Property of the Earls of Breadalbane & Holland, Taymouth Castle by Lyon & Turnbull

PROPERTY OF

THE EARLS OF BREADALBANE & HOLLAND, TAYMOUTH CASTLE 18TH MAY 2021 EDINBURGH LIVE ONLINE

PROPERTY OF THE EARLS OF BREADALBANE & HOLLAND, TAYMOUTH CASTLE TUESDAY 18 MAY 2021 AT 6PM Sale Number LT656

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VIEWING BY APPOINTMENT Viewing at 33 Broughton Place Edinburgh EH1 3RR will be available by appointment from Saturday 15th until Tuesday 18th May, 10am-4pm

BOOK A VIEWING APPOINTMENT Front Cover Lot 24 [detail] Inside Front Cover Lot 16 [detail]

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PROPERTY OF THE EARLS OF BREADALBANE & HOLLAND, TAYMOUTH CASTLE

The history of the Campbell Earls of Breadalbane & Holland

- John, 3rd Earl of Breadalbane (1796-1862). It is known

stretches far back into the late 17th century in Scottish

that Viscount Glenorchy made at least two visits to Bath in

history and the family can trace their origins to the early 13th

1762, to ‘take the waters’ and during these trips in April and

century. It is however their period whilst at Taymouth Castle

September he also sat to Gainsborough in his studio at 17 the

from the early 18th century until the family sold up and left

Circus, Bath, where he had moved with his family in 1759.

in 1922, when not just the power and wealth is at its peak but their influence on Scottish society is seen.

Viscount Glenorchy, the sitter, had received Taymouth Castle from his father as a wedding present in the same year, 1762,

Lot no. 7 is the Royal Charter and seal box belonging to

when he married his bride Willielma Maxwell and at the

John Campbell, 3rd Earl of Breadalbane & Holland who

same time he received Great Sugnall House, Staffordshire

was responsible for some early developments and land

from his mother. Willielma Glenorchy, who had been

improvements at the future site of Taymouth in the 18th

introduced to Edinburgh society by her stepfather Lord Alva

century. The 3rd Earl, was a Lord of the Admiralty and as

(1680-1763) sat herself to Gainsborough for a half-length

Viscount Glenorchy Ambassador to both the Danish and

portrait some two years later.

Russian Courts. The beautiful seal box which was hand crafted by Francis Garthorne, London circa 1726, contains a wax impression of the great Royal seal of George I. This is the commission to Lord Glenorchy that grants him plenipotentiary power to act as Ambassador. The 3rd Earl, had no direct line heir at the time of his death, which meant all his titles went to a distant third cousin, John Campbell, subsequently created 1st Marquess of Breadalbane who went on to build Taymouth Castle. In addition to the Royal seal there is a significant collection of manuscripts relating to Taymouth Castle, the Earls of Breadalbane and Holland and the Breadalbane and Langton Estates dating throughout the 18th century and into 19th century.

Taymouth Castle was built between 1806 and 1842 by John Campbell, 4th Earl and 1st Marquess of Breadalbane, in the Neo Gothic style to a design by the architects James & Archibald Elliot. Taymouth lies on the south bank of the River Tay on the site of the 16th century seat of Clan Campbell, Balloch Castle, just North East of the village of Kenmore. The castle is positioned in the heart of Scotland upon lands that, at their zenith, stretched across some 450,000 acres from Perthshire across into the West of Scotland and the Atlantic Ocean. No expense was spared during the construction of the castle, with its fabulous carvings, plasterwork and murals. Taymouth is considered one of the most impressive and important Scottish castles of the 19th century with

Perhaps the most significant piece to be offered is the

its intricate plasterwork by the Anglo-Italian Francis

important portrait of John Campbell, Viscount Glenorchy

Bernasconi, painted ceilings by the artist Cornelius Dixon

painted by Thomas Gainsborough between 1762 and 1763.

and woodwork by Frederick Crace.

This portrait, lot 27, was commissioned by the sitter’s father

Throughout its history Taymouth Castle has played host to

Gavin Campbell, 7th Earl (and 1st Marquess of the second

many a Clan Gathering and important guest. In 1819 Prince

creation) succeeded his father John in 1871 and was a

Leopold, the future king of Belgium, visited. It was on these

very prominent member of Victorian Society holding many

occasions that the Breadalbane Fencibles, a private army of

important roles – including Lord-in-Waiting to the Queen,

over 2,000 local men, and all other local tenants welcomed

Treasurer to the Royal Household (1880-1885), Privy

the guests with Royal salutes and grand galas. One of the

Councillor from 1880, Lord Steward of the Household 1892-

most significant visits was from the 7 – 10 September

1895, Lord High Commissioner to the General Assembly of

1842 when Queen Victoria

Scotland 1883-1885, A.D.C. to

and her beloved Prince Albert

King Edward VII, Keeper of the

visited the 2nd Marquess

Privy Seals of Scotland 1907,

when the castle went through

Brigadier-General of the Royal

substantial upgrading and

Company of Archers – the Royal

renovation in the lead up to

Body Guard for Scotland, and

the royal visit.

many more.

Linked to this Royal Visit is

In 1893 Lord Breadalbane was

the extensive Breadalbane

created a Knight of the Garter,

Heather pattern Worcester

the highest and oldest order of

porcelain breakfast service

chivalry in the land. By this time

which may well have been the first production of the Heather pattern. It was

Queen Victoria and her consort Prince Albert during their first visit to Scotland at Taymouth Castle in September 1842

supplied to John Campbell,

he was also a Knight of Justice of the Order of St. John and a Knight of the Swedish Order of the Seraphim. On his death in

2 Marquess of Breadalbane, prior to the visit to Taymouth

1922 the Marquisate again died out but the Earldoms of

Castle by Queen Victoria and her consort Prince Albert. The

Breadalbane and Holland passed briefly to a nephew who

2 Marquess wore highland dress and made huge efforts

died the following year. There was then a week long sale of

to make the royal visit memorable and a truly ‘Scottish’

the contents of Taymouth Castle. After this the family titles

experience for the couple. It is said that Her Majesty’s visit

then once again went to distant kinsmen but all became

to Taymouth confirmed Victoria’s love of Scotland and the

dormant at the death of the 10th Earl in 1995.

Highlands where in 1852 she purchased Balmoral.

9 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

1 MARIE CAMPBELL HER VISITORS/AUTOGRAPH BOOK DATED 1859 signed twice by Edwin Landseer, 1859, with ink drawing of a dog, and 1860, the Earl and Countess of Derby, Lord Ashburnham, the Earl of Haddington, Lord Falkland, Caroline Norton, with autograph poem, 1860, and members of the Baillie, Baillie-Hamilton, Douglas, Beauclerk, Ashley, MacGregor and Motley families, amongst others, tartan cloth binding with brass plaque “Marie” on upper cover, gilt edges, slightly worn £400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

2 EARLS OF BREADALBANE A COLLECTION OF MANUSCRIPTS, INCLUDING 1) Papers mainly concerning the Earls of Breadalbane. Burgess ticket of John Campbell, Earl of Breadalbane, as burgess of St. Andrews, 24 October 1789; (2) Bundle of legal papers and correspondence relating to the trust estates of the 1st and 2nd Marquesses of Breadalbane, 1821-1887, including material relating to the rebuilding of Ardmaddy Castle, claims by tenants of the Oban estates, Lochtayside and Glendochart Turnpike roads, law papers relating to the case of John, 1st Marquis of Breadalbane against the Dowager Marchioness of Breadalbane, &c.; (3) Burgess ticket of John, Earl of Breadalabane, admitting him burgess of Dundee, 3 Nov. 1796; (4) Commission by Grand Master Maston to John Lord Viscount Glenorchy as Provincial Grand Master, 30 Nov. 1827; (5) Burgess ticket of John Lord Glenorchy as free-man of the burgh of Dumfries, 21 August 1739; (6) Burgess ticket of John Earl of Breadalbane as burgess of Inverary, 26 Sept. 1785; (7) Royal warrant authorising John, Marquis of Breadalbane.. to invest the King of Prussia with the ensigns of the Garter, 22 Feb. 1861, signed by Queen Victoria; (8) Bundle of executory papers, 18347, comprising interim state of the personal estate of John Marquis of Breadalbane as at 11 Nov. 1837, & statement of the personal funds and effects of the Marquis, Oct. 1834, (9) Letters relating to the Earl of Breadalbane on personal affairs and military news, June 1795-Dec. 1814 (20 items); (10) Papers concerning the 4th Earl of Breadalbane, 1802-1831, relating to a loan relating to the Langton estate, letter to Miss Gavin regarding marriage provision, manuscript prayers, observations on estate accounts; (11) Estate papers, with personal and household accounts pertaining to the 1st Marquis of Breadalbane 1803-31, 18 items, including copy letter to Mr Telford regarding improvements to Highlands, cellar list, warrant, letter regarding

