on several lots with a total lower estimate value of £30,000 or above, you are invited to complete the High Value Lot pre-registration. After you have successfully registered as a bidder with Lyon and Turnbull, you should complete the High Value Lot pre-registration before the date of sale by contacting the Office Manager or on the date of sale at the registration area. Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if Lyon and Turnbull has confirmed your payment of deposit and your completion of the High Value Lot preregistration before the sale. The Deposit required will be 10% of the lower estimate. Upon pre-registration, you should pay the deposit or such other sum as determined by Lyon and Turnbull dependant on circumstances, by way of bank transfer or credit card(s) acceptable to Lyon and Turnbull. Please note that Lyon and Turnbull does not accept payment from third parties and this also applies to agents. If you are not successful in any bid and do not owe Lyon and Turnbull any debt, the deposit will be refunded to you by way of wire transfer or such other methods as

determined by Lyon and Turnbull. Please make sure that you provide your bank details in the pre-registration form. The exchange rate provided to us by the bank on the date of exchange is final. We will arrange to refund the deposit to you within seven days after the date of sale, however we do not guarantee when you will receive the payment due to the variance in time for banks to process fund transfers. Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purposes. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its High Value Lot registered bidder. This applies to saleroom, telephone and absentee bids. Lyon and Turnbull has the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) 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. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (f) The right to refuse any bid is also reserved. (g) 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. (h) 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% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction. Live online bidding 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 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. (b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that we do not accept cash payments over £5,000. (2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied. 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. 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. (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 safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. 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 may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/imports-exports/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 the Managing Director 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. AUTHENTICITY GUARANTEE Lyon & Turnbull guarantees that the authorship, period, or origin (collectively, “Authorship”) of each lot in this catalogue is as stated in the BOLD or CAPITALISED type heading in the catalogue description of the lot, as amended by oral or written salesroom notes or announcements. Lyon & Turnbull makes no warranties whatsoever, whether express or implied, with respect to any material in the catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event Lyon &Turnbull in its reasonable opinion deems that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the lot the hammer price and applicable Buyer’s Premium paid for the lot by the original purchaser. This Guarantee does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in Lyon &Turnbull’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the lot must: (i) notify Lyon & Turnbull in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the lot number, date of the auction at which it was purchased and the reasons for such dispute; and (ii) return the Lot to Lyon & Turnbull’s registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. Lyon & Turnbull has discretion to waive any of the above requirements. Lyon & Turnbull may require the original purchaser of the lot to obtain, at the original purchaser of lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to Lyon & Turnbull and the original purchaser of the lot. Lyon & Turnbull shall not be bound by any reports produced by the original purchaser of the lot, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original purchase price paid (the successful hammer price, plus the buyer’s premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 18. 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 0131 557 8844. 19. FORCE MAJEURE 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. 20. 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.

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.

Payment 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 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. 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 £5,000.

© Lyon & Turnbull Ltd. 2017. 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.

LYON & TURNBULL AUCTIONEERS EDINBURGH

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

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115

SCOTTISH SILVER & APPLIED ARTS 16TH AUGUST 2017

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, 16th August, 2017 33 Broughton Place Edinburgh

Scottish Silver & Applied Arts