Langton Mill, letting of hill farms, bills for furnishings, regulations for factory accounts, building works at Achmore, proposed Reform Bill; (12) Various documents and letters on military matters including one concerning use of military doctors on civil business, 17971838, 14 items; (13) Correspondence on various political and personal matters mostly to Lord Breadalbane, including several on geographical matters, 1848-1853, 24 items, relating to candidate for the Chair of Greek or Latin in the New Irish colleges, copying pictures for the Queen, petition, Queen’s journey through Lanarkshire, contributions to a fund for emigration of workwomen, apologising for non attending at Parliament, completion of the Geographical Map of Scotland, &c.; (14) Miscellaneous letters, mostly to Lord Breadalbane 1862-96, 11 items including correspondence from Landseer, letter of introduction, building of a chapel in Oban for the Free Church, &c.; (15) Forms of prayer (printed) for use in the consecration of the colours of the Irish Guards, 1902; (16) Copies of correspondence with original letters and other papers concerning Charles Grant, viscomte de Vaux, and the raising of regiments from among French emigrants, 1794, 14 items; (17) Printed and manuscript list of cargoes landed by ships of the Company of Merchants of England trading to the East Indies, the French Compagnie des Indes and the Dutch Oost-Indische Compagnie, at London, Gottenburg, Copenhagen and elsewhere, 1755, 25 items, mainly Dutch; (18) Business and personal accounts of David Gavin, 1750-57, 8 items; (19) Langton Estate accounts, 1759, 23 items, comprising account books of day labourers, tasks carried out, accounts of land and grass rents, oxen and cows grazed, receipts for cartage, wright and tannery work &c.; (20) Small papers relating to affairs of David Gavin of Langton 1769-1772,

25 items; (21) Receipts and small papers, similar to those above 1759-72, 28 items; (22) Miscellaneous papers relating to the Langton estates, 1758-1770, 15 items; (22) Letters on personal, estate and agricultural matters by Robert Scott of Dunninald, mostly to David Gavin of Langton, 1761-1771, 18 items; (23) Edinburgh Almanack for the year 1756, containing a memorandum on cash drawn at Middelburgh; (23) Cuttings-book pertaining to Lady Elizabeth Gavin, containing receipts for wages paid, books purchases, personal and estate expenses 1812-15; (24) Correspondence, mostly by Elizabeth Gavin to the Earl of Breadalbane on personal, business and family matters, principally the upbringing of Lord Glenorchy, 1797-1816, 24 items, including news on progress of work on the new house at Langton, list of books required for Lord Glenorchy and sending news of his studies, diet and temperament, &c.; (25) Diary, June-Nov. 1849, containing personal notes and observations, including details of a trip to Rotterdam on 26 Oct. 1849; (26) Papers relating to the Dukes of Buckingham and Chandos - Printed Lyrics (2), a Farewell Song and A War Song, 1899-1900; Account of the Marquis of Chandos for cash advanced for election expenses in 1830 (quantity) Note: A substantial collection of legal papers and correspondence, chiefly relating to LieutenantGeneral John Campbell, 4th Earl and 1st Marquis of Breadalbane (1762–1834), John Campbell, 2nd Marquess of Breadalbane, (1796–1862), John Lord Glenorchy, John 4th Earl of Breadalbane (1802-1831), Gavin Campbell, 1st Marquess of Breadalbane, ( 1851-1922), personal matters and their estates around Loch Tay in the central Highlands of Scotland.

£2,000-3,000

11 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

13 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

3 CHRONICLE OF FORTIGALL [FORTINGALL] MANUSCRIPT Summary comprising 36 quarto pages, with two vellum leaves taken from a Latin mass book or similar acting as protective front and back cover, now bound into a leather volume, bearing ‘Chronicle of Fortirgall M.S.’ on the spine. The work was compiled at Fortingall, at the mouth of Glen Lyon in Highland Perthshire, near the eastern end of Loch Tay. It is written in several hands. Compilation took place between 1554 and 1579, although it may have begun earlier. One of the compilers records that he said his first mass in 1531, began to serve the curate at the church of Fortingall in 1532, and acknowledged the chief of the MacGregors. He may be the principal compiler, and further identified with Dubhghall (Dougal) MacGregor, on record as vicar of Fortingall in 1544. The authorial perspective reveals continuing Catholic allegiance, and hostility to the Scottish Reformation brought into law in 1560. £20,000-30,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

the single most previous surviving Gaelic manuscript of Scottish provenance, the Book of the Dean of Lismore, now held by the National Library of Scotland (NLS Advocates’ MS. 72.1.37). On internal evidence, the Book of the Dean of Lismore was compiled between 1512 and 1542. There are numerous similarities and connections between the ‘Chronicle of Fortirgall’ and the Book of the Dean of Lismore, enough to bear out the likelihood that they were compiled on a successive but overlapping basis, by different generations of the same family of MacGregors between c. 1512 and 1579. Physical Description and Identification The manuscript consists of (i) 2 vellum leaves, sequentially placed first and last, and both bearing on both sides Latin liturgical text, and (ii) 36 paper pages, with writing either on both sides, or one one side only, or on neither side. When the item was rebound in the 19th century the manuscript was disaggregated, and its vellum leaves and paper pages placed individually between the paper pages of the volume.

The manuscript is a miscellany written in three languages: Latin, Scots and Gaelic. It contains:

5) A Gaelic poem written in an orthography based on Middle Scots

1) A list in Latin of 104 kings of Scots, copied directly from the printed edition (possibly 1533) of John Bellenden’s translaton of Hector Boece’s Scotorum Historiae, ‘The Histories of the Scots’

6) Poetry in Middle Scots: the stanza beginning ‘Luffaris be war and tak gwd heid about’ from Robert Henryson’s Testament of Cresseid; two stanzas from the poem sometimes attributed to William Dunbar, generally known as The Ballate againis Evill Women

2) A list in Latin of obituaries and reign-lengths of kings of Scots from Malcolm III to James IV/V 3) A list in Latin of Scottish battles from Bannockburn to Flodden 4) (a) A ‘local’ chronicle in Latin and Scots recording the deaths of prominent men and women, principally from the central and western Highlands, between 1390 and 1579; (b) from winter 1554-5 onwards, the chronicle becomes more personal in voice and diverse in its content, taking in the weather, economic conditions including the prices of victual, and events of local, regional, national and European significance

7) Miscellaneous verses, proverbs and aphorisms in Latin 8) Miscellaneous prose items in Latin and Scots: the size and divisions of Ireland; medicine and cures; religion and belief; commentary against women and inebriation The compiler(s) almost certainly belonged to a lineage of MacGregors who may have first settled beside the church of Fortingall around 1400, and who regularly served as clergy there. Dubhghall’s father was Seumas (James), who died in 1551, and who during his lifetime was also vicar of Fortingall. He was also the dean of Lismore - that is dean of the diocese of Argyll - and was the owner of what is probably

On the basis of the contents of its paper pages, the manuscript can be identified with certainty as ‘The Chronicle of Fortirgall’, which was transcribed, edited and published in The Black Book of Taymouth: with other papers from the Breadalbane Charter Room (T. Constable: Edinburgh, 1855). In 1855 when Cosmo Innes studied and published it in The Black Book of Taymouth it belonged with the private family papers of the earls of Breadalbane, held at Taymouth Castle by Kenmore, at the east end of Loch Tay in Highland Perthshire. When at various points during the twentieth century these papers were transferred to what is now the National Records of Scotland (NRS) in Edinburgh, where they are catalogued as the Breadalbane Munuments (NRS GD112), this manuscript was not amongst them. The editor, Cosmo Innes, discusses ‘The Chronicle of Fortigall’ in the preface (p. viii-xi) and the edition follows at pp.107-148. In the preface Innes states that the name has been assigned - presumably by himself - ‘on presumptions afforded by the MS’. He adds that it is ‘a small 4to book of paper, much decayed and imperfect, giving no name of the compiler or writer’. He makes no mention of a cover of vellum leaves, but the contents of that edition at pp.107-148 precisely match the contents of the paper pages of the manuscript under discussion, leaving no room for doubt that they are one and the same. The paper pages are indeed ‘decayed and imperfect’, suggesting that they were already in this condition when Innes came to work on the manuscript. A consistent staining pattern affects many pages, perhaps caused by damp.

But other pages bear darker staining whose location suggests the application of chemicals to enhance legibility where this was difficult. The may have happened in the course of preparing the edition of the text for publication in 1855, and the disaggregation and rebinding of the manuscript within the leather volume may have happened at this point also, and at the behest of Cosmo Innes, the better to preserve the manuscript. Dating, Provenance and Authorship Analysis of the contents of the ‘local’ chronicle, and some of the diary-style entries, indicates that the manuscript was written between 1554 and 1579, although an earlier start date is possible. The place of compilation was Fortingall, at the mouth of Glen Lyon in Highland Perthshire, near the eastern end of Loch Tay. Historically, Fortingall was the name of both a nuclear settlement and a parish, and the settlement was and is the location of the parish church. The manuscript is of composite authorship, written in several hands. The authorial perspective reveals a consistent Catholic allegiance, and hostility to the Scottish Reformation brought into law in 1560. One of the compilers records that he said his first mass in 1531, began to serve the church of Fortingall in 1532, and acknowledged the chief of the MacGregors. He may be the principle compiler, and further identified with Dubhghall (Dougall) MacGregor, on record of Fortingall in 1544. Dubhghall, and very likely the other compiler(s), belonged to a lineage of MacGregors, who may have first settled at Tulaich a’ Mhuilinn, hard by the church of Fortingall, around 1400, and who regularly served as clergy there. Dubhghall’s father was Seumas (James), whose detailed obituary in the ‘local’ chronicle records that he died in 1551, and during life was vicar of Fortingall and dean of the diocese of Lismore or Argyll. Seumas was the owner of what is probably the single most precious surviving Gaelic manuscript of Scottish provenance, the Book of the Dean of Lismore. On internal evidence, the Book of the Dean of Lismore was compiled at Fortingall between 1512 and 1542. Its main contents are Gaelic poetry, of Scottish and Irish provenance. It is the unique source of survival for the great proportion of this poetry; without the Book of the Dean of Lismore very little poetry of Scottish provenance, composed in the middle and later middle ages, would now be known. There are numerous similarities and connections between the ‘Chronicle of Fortirgall’ and Book of the Dean of Lismore: 1) Physical appearance: both the Book of the Dean of Lismore and the ‘Chronicle of

Fortirgall’ can be categorised as ‘commonplace books’ of quarto size, with vellum covers taken from liturgical manuscripts, and paper pages

neither chronicle derives wholly from the other, and that both derive from a lost parent chronicle.

2) Composite authorship

Significance

3) Written in the style of writing known as secretary hand, in Latin, Scots and Gaelic: the Gaelic written not in ‘classical ‘ orthography, but in an orthography based upon Middle Scots

The significance of this manuscript lies in:

4) Miscellaneous contents, with categories to (7) as deduced for the ‘Chronicle of Fortirgall’ above, also valid for the Book of the Dean of Lismore. 5) Shared contents: 1, 2, 3, 5 and 6 are essentially the same, perhaps copied from the Book of the Dean of Lismore to the ‘Chronicle of Fortirgall’; 8, ‘the size and divisions of Ireland’ 4 (a) the ‘local’ chronicles in each manuscript share 69 entries, while 13 are unique to the chronicle in the Book of the Dean of Lismore and 50 are unique to the ‘Chronicle of Fortirgall’. This would seem to imply that

1) its very close connection to the Book of the Dean of Lismore, and potential to add to our knowledge of the Book of the Dean of Lismore’s genesis, contents and compilers 2) its importance as a source for the history of the Highlands - social, political, cultural, economic, religious - in the later middle ages. 3) its linguistic importance, embodying the interplay of Latin, Scots and Gaelic, as written languages in the Scottish Highlands/Gaelicspeaking Scotland in the later middle ages. Note: We gratefully acknowledge the assistance of Dr. Martin MacGregor, University of Glasgow, in the cataloguing of the manuscript.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

4 THE BIBLE, THAT IS THE HOLY SCRIPTURES CONTAINED IN THE OLD & NEW TESTAMENT London: Robert Barker, 1607. Folio, 328 x 215mm., engraved title by William Hole, ruled in red throughout, woodcuts including full-page woodcut on *4; [bound with] The Whole Book of Psalmes. London: Printed for the Companie of Stationers, 1609, contemporary panelled black morocco, metal corners, metal clasps inscribed with name of Sir John Campbell, metal shield on covers, rubbed and scuffed, armorial bookplate of the Earl of Breadalbane, [Herbert 289] £1,000-1,500

Note: The property of Sir John Campbell, Earl of Breadalbane and Holland (1635-1717). The endpaper records the birth in 1659 London of Duncan Campbell, whose godfathers were the Earl of Norfolk and the Earl of Newport, and the births of Colme [Colline] Campbell at Edinburgh in 1660, John Campbell at Balloch in 1662 and Archibald Campbell at Balloch in 1666.

17 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

5 LETTER PATENT OF JAMES I CONFIRMING GRANTS TO WILLIAM SANDEL AND THOMAS SPENCER of Stokes, Heydon, and other lands in Wiltshire, with subjects in Gloucestershire and elsewhere, 20th July 1615, with Great Seal of England appended, badly worn/faded, a few small holes at folds, vellum document on 2 sheets c. 56 x 70cm., great seal 155mm. in diameter; Letters Patent given by Queen Victoria, reappointing Charles Coggins to the office of Messenger of the Duchy of Lancaster, vellum document, 49 x 75cm., with elaborate pictorial border, 2 wax seals (red and yellow) of the Duchy of Lancaster appended, in metal skippets, 2nd September 1837 (2) £300-400

6 HOUSE OF LORDS REMEMBRANCES FOR ORDER AND DECENCEY TO BE KEPT in the Upper Houses of Parliament by those Lords when his Majesty is not there, leaving the solempnity’s [sic] belonging to his Majesties comming to be Marshalled by those Lords to whom it more properly appertains”. 8vo, manuscript, 85pp., [1712], contemporary red panelled morocco, g.e., bookplate of the Earl of Breadalbane, a few light spots, lightly rubbed Note: The remembrances offer an early iteration of the Parliamentary protocol and Standing Orders of the House of Lords relating to Public Business.

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

7 FINE GEORGE I SEAL BOX Francis Garthorne, London circa 1726, of conventional circular outline, with reeded foot, the cover finely engraved with the arms of George I, within housed the great seal of George I (broken), attached by red silk and bullion corded tassels, to a vellum commission to John Lord Glenorchy granting him plenipotentiary power to act as ambassador, Kensington, 27 July 1726, signed at head, vellum document, 56 x 31cm. Diameter: 17cm, weight: 20oz For a similar example (lacking document) see Christie’s, Centuries of Style: Silver, European Ceramics, Portrait Miniatures and Gold Boxes on the 10th Jun 2010, lot 320

£3,000-5,000

19 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

8 GEORGE III SNUFFER TRAY Paul Storr, London 1807, of shaped oval outline, the pointed ends with down turned acanthus terminals, together with a gadrooned and shell cast border, engraved crest to centre and ‘Hon A.G.L.P’ to underside Width: 27cm, weight: 11.3oz

£700-1,000

9Y PORTRAIT MINIATURE MISS BAILLIE HAMILTON oval, watercolour and bodycolour on ivory, the subject with light brown hair parted in the centre and gathered at the nape of the neck, wearing a white chemise and black Honington lace shawl, a black silk ribbon tied around her neck, in a pinchbeck frame, the reverse with a lock of hair and seed pearl intials MPB., in a red leather case with blue velvet lining 7cm x 5.7cm Note: a handwritten note accompanying the miniature identifies the artist as ‘Miss Saloman’.

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

21 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

10 SIR WILLIAM CHARLES ROSS, R.A., (1794-1860) THE MARCHIONESS OF BREADALBANE, MARY GAVIN CAMPBELL large miniature portrait, oil and bodycolour on ivory, the subject depicted seated in a red upholstered open armchair, her dark hair arranged loosely in ringlets falling across her decolletage, wearing a brown velvet dress edged in lace and blue satin, and adorned with turquoise and pearl mounted jewellery, in a fitted Moroccan leather case 22.9 x 15.9cm sight size Note: The stylish and striking sitter for this portrait is Mary Gavin Campbell, wife of John Campbell, the 1st Marquess of Breadalbane, whom she married in 1793. After her marriage she was styled Countess of Breadalbane and Holland, and from 1831, Marchioness of Breadalbane. She died in 1845. The miniature portrait is recorded in the Christie Manson & Woods 1863 Inventory of Taymouth Castle as hanging in the Tapestry Sitting Room, item 446. William Charles Ross artistic talent was recognised and encouraged from an early age by his parents, both of whom were accomplished portrait painters. Ross’ glossy style was influenced by Andrew Robertson, to whom he was apprenticed in 1814. In 1817 he established his own studio in London and quickly made a name for himself with prominent commissions. His growing list of important sitters included the prime minister and the queen’s uncle, and in 1837 Queen Victoria herself commissioned a portrait. She declared it ‘very like and very well painted’ and appointed Ross as Miniature Painter to the Queen, a position providing the opportunity to portray sitters from royal families throughout Europe. Ross was knighted in 1842.

£2,500-3,500

11 CONTINENTAL PRESSED TORTOISESHELL SNUFF BOX 18TH CENTURY of oval outline, the pull off lid with finely detail portrait of a nobleman Length: 8.5cm

£200-300

12 FRENCH GILT BRONZE AND MALACHITE BOX 19TH CENTURY malachite and silver gilt box 13.5cm wide, 9cm high, 10cm deep

£300-500

13 THE MARQUESS OF BREADALBANE’S MALACHITE DESK SET MID 19TH CENTURY to include an oval inkstand with embossed coronet and the Breadalbane cypher, a set of postal scales, and a pyramidal desk weight (3) inkstand 21.5cm wide

£700-1,000

23 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

14 BARONET OF NOVA SCOTIA BADGE 19TH CENTURY unmarked, of oval outline, the outer garter in blue enamel with gold lettering reading ‘HONESTAE GLORIA FAX. MENTIS’, enclosing a saltire enamelled central shield with lion rampant within and crown surmount, with foliate and shell suspension Length: 5.8cm, weight 35g Note: Instituted by King James I in 1624 to raise money independently of Parliament the Baronets of Nova Scotia were sold to Scottish landowners. In 1625 Charles I conferred on the holders of this land the title and dignity of Baronets of Nova Scotia and the use of the title Sir. These titles were used until the Act of Union in 1707 when the separate Scottish and English titles came into line and became baronetcies of Great Britain. Some 18th, 19th and 20th century copies of these original badges are recorded presumably made by families whose forbearers had held the title and wished to commemorate this. It is likely that this piece was acquired to commemorate the family’s historical connections to the Baronetage of Nova Scotia such as 5th Baronet Sir John Campbell, 1st Earl of Breadalbane & Holland.

£1,200-1,800

15 [BREADALBANE, EARLS OF] FIVE VOLUMES, COMPRISING GRANT, CHARLES, BARON DE VAUX. Letters from Mauritius in the Eighteenth Century.. including an Account of Labourdonnais’ Capture of Madras. Mauritius, Printed for Private Circulation, 1886. First edition, 8vo, red half morocco; Pinkerton, John. The Scotish [sic] Gallery, or Portraits of Eminent Persons of Scotland, many of them after pictures by the celebrated Jameson at Taymouth, and other places. London: E. Harding, 1799. First edition, 50 engraved plates, contemporary red morocco gilt, g.e., Earl of Breadalbane stamp to title-page, slightly rubbed, upper hinge broken; Gaultier, Bon. The Book of Ballads. 1870. 8vo, 11th edition, illustrations, red morocco gilt. Reynolds, Edward. Treatise of the Passions and Faculties Of the Soul of Man. London: for Robert Bostock, 1650. [18], 553, modern black quarter morocco, inscribed on early blank “George Sinclaire, Earl of Caithness, is the owner of this book, April 5th 1654, Con est Mortalle apto, Caithness, bought from Andrew Wisslone Stationer in Edinborough”, [ESTC R11825], bookplate of the Earl of Breadalbane; Hunt, T.F. Examples of Tudor Architecture. London: H.G. Bohn, 1841, 4to, 38 plates, contemporary green quarter morocco, morocco gilt lettering piece on upper cover, some spotting, slightly rubbed (5) £300-450 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

16 THE BREADALBANE HEATHER PATTERN WORCESTER PORCELAIN BREAKFAST SERVICE CIRCA 1840 an extensive service, each piece painted with sprigs of heather on a white ground, centred with the Breadalbane coronet of a B below a crown, with gold rim, the service includes pieces commissioned from Flight, Barr and Barr, with brown printed mark Flight, Barr & Barr, Worcester and Coventry St London, and slightly later unmarked pieces. Comprising: twenty five small saucers, 14.5cm diameter (nine marked Flight, Barr and Barr); fifty four large saucers, 17.2cm diameter (thirty marked Flight, Barr and Barr); thirty one side plates, 19.6cm diameter (eighteen marked Flight, Barr and Barr); sixty five plates, 21.5-22.5cm diameter (thirty one marked Flight, Barr and Barr); twenty one plates, 25.5cm diameter (twelve marked Flight, Barr and Barr); fifteen egg cups; four sugar bowls with covers; three tall jugs, 18cm high; two small cream jugs, 9.5cm high; four small hot water pots (covers lacking), 12cm high; one hot water pot with cover 13.5cm high; three jugs with branch formed, handles 15cm high; one round bowl, 11.5cm diameter; five slop bowls, 18.5cm diameter; fourty three large tea cups; twelve coffee cups; three cylindrical jars with domed covers, on stands, jars 11.5cm diameter (with an additional stand and an additional cover); four round muffin dishes with domed covers, 22cm diameter (with an additional cover) (qty) £2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

This extensive rare and historic service comprises pieces from two distinct Worcester periods. Part of the service is pre-1840 and the pieces are marked with the Flight, Barr and Barr brown printed mark. In addition to these there is a large quantity of post-1840 unmarked pieces, which were made around the time when Chamberlain’s took over the running of the factory in 1840. The slightly earlier Flight, Barr and Barr pieces have subtle differences in the decoration, and are painted with bell heather rather than the common ling heather depicted on the unmarked pieces. This service may well be the first to have been produced in the Heather pattern. However, The Duke of Sutherland ordered an identical pattern service for Dunrobin Castle in Sutherland. Dunrobin was remodelled in 1845 so the service there is likely to be later, ordered after the renovations in 1845. The service offered in this lot was supplied to John Campbell, 2nd Marquess of Breadalbane, prior to the visit to Taymouth Castle by Queen Victoria and her consort Prince Albert in 1842. It was the royal couple’s first visit to Scotland and they were guests of the Marquess from 7th - 10th September. The unmarked pieces are likely to have been an additional order to increase

25 the quantities of the service, ensuring that it would be extensive enough to cater for the large volume of guests. In the Worcester archive there is an invoice, dated 1842, for approximately 53 pieces, at the cost of £8-12-11. It was delivered to Taymouth Castle in January 1843. One can speculate that these pieces were perhaps acquired to make up for any losses and damages to the service that had been incurred during the revelery of the royal visit. The Worcester archive also contains a letter dated Sept 26th 1843, from the Worcester Porcelain Works to the Marquess of Breadalbane, respectfully asking him to pay his invoice, nine months after it had originally been received. Then, also on record at the archive, is a written instruction from the Marquess ordering the payment to Chamberlain and Co Worcester Porcelain for the additional items, dated 27th October 1843.

At 10, people in the park beginning to collect and the mist rising gracefully from the hills. The flags flying, birds singing and the hum of voices all round… From one o’clock we began to see people flocking into the Park, all the ladies with Tartan in scarfs or ribbons. 50 of Sir Neil Menzies tenants clad in their Tartan joined the rest in front of the house. Between v3 and 4 we began to expect the Queen and Prince and everything was put in readiness for Her reception. … Outriders and part of the escort preceded Her carriage and 6 other carriages followed… HM on reaching the door was welcomed by a simultaneous burst of cheering that echoed back again and again and anything so enthusiastic I never saw or heard. Lord Breadalbane at first stood in front of his splendid Highland Guard of 200 men and then having made a bow, bonnet in hand, he came round and assisted the Queen to alight and came up stairs to the drawing room where we were all waiting to receive her.

The 2nd Marquess, made huge efforts to make the royal visit memorable and a truly ‘Scottish’ experience for the couple. From arches of heather at the entrance of the castle and around the village, and an array of tartan dress on display, to finer details such as the use of the Heather pattern breakfast service, there was attention given to every aspect of the visit. Mrs Maule, a wife for the Liberal MP for Perthshire, was a guest at Taymouth Castle on the day of the Queen’s arrival. Below is an excerpt from her diary:

[National Records of Scotland reference: GD45/26/89, pp.2-5] The Marquess wore highland dress and Queen Victoria commented in her journal, “it seemed as if a great chieftain in olden feudal times was receiving his sovereign”. During the royal visit to Taymouth meals were provided for 730 people each day, including members of the royal party, guests, staff, pipers etc. While important Royal and invited guests would have had their lunch and evening meals served on and in silver, they would have had breakfast and refreshments from the Breadalbane Heather porcelain service being offered in this lot.

17 WILLIAM IV COMPREHENSIVE COMPOSITE KING’S HONEYSUCKLE PATTERN CANTEEN predominantly Mary Chawner, 1834 (other makers and dates noted), engraved with crest and coronet or initials and coronet, comprising three soup ladles, fish slice, four serving spoons, sixty four tableforks, forty five table knives, twenty one tablespoons, twenty five dessert forks, eighteen dessert spoons, thirty two dessert knives, twenty four teaspoons, two sauce ladles, two pairs of sugar tongs, a salt spoon, a matched six piece carving set, three carving knives and a converted silver plated and silver stilton scoop, all presented in a six tier canteen retailed by Garrards, with name plate for the Dowager Marchioness Breadalbane (qty) Weighable silver: 476oz

£6,000-8,000

27 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

18 PAIR OF FULL BOTTLE DECANTERS BEARING THE BREADALBANE CREST AND MOTTO EARLY 19TH CENTURY the body of each of cylindrical form, with a central band of strawberry cut diamonds enclosing a panel encased with the sulphide crest of Clan Campbell of Breadalbane, showing a boar’s head below the motto ‘Follow Me’ and a coronet, the elongated step cut neck with flaring rim, surmounted by a facet cut hexagonal shaped stopper (2) 31.5cm high, 29.5cm high

£250-350

19 PAIR OF FULL BOTTLE TRIPLE NECK RING DECANTERS AND A MATCHING HALF BOTTLE DECANTER EARLY 19TH CENTURY the fluted body of each cut with pointed arch panels of strawberry diamonds surmounted with a scallop shell, below a band of cut diamonds, the neck with three facet cut rings, surmounted with a mushroom shaped stopper cut with fine diamonds and scallop shell motifs (3) larger 27.4cm high, smaller 23.1cm high

£250-350

20 TWO PAIRS OF GLASS DECANTERS EARLY 19TH CENTURY one pair of decanters each with facet cut body, triple ring neck, surmounted with a faceted hexagonal form pointed stopper, 29cm high, the other pair each with a facet cut body, the neck with two pairs of double neck rings, with a matched flat mushroomshaped star cut stopper (2) 28.5cm high

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

On 1st May 1851 The Great Exhibition was declared open by John Campbell, 2nd Marquess of Breadalbane, as Lord Steward. Below is an excerpt from Queen Victoria’s diary on the opening of the Great Exhibition: This concluded, the Procession of great length began, which was beautifully arranged, the prescribed order being exactly adhered to. The Nave was full of people, which had not been intended, and deafening cheers and waving of handkerchiefs continued the whole time of our long walk from one end of the building to the other. Every face was bright and smiling, and many had tears in their eyes. Many Frenchmen called out ‘Vive la Reine’. One could, of course, see nothing but what was high up in the Nave, and nothing in the Courts. The organs were but little heard, but the Military Band at one end had a very fine effect, playing the march from Athalie as we passed along. The old Duke of Wellington and Ld. Anglesey walked arm in arm, which was a touching sight. I saw many acquaintances amongst those present. We returned to our place and Albert told Ld. Breadalbane to declare the Exhibition to be opened, which he did in a loud voice saying ‘Her Majesty commands me to declare this Exhibition open,’ when there was a flourish of trumpets, followed by immense cheering. We then made our bow and left. Queen Victoria’s Journal, 1851 [taken from The Great Exhibition of 1851, compiled by C.H. Gibbs Smith (London: 1950). pages 16-18] By family repute the layered Bohemian glass in these three lots was a presentation gift to the Marquess to commemorate the occasion of his opening the Great Exhibition. It is likely that the glass was manufactured by an exhibitor participating in The Great Exhibition. 21 GROUP OF FOUR BOHEMIAN OVERLAY GLASS DECANTERS ENGRAVED WITH THE BREADALBANE CREST AND THE ORDER OF THE THISTLE, MID 19TH CENTURY comprising two large decanters, one with a stopper, and two smaller decanters, both with stoppers; all of baluster form with an elongated neck and broad collar, the stoppers of ogee outline, the clear ground body overlaid in opaque white and pale blue, cut through with shaped panels and oval printies, each piece with a central panel engraved with the Breadalbane crest and the Order of the Thistle, TOGETHER WITH two matching cylindrical glass beakers (6) largest decanter 36cm high , smaller decanters 25cm and 26cm high (including stoppers), beakers 8.8cm and 9cm high

£1,000-1,500

22 COLLECTION OF BOHEMIAN LAYERED GLASS FINGER BOWLS AND POSY BOWLS ENGRAVED WITH THE BREADALBANE CREST AND THE ORDER OF THE THISTLE, MID 19TH CENTURY the four finger bowls of tapering cylindrical form, the clear ground body overlaid in opaque white and pale blue, cut through with shaped panels and oval printies, each piece with a central panel engraved with the Breadalbane crest and the Order of the Thistle, 11cm high, the two posy bowls of shorter form, with matching decoration (6) 7.8cm high

£800-1,200

23 FOUR BOHEMIAN LAYERED GLASS TANKARDS ENGRAVED WITH THE BREADALBANE CREST AND COLLAR OF THE ORDER OF THE THISTLE, MID 19TH CENTURY of tapering cylindrical form with a plain handle, each with a hinged metal thumb rest and domed cover pierced with gothic designs, the stylised finial with foliate details, the clear ground body overlaid in opaque white and pale blue, cut through with shaped panels and oval printies, each piece with a central panel engraved with the Breadalbane crest and the Order of the Thistle (4) approximately 19cm high

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

33 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

24 PAIR OF ROSEWOOD MARQUETRY, MOTHER-OF-PEARL, SILVER METAL, AND BRASS BANDED OCCASIONAL TABLES CIRCA 1840 the shaped rectangular tops inlaid with specimen woods and white metal stringing, centred by a coronet and four inlaid white metal entwined Bs, the cypher for the Marquess of Breadalbane, raised on folding X supports with trestle bases (2) 67cm wide, 72cm high, 46.5cm deep

£4,000-6,000

Note: These exquisite folding tables, executed in a variety of contrasting exotic veneers and luxury materials, were most likely supplied for John Campbell, 2nd Marquess of Breadalbane, prior to the 1842 visit by Queen Victoria and Prince Albert. The west wing of Taymouth Castle was exentisively re-modelled from 1837-1842 by James Gillespie Graham, with interior decoration supervised by the London firm J. G. Crace. Invoices from the firm from 1842 reveal that they did not supply any of the furniture for the refurbishment, with much of the work completed by the Edinburgh furniture company founded by William Trotter, often to the designs of A.W.N. Pugin. While the Banner Hall and Library lavishly adhered to the neo-Gothic taste, others spaces were designed with a less purist approach. These tables, while not truly Gothic in their style, are nonetheless evocative of an earlier style, with elements reminiscent of furniture from the late 17th century. They are designed for convenience; to be quickly set up and moved where needed, but the informal nature of their purpose is quickly overshadowed by the sumptuous execution and materials. The inclusion of the Marquess’s cypher, delicately inlaid into the centre of each table top, had one purpose; to impress and remind the user of the power and influence of the family within whose house they reside. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

34 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

25 LATE GOTHIC STYLE MAHOGANY AND MARQUETRY LIBRARY TABLE MID 19TH CENTURY the rectangular banded top with a moulded edge and centrally inlaid in two places with a coronet entwined C and B, the cipher of the Marquess of Breadalbane, above a foliate arcaded frieze raised on an H-form base with turned spindle supports and trestle bases carved with acanthus and scrolls with castors below 130cm wide, 75cm high, 69cm deep

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

GEORGE WICKES (1698-1761) An often-overlooked maker of the early-mid 18th century, George Wickes can be regarded in the same echelons as his contemporary, Paul de Lamerie who is often considered the finest maker of the 18th century. Apprenticed at the age of 14, Wickes moved to London and merely a decade later registered his own punch with the London Assay Office in 1722. Fundamentally it is due to George Wickes that we can understand better the context of these craftsmen and the businesses they ran. Remarkably the trade ledgers survive from George Wickes’ company, and we can appreciate the effort and man power required to produce such impressive pieces. The trade ledgers reveal that over sixty plate workers were employed with other members employed all for their individual roles such as planishing, chasing, turning etc. We can also see the network within the craft which was why the guild is so important, with prominent makers such as Ebenezer Coker relied on for their specialities in his case, candlesticks. Moreover, the British Museum holds a Trade card in the Heal Collection (Heal,67.428) advertising the company as “George Wickes & Samuel Netherton, Goldsmiths and Jewellers, Silversmiths, to his Royal Highness the Prince of Wales...Make & Sell all Sorts of Jewels, Watches, Plate & all other Curious Work in Gold & Silver. Variety of Falsestone Work in Aigrettes, Earrings, Buckles &c. All manner of Seals in Stone, Steel, & Silver, Engrav’d in the newest Taste’. It is clear to see the influence that George Wickes had and how high regard his contemporaries held him in. For a similar example of his cup and cover, look no further than the V & A. A cup and cover by Paul de Lamerie 1736-7. (Museum no. 819-1890, © Victoria and Albert Museum, London) mirror the elegant, Wicke’s 1722

commission, with the cup of upended bell form, the lower half decorated with applied scroll mouldings, and the leaf clasped handles clearly show how closely Wickes and that of de Lamerie were working. A hugely significant commission and perhaps the largest of Wicke’s is the service of 1745-47 made for James Fitzgerald, Viscount Leinster, subsequently Duke of Leinster, on his marriage to Emilia, daughter of the 2nd Duke of Richmond. Offered by Christies in 2012 lot 48, this service comprising of over 140 pieces achieved a price of £1,721,250 in 2012. By the 1730s royal commissions were becoming more consistent and led to his appointment as Goldsmith to Frederick, Prince of Wales, the then heir apparent to the British throne. This George I twin handled cup and cover made in George Wickes’ first year, exemplifies the emergent Rococo period. Inspired from the Continent and especially France, silverware becomes much more fluid and pieces seem to melt into one. The cup and cover is a typical example of early 18th century holloware, which were used as both centrepieces as well as presentation gifts. The cup and cover remains popular within this period unlike some domestic wares which with new porcelain innovations appear less so in silver. The style of Rococo is characterised by elegance and key features such as scroll foliate moulding and shell detail can be seen clearly with the applied decoration to the body and domed cover and shell motifs to the foot. The engraved inscription to the underside pertains to a latin phrase for friendship and emphasises how these cups were presented as gifts to be displayed. It is with this information that we can confidently place Wickes alongside his renowned contemporaries such as de Lamerie and Nicholas Sprimont and emphasise the importance of George Wickes to this period. His work can be seen in museums across the world and his legacy continues with the evolution of his work, now known as Garrards.

37 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

26 FINE GEORGE I TWIN HANDLED CUP AND COVER George Wickes, London 1722, the deep bell shaped bowl with applied acanthus foliage, engraved Rococo cartouche with armorial to either side, the pull off domed cover with similar decoration and compressed bun finial, the acanthus leaf clasped handles each of S scroll form, all raised on a domed foot with chased border, the underside of foot engraved, ‘Pignus A micitia B WB 1736’ Height: 33cm, weight: 77.7oz Heraldry: Engraved with the arms of Bassett possibly of the County of Gloucestershire, engraved within Rococo cartouche Ermine upon a chief indented and three escallops, the crest to cover of a escallop between two wings.

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

HALF-LENGTH PORTRAIT OF JOHN CAMPBELL, VISCOUNT GLENORCHY (1738-1771) BY THOMAS GAINSBOROUGH R.A. (BRITISH 1717-1788)

This recently identified portrait by Gainsborough is unusual. It is one of the few portraits dated by a receipt and the pendant portrait of his wife, is painted by another artist. Gainsborough’s portraits were famed for their likeness and in this particular portrait John, Lord Glenorchy, the heir of the Earl of Breadalbane, is shown as a slight, sickly figure. His elder brother, George, had died at the age of twelve in 1744 and tragically, in November 1771, Breadalbane’s second son, John, was to predecease him at the age of 33. In September 1761 John had married Wilhelmina Maxwell who later in life was to establish a number of dissenting chapels in Scotland and in south-west England. According to the Bath newspapers Lord and Lady Glenorchy travelled to Bath—no doubt to take the waters—in April 1762 and five months later Lord Glenorchy returned to the City without his wife. It must have been at the time of this second visit that Breadalbane commissioned Gainsborough to paint his son’s portrait. According to the Glenorchys’ friend Lord Royston, who was to sit to Gainsborough in May, the couple arrived in Bath on 9 April 1763, no doubt anxious to see the completed portrait. Breadalbane’s payment of £21.7s is recorded in a receipt dated 13 April 1763. It was customary for artists to be paid half the fee when the portrait was commissioned and the final payment was made once the portrait was finished. The receipt accords with the artist’s standard charge of £42 for a half-length portrait and the additional charge of 7s covered the cost of a packing case. Curiously, at the time Lord Glenorchy was sitting to Gainsborough in Bath, in London his wife was sitting for a pendant portrait by the Scottish painter and pastellist Katherine Read. A receipt for this canvas dated 22 April 1763 records the larger payment of £24.4s for the portrait which is presently lent to Dundee Museum and Art Gallery. There are very few instances of pendant portraits being commissioned from different artists. The portrait presently offered by Lyon & Turnbull was not the Glenorchys only connection with Gainsborough. In 1766, again for health reasons, Lady Glenorchy returned to Bath and sat to Gainsborough for a head-and-shoulders portrait in which she wears an elaborate brocaded green silk robe à la française. This portrait is now in a British private collection. No doubt seeking warmer climes again to improve their fragile health, later that year the couple travelled to the Continent arriving in Rome in November where they stayed until the summer of 1767.

From June 1760 Gainsborough rented a house belonging to the Duke of Kingston that faced the west end of Bath Abbey. This prime location served him well and he quickly became an established part of the community. His ‘shew’ room, filled with portraits both completed and half finished, became one of the sights of the city; an added attraction for the ever-changing stream of tourists. Over the next three years Gainsborough received so many commissions that he suffered a serious breakdown in his health during the autumn of 1763 and his condition was considered grave enough for his death to be announced in the local newspapers. He had worked extraordinarily hard during the previous three years, developing his style from the provincial charm of his Suffolk portraits and by combining his innate draughtsmanship and honing his perfect colour harmonies he achieved his ambition to become an artist of national significance. His popularity grew exponentially and his appointments book, that must have included dates for Glenorchy’s and Royston’s sittings, was overflowing. Glenorchy wears clothes that are the height of fashion. His ailede-pigeon bag-wig is set off by a fine worsted green suit with gold-covered buttons and gold-thread embroidery worked in a scroll design along the garment edges that is repeated on the cuffs and pocket flaps. The green suit is offset by a generous swag of red drapery in the background and, on the right, the appropriate grandeur of the sitter’s surroundings is suggested by a large column base. The portrait was recently cleaned to great effect and it shows the extraordinary dexterity in the artist’s handling of paint. Details such as the lace cuffs and the gloved right hand perfectly represent the comparative textures of linen and kidskin and demonstrate a relaxed fluency and confidence that is rare in any artist’s work. Compositionally the portrait is very close to another recently discovered portrait of James Edward Colleton (Belsey 199). With subtleties of stance and expression Gainsborough shows the divergent characters of the two sitters. Colleton, standing in a domestic interior, arrogantly confronts the beholder; his right arm held akimbo suggests the nervous irritation of being disturbed from reading a book. Glenorchy is more relaxed. His right hand is tucked into his waistcoat pocket and his gloved left hand rests on the hilt of a ceremonial sword. In contrast he has an expression of unruffled aristocratic sensibility. The canvas is paired with a portrait of the sitter’s wife by Katherine Read. This painting was recorded in Christie Manson & Woods 1853 Inventory of Taymouth Castle as hanging in the Breakfast Room

27 THOMAS GAINSBOROUGH R.A. (BRITISH 1717-1788) HALF-LENGTH PORTRAIT OF JOHN CAMPBELL, VISCOUNT GLENORCHY (1738-1771) - 1762-63 Inscribed ‘John Lord Glenorchy / Ano. 1762 married Ano. 1761 / Willielma Maxwell daughter / & Co-heiress of Willm. Maxwell / of Preston in the Stewartry / of Kirkcudbright Esqr.,’ oil on canvas 127cm x 101.6cm (50in x 40in) Provenance: Commissioned by the sitter’s father, John Campbell, 3rd Earl of Breadalbane (died 1782); inherited by his distant kinsman, John, 4th Earl and 1st Marquess of Breadalbane, FRS. (1762-1834), Taymouth Castle, Perthshire; by descent to John, 2nd Marquess of Breadalbane KT, FRS, PSA, PBA (1796–1862); inherited by his elder sister, Lady Elizabeth Campbell (1794–1878), who in 1831 married as his second wife, Sir John Pringle, 5th Bt, Langton House, Duns; passed to her daughter, Mary (died 1911), who in 1861 married Major The Hon. Robert Baillie-Hamilton; passed to her sister, Magdalen (died 1913), who married in 1874 as her second husband Sir Robert Bateson Hervey, 1st Bt; inherited by her godson and first cousin twice removed, Lt Col. The Hon. Thomas MorganGrenville-Gavin (1891–1965), grandfather of the present owner. Literature: Hugh Belsey, Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters, New Haven and London 2019, vol. I, pp. 396–97, no. 400, repr. col. We are grateful to Hugh Belsey for his assistance in the cataloguing of this lot and his extensive background notes

£80,000-120,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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

28 MATCHED PAIR OF VICTORIAN CAULDRON SALTS J. McKay, Edinburgh 1843, the other marks worn, both of bellied form with gadrooned border, each raised on three hoof feet, with associated Victorian salt spoons with shell bowls Diameter: 7cm, (weight all in) 5.8oz

£200-300

29 CHINESE FAMILLE ROSE FOUR-SECTIONED VASE QING DYNASTY, 19TH CENTURY sturdily potted, each side enamelled with idyll rural lifestyle, including a farmer ploughing with a buffalo, two men fishing on a river whilst a couple holding a fish, a woodcutter and a scholar, and a scholar sitting indoor with children at play, all amongst a dramatic mountainous landscape, flanked with a pair of mythical masks and rings as handles 39.3cm high

£300-500

30 ENGLISH PORCELAIN PART TEA AND COFFEE SERVICE EARLY 19TH CENTURY each piece polychrome painted with mixed sprays of flowers spaced with gilt rocaille scrolls, with stylised gilt flower decoration to the centre, the cobalt blue borders embellished with gilt floral and entwined circle designs, unmarked, comprising: fourteen saucers, six tea cups, seven coffee cups, a twin handled sugar bowl with cover, a cream jug, and a slop bowl (30) saucers 14cm diam

£300-500

43 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

31 SÈVRES BLEU CELESTE GROUND PORCELAIN PLATE 18TH CENTURY, PROBABLY LATER DECORATED painted to the centre with fruit and flowers, with ‘Bleu Celeste’ ground on the rim, reserving three panels painted with pairs of exotic birds perched on branches, within a gilt floral garland and scrolling borders, interlaced LL mark enclosing date letter J for 1762, painters mark, TOGETHER WITH two similar later decorated Sèvres style plates, Sèvres style marks (3) 24.5cm diameter

£700-1,000

32 THIRTEEN SÈVRES STYLE BLEU CELESTE GROUND PORCELAIN PLATES 18TH CENTURY, LATER DECORATED comprising thirteen plates painted to the centre with fruit and flowers, with ‘Bleu Celeste’ ground to the rim, reserving three panels painted with flowers, interlaced LL marks, blue painted ‘Trianon 2.000’ (13) 24.5cm diam

£600-800

33 EARLY GEORGE III MAHOGANY LIBRARY ARMCHAIR MID 18TH CENTURY the serpentine top rail above a wide seat flanked by padded arms with foliate carved scrolled terminals on moulded supports, raised on square straight legs with leather castors and joined by stretchers; covered in distressed yellow silk damask 70cm wide, 106cm high, 55cm deep

£3,000-5,000

34 SUITE OF FIVE GEORGE III MAHOGANY FRAMED SIDE CHAIRS 18TH CENTURY the backs with serpentine top rails above wide square seats, raised on square chamfered legs joined by stretchers, covered in later yellow damask covers (5) 58cm wide, 96cm high, 44cm deep

£4,000-6,000

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

While much has been said of the renovations and redecoration of the State and principal rooms of Taymouth Castle in preparation for the Royal visit in 1842, some of the furniture that predated the transformation would have been repurposed and used in various other locations in the house. Once part of a larger suite, most likely dating to the earlier William Adam designed house of the 18th century, these chairs are fine examples of Georgian seat furniture. The side chairs are ample in proportion and functionally considered, while the library armchair has been embellished with delightful carved hand terminals marked with flowerheads. As times and tastes changed, and in particular after Taymouth’s 19th century metamorphosis, the suite would have moved from public rooms to those intended for private use. Showing signs of repair, alteration, and reupholstery that one would expect to see after over two hundred and fifty years of use, the suite has remained in the family directly to the present day. Inherited and passed down, after their residence at Taymouth Castle, these particular chairs from the original Georgian suite were used to furnish Wootton House, Bedfordshire, a red brick William and Mary period country house, home from 1940 to Lieutenant-Colonel Hon. Thomas George Breadalbane Morgan-Grenville.

47 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

CORNELIS DROOCHSLOOT was a son of Joost Cornelisz Droochsloot (1586 – 1666), the prolific Utrecht painter of village scenes, landscapes, genre pictures, moral allegories and biblical stories. The present charming and well preserved pair by Cornelis Droochsloot show several groups of children engrossed in different kind of playing. On the square of a village we see two boys blowing a bladder as if it is a balloon, an elegantly dressed young fellow is running with a hoop, two boys are walking on stilts and in the centre a group is parading as young soldiers of a civic guard. Near the village pump three youngsters are bowling. The second painting shows two girls on hobby horses, three lads are jumping leapfrog, while others play different games while one is playing a little violin. The joyful playing takes place near a moat, a castle beyond at the right. Typical of Cornelis Droochsloot´s imagery is the scant use of shadow, his figures and architecture cast very little shadow on their surroundings. As in the works of his father, the architecture in the present paintings is used to provide scale and structure to the suggested space. The buildings function as coulisses on a stage of a play. The figures of the young people show, in the way they are executed, the influence of Esaias van de Velde, who died in 1630. On stylistic grounds we might assume these are relatively early works executed before 1660. We are grateful to Drs Luuk Pijl who has confirmed the attribution to Cornelis Droochsloot on the basis of photographs.

Provenance: John, 4th Earl & 1st Marquess of Breadalbane, FRS. (1762-1834) For the collection at Taymouth Castle, Perthshire, John, 2nd Marquess of Breadalbane KT. FRS. PSA. PBA. (1796 -1862), His elder sister, Lady Elizabeth Pringle (1794-1878) Langton House, Duns, Her daughter, The Hon. Mrs Robert Baillie-Hamilton, died 1912, Her sister, Lady Hervey, died 1913, godmother & first cousin twice removed of, Lt. Col. The Hon. Thomas Morgan-Grenville-Gavin (1891-1965) Grandfather of the present owner

35 CORNELIS DROOCHSLOOT (DUTCH 1640-1673) CHILDREN’S PASTIMES Indistinctly signed, oil on panel, and a pair by the same hand ‘Children playing in a riverside town’ (2) 38.5cm x 34cm (15.25in x 13.25in) Note: These paintings are recorded in Christie’s Manson & Woods 1853 Inventory of Taymouth Castle as hanging in Bedroom No.8

£30,000-50,000

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

51 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

36 LARGE CLEAR GLASS ROEMER BEARING THE BREADALBANE CYPHER DUTCH OR GERMAN, LATE 17TH / EARLY 18TH CENTURY the globular bowl wheel engraved to one side with a coronet over the Breadalbane cypher of mirrored Bs, enclosed within two leafy fronds, and to the reverse with a castle, the entrance with a portcullis, below three turrets each with a flag, the bowl further engraved with fruiting vines, the body upon a milled tread, the hollow stem applied with raspberry prunts and with foliate engraving, on a circular spreading base with a folded foot, engraved with two bands of leaf and berry decoration 26.1cm high

£2,000-3,000

37 WILLIAM AND MARY WALNUT TABLE 17TH CENTURY the banded top with line inlay and a moulded edge, above a single frieze drawer, raised on bobbin-turned legs joined by a shaped H stretcher ending on ball feet 96cm wide, 75cm high, 65cm deep

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

38 JAN JOSEFSZ VAN GOYEN (DUTCH 1596-1656) FIGURES WORKING BY FARM COTTAGES Signed with a monogram and dated 1630, oil on panel 44.5cm x 31cm (17.5in x 12.25in) Provenance: John, 4th Earl & 1st Marquess of Breadalbane, FRS. (1762-1834) For the collection at Taymouth Castle, Perthshire, John, 2nd Marquess of Breadalbane KT. FRS. PSA. PBA. (1796 -1862), His elder sister, Lady Elizabeth Pringle (1794-1878) Langton House, Duns, Her daughter, The Hon. Mrs Robert Baillie-Hamilton, died 1912, Her sister, Lady Hervey, died 1913, godmother & first cousin twice removed of, Lt. Col. The Hon. Thomas Morgan-Grenville-Gavin (1891-1965) Grandfather of the present owner. Note: This painting was recorded in Christie Manson & Woods 1853 Inventory of Taymouth Castle as hanging in the Drawing Room

£30,000-50,000

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

ELIZABETH I APOSTLE SPOON

LATE ELIZABETH I - JAMES I ENGLISH PROVINCIAL SILVER GILT APHRODITE KNOP SPOON

GEORGE III SILVER GILT APOSTLE SPOON

maker’s mark orb and cross, London 1585, the cast Master apostle with dove nimbus, reverse of bowl with initals L* LL Length: 18cm, weight: 54.4g

£800-1,200

Richard Chandler, Plymouth c.1600, the fig bowl with later engraved Gothic B surmounted by Marquise’s coronet, the finial cast with traditional Aphrodite knop Length: 19cm, weight: 52.7g Provenance: Highly likely the collection of Gavin 1st Marquess and 7th Earl of Breadalbane.

£600-800

Edward Farell, London 1818, the fig bowl with engraved Gothic S surmounted by a Prince’s coronet, the apostle finial of traditional cast form Length: 19.5cm, weight: 62g

£200-300

56 PROPERTY OF THE EARLS OF BREADALBANE

42 EDWARD IV SILVER GILT ST. SIMON APOSTLE SPOON London 1478, the fig bowl with engraved Gothic B surmounted by a Marquise coronet, the reverse of bowl with prick engraved initials FL, the cast finial with a halo nimbus Length: 18.5cm, weight: 57g Provenance: Highly likely the collection of Gavin 1st Marquess and 7th Earl of Breadalbane. Note: Although earlier English Apostle spoons do survive this Edward IV example is a documentary part of the evolution of one of the most important aspects of British silver, the hallmark. Although hallmarks have been struck since circa 1300 it is not until the application of an annual changing date letter in 1478 that the recognisable format of maker and date were established. The date letter ‘A’ stuck to this piece is therefore the first example of this now centuries old, tradition being applied and the start of what would become a cornerstone of the oldest, continual and still virtually unchanged form of consumer protection in the world. It is easy to see why this spoon was not only collected but adorned by Gavin Campbell 1st Marquess and 7th Earl of Breadalbane and not just that but saved by the family from the sales of his collection in 1926 and 1935.

£2,500-4,000

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

& HOLLAND, TAYMOUTH CASTLE

58 PROPERTY OF THE EARLS OF BREADALBANE

& HOLLAND, TAYMOUTH CASTLE

Image courtesy of the National Records of Scotland GD112/22/54-58.

This punch bowl forms an important part of a small group of Jacobite Chinese export porcelain wares. So far recorded are

This piece is unusual and differs from the Drambuie example

a small number of punch bowls, with either Prince Charles or

in that the sprays of white roses are of undoubted Jacobite

Highland figures depicted, beer jugs and a small amount of

significance, rather than the more generic red/ pink sprays

armorial porcelain with Scottish Royal arms showing Jacobite

seen in the Drambuie work. These white or Stuart roses were a

standards.

constant symbol of the Jacobite cause and their use in sprays of

A closely comparable example to this punch bowl is held in the Drambuie Collection of Jacobite Works of Art and was previously in the staunchly Jacobite family collection of the Earl & Countess of Perth (see The Jacobite’s and their Adversaries, Christie’s Glasgow

three with open and closed buds closely mirror the iconic use in Jacobite glasses. It has been much discussed that the large open rose head represents King James and the buds, Prince Charles and Prince Henry.

12th June 1996, Lot 88 and previously on loan to National

The commissioning of punch bowls in support of the Jacobite

Museums Scotland, Bonnie Prince Charlie and the Jacobite’s, 2018).

cause is interesting and the connection between them and the

As with the example under discussion, it is a particularly fine example showing the highest quality of decoration in the floral sprays and borders, with the detail much finer than more often seen. The portrait also shows far more attention to detail than normal, and, while it is copying the recognisable portrait used in many forms of Jacobite art, the use of such a wide palette of colours is unusual. The portrait is a direct copy of one of the most prolifically produced and recognisable engravings of Prince Charles completed by Sir Robert Strange, an engraver from Edinburgh and member of Prince Charles’s Lifeguards regiment, during the ‘45. Sir Robert’s connection to the cause was close and he is known to have had at least two personal meetings with the Prince in Inverness just before Culloden to create the engraved

associated and more prolific glassware is important. Whether used in private homes or in Jacobite clubs or societies, the use of punch to toast support of the cause is well recorded. The symbolic drowning of Hanoverian Kings on coins set into punch ladles or the passing of glasses over the punch bowl to symbolise the ‘King over the water’ would all have been well-understood in 18th-century society. To carry out these acts using such a fine and bold Jacobite punch bowl would have made what was already a significant act even more important to those involved. Indeed the kudos of owning such an exotic, fashionable and fine piece of porcelain suggests that a high-status Jacobite supporter would have owned this bowl. Moreover, they were comfortable demonstrating their support in an overtly public way so soon after the ’45.

printing plate for the proposed Jacobite Banknotes (now in the

In 1863 a large inventory of the contents of Taymouth Castle

collection of the West Highland Museum Fort William). The print

was prepared by Christie Manson & Woods for the Marquess

was immediately popular and can be seen in varying scales from

of Breadalbane. The punch bowl is listed in the inventory as

miniatures to large-scale prints (see Lyon & Turnbull, Scottish

No. 966 ‘A punch bowl with two medallion portraits of the

Silver & Applied Arts, 14th August 2019 lot 468).

Pretender’. [National Records of Scotland GD112/22/54-58]

43 RARE CHINESE EXPORT PORCELAIN JACOBITE PUNCH BOWL QIANLONG PERIOD finely painted to both sides with a polychrome portrait of Bonnie Prince Charlie wearing a tartan jacket, blue bonnet and white cockade, flanked with white roses, in flower and bud, on vibrant green leafy stems, the interior with a further white rose spray, the internal rim with a rui sceptre gilt border 28.8cm diameter, 12.1cm high

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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

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21.2

or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. 3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any

improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects

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D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. Please see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium 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 UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots offered

under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please also note that all customs formalities of the destination country are the responsibility of the buyer. 3. A RTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (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.

E. WARRANTIES 1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which

62 may be added to this agreement by law, are excluded. 2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by

any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us

of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any 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. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total

Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

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

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING (a) We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining

63 licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

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

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not

correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other

currency than Sterling, the exchange rate is to be taken on the date of sale. 8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale. 9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com. 10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. 1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The

Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

21.2

GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. There will be no on-site payment facilities and no cash accepted as all our venues are closed to the public.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof 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 Registered bidders will be assigned a non-transferable bidder number. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given during your registration.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk. ON THE INTERNET - ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department. ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction. COLLECTION OF PURCHASED LOTS Please refer to page 4 of this catalogue.

Inside Back Cover: Lot 35 [detail]

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM