The buyer shall pay the hammer price together with a premium, at the following rate, thereon:
26% up to £20,000
25% from £20,001 to £500,000 20% thereafter.
VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
† VAT at the standard rate payable on the hammer price
‡ Reduced rate of 5% import VAT payable on the hammer price
Ω Standard rate of import VAT on the hammer price
Lots affixed with ‡ or Ω symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.
No VAT is payable on the hammer price or premium for books bought at auction.
ALCOHOL
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.
This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to help you.
REGISTRATION
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:
1 – Government issued photo ID (Passport/Driving licence)
2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).
BIDDING & PAYMENT
For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.
REMOVAL OF PURCHASES
Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.
CATALOGUE DESCRIPTIONS
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
IMPORT/EXPORT
Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
ENDANGERED SPECIES
Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites
COLLECTION OF PURCHASED LOTS
All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com.
Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.
Please note we are unable to take payments over the phone.
MEET THE SPECIALISTS
JOHN MACKIE
Head of Decorative Arts john.mackie@lyonandturnbull.com
At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or condition of a lot, or just want to find out more about the auction process.
Specialist: Ceramics & Glass Fine Furniture & Works of Art katherine.wright@lyonandturnbull.com
URSULA GOLDSMITH
Junior Specialist: Decorative Arts ursula.goldsmith@lyonandturnbull.com
HARRY FLETCHER
Specialist: Fine Furniture, Works of Art & Clocks harry.fletcher@lyonandturnbull.com
ORDER OF SALE
Scottish Wemyss Ware
Works of Art including Furniture and Ceramics
Scottish Coins & Medallions
Jacobite Glass
Jacobite & Stuart Works of Art
Books & Manuscripts
Arms, Armour & Highland Dress
Whisky
Provincial Silver
Bronze & Silver Animal Models
Hallmarked Silver
Hamilton & Inches
Other Makers
Collectables & Jewellery
When the late George Bellamy first discovered Wemyss on the cover of Antiques and Art Weekly in November 1976 it sparked a lifelong pursuit of the Fife-made ceramics. His collection spans the lifetime of Scottish Wemyss Ware, from its genesis in 1882 to the 1930 conclusion of production in Fife.
The plants and animals which adorn Wemyss Ware were a natural choice for the countryside loving Bellamy. Since childhood he was fascinated by flora and fauna, joining his Latin master’s bird club at Prep school. This love endured throughout his life, and he stated his fondness for the ‘wild area of countryside with a large garden’ which was his Welsh home in later years.
Bellamy writes about Wemyss with infectious enthusiasm, relishing the opportunity to develop specialist expertise. He focused his efforts on the Scottish period of production (1882-1930), studying the painted decoration to discern the work of one painter from another. Bellamy was swiftly welcomed into the body of dealers and enthusiasts, buying from Wemyss collector extraordinaire Iris Fox, as well as receiving visits from erstwhile dealers David Holmes and Barry Smith. He further exhibited at the Victoria de Rin’s 1987 exhibition of Wemyss Ware, an event opened by the then Prince of Wales.
Ultimately Bellamy loved the thrill of the chase. His knowledge enabled him to uncover bargains, once paying only £50 for a misattributed Earlshall mug worth over £1000. This arsenal, combined with his contacts on the Wemyss grapevine, gossiping about upcoming or, most tantalisingly, missed opportunities drove his search.
SCOTTISH WEMYSS WARE
THE GEORGE BELLAMY COLLECTION PART II
His efforts have resulted in a collection of the highest quality, with pieces largely in excellent condition. This sale represents the final dispersal of Bellamy’s Scottish Wemyss Ware, giving new and existing collectors the chance to share in the delight it brought to Bellamy.
DAY ONE
TUESDAY 20 AUGUST
FROM 10AM
LOTS 1 - 412
WEMYSS WARE
1
WEMYSS WARE
THREE ‘PURPLE PLUMS’ PRESERVE JARS & COVERS
to include a LARGE ‘PURPLE PLUMS’ PRESERVE JAR & COVER, glazed earthenware, painted and impressed maker’s mark WEMYSS, 16cm high; a SMALL ‘PURPLE PLUMS’ PRESERVE JAR & COVER, glazed earthenware, painted and impressed maker’s mark WEMYSS, painted Thomas Goode & Co. retailer’s mark, 7cm high; a MEDIUM ‘PURPLE PLUMS’ PRESERVE JAR & COVER WITH STAND, glazed earthenware, jar and cover probably painted by Christina McKinnon, painted maker’s mark WEMYSS, stand with impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, jar 12cm high, stand 14cm diameter (4)
Provenance: The Drambuie Collection (Medium ‘Purple Plums’ Jar & Cover)
£500-700
3
WEMYSS WARE
LARGE ‘DAMSONS’ PRESERVE JAR & COVER
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark 16cm high
£250-350
2
WEMYSS WARE
TWO ‘RED PLUMS’ PRESERVE JARS & COVERS
to include a LARGE ‘RED PLUMS’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 16cm high; a MEDIUM ‘RED PLUMS’ PRESERVE JAR & COVER WITH STAND, glazed earthenware, painted and impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, jar and cover 12cm high, stand 14cm diameter (3)
£300-500
4
WEMYSS WARE
THREE ‘GREENGAGES’ PRESERVE JARS & COVERS
to include a LARGE ‘GREENGAGES’ PRESERVE JAR & COVER
WITH STAND, glazed earthenware, impressed maker’s mark WEMYSS, stand with impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, jar 16cm high, stand 18.5cm diameter; a MEDIUM ‘GREENGAGES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS, painted marks WEMYSS/ T. GOODE & CO. LONDON, 13cm high; a MEDIUM ‘GREENGAGES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 12cm high (4)
£600-800
5
WEMYSS WARE
SMALL ‘BUTTERFLIES’ EWER AND BASIN
glazed earthenware, painted by Edwin Sandland, painted maker’s mark WEMYSS, painted Thomas Goode & Co. retailer’s mark (2)
basin 28cm diameter
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.72, fig. 72, where this example is illustrated.
£600-800
6
WEMYSS WARE
‘BEES & HIVE’ HONEY BOX & COVER WITH STAND glazed earthenware, painted by James Sharp, painted and impressed maker’s mark WEMYSS, the box painted T. GOODE & CO. retailer’s mark (2)
Tray 19cm wide
Note: This type of square box for honeycomb was originally specially commissioned by Thomas Goode & Co., Fife Pottery’s exclusive agents in London.
7
WEMYSS WARE
TWO HEART INKSTANDS
to include a ‘FORGET-ME-NOT’ HEART INKSTAND, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 18cm long; a ‘MIGNONETTE AND BEES’ HEART INKSTAND, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 18cm long (2)
£300-500
8
WEMYSS WARE
‘CONVOLVULUS AND MORNING GLORY’ COMBE FLOWER POT
probably decorated by Karel Nekola, glazed earthenware, impressed maker’s mark WEMYSS
24cm high
Provenance: Hugh Hutchinson Collection
£800-1,200
10
WEMYSS WARE
‘FORGET-ME-NOT’ WAVERLEY TRAY
glazed earthenware, impressed maker’s mark WEMYSS
44cm wide
£300-500
9
WEMYSS WARE
LARGE ‘VIBURNUM’ LOBED TRAY glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S.
44cm wide
£400-600
11
WEMYSS WARE
TWO LARGE MUGS
to include a LARGE ‘PURPLE AND BLUE IRISES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘YELLOW IRISES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 14cm high (2)
£250-350
13
WEMYSS WARE
TWO LARGE MUGS
to include a LARGE ‘REDCURRANTS’ MUG, glazed earthenware, very indistinct impressed maker’s mark, 14cm high; a LARGE ‘STRAWBERRIES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high (2)
£500-700
12
WEMYSS WARE
TWO LARGE MUGS
to include a LARGE ‘PINK SWEET PEAS’ MUG, glazed earthenware, probably painted by Christina McKinnon, painted and impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘PELARGONIUMS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high (2)
£300-500
14
WEMYSS WARE
TWO LARGE MUGS
to include a LARGE ‘BRAMBLES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high; a LARGE ‘RASPBERRIES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 14cm high (2)
£300-500
15
WEMYSS WARE
THREE LARGE MUGS
to include a LARGE ‘PURPLE AND YELLOW CROCUSES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘NARCISSI’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high; a LARGE ‘PARROT TULIPS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14.5cm high (3)
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.93, fig. 158, where this example is illustrated (Large Purple and Yellow Crocus’ Mug)
£500-700
17
WEMYSS WARE
THREE LARGE MUGS
to include a LARGE ‘APPLES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, 14cm high; a LARGE ‘ORANGES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high; a LARGE ‘CHERRIES’ MUG, glazed earthenware, faintly impressed maker’s mark WEMYSS, 14cm high (3)
£300-500
16
WEMYSS WARE
THREE LARGE MUGS
to include a LARGE ‘YELLOW TULIPS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14.5cm high; a LARGE ‘DAFFODILS’ MUG, glazed earthenware, painted and impressed maker’s mark WEMYSS, painted Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘RED TULIPS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 14.5cm high (3)
£600-800
18
WEMYSS WARE
RARE CARP TUREEN
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H. & S. 48cm long
Provenance: Mrs. Freda Morrow Brown (nee Nekola) Rogers de Rin
Exhibited: London, Wemyss Ware, Rogers de Rin and Sotheby’s, 1976, No. 465 London, Wemyss Ware, Rogers de Rin at Thomas Goode & Co., November - December 1987
Note: This rare tureen, based on a Chinese example of the Quianlong period (1711-1799), was probably based on a model found at Wemyss Castle. This very rare example, completed with its lid, is one of only three known.
£4,000-6,000
19
WEMYSS WARE
LARGE ‘GEESE’ MUG
glazed earthenware, impressed and printed maker’s mark WEMYSS, 14cm high; together with a ‘GEESE’ BEAKER, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 10.8cm high (2)
£600-800
21
WEMYSS WARE
TWO MATCHBOX CASES
to include a ‘BROWN COCKEREL AND HEN’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, 7.8cm wide; a ‘BLACK COCKERELS’ MATCHBOX CASE, glazed earthenware, printed retailer’s mark Thomas Goode & Co., 8cm wide (2)
£300-500
20
WEMYSS WARE
‘BROWN COCKERELS & HENS’ SPONGE HOLDER & LINER glazed earthenware, printed T. Goode & Co. retailer’s mark, 24cm wide across handles; together with ‘BROWN COCKEREL AND HENS’ INVALID FEEDER, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 15.5cm diameter; a ‘BROWN COCKEREL AND HENS’ MATCH STRIKER, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 12cm diameter (3)
£700-900
22
WEMYSS WARE
‘BLACK HEN WITH CHICKS’ SIDE PLATE
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark
18.5cm diameter
£200-300
23
WEMYSS WARE
MEDIUM ‘DUCKS, COCKEREL, HEN & GEESE’ LOVING CUP
glazed earthenware, impressed maker’s mark WEMYSS
19.5cm high
Provenance: Blair Castle, Dalry, Ayrshire
£1,000-1,500
25
WEMYSS WARE
TWO LARGE MUGS
printed T. Goode & Co. retailer’s mark, 26cm wide (2)
£800-1,200
to include a LARGE ‘MALLARDS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, 14cm high; LARGE ‘GEESE’ MUG, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high (2)
£500-700
26
WEMYSS WARE
‘HEATHER AND TARTAN’ COMB TRAY
glazed earthenware, impressed maker’s mark WEMYSS
26cm long
£400-600
27
WEMYSS WARE
SMALL ‘HEATHER’ JAPAN VASE
glazed earthenware, painted maker’s mark WEMYSS WARE, impressed maker WEMYSS
21cm high
£300-500
28
WEMYSS WARE
‘HEATHER’ HAIR TIDY
glazed earthenware, bears painted inscription HAIR TIDY, painted and impressed maker’s mark WEMYSS, 6cm high; together with ‘HEATHER’ SPILL VASE, glazed earthenware, painted and impressed maker’s mark
WEMYSS, 8cm high (2)
£400-600
29
WEMYSS WARE
DRUMMOND FLOWER POT
glazed earthenware, painted to the facetted sides with sprays of daisies, corydalis, bluebells, dog roses, white clover and forget-me-nots and bearing inscriptions INNOCENCE, RESOLUTION, SUBMISSION, SIMPLICITY, THINK OF ME, AND TRUE LOVE, impressed maker’s mark WEMYSS WARE/ R.H.& S, printed Thomas Goode & Co. retailer’s mark 21.5cm high
£800-1,200
30
WEMYSS WARE
‘SWANS’ DRUMMOND FLOWER POT
glazed earthenware, painted by Edwin Sandland, painted maker’s mark WEMYSS
21cm high
£700-1,000
31
WEMYSS WARE
‘CAMPANULA’ WATER PAIL & COVER
glazed earthenware, impressed maker’s mark WEMYSS 29cm high
Provenance: Claude Lucbernet collection
Exhibited: London, Wemyss Ware, Rogers de Rin and Sotheby’s, 1976.
£600-800
32
WEMYSS WARE ‘SHAMROCK, ROSE AND THISTLES’ PIG
glazed earthenware, unmarked
46cm long
£3,000-5,000
33
WEMYSS WARE LARGE ‘SHAMROCKS’ PIG
glazed earthenware, painted by Edwin Sandland, painted maker’s mark WEMYSS
45cm long
£1,500-2,500
34
WEMYSS WARE
‘ROSES, SHAMROCKS AND THISTLES’ PIG glazed earthenware, impressed maker’s mark
WEMYSS
44cm long
£3,000-5,000
35
WEMYSS WARE
‘CABBAGE ROSES’ FOOTBATH
glazed earthenware, painted and impressed maker’s mark WEMYSS
50cm long
Exhibited: London, Wemyss Ware, Rogers de Rin at Thomas Goode & Co., November - December 1987
£1,000-1,500
36
WEMYSS WARE
LARGE ‘CABBAGE ROSES’ BEAKER VASE
glazed earthenware, painted by Karel Nekola, impressed maker’s mark WEMYSS, painted marks WEMYSS/ T. GOODE & CO. LONDON
28.5cm high
£300-500
38
WEMYSS WARE
‘CABBAGE ROSES’ RIBBON BOX
37
WEMYSS WARE
‘CABBAGE ROSES’ LOVING CUP
glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark 24cm high
£300-500
glazed earthenware, impressed maker’s mark WEMYSS
14cm diameter
£300-500
39
WEMYSS WARE
‘STRAWBERRIES & RASPBERRIES’ JAM JAR HOLDER & COVER glazed earthenware, painted and impressed maker’s mark WEMYSS
£200-300
41
WEMYSS WARE
FOUR ‘STRAWBERRIES’ PRESERVE JARS & COVERS to include a LARGE ‘STRAWBERRIES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 16cm high; a LARGE ‘STRAWBERRIES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 17.5cm high; a MEDIUM ‘STRAWBERRIES’ PRESERVE JAR & COVER, glazed earthenware, painted and impressed maker’s mark WEMYSS, 12cm high; a SMALL ‘STRAWBERRIES’ PRESERVE JAR & COVER, glazed earthenware, probably painted by Christina McKinnon, painted and impressed maker’s mark WEMYSS, 7cm high (4)
Provenance: Rankine Collection, Sotheby’s, August 2005 (Small jar and cover)
£250-350
40
WEMYSS WARE
TWO ‘RASPBERRIES’ PRESERVE JARS & COVERS to include a LARGE ‘RASPBERRIES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 16cm high; a MEDIUM ‘RASPBERRIES’ PRESERVE JAR & COVER, glazed earthenware, painted maker’s mark WEMYSS, 12cm high (2)
£400-600
42
WEMYSS WARE
THREE ‘ORANGES’ PRESERVE JARS & COVERS to include a LARGE ‘ORANGES’ PRESERVE JAR & COVER glazed earthenware, impressed maker’s mark WEMYSS, 16cm high; a MEDIUM ‘ORANGES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS, 12cm high; a SMALL ‘ORANGES’ PRESERVE JAR & COVER, glazed earthenware, probably by Christina McKinnon, painted maker’s mark WEMYSS, 7cm high (3)
£180-220
WEMYSS WARE
PART ‘MALLARDS’ WASH SET
glazed earthenware, painted by Karel Nekola, each with painted monogram HP, comprising a EWER, 20.3cm high; a BASIN, 29cm diameter and SPONGE DISH & LINER, 24cm across handles, impressed maker’s marks to basin and sponge dish WEMYSS, each with painted marks WEMYSS/ T. GOODE & CO. LONDON (4)
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.80, fig. 109, where similar examples are illustrated.
£1,000-1,500
£400-600 43
44
WEMYSS WARE
‘DRAGONFLIES’ COMB TRAY
glazed earthenware, painted by James Sharp, painted and impressed maker’s mark WEMYSS, 26cm wide; together with a ‘MALLARD’ COMB TRAY, glazed earthenware, impressed maker’s mark WEMYSS, 26cm wide (2)
45
WEMYSS WARE
DRAGONFLY VASE
glazed earthenware, impressed maker’s mark WEMYSS, painted (indistinctly) WEMYSS, 16cm high; together with a MALLARD VASE, glazed earthenware, painted by James Sharp, impressed maker’s mark WEMYSS, painted WEMYSS, 11.2cm (2)
£400-600
46
WEMYSS WARE
‘GROUSE’ EWER
inscribed with monogram HP, glazed earthenware, painted by Karel Nekola, painted and impressed maker’s mark WEMYSS, painted Thomas Goode & Co. retailer’s mark 29cm high
£500-700
48
WEMYSS WARE
‘PHEASANTS’ CHAMBER POT
47
WEMYSS WARE
RARE ‘GROUSE’ PART WASH SET
glazed earthenware, painted by Karel Nekola, each with painted monogram HP, comprising a EWER, 30cm high; a BASIN, 40cm diameter and SOAP DISH, COVER & LINER, 15cm, impressed maker’s mark WEMYSS, painted marks WEMYSS/ T. GOODE & CO. LONDON (3)
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.80, fig. 109, where similar examples are illustrated.
£1,200-1,800
glazed earthenware, decorated by Karel Nekola, bears painted inscription HP, painted maker’s mark WEMYSS, printed T. Goode & Co. retailer’s mark, 21cm diameter; together with ‘PHEASANTS’ BEAKER, glazed earthenware, painted by Karel Nekola, painted monogram HP, impressed maker’s mark WEMYSS, painted marks WEMYSS/ T. GOODE & CO. LONDON, 11cm high (2)
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.80, fig. 109, where similar examples are illustrated.
£300-500
49
WEMYSS WARE
‘THREE MONKEYS’ COMB TRAY
glazed earthenware, painted by Karel Nekola, inscribed I HEAR NO EVIL/I SEE NO EVIL/I SPEAK NO EVIL, impressed maker’s mark WEMYSS, painted T. GOODE & CO., LONDON
26cm across
Exhibited: Scottish Arts Council, 1971
£800-1,200
WEMYSS WARE
LOVING CUP
glazed earthenware, painted by Karel Nekola, bearing the inscription I HEAR NO EVIL./ I SEE NO EVIL./ I SPEAK NO EVIL., impressed maker’s mark WEMYSS 15cm high
£500-700
51
WEMYSS WARE
TWO ‘EARLSHALL’ JUGS
to include an ‘EARLSHALL FAIRE’ MILK JUG, inscribed EARLSHALL FAIRE/ A.D.1914 and AS THE MANY WINTERED CROW, THAT LEADS THE CLANGING ROOKERY HOME, impressed maker’s mark WEMYSS, 12cm high; an EARLSHALL ‘PEACOCKS AND TOPIARY’ CANTERBURY JUG, glazed earthenware, impressed maker’s mark WEMYSS, 14cm high (2)
£300-500
52
WEMYSS WARE
‘PONIES AND FOAL’ COMB TRAY
glazed earthenware, probably painted by Karel Nekola, impressed maker’s mark
WEMYSS
25.5cm wide
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.69, fig. 61, where a similar example is illustrated.
£600-800
54
WEMYSS WARE
SMALL ‘HOUND’ MUG
53
WEMYSS WARE
‘RUNNING HOUNDS’ CHESHAM FERN POT
glazed earthenware, painted by Edwin Sandland, painted and impressed marks WEMYSS 10cm high
£500-800
glazed earthenware, impressed maker’s mark WEMYSS WARE, printed Thomas Goode & Co retailer’s mark
7.4cm high
£400-600
55
WEMYSS WARE
‘CORN MARIGOLD’ LOW POMADE
glazed earthenware, impressed maker’s mark WEMYSS
9.3cm diameter
£200-300
56
WEMYSS WARE
‘DOG ROSES’ LOW POMADE
glazed earthenware, painted by Edwin Sandland, painted and impressed maker’s marks WEMYSS
9.5cm diameter, 4.5cm high
£250-350
57
WEMYSS WARE
‘PRIMROSES’ LOW POMADE
glazed earthenware, painted by Karel Nekola, painted and impressed marks WEMYSS
9.5cm diameter
£200-300
58
WEMYSS WARE
‘VIOLETS’ LOW POMADE
glazed earthenware, painted by David Grinton, painted and impressed maker’s mark WEMYSS
10cm diameter
£150-250
59
WEMYSS WARE
TWO MATCHBOX CASES
to include a ‘PURPLE PLUMS’ MATCHBOX CASE, glazed earthenware, unmarked, 8cm long; a ‘CHERRIES’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, 8cm long (2)
£250-350
61
WEMYSS WARE
FOUR MATCHBOX CASES
to include a ‘SHAMROCKS’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, 8cm high; ‘PINK SWEET PEAS’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, 8cm high; a ‘DOG ROSES’ MATCHBOX CASE, glazed earthenware, painted maker’s mark
WEMYSS, 8cm high; a ‘DAFFODILS’ MATCHBOX CASE, glazed earthenware, painted maker’s mark
WEMYSS, printed Thomas Goode & Co. retailer’s mark, 7cm high (4)
£700-900
60
WEMYSS WARE
THREE MATCHBOX CASES
to include a ‘CLOVER’ MATCHBOX CASE glazed earthenware, unmarked, 8cm high; ‘PINK AND PURPLE SWEET PEAS’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, 8cm high; a ‘BUTTERCUPS’ MATCHBOX CASE, glazed earthenware, printed Thomas Goode & Co. retailer’s mark, bears paper exhibition label, 8cm high (3)
Exhibited: London, Wemyss Ware, Rogers de Rin at Thomas Goode & Co., November - December 1987 (‘Buttercups’ Matchbox)
£500-700
62
WEMYSS WARE
EARLY FIFE POTTERY COCKEREL VASE
glazed earthenware, moulded and painted on one side with a cockerel chasing a fly, and painted on the reverse with nettles, painted mark FIFE POTTERY
38.5cm high
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.111, fig. 223, where this example is illustrated.
£800-1,200
64
WEMYSS WARE
‘JOHN BLYTH’ CHILD’S TEETHING RING
glazed earthenware, painted with inscription JOHN BLYTH, unmarked 7cm diameter
63
WEMYSS WARE
‘BEE’ BUTTON
glazed earthenware, impressed maker’s mark WEMYSS
3.2cm diameter
£400-600
Note: This teething ring was possibly commissioned from the Fife Pottery for John W. Blyth, who was later to become the owner of The Blyth Company of Kirkcaldy, linen manufacturers, and whose family lived close to the pottery at the time of his birth. He went on to become a picture collector of renown and his collection hangs today in the Kirkcaldy Art Gallery & Museum. Grandfather of the politician and broadcaster Michael Portillo, Blyth was convener of the gallery’s art committee and a trustee of the National Galleries of Scotland. His own collection, purchased through the Glasgow art dealer Alexander Reid and Edinburgh’s P. McOmish Dott, founder of the Scottish Gallery comprised of mainly Scottish art, in particular S.J. Peploe and the Scottish Colourists. Eventually, the collection became too large for his house and much of it was lent to the gallery. Following Blyth’s death in 1962, his family agreed to sell to Kirkcaldy the 116 pictures, then on permanent loan.
£80-120
65
WEMYSS WARE
‘PHEASANT’ MATCHBOX HOLDER
glazed earthenware, unmarked, 8cm long; together with a ‘PHEASANT’ SIDE PLATE, glazed earthenware, impressed maker’s mark WEMYSS, 12.5cm diameter; a ‘PHEASANT’ SIDE PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 17cm diameter (3)
£300-500
67
WEMYSS WARE
‘FIGHTING COCKS’ TEAPOT AND COVER glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 12cm high; together with a ‘FIGHTING COCKEREL’ JUG, glazed earthenware, printed retailer’s stamp T. GOODE & CO., 12cm high; and a RARE ‘FIGHTING COCKEREL’ SAUCER, impressed WEMYSS WARE/ R.H. & S., printed retailer’s stamp T. GOODE & CO., 13cm diameter (3)
£500-700
66
WEMYSS WARE TWO LARGE MUGS
to include a LARGE ‘PEACOCK’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high; LARGE ‘PHEASANTS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14cm high (2)
£400-600
68
WEMYSS WARE
TABBY CAT
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark
33.5cm high
£3,000-5,000
WEMYSS WARE
TABBY CAT
glazed earthenware, applied glass eyes, impressed maker’s mark
WEMYSS WARE/ R.H.& S., printed T. Goode & Co. retailer’s mark
34cm high
£3,000-5,000
71
WEMYSS WARE
THREE GORDON DESSERT PLATES
to include a ‘PURPLE PLUMS’ GORDON DESSERT PLATE, glazed earthenware, painted by James Sharp, painted and impressed maker’s mark WEMYSS, painted Thomas Goode & Co. retailer’s mark, 21cm diameter; a ‘RED PLUMS’ GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 21cm diameter; a ‘CHERRIES’ GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 21cm diameter (3)
Exhibited: London, Wemyss Ware, Rogers de Rin at Thomas Goode & Co., November - December 1987 (‘Red Plums’ Plate)
£300-500
70
WEMYSS WARE
LARGE ‘DAFFODILS’ EWER AND BASIN
glazed earthenware, painted and impressed maker’s mark
WEMYSS, painted Thomas Goode & Co. retailer’s mark (2)
39.5cm diameter
£400-600
72
WEMYSS WARE
FIVE GORDON DESSERT PLATES
to include a ‘YELLOW IRISES’ GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 21cm diameter; a ‘DOG ROSES’ GORDON DESSERT PLATE, glazed earthenware, painted by James Sharp, painted and impressed maker’s marks WEMYSS, 20.5cm diameter; a ‘HONEYSUCKLE’ GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 20.8cm diameter; a ‘PELARGONIUMS’ GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 21cm diameter; a ‘PINK SWEET PEAS’ GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 21cm diameter (5)
Provenance: Iris Fox Collection (‘Dog Roses’ plate)
£800-1,200
73
WEMYSS WARE
FOUR GORDON DESSERT PLATES
to include a ‘STRAWBERRIES’ GORDON DESSERT PLATE, glazed earthenware, probably painted by Christina McKinnon, painted and impressed maker’s mark WEMYSS, 21cm diameter; a ‘BRAMBLES’ GORDON DESSERT PLATE, glazed earthenware, painted and impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 21cm diameter; a ‘RASPBERRIES’
GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 21cm diameter; a ‘PURPLE AND GREEN GRAPES’
GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 21cm diameter (4)
Literature: Davis P. et al Wemyss Ware: A Decorative Scottish Pottery Scottish Academic Press, 1986, p.112, fig. 227 where a similar example is illustrated (‘Purple and Green Grapes’ plate)
£600-800
74
WEMYSS WARE
THREE GORDON DESSERT PLATES
to include an ‘APPLES’ GORDON DESSERT PLATE, glazed earthenware, painted and impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 21cm diameter; a ‘PEARS’ GORDON DESSERT PLATE, glazed earthenware, painted by Joe Nekola, painted maker’s mark WEMYSS, 20.4cm diameter; an ‘ORANGES’ GORDON DESSERT PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 21cm diameter (3)
£600-800
75
WEMYSS WARE
‘BUTTERCUP’ SPILL VASE
glazed earthenware, unmarked, 8cm high; together with a ‘BUTTERCUPS’ LOW POMADE, glazed earthenware, painted by James Sharp, painted and impressed maker’s marks WEMYSS, 10cm diameter; a ‘BUTTERCUPS’ COFFEE CUP AND SAUCER, glazed earthenware, painted and impressed maker’s mark WEMYSS, cup 5.5cm high; saucer 12.5cm diameter (4)
£400-600
WEMYSS WARE
TWO ‘YELLOW PLUM’ PRESERVE JARS & COVERS
to include a MEDIUM ‘YELLOW PLUM’ PRESERVE JAR & COVER WITH STAND, glazed earthenware, impressed maker’s marks WEMYSS, printed
T. Goode & Co. retailer’s mark, jar 13cm high, stand 10cm diameter; a LARGE ‘PEACHES’ PRESERVE JAR & COVER, glazed earthenware, painted and impressed maker’s mark WEMYSS, 16cm high (3)
£250-350
78
WEMYSS WARE
THREE ‘APPLES’ PRESERVE JARS & COVERS
77
WEMYSS WARE
THREE ‘CHERRIES’ PRESERVE JARS & COVERS
to include a LARGE ‘CHERRIES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S.,16cm high; a MEDIUM ‘CHERRIES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 12cm high; a SMALL ‘CHERRIES’ PRESERVE JAR & COVER WITH STAND, glazed earthenware, probably painted by Christina McKinnon, painted and impressed maker’s mark WEMYSS, 7cm high (4)
£200-300
to include a LARGE ‘APPLES’ PRESERVE JAR & COVER WITH STAND, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 16cm high, stand 18.5cm diameter; a MEDIUM ‘APPLES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS, 12cm high; a MEDIUM ‘APPLES’ PRESERVE JAR & COVER, glazed earthenware, unmarked, 13cm high (4) £500-700
79
WEMYSS WARE
FOUR ‘FLOWERING BRAMBLES’ PRESERVE JARS & COVERS to include a LARGE ‘FLOWERING BRAMBLES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 16cm high; a LARGE ‘BRAMBLES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 16.5cm high; a MEDIUM ‘BRAMBLES’ PRESERVE JAR & COVER, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 12.5cm high; a SMALL ‘BRAMBLES’ PRESERVE JAR & COVER, glazed earthenware, painted maker’s mark WEMYSS, painted Thomas Goode & Co. retailer’s mark, 7.5cm high (4)
Exhibited: London, Wemyss Ware, Rogers de Rin at Thomas Goode & Co., November - December 1987
£500-700
80
WEMYSS WARE
‘PANSY’ SPILL VASE
glazed earthenware, painted by Edwin Sandland, painted maker’s mark WEMYSS, 8cm high; together with a ‘PANSY’ VOTIVE, glazed earthenware, probably decorated by Karel Nekola, painted with an inscription to the rim 8TH OCTOBER 1903, unmarked, 6cm high (2)
£350-450
82
WEMYSS WARE
‘PINK AND BLUE SWEET PEAS’ HAIR TIDY
glazed earthenware, the cover inscribed HAIR TIDY, painted and impressed maker’s mark WEMYSS, 10cm high; together with a ‘SWEET PEA’ TALL POMADE, glazed earthenware, painted and impressed maker’s marks WEMYSS, 8cm high; a ‘SWEET PEA’ LOW POMADE, glazed earthenware, impressed maker’s mark WEMYSS, 9cm diameter, 4.5cm high (3)
£350-450
81
WEMYSS WARE
‘DAFFODILS’ LOW POMADE
glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 9cm diameter; together with a ‘CHERRIES’ TALL POMADE, glazed earthenware, painted by James Sharp, painted and impressed maker’s mark WEMYSS, 7.5cm high (2)
£400-600
83
WEMYSS WARE
LARGE ‘WREN IN A CHERRY TREE’ BISCUIT JAR AND COVER
glazed earthenware, painted maker’s mark WEMYSS
19.5cm high
£400-600
84
WEMYSS WARE
‘FLOWERING DOCK’ UMBRELLA STAND
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S.
63cm high
£800-1,200
85
WEMYSS WARE
SMALL ‘PEARS’ LOVING CUP
glazed earthenware, impressed maker’s mark WEMYSS 10cm high
£200-300
86
ROBERT HERON & SONS
EARLY FIFE POTTERY LOVING CUP
glazed earthenware, decorated with irises, poppies and daisies, painted maker’s marks R.H.& S./ FIFE POTTERY KIRKCALDY
24.5cm high, 25cm diameter (excluding handles)
£500-700
87
WEMYSS WARE
‘CAT’ PLATE
glazed earthenware, impressed maker’s marks WEMYSS, printed T. Goode & Co. retailer’s mark
14cm diameter
£500-700
88
WEMYSS WARE
‘RABBIT’ SIDE PLATE
glazed earthenware, painted by Joe Nekola, painted maker’s mark WEMYSS
21cm diameter
£300-500
89
WEMYSS WARE
‘BOAR’ SIDE PLATE
glazed earthenware, impressed maker’s mark WEMYSS/ R.H.& S., printed Thomas Goode & Co. retailer’s mark
18.5cm diameter
£400-600
90
WEMYSS WARE
‘COWS’ DOG BOWL
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S.
12.5cm diameter
Exhibited: London, Wemyss Ware, Rogers de Rin and Sotheby’s, 1976, no. 441.
£300-500
91
WEMYSS WARE
RARE ‘WISTERIA’ WASH SET
glazed earthenware, comprising a LARGE EWER and BASIN, 24cm high, 39cm diameter; A SPONGE BASIN, 24cm diameter; A COVERED SOAP DISH WITH LINER, 14cm diameter, and A BEAKER VASE, 11cm high, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark (4)
Provenance: David Macmillan Collection
£1,500-2,000
92
WEMYSS WARE
PAIR OF ‘MIMOSA & LILAC’ CHAMBER POTS
glazed earthenware, each bearing an Earl’s coronet with cypher LR, impressed maker’s mark WEMYSS WARE/ R.H.& S. (2)
26cm diameter
£600-800
WEMYSS WARE
THREE LARGE MUGS
to include a LARGE ‘LILACS’ MUG glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘DOG ROSES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘BUTTERCUPS’ MUG, glazed earthenware, painted and impressed maker’s mark WEMYSS, 14cm high (3)
Exhibited: London, Wemyss Ware, Rogers de Rin at Thomas Goode & Co., November - December 1987 (‘Dog Roses’ Mug)
£600-800
95
WEMYSS WARE
TWO LARGE MUGS
94
WEMYSS WARE
THREE LARGE MUGS
to include a LARGE ‘SHAMROCKS’ MUG, glazed earthenware, unmarked, 13.9cm high; a LARGE ‘THISTLES’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14cm high; a LARGE ‘FLOWERING CLOVER’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high (3)
£500-700
to include a LARGE ‘VIOLETS’ MUG, glazed earthenware, probably painted by Christina McKinnon, painted and impressed maker’s mark WEMYSS, 14.4cm high; a LARGE ‘RED AND BLUE SWEET PEAS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14cm high (2)
£300-500
96
WEMYSS WARE
SMALL ‘SUNFLOWERS’ LOVING CUP
glazed earthenware, impressed maker’s mark WEMYSS, 14cm high; together with a LARGE ‘CARNATIONS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14cm high (2)
Provenance: Rogers de Rin (‘Carnations’ mug) Hugh Hutchison Collection (‘Sunflowers’ mug)
£300-500
97
WEMYSS WARE
MEDIUM ‘FLOWERING BRAMBLES’ BASKET
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark
31cm long
£200-300
99
WEMYSS WARE
98
WEMYSS WARE
SMALL ‘PEARS’ BASKET glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S.
20cm wide, 14cm high
£300-500
‘CHERRIES’ DUCHESS CANDLESTICK WITH SNUFFER glazed earthenware, painted by James Sharp, painted and impressed maker’s mark WEMYSS
16.5cm high
Provenance: The Iris Fox Collection, Sotheby’s, lot 382
£400-600
100
WEMYSS WARE
THREE PLATES
glazed earthenware, comprising an ‘APPLES’ DINNER PLATE, decorated by James Sharp, painted maker’s mark WEMYSS, 25cm diameter; ‘ORANGES’ DINNER PLATE, painted maker’s mark WEMYSS, 25cm diameter; and a ‘PLUMS’ PLATE, painted maker’s mark WEMYSS, impressed maker’s mark WEMYSS WARE/ R.H.&S., 22cm diameter; together with an ‘APPLES’ DOG BOWL, glazed earthenware, painted by James Sharp, painted and impressed maker’s mark WEMYSS, 17cm diameter; a ‘DOG ROSES’ SMALL PLATE, glazed earthenware, painted and impressed maker’s mark WEMYSS, 12cm diameter; a ‘SHAMROCKS’ SMALL PLATE, glazed earthenware, impressed maker’s mark WEMYSS, 12cm diameter; a SMALL ‘YELLOW IRISES’ PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm diameter; a SMALL ‘PELARGONIUMS’ PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm diameter (8)
£300-400
103
WEMYSS WARE
‘MIXED FRUITS’ LOW POMADE
102
WEMYSS WARE
101
WEMYSS WARE
‘YELLOW ROSES’ HEART-SHAPED TRAY
glazed earthenware, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 30cm high; together with a ‘YELLOW ROSES’ COMB TRAY, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 25cm long (2)
£600-800
‘YELLOW & PINK CABBAGE ROSES’ TALL POMADE
glazed earthenware, painted by Edwin Sandland, painted and impressed maker’s mark WEMYSS
7.5cm high
£250-350
glazed earthenware, painted maker’s mark WEMYSS
9.5cm diameter
£250-350
104
WEMYSS WARE
TWO QUAICHES
to include an ‘APPLES’ QUAICH, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 27cm wide across handles; a ‘BLUE IRISES’ LOW QUAICH, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., printed Thomas Goode & Co. retailer’s mark, 19cm diameter (2)
£300-500
105
WEMYSS WARE
LARGE ‘PASSION FLOWERS’ MUG
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S. 14cm high
Provenance: Claude Lucbernet collection
£600-800
107
WEMYSS WARE
TWO LARGE MUGS
to include a LARGE ‘YELLOW FREESIAS’ MUG, glazed earthenware, impressed maker’s mark WEMYSS, 14cm high; a LARGE ‘APPLE BLOSSOM’ MUG, glazed earthenware, impressed maker’s mark
WEMYSS WARE/ R.H.& S., 14cm high (2)
£350-450
106
WEMYSS WARE
TWO LARGE MUGS
to include a LARGE ‘VETCH’ MUG, glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S., 14cm high; a LARGE ‘LABURNUM’ MUG, glazed earthenware, impressed maker’s mark
WEMYSS WARE/ R.H.& S., 14cm high (2)
£500-700
108
WEMYSS WARE
LARGE ‘CAMPANULA’ MUG
glazed earthenware, impressed maker’s mark WEMYSS WARE/ R.H.& S. 13.7cm high
£700-900
109
WEMYSS WARE
LARGE ‘FORGET-ME-NOTS’ MUG
glazed earthenware, impressed maker’s mark WEMYSS 14cm high
£150-250
OTHER PROPERTIES
110
WEMYSS WARE
LARGE ‘DRAGONFLIES’ JAPAN VASE
glazed earthenware, painted and impressed maker’s marks WEMYSS
32.6cm high
£600-800
111
WEMYSS WARE
‘DRAGONFLIES’ CHESHAM FERN POT
glazed earthenware, painted and impressed maker’s marks WEMYSS
9.6cm high
£250-350
112
WEMYSS WARE
TWO ‘DRAGONFLIES’ VASES
comprising a Japan vase, painted and impressed maker’s marks WEMYSS, 16.3cm high; and a vase of unusual form with a frilled rim, painted and impressed maker’s mark
WEMYSS, 12cm high (2)
£400-600
113
WEMYSS WARE
STUART FLOWER POT
glazed earthenware, painted with a central band of ‘Cabbage Roses’ and two further bands of ‘Daisies’, painted by Edwin Sandland, impressed and painted maker’s marks 20cm high
£300-400
115
WEMYSS WARE
‘CHERRIES’ GORDON DESSERT PLATE
glazed earthenware, decorated Edwin Sandland, painted and impressed maker’s mark WEMYSS, 20.4cm diameter; together with ‘CHERRIES’ BISCUIT
JAR AND COVER, glazed earthenware, painted and printed maker’s mark WEMYSS, 11.5cm high (2)
£300-500
114
WEMYSS WARE
FOOTED ‘MIXED FRUITS’ COMPORT
glazed earthenware, painted by Edwin Sandland, painted maker’s mark WEMYSS
24.7cm diameter, 13.2cm high
Exhibited: London, Wemyss Ware, Rogers de Rin and Sotheby’s, 1976.
£400-600
116
WEMYSS WARE
TWO LARGE COMMEMORATIVE MUGS
one for Queen Victoria’s Diamond Jubilee inscribed ‘NAE SIC QUEEN WAS EVER SEEN’, impressed maker’s mark
WEMYSS WARE R.H.&S., painted monogram and printed retailer’s mark, 14cm high; an EDWARD VII LARGE MUG, inscribed ‘FEAR GOD HONOUR THE KING, ER 1906’, impressed maker’s mark WEMYSS, 14cm high (2)
£200-300
118
WEMYSS WARE
117
WEMYSS WARE
‘APPLES’ LOW KINTORE CANDLESTICK
glazed earthenware, impressed WEMYSS WARE 11cm high
£200-300
TWO NAPKIN RINGS
comprising ‘CABBAGE ROSES’ NAPKIN RING, glazed earthenware, impressed maker’s mark WEMYSS, 6cm high; and ‘DAFFODILS’ NAPKIN RING, glazed earthenware, impressed maker’s mark WEMYSS, 6cm high (2)
£200-400
119
WEMYSS WARE
‘COCKERELS AND HENS’ CUP AND COVER glazed earthenware, unmarked, 9.5cm high; with a ‘BLACK COCKEREL’ SAUCER, glazed earthenware, impressed maker’s mark WEMYSS WARE / R.H.&S., printed Thomas Goode & Co. retailer’s mark, 9.5cm high (2)
13cm diameter
£200-300
120
WEMYSS WARE
GROUP OF ‘BONJOUR BROWN AND BLACK COCKEREL’ PATTERN WARES
to include a LARGE ‘BROWN COCKEREL’ SIDE PLATE, glazed earthenware, painted mark WEMYSS, printed retailer’s mark, 21.5cm diameter; a ‘BLACK COCKEREL’ MILK JUG, painted mark WEMYSS, 10cm high; a ‘BROWN COCKEREL’ MILK JUG, impressed mark WEMYSS, printed retailer’s mark, 10.5cm high; a SMALL ‘BLACK COCKEREL’ MILK JUG, unmarked, 7cm high, each inscribed ‘BONJOUR’ (4)
£250-350
121
WEMYSS WARE
‘BROWN COCKEREL AND HENS’ WAVERLEY TRAY glazed earthenware, impressed maker’s mark WEMYSS
44cm wide
£300-500
122
WEMYSS WARE
LARGE MARMALADE CAT
glazed earthenware, with inset glass eyes, painted retailer’s mark
T GOODE, LONDON
32.5cm high
£3,000-5,000
123
WEMYSS WARE
TWO LARGE WEMYSS LOVING CUPS, ‘CABBAGE ROSES’ AND ‘PLUMS’
glazed earthenware, both with impressed maker’s mark WEMYSS, 24.2cm and 23.5cm high
£500-800
124
WEMYSS WARE
LARGE ‘PURPLE PLUMS’ MUG
glazed earthenware, painted and impressed maker’s mark WEMYSS 17.8cm high
£200-300
125
WEMYSS WARE ‘LEMONS’ PLATE
glazed earthenware, painted by Jo Nekola, painted maker’s mark WEMYSS, 23cm diameter; together with ‘STRAWBERRIES’ SIDE PLATE, glazed earthenware, impressed maker’s mark WEMYSS WARE/R.H.&S, 19.1cm diameter; and MEDIUM ‘APPLES’ PRESERVE JAR AND COVER, glazed earthenware, painted and impressed maker’s mark WEMYSS, 11.7cm high (3)
£300-500
126
WEMYSS WARE
GOOSE FLOWER HOLDER
glazed earthenware, impressed maker’s mark WEMYSS WARE, printed Thomas Goode & Co
21cm high
£200-300
128
WEMYSS WARE
TWO WEMYSS HAT PIN HOLDERS
glazed earthenware, each with red painted inscription ‘HAT PINS’, one painted with ‘BUTTERCUPS’, impressed and painted maker’s mark WEMYSS, paper exhibition label for Christie’s Glasgow, 1990; the other painted with ‘NARCISSI’, impressed maker’s mark WEMYSS, 14.7cm and 15.2cm high, together with a GROSVENOR VASE painted with ‘NARCISSI’, impressed maker’s mark WEMYSS, printed Thomas Goode & Co. retailer’s mark, 14.1cm high (3)
£250-350
127
WEMYSS WARE TWO PIPKINS
glazed earthenware, one painted with ‘CHERRIES’, with applied handles and spout, impressed maker’s mark WEMYSS, 19.5cm high; the other painted with ‘SWEETPEAS’, with one applied handle and spout, impressed maker’s mark WEMYSS, and a paper exhibition label for Christie’s, Glasgow, 1990, 13.3cm high (2)
£250-350
129 ��
WEMYSS WARE
‘LILY OF THE VALLEY’ FLEUR-DE-LYS VASE
glazed earthenware, with enamelled decoration, impressed maker’s mark
WEMYSS (drilled to base)
40.5cm high
£1,500-2,000
130
WEMYSS WARE
‘BEES AND HIVE’ HONEYCOMB BOX AND COVER WITH STAND glazed earthenware, decorated by Edwin Sandland, painted mark WEMYSS to tray, tray 19cm square; together with a ‘BEES AND HIVE’ SQUARE TRAY, glazed earthenware, decorated by Joe Nekola, painted mark WEMYSS, 19cm square (2)
£300-500
132
WEMYSS WARE
SMALL BLACK AND WHITE PIG
131
WEMYSS WARE
LARGE ‘BEES & HIVE’ MUG
glazed earthenware, painted by Williamson, impressed maker’s mark WEMYSS
14.5cm high
£300-500
glazed earthenware with sponged decoration, painted mark WEMYSS
15.5cm long
Provenance: The Rankin Collection, Sotheby’s 30th August 1995
£400-600
133
WEMYSS WARE
RARE ‘DACHSHUND’ BUTTON
glazed earthenware, probably painted by Karel Nekola, impressed maker’s mark WEMYSS
4.4cm diameter
Provenance: Sotheby’s, Gleneagles, 2005, lot 310
£600-800
134
WEMYSS WARE
SMALL YELLOW PIG
glazed earthenware, impressed maker’s mark
WEMYSS WARE R. H. & S.
16cm long
£400-600
135
WEMYSS WARE
SMALL GREEN PIG
glazed earthenware, impressed maker’s mark WEMYSS WARE R. H. & S. 16cm long
£250-350
136
WEMYSS WARE
SMALL BLACK PIG
glazed terracotta, unmarked
15.8cm long
Note: The body of these small black-glazed pigs are made in terracotta because the black glaze adhered better to this surface. The terracotta examples can be slightly smaller than the earthenware models, due to shrinkage.
£300-500
£2,000-3,000
WORKS OF ART INCLUDING FURNITURE & CERAMICS
138
PAIR OF SCOTTISH VICTORIAN AILSA CRAIG GRANITE
CURLING STONES
CIRCA 1887
blue hone granite with brass and wooden handles, the handles engraved with presentation inscription ‘Presented to Mr & Mrs T Hewat by the Jubilee Committee 1887’
26cm diameter, 18cm high
£400-600
139
TARTANWARE FAN, POSSIBLY BY CHARLES STIVEN, LAURENCEKIRK
19TH CENTURY
in a red and cream tartan, nineteen sticks bound by a cream ribbon with a mother of pearl mounted pin 24cm high, 42cm wide (open)
£800-1,200
140
SCOTTISH GRANITE TABLE COASTER, BY MIDDLETON
RETTIE & SONS, ABERDEEN
LATE 19TH CENTURY
the square fine grained grey granite mounted in a spelter border with acanthus corners and paw feet, set on a mahogany base with four brass casters and stamped ‘M.Rettie & Sons, Aberdeen’ 26cm square, 7cm high
£250-350
141
LATE VICTORIAN MAHOGANY AND PAINTED LEATHER THREE FOLD SCREEN
LATE 19TH CENTURY
the three rectangular mahogany leaves set with six painted leather panels depicting scenes of Aberdeenshire, each leaf 201cm high, 76cm wide
228cm long, 201cm high overall
Provenance: The Estate of the Late Robert Bogdan, formerly of Barra Castle, Aberdeenshire
£600-800
142
SIR HARRY LAUDER (SCOTTISH 1870-1950) WALKING STICK
EARLY
20TH CENTURY
a contorted hazelnut walking stick, reputedly previously belonging to and used by Lauder, featuring an inset circular metal disc (possibly a 1922 shilling) to the handle, engraved with Lauder’s name 90cm long
Provenance: Bought by the current vendor at Toovey’s, International Autograph Auctions Ltd, 14/12/2013, Lot 64, The walking stick was then accompanied by various typed statements etc., which stated that it was presented by Lauder to the American entertainer Danny Kaye in 1949. Apparently, Kaye later gave the stick to British comedian Roy Hudd who in turn donated it to a variety auction. Subsequently purchased by an unknown bidder, it was then presented to the Merseyside Artists Association, of which Ken Dodd was President, and displayed in their club in Liverpool, along with other Music Hall artifacts and ephemera.
When the club closed, many of the contents were sold at auction by Cato Crane of Liverpool which is where the then vendor acquired the walking stick in October 2004.
£300-500
143
GROUP OF TWELVE VERRE EGLOMISE TAVERN CHESSBOARDS
19TH
CENTURY
twelve designs in polychrome and gilt reverse painted glass, including examples with tartan designs, eleven mounted in frames, one mounted as a table with folding legs
the largest 70cm square (including frame)
£600-800
144
SCOTTISH GEORGE IV OAK WORKTABLE
EARLY
19TH CENTURY
the rectangular top with two rounded drop flaps, fitted drawer and sliding pleated pastel silk demi-lune basket below, all on a curved support on a tapering panelled square column and a concave quadripartite base with gadroon detail and scroll feet on brass casters
75cm wide [open], 76cm high, 46cm deep
£300-500
TWO WHITE PASTE RELIEF PORTRAITS BY JAMES TASSIE (SCOTTISH 1735-1799)
DATED 1791
depicting George Home and Allan Maconochie, each stamped with name, dated 1791 and ‘Tassie F’, each in a stained wood glazed oval frame mounted on a blue reverse painted glass backing, each 15cm high, 12cm wide; together with a CREAM WAX RELIEF PORTRAIT OF A GENTLEMAN, 19TH CENTURY, mounted in a circular ebonised glazed frame, 20cm diameter (3)
largest 20cm wide
Note: James Tassie was born in Pollokshaws, Glasgow. He trained first as a stone mason and then attended the Foulis Academy in Glasgow. Tassie moved to Dublin in 1763, where he learned how to make imitations of antique cameos. He invented a formula for a type of glass paste which he used for the rest of his life to make gems and portrait medallions. Tassie moved to London in 1766. His reproductions of antique gems were avidly collected by patrons as distinguished as Catherine the Great of Russia. He was also the leading portrait modeller in Britain, making around five hundred medallions of his contemporaries.
George Home (c1735-1820), was a Scottish lawyer and Principal Clerk of the Court of Session. Home was a member of the celebrated literary circle in Edinburgh that included Henry Mackenzie, and contributed articles to “The Mirror”. His family seat was Paxton House, built by Robert and James Adam in 1758, to which he added a spectacular picture gallery.
The Hon Allan Maconochie, Lord Meadowbank (1748–1816), was a Scottish advocate, academic jurist, judge and agriculturalist.
£300-500
PAIR OF SCOTTISH DUNMORE POTTERY ROUNDEL PLAQUES
19TH CENTURY
the turquoise-glazed plaques modelled in relief with female portraits, titled ‘Contadina’ and Josephine Bonaparte, first wife of Napoleon I, after a medallion by Pierre Jean David d’Angers, mounted inside ebonised and gilt round moulded frames
28cm diameter
£300-500
147
WEDGWOOD CREAMWARE TEAPOT AND COVER FROM THE ‘GORDON HIGHLANDERS SERVICE’ CIRCA 1809
the ovoid body with a straight spout, enamelled to either side with military emblems including a basket hilted broadsword, a sporran and a tartan plaid, the front rim of the teapot with the enamelled inscription ‘North Fencibles’ within a banner, below a spray of thistles, the cover with similar enamelled decoration including a dirk; enamelled with blue band rims throughout; impressed WEDGWOOD
12.5cm high, 21.5cm wide
Provenance: Previously sold by Mellors & Kirk, Nottingham,16th Sept 2015, lot 212
Note: The ‘Gordon Highlanders Service’ was commissioned by General George Gordon, 5th Duke of Gordon (1770-1836) when he was Marquess of Huntley for the 92nd (Gordon Highlanders) Regiment of Foot. Pieces from the service are illustrated in Williams, P, ‘Wedgwood A Collector’s Guide’, 1992, plate 76. See also the paper by Barbara Horn, ‘Ceramics Bills paid by Alexander, 4th Duke of Gordon’ (ECC Transactions, vol 15, No. 3, 1995, p. 435)
£1,200-1,500
148
SCOTTISH POTTERY TEAPOT ON STAND DATED 1907
PROBABLY UNMARKED WEMYSS WARE glazed in mazarine blue, with rustic handle and spout, each piece painted with white enamel decoration in the form of flowers and foliage, gilt highlights, the teapot inscribed ‘From M.Steele / To Mr & Mrs Imrie / Married / 6th Decr 1907’ and ‘We’ll tak a cup o’ kindness / For Auld Lang Syne’ teapot 16cm high, stand 18cm diameter
£300-400
149
SCOTTISH EAST COAST POTTERY PLAQUE
EARLY 19TH CENTURY
moulded with a ram, with further green glazed moulded tree and foliate decoration, within a rectangular moulded frame with mottled brown glaze
23.4cm high, 32.2cm wide
£300-500
SCOTTISH EAST COAST POTTERY PLAQUE EARLY 19TH CENTURY
moulded with a ram, with further green glazed moulded tree and foliate decoration, within a rectangular moulded frame with mottled brown glaze
23.2cm high, 31.9cm wide
£300-500
152
THREE WEDGWOOD CREAMWARE PLATES FROM THE GORDON HIGHLANDERS SERVICE
CIRCA 1809
each painted to the centre with a regimental device including a targe, a broadsword and sporran, and a dirk and tartan plaid; the rim of each with a band of thistle decoration within blue bands; impressed WEDGWOOD 19.7cm diameter
Note: The ‘Gordon Highlanders Service’ was commissioned by General George Gordon, 5th Duke of Gordon (1770-1836) when he was Marquess of Huntley for the 92nd (Gordon Highlanders) Regiment of Foot. Pieces from the service are illustrated in Williams, P, ‘Wedgwood A Collector’s Guide’, 1992, plate 76. See also the paper by Barbara Horn, ‘Ceramics Bills paid by Alexander, 4th Duke of Gordon’ (ECC Transactions, vol 15, No. 3, 1995, p. 435)
£500-700
151
PAIR OF LARGE SCOTTISH POTTERY
FIREPLACE SPANIELS
POSSIBLY LINKS POTTERY, KIRKCALDY, CIRCA 1810 modelled seated with brown glaze, on an oval plinth base with green and brown mottled glaze, unmarked 43cm high
£1,200-1,600
153
EDINBURGH PANORAMA
ILLUSTRATED LONDON NEWS
Hand-coloured panorama by E.K. Johnson [Supplement to the Illustrated London News, July 8, 1848], 49 x 106cm, a few small closed tears and repairs
£400-500
155
SCOTTISH POTTERY MARRIAGE BOWL ABERDEEN, LATE 19TH CENTURY
the redware body with slip cut and sgraffito decoration in the form of flowers including roses, thistles and shamrocks, impressed to the centre ‘W & M MCLEAN’, the base impressed ‘ALEXANDER HILLCOAT POTTERY TORRY’
37.4cm diameter
Note: This bowl was probably made in his spare time by a worker at one of the local brickworks in Torry, which is an area just south of the River Dee in Aberdeen.
£300-500
SCOTTISH POTTERY EAST COAST FIGURE OF A EARLY 19TH CENTURY, PROBABLY RATHBONE’S,
modelled standing in a tartan plaid and kilt, wearing a tam o’Shanter with feather, holding a horn snuff mull in his right hand, his left hand on his hip, with a dirk and a flintlock pistol and wearing a fox head sporran, with red checked socks, standing on a naturalistic ground, unmarked
This figure was on loan to the National Museum of Scotland, Edinburgh, from 2006 and has a hand written museum inventory number on the base (IL.2009.41.3).
A similar example was offered at Phillips, Edinburgh, European Ceramics and Glass, May 17th 1996, lot 271.
TWO SEATON POTTERY BOWLS
LATE 19TH CENTURY
each centered with a stylised flower head motif and with slip cut stylised designs throughout, one inscribed and dated ‘Mrs Thomson, Cothel Mill, Oct 24th 1888’, 37.5cm diameter, the other inscribed ‘Mrs Anderson, Pott of Ravne, Aug 27th 1894, 40.4cm diameter
£300-500
in the manner of Wheeler of Arncroach, with carved scroll top rails above pierced splats, one with a drop-in seat with needlework cover, raised on square section tapering legs linked by stretchers; together with a similar STAINED BEECH GOSSIP CHAIR, with a pierced splat, drop-in tan leather covered seat (3) the pair 46cm wide, 78cm high, 39cm deep
£300-500
158
PINE FRAMED ORKNEY CHAIR
LATE 19TH / EARLY 20TH CENTURY
with curved arms with scrolled terminals, with a fixed plank seat raised on square tapered legs joined by stretchers
60cm wide, 107cm high, 40cm wide
Provenance: The Estate of the Late Robert Bogdan, formerly of Barra Castle, Aberdeenshire
£400-600
159
SCOTTISH MAHOGANY LONGCASE CLOCK, BY H. CONNELL, GLASGOW
MID 19TH CENTURY
gilt painted 13in. circular dial with Roman hours chapter and subsidiary seconds and calendar dials, signed H. CONNELL GLASGOW; the hood with scrolling carved foliate pediment above a moulded cornice, the dial opening flanked by bobbin turned corner mouldings, above an arched and crossbanded trunk door flanked by further bobbin turnings, on a moulded panel plinth raised on turned feet; the 8 day twin-train movement striking a bell
204cm high, 54cm wide, 25cm deep
£300-500
160
SMALL OAK FRAMED ORKNEY CHAIR
EARLY 20TH CENTURY
with curved beech arms with scrolled terminals, with a lift out woven rush seat raised on square tapered legs joined by stretchers
84cm high, 53cm wide, 44cm deep
£300-500
161
SET OF THREE OAK GOSSIP CHAIRS BY WHEELER OF ARNCROACH
19TH CENTURY
with carved curved top rails centred by a scalloped detail, above pierced splats, with a drop-in embossed tan leather seat with design of birds and flowers, raised on square section tapering legs linked by stretchers
50cm wide, 99cm wide, 43cm deep
£300-500
162
SCOTTISH
VERNACULAR ELM HIGH COMB BACK WINDSOR CHAIR
19TH CENTURY
of a Darvel or West Highland type, the bow on nine thin spindles, the elm wishbone arms each on four short spindles, the panelled D seat on turned legs united by an X stretcher 108cm high, 60cm wide, 52cm deep
Note: See Scottish Vernacular Furniture, Thames & Hudson, London 2008, Bernard D. Cotton, figure 356, page 203; for a late 18th / early 19th century chair of very similar form
£300-500
163
TWO PAINTED CAST IRON ‘HIGHLANDER’ DOORSTOPS
19TH CENTURY
modelled as figures of Highlanders in uniform leaning on naturalistic bases holding either a spear or halberd
40cm high, 32cm wide
£300-500
164
TWO MAUCHLINE WARE SNUFF BOXES
19TH CENTURY
the larger oak box made from ‘Oak from the spire of St. Nicholas Church, Aberdeen, Built 1477, Burnt 1874’, manufactured by Smith of Mauchline; the smaller sycamore box with a penwork panel to the lid depicting a crown and hammer with motto ‘By hammer in hand all arts do stand’, both with remanence of foil lining the larger 10cm long
£300-500
166
LARGE SYCAMORE MAUCHLINE WARE SNUFF OR VANITY BOX, BY A HARDIE, DALGONER CIRCA 1819
165
TARTANWARE PRESENTATION SNUFFBOX
CIRCA 1837
the lid with the boot and shoe maker’s crest to the front and motto, the base with plaque ‘ Presented to Mr Geo Kirkhop, Boot & Shoe maker, Kilmarnock, by his operatives in Mauchline 1837’, remanence of foil lining 9.5cm long, 6.5cm wide
£400-600
the lid, sides and base showing pen and ink work panels relating to Robert Burns and also the proposed canal stretching from Newcastle to Carlisle, signed below the panel of the Burns Mausoleum to the base, the interior lined in pink silk on card with a small mirror mounted to the lid 13cm long, 6.5cm wide
Note: There are likely less than a handful of snuffboxes in this style which have been signed by the decorator
£600-800
167
OAK MAUCHLINE WARE SNUFFBOX, BY SMITH OF MAUCHLINE
19TH CENTURY
the lid with penwork inscription ‘Part of the Pulpit of Mauchline Kirk, founded AD 1160’, remanence of foil lining
8.5cm long, 5cm wide
£300-500
SYCAMORE MAUCHLINE WARE WORKBOX, BY
CHARLES STIVEN, LAURENCEKIRK
CIRCA 1830
a very faint ink inscription to the right of the lock, the top and sides with penwork scenes including Loch Ard, Abbotsford, Holyrood Palace, Dunstafnage, Dunnottar, Craigcreek and Bothwell Castles, the fitted interior with a lift out compartmentalised tray, the lids decorated with wildfowl
30.5cm wide, 10.5cm high, 20cm deep
£500-700
169
RARE OAK MAUCHLINE WARE DUAL SNUFFBOX CARDCASE EARLY 19TH CENTURY
the lid with inscription ‘Part of the original water wheel of the Catrine cotton works, Erected 1787’, on the reserve the inside the lid of the card case section is a poem about the wheel, reputedly written by the then accountant of the works
9cm long, 6.5cm wide
£400-600
170
MAUCHLINE TOWN AND DISTRICT BY J. TAYLOR GIBB
MAUCHLINE
CIRCA 1912
published by Carson & Nicol, Limited, 12 & 14 Bath Street Glasgow, bound in ‘McPherson’ tartanware boards and maroon moire silk endpapers, manufactured by Smith of Mauchline 23cm high, 16cm wide
£300-500
172
MONART LARGE GLASS VASE
CIRCA 1930-40
171
PAIR OF ENGRAVED GLASS DECANTERS AND STOPPERS, HOLYROOD GLASSWORKS, EDINBURGH
LATE 19TH CENTURY
the ovoid body of each engraved with stylised borders and a heraldic lion passant; on four scroll feet surmounted by lion head prunts
26cm high, 12cm diameter
£300-500
Shape D, Size V, of tapering form with short flared neck, with mottled heather, blue and brown body
25.5cm (10 inch) high
£300-500
173
JOHN KNOX INTEREST VICTORIAN JACOBETHAN REVIVAL CARVED OAK CHAISE LONGE
LATE 19TH CENTURY, INCORPORATING EARLIER ELEMENTS
one curved arm with a sloping partial back, the frame carved in earlier oak with rich egg and dart borders, upholstered in teal upholstery, on bobbin turned legs with brass castors, the end of the arm set with a silver plaque ‘Oak from the house in Edinburgh erected 1490, occupied by John Knox from 1559 till his death 24th November 1572’
£400-600
174
SCOTTISH AESTHETIC PERIOD BURR WALNUT, EBONY, AND SYCAMORE CHEST OF DRAWERS, BY ALEXANDER MACKENZIE & CO., GLASGOW
THIRD QUARTER 19TH CENTURY
the top with an ebonised moulded edge above three short panel drawers marked at the corners with rosettes and centred by flower head carved knobs, over four further graduated long drawers similarly arranged, raised on a slight shaped plinth base, the back with stencilled trade label ‘ALEXANDER MACKENZIE & CO./ Upholsters and Manufacturers of Furniture And PARQUET FLOORING 87 & 89 BUCHANNAN STREET, GLASGOW’
120cm wide, 122cm high, 56cm deep
£400-600
175
PAIR OF AUSTRIAN TAXIDERMY ANTLER CHAIRS
LATE 19TH CENTURY
the backs formed from a pair of antlers above hide covered moulded seats, raised on deer leg supports joined by further antlers (2) 39cm wide, 90cm high, 46cm deep
£500-800
176
UNUSUAL SCOTTISH INTEREST
AMERICAN WALL CLOCK 19TH CENTURY
made by Chauncy Jerome, New Haven, Connecticut, the painted cream enamel dial with Roman numerals, the rectangular case with wide moulded frame, the trunk door set with a reserve painted glass scene of a ‘View of St Georges Street, Edinburgh’, the twin train movement striking a coiled gong, a paper manufacturers label to the interior
77cm high, 43cm wide, 11cm deep
£300-500
177
PAIR OF SCOTTISH CAST IRON TOLEWARE WEIGHING SCALES, JOHN WHITE & SON, AUCHTERMUCHTY
LATE 19TH CENTURY
the frame and balance with black, blue and gilt painted surface, the balance beam with painted signature ‘J.White, To Weigh 1lb, & Son / Makers, Class 1, A, Muchty’, supporting two brass pans
71cm high, 37cm wide, 13cm deep
Note: John White, a blacksmith from Auchtermuchty, produced a particularly fine example of a ‘Dutch-end’ beam scale in 1715. The company continued to innovate and is still running to the present day as John White & Son Precision Weighing Solutions.
£300-500
SCOTTISH COINS & MEDALLIONS
178
WILLIAM I ‘THE LION’, PENNY
Crescent and Pellet coinage, S.5023
£200-300
179
WILLIAM I ‘THE LION’, PENNY
Crescent and Pellet coinage poorly stuck and irregular flan, portrait good; together with two short cross and star pennies also of William I (3)
£300-500
180
AN ALEXANDER II PENNY
S.5035, Roxburgh Mint well defined portrait
£250-350
181
ALEXANDER III, FIRST COINAGE PENNY
Together with two long cross second coinage pennies (3)
£250-350
182
ROBERT BRUCE PENNY
S.5076, well struck round flan VF or better
£250-350
183
ROBERT BRUCE PENNY
S.5076, well VF or better
£250-350
184
TWO DAVID II THIRD COINAGE, GROATS
S.5125, good portrait and detail some areas of weakness F or better; together with a Robert III Groat S.5164 (?) with good portrait VF (3)
£300-500
185
DAVID II SECOND ISSUE, PENNY
S.5087 F or better; together with a James V Third Groat S.5380 pierced but otherwise VF; James III Main Issue groat S.5287; and four James VI Quarter Merks; two James IV Billion Pennies and two James II ‘Bishop Kennedy’ Pennies (qty)
£300-500
186
ROBERT III HEAVY COINAGE, LION
S.5154, holed, otherwise well struck and clear detail
£1,000-1,500
187
JAMES I, 1601 SWORD AND SCEPTRE
S.5460, VF or better
£2,000-3,000
188
JAMES
I (AFTER ACCESSION TO ENGLISH THRONE), SHILLING
S.5506, VF or better; A James VI 1602 Thistle Merk and 1602 Half Thistle Merk (3)
£250-350
189
A JAMES I GROAT
S.5195 (?), portrait worn but edge detail more visible; together with a James III Groat, Light Issue S.5273(?) (2)
£400-600
190
JAMES I, 1601 SWORD AND SCEPTRE
S.5462, VF
£1,200-1,800
191
JAMES III 1475-83 ISSUE, HALF-RIDER
S.5260, VF
Provenance: Ex Lockett Collection
£2,000-3,000
192
JAMES V FIRST COINAGE, HALF UNICORN
S.5366 Crack to flan, otherwise VF
£800-1,200
193
JAMES V FIRST COINAGE, UNICORN
Without countermark, S.5364, VF or better
£2,500-3,500
194
TWO JAMES V SECOND COINAGE, GROATS
S.5378 both with good portraits and well struck VF or better (2)
£500-800
195
JAMES VI SEVENTH COINAGE 1598 TEN SHILLING
S.5493, with good portrait but uneven edge overall VF; James VI seventh coinage 1599 five shilling S.5494 F; James VI second coinage 1577 Half Merk S.5478 well struck VF; James VI second coinage 1574 Quarter Merk S.547 F; together with three James VI Quarter Thistle Merks and a James Bawbee (8)
£500-800
196
JAMES VI FOURTH COINAGE, 1582 TWENTY SHILLING
S.5489, clearly struck and good portrait VF
£400-600
197
JAMES VI FIRST COINAGE, 1571 RYAL
S.5472 with 1578 revaluation countermark, coin VF countermark better
£500-800
198
MARY QUEEN OF SCOTS AND HENRY DARNLEY, 1566 RYAL
S.5425, with James VI 1578 revaluation countermark, some engraved graffiti to coin to detail of palm tree, lion and thistles
£300-500
199
A COLLECTION OF CHARLES II SCOTTISH COINS
To include two merks 1670, 1671, a half merk 1671; a Quarter Dollar 1676 and two Eight Dollars 1680; three Bawbees dated 1677, 1678, 1679; a James II 1687 Ten Shilling and two Charles I Tuners / Bodles (12)
£300-500
200
MARY QUEEN OF SCOTS, 1567 TWO-THIRDS RYAL
S.5430, with James VI 1578 revaluation countermark, coin VF, countermark better
£400-600
201
MARY QUEEN OF SCOTS AND FRANCIS 1599 TESTOON
S.5416, with James VI 1578 revaluation countermark coin F countermark better; together with 1599 (?) Half Testoon S.5419 pierced and uneven edge with loss of some detail and a Twelvepenny Groat
S.5448, F (3)
£250-350
202
MARY QUEEN OF SCOTS AND HENRY DARNLEY, 1565 ONE-THIRD RYAL
S.5427, with James VI 1578 revaluation countermark, coin VF, countermark better
£300-500
203
MARY QUEEN OF SCOTS, PENNY
S.5440 obverse F reverse better; together with two half testoon one 1557 other date obscured; three First Period Bawbees S.5432 and two Lions S.5445 (8)
£350-500
204
A SCARCE MEDALLION / TESTOON COMMEMORATING THE DEATH OF FRANCIS II OF FRANCE
circa 1560, with Royal arms of Francis and Mary to obverse and crown rising to heaven on reverse dated 1560
£150-250
£300-500 206 207
205
MARY QUEEN OF SCOTS, 1557 TESTOON
S.5406 VF with some weak points; together with 1558 Half Testoon S.5413 with James VI 1578 revaluation countermark coin VF countermark better and a First period Stirling (struck for Mary of Guise in 1544) F or slightly better (3)
£300-500
206
CHARLES I, THIRD COINAGE, SIXTY SHILLING
S.5552, F / VF flan a little uneven
£300-500
207
A CAST COPY OF THE BATTLE OF DUNBAR MEDALLION
Obverse bust of Oliver Cromwell, reverse a view of the long parliament 35mm x 30mm, 17.9g
208
A WILLIAM & MARY, 1691 FORTY SHILLING
S.5649, edge TERTIO, AVF; together with a William III 1695 Forty Shilling S.5681 edge OCTAVO AVF (2)
£300-400
209 A COLLECTION OF COINS
To include a William & Mary 1689 halfcrown, William & Mary Scottish 1692 ten shilling, a small group of James VI, Charles I hammered silver coins, and various base metal issues; together with four Edward I pennies and halfpenny from the Berwick mint (qty)
£300-500
210
QUEEN ANNE, EDINBURGH
MINT 1707 CROWN
With E below bust, edge SEXTO, VF; together with a 1708 Edinburgh mint halfcrown F S.5710 and a 1707 Edinburgh mint shilling F S.5712 (3)
£200-300
211
A SILVER-GILT MEMBERSHIP MEDAL FOR THE BEGGAR’S BENISON CLUB
ANSTRUTHER, LATE 18TH CENTURY
Of oval form, the obverse with the nude figures of Adam and Eve standing with their hands joined, with a lion at Adam’s feet, beneath the inscription ‘BE FRUITFUL AND MULTIPLY’, the reverse with the nude figure of Venus reclining before a tree, Cupid at her side and the nude figure of Adonis with a spear standing before them, his dog seated to the left, all beneath the inscription ‘LOSE NO OPPORTUNITY’
4.3cm high (including suspension loop)
Note: This medal was made for members of ‘The Most Ancient and Most Puissant Order of the Beggar’s Benison and Merryland’. The archive and main collection of which is now held at St. Andrews University as it was formed in 1732 and founded in 1739 in Anstruther, near St. Andrews in Scotland. With only male members, the club focused on erotica and in particular ‘the convivial celebration of male sexuality’ although some women were invited as ‘posture girls’ to be ogled’. The club met twice a year on Candlemas and St. Andrew’s Day where members dined in their green silk sashes and wore their medals. It is suggested that there were elite members of society admitted to the club, on the 29th March 2011, Bonhams, London, New Bond Street offered lot 402, which included a diploma, thought to be a double entendre travesty of a Ship’s Licence, was presented to the Prince Regent just ten days before attaining his twenty-first birthday which has long been presumed as his membership.‘By the supereminently Beneficient and superlatively Benevolent Sir James Lumsdaine of Innergellie Sovereign of the most Ancient and most Puisant Order of the Beggars Benison and Merryland, in the Twelfth Year of His Guardianship [gap for insertion] and in that of the Order 5783’…’…We Do hereby create, admit and receive His Royal Highness a Knight Companion of the most Ancient and most puisant Order of the Beggars Bennison and Merryland, with our full powers and priviledges of Ingress, Egress, and Regress from and to, and to and from all the Harbours, Creeks, Havens and Commodious Inlets upon the Coasts of Our said extensive Territories at His Royal Highness’s pleasure and that without payment of Toll Customes or any other Taxes or Impositions whatever’The medallions come in three metals, silver, silvergilt and one example recorded in gold, which has also been conjectured to have been presented to the Prince Regent with the Diploma of membership. The club was eventually dissolved in 1836.
Literature: David Stevenson, Beggar’s Benison, 2001
£600-800
A RARE 18TH CENTURY JACOBITE ‘KING OVER THE WATER’ WINE GLASS
the bucket bowl engraved with open rose head flanked by a single closed bud and foliage, raised on a short section of stem with double twist spiral, set into a turned wooden foot
12.5cm overall height
Note: A handful of deliberately broken Jacobite glasses are recorded. Some preserved with the addition of a simple wooden foot such as this and, indeed, one exists with a silver foot added by Jacobite silversmith Patrick Murray of Stirling.
Tradition tells that it was not uncommon to break the stem of such important glasses after receiving a toast to the health and prosperity of the King over the Water. By breaking the stem, it meant no lesser toast could be celebrated with the glass.
The act of giving such toasts within close quarters of friends and Jacobite supporters was considered a safe but public way to show support, giving or receiving such a toast a safer way to support than on the battlefield and became engrained in the culture of the period. In less open company it is said that Jacobites in company of Hanoverian supporters when giving or receiving the toast to ‘The King’ would pass their glass over the punch bowl to signify their Jacobite support for King James or Prince Charles ‘over the water’ in France.
For an example from the famed Fingask Castle collection reputedly last used by Prince Charles Edward Stuart to toast the uprising and was ceremonially broken by Threipland see ‘Jacobite, Stuart and Scottish Applied Art’ Lyon & Turnbull 13th May 2015 lot 5 (sold £7,000).
It seems possible this glass has a similar tradition, but sadly now lost, to preserve a glass such as this it must have had importance to the original 18th century owners.
£600-900
214
213 A FINE JACOBITE WINE GLASS
18TH CENTURY
the round funnel bowl engraved with a six petal rose and a closed bud on a leafy stem, raised on a reeded collar with double knopped stem, the upper knop with multiple tear drops the lower knop with single large tear drop, raised on a conical spreading circular foot 16.3cm high, diameter of bowl 7.1cm
£700-900
PAIR OF CONTINENTAL JACOBITE COLOUR TWIST SODA GLASSES
18TH CENTURY
the drawn trumpet bowls finely engraved with open rose head flanked by open and closed buds within foliage, the reverse with large moth, raised on a slightly tapered stem with intricate white enamel twist surrounded by a double red and white enamel twist (2) 18.7cm high, diameter of foot 6.8cm
Note: This pair of rare glasses is unusual in not only shape and form but more so due to the mixed red and white enamel stems. Although coloured stems in drinking glasses are not uncommon, to find any coloured stems in Jacobite glass, let alone two colours, is remarkable. In Seddon’s ‘The Jacobite’s and Their Drinking Glasses’, he recorded 436 Jacobite drinking glasses, of these only seven are listed with coloured stems. For an important set of six glasses likely from the same engraver see Lyon & Turnbull ‘Fine Furniture & Works of Art’ 2nd May 2018 lot 10 (sold for £5200)
£1,200-1,800
215
ENGRAVED JACOBITE GLASS CIRCA 1760
the ogee bowl engraved with a ten petal rose and a bud issuing from a thorny stem, also engraved with a thistle and leaves issuing from the same stem; on an opaque twist stem, and round conical foot
14.2cm high
£500-800
216
A JACOBITE AIR TWIST ‘FIAT’ GLASS 18TH CENTURY
the flared trumpet bowl engraved with a six petal rose flanked by an open and a closed bud, and to the reverse with an oak leaf, inscribed ‘Fiat’, raised on an air twist stem, over a round conical foot
16.2cm high
£1,000-1,500
217
SET OF ELEVEN CONTINENTAL OPAQUE TWIST SODA GLASSES WITH JACOBITE STYLE ENGRAVING
18TH CENTURY
each with a bell shaped bowl engraved with an open flower and buds on a leafy stem and a moth to the reverse, raised on an opaque twist stem and round conical foot (11) approximately 14cm - 14.5cm high
Provenance: Previously sold at Taylors of Montrose, 4th April 2022, lot 3308. The purchase invoice confirms that the glasses are from Brechin Castle, Angus.
£800-1,200
218
A PAIR OF JACOBITE WINE GLASSES
MID 19TH CENTURY
the round funnel bowl engraved with a six petal rose flanked by an open and closed bud, the reverse with an oak leaf, thistle and star, raised on an air twist stem and conical foot (2)
15.8cm high, diameter of foot 6.5cm
£800-1,200
219
LARGE PLAIN STEM WINE
GLASS OF JACOBITE INTEREST
18TH CENTURY
the flared funnel bowl engraved with a band of flowers including a closed bud and two insects, over a plain stem, on a round conical foot
18.1cm high
£600-800
220
JACOBITE AIR TWIST WINE GLASS
18TH CENTURY
the bell shaped bowl engraved with a rose and a bud on a thorny stem, raised on an air twist stem, over a round conical foot
17.5cm high
£500-800
221
LARGE OPAQUE TWIST GLASS OF JACOBITE INTEREST
18TH CENTURY
the generous round funnel bowl engraved with a rose, moths, a daffodil, a carnation and insects, on a multi-spiral opaque twist stem, on a conical circular foot
19.5cm high
£400-600
222
OPAQUE TWIST GLASS OF JACOBITE INTEREST
18TH CENTURY
the round funnel bowl engraved with a six petal flower and a moth to the reverse, raised on an opaque twist stem, over a round conical foot
15.1cm high
£600-800
223
A CONTINENTAL ‘FRIENDLY HUNT’ FIRING GLASS OF JACOBITE INTEREST
MID 18TH CENTURY
the soda glass with a round funnel bowl engraved ‘The Friendly Hunt’, with a leafy sprig, raised on a plain stem and a heavy round foot
11.2cm high
Note: For a similar example see Fine Glass & British Ceramics, Bonhams 13th December 2023 lot 106
£400-600
224
A JACOBITE OPAQUE
TWIST GLASS
18TH CENTURY
the small ogee bowl with engraved rose head flanked by bud and foliage, the reverse of the bowl with a bird in flight, raised on a multi-spiral enamel twist stem and conical circular foot 14cm high, diameter of foot 6.5cm
£300-500
226
LARGE JACOBITE AIR TWIST
ALE GLASS
18TH CENTURY
the tall round funnel bowl engraved with a six petal rose flanked by an open and a closed bud, on a thorny stem, raised on a double knopped air twist stem, over a round conical foot
20.3cm high
£800-1,200
225
A DIMINUTIVE JACOBITE WINE GLASS
18TH CENTURY
the drawn trumpet bowl engraved with displayed six petal rose flanked by an open and closed bud, the reverse of the bowl with an oak leaf, raised on a short tapered air twist stem and slightly conical circular foot 12.3cm high, diameter of foot 6.8cm
Note: Although Jacobite wine glasses with drawn trumpet bowls and air twist stems are well recorded, no comparable to this unusually short stem can be found in the standard reference works.
For a similar glass but of standard proportions see ‘The Jacobites and their Drinking Glasses’ G Seddon, plate 25 within the Drambuie Collection. Also, for a diminutive glass but with double knopped stem see Lyon & Turnbull ‘Scottish Works of Art & Whisky’ 16th August 2023 lot 350 (sold for £3500).
£700-900
227
A JACOBITE AIR TWIST ‘FIAT’ GLASS
18TH CENTURY
the round funnel bowl engraved with a six petal rose, flanked by an open and closed bud, on a thorny stem, also engraved with an oak leaf and a star, inscribed ‘Fiat’, raised on a double knopped air twist stem, over a round, conical foot
16.1cm high
£800-1,200
228
A JACOBITE PLAIN STEM WINE GLASS
18TH CENTURY
the flared trumpet bowl engraved with a six petalled rose on a thorny stem, flanked by an open and closed bud, and to the reverse with a thistle below a star, raised on a plain teardrop stem, on a round folded foot
15.6cm high
£1,000-1,500
229
AN ENGRAVED JACOBITE WINE GLASS
18TH CENTURY
the bell shaped bowl with engraved rose head and bud, the reverse with a stylised star with a rose head within, raised on an air twist stem and conical circular foot
16.5cm high, diameter of foot 6.8cm
Note: The unusual style of the engraved rose head is the unique pattern attributed to Engraver G as described in ‘The Jacobites and their Drinking Glasses’ G Seddon.
The unusual star engraved to the reverse of the bowl is either a representation of the Garter star associated with the Most Noble Order of the Garter (some rare Jacobite glasses are recorded with this), of which Charles Edward Stuart was a member, or a star and rose combining two known emblems.
£500-800
230
A JACOBITE ENAMEL TWIST CONTINENTAL SODA GLASS
18TH CENTURY
the deep funnel bowl engraved with displayed rose head flanked by twin closed buds and foliage, raised on a short cylindrical stem with bold white enamel twist and a domed circular foot
14.2cm high, diameter of foot 5.6cm
£400-600
231
A JACOBITE OPAQUE TWIST
WINE GLASS
18TH CENTURY
the drawn trumpet bowl with engraved six petal rose flanked by an open and closed bud on a leafy stem, the reverse with engraved moth, raised on a multi-spiral opaque twist stem and a conical circular foot
16.2cm high, diameter of foot 7cm
Note: Although this style of glass is encountered with some regularity (see lot 216) they are predominantly found in combination with air twist stems. Finding an example with an enamel twist, and of such high quality, appears rare.
Looking at the style of engraving to the moth and rose head, it seems likely this glass was engraved either Engraver B/C or F as described in ‘The Jacobites and their Drinking Glasses’ G Seddon.
£800-1,200
232
LARGE JACOBITE OPAQUE
TWIST GLASS
18TH CENTURY
the generous ogee bowl engraved with a six petal rose, an open bud and a closed bud, and to the reverse with a carnation with buds, raised on a multispiral opaque twist stem and a round conical foot
17.5cm high
£300-500
233
A LARGE JACOBITE GLASS
19TH CENTURY
the bell shaped bowl engraved with a seven petal rose head flanked by two open buds, raised on an air twist stem with conical foot and folded rim 19cm high, diameter of foot 7.8cm
Note: For an example with similarly engraved motifs and with similar shaped bowl by engraver C in the Drambuie Collection see also ‘The Jacobites and their Drinking Glasses’ G Seddon, colour plate 21.
For similar examples, Lyon & Turnbull ‘Scottish Silver & Applied Arts’ 15th August 2018, lot 566 (sold for £1,875) and Bonhams ‘British & European Glass’ 13th May 2013, ex Chris Crabtree Collection lot 112 (sold for £3,125)
£400-600
234
A JACOBITE WINE GLASS
18TH CENTURY
with drawn trumpet bowl engraved with displayed rose head flanked by open and closed buds, the reverse of the bowl with oak leaf and star, raised on a slightly tapered air twist stem and conical circular foot
14.6cm high, diameter of foot 7cm
Note: For a similar glass of slightly larger form see Lyon & Turnbull ‘Scottish Works of Art & Whisky’ 18th August 2021, lot 322(sold for £2500)
£600-800
235
PAIR OF JACOBITE STYLE SYLLABUB GLASSES
19TH CENTURY
the bowl of each of ogee form with fluted lower section, engraved with a six petalled rose and a closed bud, an oak leaf, an opening bud, a star and inscribed ‘Fiat’, on a single knopped stem and round foot 12cm high
£600-800
JACOBITE & STUART WORKS OF ART
236
AFTER ALEXIS SIMON BELLE (FRENCH 1674-1734)
PORTRAIT OF KING JAMES
VIII AND III
In a feigned oval, oil on canvas
74cm x 61cm (29in x 24in), oval
£400-600
237
AFTER LOUIS TOCQUÉ
CHARLES EDWARD STUART
Oil on canvas
75cm x 61cm (29.5in x 24in)
£500-700
238 Y
LARGE PORTRAIT MINIATURE OF MARY QUEEN OF SCOTS 19TH CENTURY
probably painted on ivory or vellum, showing a full length portrait of the queen, mounted in a gilt slip and gilt gesso frame, handwritten ink inscription to the backing paper verso miniature 19cm high x 14.5cm wide, 32cm high x 28cm wide including frame Note: Based on the transcribed inscription to the back of the frame, this miniature is an inverted copy of the full length portrait of Mary Queen of Scots by Daniel Mytens (c.1590-1647) painted circa 1627 (The Royal Collection, RCIN 401182). That painting was one of several portraits that were owned by Charles I of his paternal grandmother. It was based on several earlier portraits of Mary Queen of Scots dated from more than twenty years after her execution in 1587 during the reign of her son James. One being a now three quarter length portrait believed to have been cut down from full length (National Portrait Gallery, London, Accession number NPG 429), that was once in the Royal Collection. Although this portrait was once thought to be later, recent analysis of the panel support has dated the wood to the midsixteenth century, indicating that it was made during her lifetime. Another full length portrait by an unknown artist circa 1610 (Scottish National Portrait Gallery, Accession number PG 1073), may be a copy of the former. These portraits in turn based Mary’s features on miniatures painted during her imprisonment in England, most likely her two likenesses by Nicholas Hilliard (1547-1619) (The Royal Collection, RCIN 420641 and Victoria & Albert Museum P.24-1975). This type of portrait is associated with the efforts of Mary’s son, James VI and I, to rehabilitate his mother’s reputation. Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference D5ZGZ9YR
£400-600
19TH CENTURY SCOTTISH SCHOOL
PORTRAITS OF COLIN CAMPBELL OF GLENORCHY AND HIS WIFE
KATHERINE RUTHVEN
oil on panel, paper labels verso stating ‘Brought to Taymouth Castle, From the Marquis of Breadalbane Apartments Holyrood Palace, May 16th 1860’
with partial Wheildon-type glaze, of scalloped form, the press moulded border with basket weave and flower head designs within a gadrooned rim, painted to the centre with a portrait of Bonnie Prince Charlie wearing a harlequin cloak, flanked to either side by the initials P and C, within a brightly enamelled laurel wreath border
24cm diameter
£500-700
240
19TH CENTURY SCOTTISH SCHOOL HALF LENGTH PORTRAIT OF CHARLES STUART, ‘BONNIE PRINCE CHARLIE’ oil on board
30cm x 23.5cm (12in x 9.25in)
£800-1,200
242 Y
AN 18TH CENTURY QUEEN ANNE SUPPORTER’S RING UNMARKED
the oval portrait miniature on ivory depicting Queen Anne, in a simple mount with scalloped back, the shank with graduated beaded detail to shoulders
Ring size: H/I
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference ZEBKGDD8
£2,000-3,000
A MID 18TH CENTURY MOURNING RING
the facetted rock-crystal encasing braided hair detail, the band of scalloped outline with black enamel detail reading Dr Pat K Haldane: OB 23.JAN 1761
Ring size: J
Note: Dr. Patrick Haldane was baptised at Kilmadock 30th March 1712. He was born into a staunch Jacobite family and, while his sympathies are not well recorded, his father and brother’s service within some of the most iconic Jacobite regiments is well known.
His father, John Haldane of Gleneagles was born c.1674, he served in both 1715 and 1745, in the ’45 serving under William Boyd 4th Earl of Kilmarnock’s Cavalry. After the defeat at Culloden and his escape to the continent however he is listed as having served in the Life Guards, suggesting he additionally served under Lord Elcho or Lord Balmerio’s prestigious regiments.
He would be exiled for nearly 20 years, surviving his two sons dying in 1765.
Patrick’s, only and elder brother Alexander was born in 1704 and in the ’45 served as a Captain under his father. Again, some confusion surrounds exactly which regiment/s he served as he is also mentioned as serving in the Regiment Royal Ecossais, or the Jacobite Royal Scots. He died unmarried in 1764.
Patrick Haldane however seems to have concentrated on education rather than actively taking part in the Jacobite risings, his feelings and sympathies unknown. It seems unlikely with such staunch father and brother he did not feel similar leanings. By 1731 he was apprenticed to George Murray, Chirurgeon Apothecary in Edinburgh.
He was admitted to the University of Leiden in October 1737, to study medicine and he received his M.D. at St Andrews, 1758. In the St Andrews Records he is stated to have studied at Edinburgh, Leyden, and Paris, and that he had graduated at Rheims. This obvious thirst for education and movement around Europe through the time of the ‘45 may have meant his focus was taken from the plight of home.
He died unmarried at Murrayshall, Scone in 1761.
£600-800
244
JACOBITE RISING OF 1745
PROCLAMATION OF PRINCE CHARLES EDWARD STUART, 10 OCTOBER 1745
contemporary secretarial manuscript copy, begins ‘As soon as we conducted by Providence of God arrived in Scotland …’, ends And this my Declaration will indicate to all posterity, the nobleness of my undertaking and generosity of intention, is given at our palace of Holy Rood House, C. P. R., By order of his Highness, Jo. Murray’, ink on laid paper with fleur-de-lys watermark, written on 3 sides of a single bifolium (39 x 25.5cm), partial separation along folds, nicks to extremities
Note: Prince Charles Edward Stuart’s declaration of 10 October 1745, issued a month after the Jacobite capture of Edinburgh and less than three weeks after the Jacobite victory at the Battle of Prestonpans, was a major statement of his intended restoration of the Stuart dynasty and provides an insight into the kind of kingdom which might have come into being had he succeeded. In it the prince promises to respect freedom of religion and to consult parliament on the national debt and the nature of a refashioned union of England and Scotland, and refutes accusations of a Jacobite alliance with France and Spain, to which end he describes his arrival in Scotland, ‘attended by seven persons’ only, which he contrasts with the motley international backing of ‘Dutch, Danes, Hessians, and Swiss’ enjoyed by the Hanoverians. He asks whether his would-be subjects can say that have ‘been more happy and flourishing’ during 50 years of Hanoverian rule, and in an ingenious turn he presents a Stuart restoration as the true path to independence and domestic stability, asking: ‘Who has the better chance to be independent of foreign power? He who with the aid of his own subjects can wrest the government out of the hands of an intruder? Or he who cannot without assistance from abroad support his government … against the undisciplined part of those he has ruled over for so many years?’.
£1,000-1,500
PRINCE HENRY BENEDICT, CARDINAL DUKE OF YORK’S FRENCH
GOLD-MOUNTED GLASS SCENT FLASK
CIRCA 1750
The panelled glass body of flattened pear-shape, scalloped gold rim mount with moulded border, the detachable stopper with openwork scroll and baluster finial on suspension chain, with original red velvet case 12.1cm high
Provenance:Henry Benedict, Cardinal York
The Malatesta family, Rome
Purchased by Blaney Townley Balfour, circa 1842By Family descent until circa 1985Private CollectionThe Jacobites & their Adversaries, Christies, 12 June 1996, lot 159Exhibited:The Monarchs of England, New Gallery, London, January 1902Literature:Papers of Devotion of James II, Oxford University Press, 1925Several Jacobite relics from the Blaney Townley Balfour Collection were exhibited in 1902. The present scent bottle and also a seal of Cardinal York plus Stewart portraits including one of Cardinal York and another of his elder brother Prince Charles Edward Stuart
£4,000-6,000
246 Y
PRINCE HENRY BENEDICT, CARDINAL DUKE OF YORK (1725-1807) PORTRAIT MINIATURE
CIRCA 1770s
watercolour and gouache on ivory, facing left, in Cardinal’s red robes and skull cap, in circular glazed metal frame
5.8cm diameter
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference DJK1R7L7
£300-500
248
ROBERTSON OF STRUAN - A JACOBITE LEATHER POUCH MID 18TH CENTURY
the drawstring pouch with two simple shoulder straps
Note: Alexander Robertson of Struan was a committed Jacobite. Born in 1668, he joined the Jacobite army, but was captured following its withdrawal from Dunkeld. He succeeded in escaping to France, and was subsequently attainted until 1703, when he could return to Scotland. In 1715 he again supported the Jacobite cause, raising, it is said, 500 of his clan, but was taken once more, this time at the Battle of Sheriffmuir. With the assistance of his sister, he escaped yet again, and once more fled to France. Although attainted by Act of Parliament for a second time, he could return home in 1732. In 1745, Struan was 77 years of age, yet nevertheless led 150 of his tenants to join the Prince, and, being too old himself to take up arms, returned to his home in General Cope’s carriage, which had been captured at Prestonpans, reputedly with the general’s furred nightgown and gold chain as trophies. Murray of Broughton wrote of him: “he is an old Batcheler (sic) lived long abroad, and is reckoned a man of letters”. He was permitted to remain at Struan, and died at Carie on the Struan estate in 1749, 2000 men following his coffin 14 miles from Rannoch to Struan Kirk. In 1725 he was reportedly created a Knight and Baronet by King James VIII. He wrote in English as well as Gaelic, and a book of his poetry was published in 1789.
For the personal seal of Robertson of Struan see lot 17
A Private Collection of Seals: Highlights from The Matrix Collection, 19 May 2023, Lyon & Turnbull
£300-500
247
AN 18TH CENTURY CURLY
HORN SNUFF
MULL - CULLODEN INTEREST UNMARKED
the polished curly horn, to a hinged lid with applied thistle, the collar with applied mount engraved ‘FOUND ON CULLODEN FIELD 1746’
7cm long
£600-800
249
AN 18TH CENTURY SILVER AND ENAMEL PLAID BROOCH UNMARKED
the annular brooch with engraved Celtic bosses and interlace, with black niello enamel borders and decoration, with integral swing pin, the reverse engraved DD, IC, 1760
7.5cm diameter, 1.8oz
£800-1,200
THE ORIGINAL CAST BY WILLIAM
SCOULAR (1796–1854)
AN EARLY 19TH CENTURY PLASTER OF PARIS CAST OF THE SKULL OF ROBERT THE BRUCE (1274–1329)
modelled naturalistically, engraved to the neck, ‘O’NEIL EDINBRO’, with handwritten note ‘lent by Stewart Robertson Colquhalzie’ ‘Cast of the skull of King Robert Bruce’, the original cast by William Scoular, this was perhaps the hand of a student or contemporary 22cm high
Provenance: James Stewart Robertson of Edradynate Estate Family Descent from a Perthshire family Collection
Note: Robert the Bruce (1274-1329), was King of Scots from 1306 until his death in 1329. He defeated Edward II of England at the Battle of Bannockburn in 1314 made famous in the lyrics of ‘The Flower of Scotland’ anthem.
Most notable during his reign, the Declaration of Arbroath was submitted by the Scottish nobility to Pope John XXII in support of Robert I verifying the Scottish Kingdom. This culminated in Edward III renouncing any English claim to the Scottish sovereignty.
His dynasty continued even after the exile of his son as the first Stewart King was the grandson of Robert I through his daughter. Bruce died in 1329 and was interred at Dunfermline Abbey, where his body lay for almost five hundred years, until 1818, when the Abbey’s Great Tower collapsed.
The early 19th century was an awakening for the Scottish identity. George III’s visit to Scotland in 1822 helped ease tensions within the kingdom and the growing appetite for the Scottish was further bolstered by key proponents such as Walter Scott who organised the King’s visit along with The Waverly Novels published around this time. When the tomb was uncovered, it presented a perfect opportunity to examine the remains and the tomb itself and celebrate the history of such an important Scottish King.
The sculptor William Scoular (1796-1854), under the supervision of the Professor of Surgery at University College (1834-1847), Dr. Sharpey, examined the skull of Robert the Bruce and created various plaster of Paris copies. A well-regarded figure in his field, other important commissions include a sculpture of the Princess Elizabeth of Clarence (1820-21) in the Royal Collection accession number RCIN 53354, and James Watt (1736- 1819) held in the Glasgow Life Collections, accession number S.149.
Although the number of copies has not been confirmed, there are copies in important collections including The National Portrait Gallery, accession number PG 914 A, the Hunterian collection, accession number, GLAHM:C.1929.11. Unsurprisingly Abbotsford House also has another copy as Walter Scott was a major exponent of Scottish heritage and acquired panelling from Dunfermline Abbey and relics from the tomb itself. The accession number for the skull is T.AT.1488.
We believe this piece to have been acquired by the current vendor’s family at the time, with the handwritten note ‘Lent by Stewart Robertson Colquhalzie’ An important piece of Scottish history both telling the story of a Scottish King, but also the early 19th century fascination with the Scottish identity. A rare opportunity to acquire a museum artefact at auction.
£600-800
251
A CAST SILVER FIGURE OF BONNIE PRINCE CHARLIE
Elkington & co., London 1897
modelled as Bonnie Prince Charlie in Highland dress military regalia with the Order of the Garter, on a plinth with applied ‘C, crown, P’ and ‘1745’ 10cm high, 3.5oz (weighable silver)
£300-500
BOOKS & MANUSCRIPTS
252
SCOTTISH HIGHLAND MUSIC TWO VOLUMES OF MANUSCRIPT PIOBAIREACHD TUNES
1930
Both 4to, 121 and 78 pp., bound in contemporary red half roan by David Ritchie of Johnstone, each volume with ownership inscription of one John Coupar, dated November 1930 in one volume, this volume with pencilled annotation below: ‘Copied from the MS of Donald Stuart MacDonald, a pipe-major of the Royal Scots. Macdonald’s MS was a copy of the unpublished MSS of Angus Mackay. MacDonald made his copy while piper at Brodick Castle, dated Edinburgh 1882. Dedicated to Duke of Hamilton. D. S. Macdonald, P. M., 1st Battalion. The Royal Scots’. Together with a later edition of Angus Mackay, A Collection of Ancient Piobaireachd, Aberdeen: Logan & Compy, c.1900 (first published 1838)
£300-500
253
GORDON, ROBERT SCOTIA ANTIQUA
London, 1653, hand-coloured, mounted 43 x 55cm
£300-500
260
254
TAYLOR, GEORGE - AND ANDREW SKINNER
SURVEY AND MAPS OF THE ROADS OF NORTH BRITAIN
London: For the Authors, 1776. Oblong road atlas, 55 x 22.5cm, comprising 61 maps on 31 leaves, without the folding general map, no covers present, title-page detached and missing upper left corner, some browning, spotting and tears
[Antwerp, c.1600], hand-coloured, framed and glazed, some browning, a closed tear and a few small, neat repairs
37 x 48cm
£500-700
258
KIRKWOOD, ROBERT
FAC SIMILE OF GORDON OF ROTHEMAY’S
BIRD’S EYE VIEW OF EDINBURGH
Edinburgh: Kirkwood & Son, 1817, handcoloured, a little browned in places
46 x 105.5cm
£500-800
259
SAXTON - WILLIAM HOLE
SCOTIA REGNUM
London, 1610, hand-coloured
32 x 33cm
£250-350
260
LAURIE & WHITTLE
NEW MAP OF SCOTLAND OR NORTH BRITAIN
London, 1794, hand-coloured, mounted 55 x 51cm
£300-400
ARMS, ARMOUR & HIGHLAND DRESS
261
GEORGE HENRY PAULIN (1888-1962)
SOLDIER OF THE 51ST HIGHLAND DIVISION
bronze, dark brown patina, cast as a Highland soldier in full uniform, on a square naturalistic base, inscribed ‘G.H. Paulin, 1924’ 39cm high, 13cm wide, 11cm deep
£1,500-2,000
262
HENRY MACBETH-RAEBURN RA (SCOTTISH 1860 - 1947)
DR NATHANIEL SPENS, AFTER SIR HENRY RAEBURN RA (SCOTTISH 1756 - 1823)
mezzotint, signed in pencil and Artist’s ‘Proof in progress’ 90.5cm x 63cm (including frame)
Note: This progress proof was shown as Henry Macbeth-Raeburn’s Diploma Work in the RA Summer Exhibition of 1933 (cat. no. 1337; reprod. The Royal Academy illustrated, 1933, p. 5). Macbeth-Raeburn, who had been elected as an Associate Engraver in July 1922 and full Academician on 14 February 1933, was well-known for his mastery of mezzotint in the eighteenthcentury manner, and particularly so for his prints after portraits by Henry Raeburn RA, examples of which he had regularly exhibited at the Academy since 1909. Raeburn’s original painting of Dr Nathaniel Spens, a celebrated amateur archer, was commissioned in 1793 by the Royal Company of Archers (the King’s Bodyguard for Scotland), in whose collection it remains.
£300-500
263
ROYAL COMPANY OF ARCHERS - AN IMPRESSIVE FRAMED DISPLAY OF INSIGNIA
CIRCA 1820 AND LATER
the oak frame with green velvet back board, applied with insignia of the King’s bodyguard of Scotland, to include cap badges, cross belt plate, waist buckle and buttons etc, the frame with brass plaque, inscribed ‘presented to the Officer’s Mess Bramley by Mrs. Egan, in memory of the late CCL.M.H. Egan, CMG, CBE’
102cm x 59cm (frame)
Note: Known as the King’s Bodyguard for Scotland, the Royal Company of Archers has been in existence in some way since the 17th century, when in 1676 it was formed as an archery club. Following the Jacobite uprisings the Company of Archers sought to reconcile themselves with the House of Hanover and in 1822 on King George IV’s first visit to Scotland they became the personal bodyguard of the monarch. With notable members such as Sir Walter Scott and Robert Burns, the former who designed their uniform, the Royal Company of Archers has always been a prominent part of Scottish history.
£800-1,200
264
A ROYAL COMPANY OF ARCHERS OFFICER’S SWORD
STEWART CHRISTIE AND CO, EDINBURGH
the cast brass grip with thistle pommel, the etched blade with displayed and intertwined thistles and GRVI crowned cypher, leather scabbard with gilt brass mounts
103cm long (overall)
Note: For a similar sword see Bonhams lot 119The Gary Bates Collection of Swords and Militaria
Part I 31st July 2012
£300-500
265
A GEORGE V ROYAL COMPANY OF ARCHERS TABLE CIGARETTE BOX
A & J ZIMMERMAN Ltd., BIRMINGHAM, 1915, RETAILED BY KNIGHT & SON NORTHAMPTON
of rectangular outline, applied brass emblem, the garter with motto within, wood lined interior
15.8cm wide
£600-800
A VICTORIAN SILVER GILT AND GEM-SET PLAID BROOCH
EDINBURGH 1883
of shaped circular outline, claw set to the border with six round facetted Cairngorm citrines, amongst engraved ouroboros motifs, the central pierced and engraved family crest for clan MacDonald, with brooch fittings
10.2cm diameter
£400-600
267
DUNDEE - A COAT OF ARMS CAP BADGE
modelled with a pot of lilies with the motto DEI DONUM, unmarked; together with a collection of six other clan cap badges, unmarked
£400-600
268 AN INCHMAHOME PRIORY PLAID BROOCH
HAMILTON & INCHES, EDINBURGH
formed as a garter, the spread eagle surmounted on a Viking longboat; together with four other silver cap badges, and another, unmarked of circular outline with a thistle border (6)
10cm long, 7oz (weighable silver)
£400-600
269
A COLLECTION OF TEN CAP BADGES
mostly unmarked, seven formed as a garter, six with embossed mottoes, three modelled as the crest surmounting the motto (10)
£500-800
270
A COLLECTION OF FIVE VARIOUS SCOTTISH CLAN CAP BADGES
FRASER, HAMILTON, CAMPBELL OF BREADALBANE, HAY, SUTHERLAND CLANS
mostly unmarked, each formed as a garter with an embossed motto, crests to the centre; together with a Seaforth Highlander’s Regimental cap badge and another (7)
£300-500
271
A COLLECTION OF FIVE GILT-METAL PLAID BROOCHES
all modelled as a garter with embossed motto with crest to centre (5)
£250-400
A CLAN MACDONALD CAP BADGE
unmarked; together with a clan cap badge for Clan Grant, Clan Patton and Clan Macleod, all unmarked; together with four clan cap badges, unmarked and one for Clan Johnstone, Glasgow 1945 (9)
£400-600
273
INVERNESS - A COLLECTION OF SIX CLAN CAP BADGES
MEDLOCK, JOHN FRASER SILVERCRAFT AND OTHER MAKERS
two by John Fraser Silvercraft, Edinburgh 1970 and 1971, one for Clan Gunn, two marked for Medlock of Inverness and one for McKenzie and Company of Inverness and one unmarked (6)
£300-500
274
A COLLECTION OF ELEVEN CLAN CAP BADGES for various clans, including Clan MacRae, Buchanan and others, four unmarked, two marked indistinctly and for silver and five with silver hallmarks (11)
£350-450
275 Y
A SET OF IVORY MOUNTED BAGPIPES UNSIGNED
turned black hardwood with ivory mounts, plain black velvet bag, in a modern travel case
Note: With non-transferable CITES self-certification number: EHDJF73W
£1,500-2,500
276
A CONTEMPORARY SET OF SILVER MOUNTED BAGPIPES McB, EDINBURGH 2006
chanter signed McCallum Bagpipes, turned black hardwood, the silver mounts engraved with Celtic Beast motifs, plain black velvet bag, in a modern travel case
£2,500-4,000
277
AN EDWARDIAN SPORRAN EARLY 20TH CENTURY
the cantle of black velvet with applied unmarked silver thistle border and heraldic eagle applique, with a long white horse hair body with a red leather reverse 53cm long, 22cm wide
£300-500
278
A HIGHLAND TARGE PLAID BROOCH MARKED WF
modelled as a Highland targe, applied with tapering studs in a star shape within punchbeaded borders, pin fitting to reverse 12cm diameter, 116g
£300-500
279
A 1970S SGIAN DHU
ROBERT ALLISON, EDINBURGH 1978
basket weave handle claw set with smokey quartz scabbard with cast thistle mounts
19.5cm long (overall)
£200-300
281
AN EARLY 20TH CENTURY DIRK
EDINBURGH 1918
the basket weave ebony handle set with large facetted citrine in claw and arched gallery, the leather covered scabbard with embossed thistle and scroll mounts, mounted en suite with bi-knife and fork
49cm (overall length)
£1,000-1,500
280
A 1960S SGIAN DHU
THOMAS EBUTT, EDINBURGH 1965
the basket weave handle with collet set citrine within interlaced border, the leather scabbard with open work Celtic knot and beast mounts
29.5cm long (overall)
£250-400
282
A VICTORIAN SGIAN DHU CIRCA 1900
the carved wooden handle with basket weave and studded decoration, the pommel set with oval cut smokey quartz in a Celtic collet mount, the leather covered scabbard with shaped and engraved Celtic mounts
19cm long (overall)
£250-400
283
A 1970S SGIAN DHU
ROBERT ALLISON (OF GLASGOW), EDINBURGH 1976
284
A 1960S SGIAN DHU
THOMAS EBUTT, EDINBURGH 1965
the basket weave handle claw set with facetted quartz and rope twist lower border, the leather covered scabbard with plain shield mounts
19.5cm long (overall)
£250-400
285
A 1960S SGIAN DHU
THOMAS EBUTT, EDINBURGH 1962
the basket weave handle with claw set citrine and engraved thistle mount, the leather covered scabbard with thistle and foliate engraved mounts
19.5cm long (overall)
£250-400
the shaped basket weave handle with walking lion set to pommel, the leather covered scabbard with simple plain shield mounts and ball terminal
20cm long (overall)
£250-400
288
A LONDON SCOTTISH OFFICER’S DIRK
EARLY 20TH CENTURY
unmarked, the wooden basket weave handle with applied studs and engraved pommel mount, leather covered scabbard with engraved thistle top mount and set with bi-knife and fork; together with a modern sgian dhu
43cm long (overall)
£400-600
290
BRASS MOUNTED PERCUSSION PISTOL
EARLY 19TH CENTURY
probably made for the Scottish market, the all brass stock and butt with engraved chequering and foliate decoration with octagonal steel barrel and simple percussion lock, 34cm long, barrel 20.5cm; together with a 19th century Continental percussion pistol (2)
the larger 38cm long, 16cm high
£500-800
289
A VICTORIAN SGIAN DHU BIRMINGHAM 1897
the basket weave and silver studded handle with collet set citrine in engraved mount to pommel, the leather covered scabbard with pierced and engraved mounts; together with a wax seal tag, ‘The Baron of Loudon Collection’ 20.5cm long (overall)
£250-400
296 A BOTTLE OF WHITEHORSE BLENDED SCOTCH WHISKY
bottled 1940, no volume or strength stated
£300-500
297
GLENFARCLAS 42 YEAR OLD - FAMILY CASK
distilled 1974, bottled 2016, cask # 4076, one of 74 bottles
700ml / 42.7%
£2,000-3,000
299
GLENFARCLAS 23 YEAR OLD - FAMILY CASK
distilled 1997, bottled 2020, cask # 4667, one of 468 bottles
700ml / 56.3%
£300-500
298
GLENFARCLAS 17 YEAR OLDFAMILY CASK
distilled 2002, bottled 2020, cask # 900285, one of 599 bottles
700ML / 57.8%
£150-250
300
GLENFARCLAS 26 YEAR OLD - FAMILY CASK
distilled 1993, bottled 2020, cask # 4677, one of 518 bottles
700ml / 57.2%
£180-220
324
BALLATER - A SCOTTISH PROVINCIAL QUAICH
WILLIAM ROBB
marked ROBB/ BALLATER, Edinburgh 1922, of typical low dish form with elegant swept handles, raised on a simple collet foot 12cm wide, 1.5oz
£300-500
323
BALLATER – A SCOTTISH PROVINCIAL QUAICH
WILIAM ROBB
marked ROBB / BALLATER, Edinburgh 1913, the shallow hemispherical bowl with three flared lugs, raised on a simple collet foot Bowl 6.5cm diameter, 1.5oz £300-500
BALLATER – A SCOTTISH PROVINCIAL ‘BALMORAL’ CADDY SPOON
WILLIAM ROBB
William Robb, marked ROBB, BLTR (obscured), Edinburgh 1899, the heart shaped bowl with scene of Balmoral Castle, the handle formed from thistle and crowned shield; with another of the same pattern by William J Fraser, Edinburgh 1928; together with a presentation Celtic bell, the flared bell with Celtic borders inscribed ‘Replica off the MacRobert Challenge Bell for Champion British Friesian….. 1950’, of Brook & Sons, Edinburgh 1948 (3) Caddy spoons 8cm long, Bell 9cm high
354
GLASGOW - A PAIR OF SCOTTISH PROVINCIAL CAULDRON SALT CELLARS
JAMES GLEN, 1743
each of traditional circular outline, engraved crest to body, raised on three hoof feet, with blue glass liners; together with two salt spoons, various makers (4) 5oz
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611. Purchased from Jean Lumsden, George Street, Edinburgh 1974
£300-500
355
GLASGOW - A SCOTTISH PROVINCIAL SOUP LADLE
JAMES MCEWAN
marked IMcE, town mark, IMcE, S, of early Old English pattern with twin foliate script initials to terminal and deep circular bowl; together with a long Old English gravy spoon by Adam Graham of Glasgow marked, town mark, AG, town mark with vacant terminal (2) 39cm and 35cm long, 6oz and 3oz
Note: Although the work of James McEwan is well recorded this appears to be an until now unrecorded maker’s mark, his usual work usually carrying a simple IMc or JMc.
£300-500
356
GLASGOW - A PAIR OF SCOTTISH PROVINCIAL TABLESPOONS
WILLIAM MURDOCH (PROBABLY)
marked W.M, S, W.M, S, each of Old English pattern, engraved crest to terminal (2) 21.8cm long, 3.5oz
£400-600
357
GLASGOW – AN UNUSUAL SCOTTISH PROVINCIAL SERVING SPOON
ADAM GRAHAM
marked AG, tree, AG, tree, Hanoverian pattern with foliate script JC to terminal 26.5cm long 3.2oz
£200-300
358
GLASGOW – A SCOTTISH PROVINCIAL TABLESPOON
WILLIAM MURDOCH (PROBABLY)
marked WM, S, WM, S, of Hanoverian pattern with script initials to terminal 21.7cm long, 72g
Note: Although lacking a Glasgow town mark, the maker’s mark appears the same as a set of six Hanoverian pattern tablespoons with the Glasgow town mark, sold within these rooms Wemyss Ware, Scottish Silver & Accessories, 16th August 2010, lot 362.
£150-250
359
GLASGOW - A MATCHED SET OF FIVE TABLESPOONS
VARIOUS MAKERS
one by Taylor & Hamilton; one by Milne & Campbell, two by Adam Graham, one by unidentified maker CM, all of Old English pattern, engraved italic F to terminal (5) 22cm long, 11oz
£250-400
360
GLASGOW - A RARE SCOTTISH PROVINCIAL HASH SPOON
ROBERT GILCHRIST
marked RG, S, town mark, RG, Hanoverian pattern with initials DP to terminal 36.5cm long 7.7oz
Provenance: ‘The Scottish Sale’, Bonhams Edinburgh 21st August 2003 lot 74
Note: This Hash spoon would appear to be one of as few as four surviving pieces of silver by Robert Gilchrist of Glasgow. Trained by William Clerk he is first mentioned in 1719. Little is known about his working career which is a unusual as he was trained by, arguably, the finest goldsmith in Glasgow at the time but does not appear to have made much impact. It seems likely that while working on his own, shown by the survival of his maker’s mark, he was mainly working for other makers. This spoon along with two quaichs (one in a Private Collection the other within the collection of Dundee Art Galleries and Museums) and a table spoon (lot 316) are his only recorded works.
£1,200-1,800
361
GLASGOW - A RARE SCOTTISH PROVINCIAL TABLESPOON
ROBERT GILCHRIST of Hanoverian pattern, rat-tail bowl, engraved italic initials to reverse of terminal 20cm long, 2.3oz
£500-800
362
GREENOCK – A SCOTTISH PROVINCIAL TODDY LADLE
marked RN, G, urn, thistle, ship, of Old English pattern with script initials GJ to terminal; together with a tablespoon marked CM, anchor, W, oak tree, with foliate initial R to terminal and numbered 6 to heel, a Celtic Point pattern teaspoon by R Dickson marked RD, RD (large punch), RD with script initials MH and a Fiddle pattern table fork marked star, thistle, star EW (4) 6oz (combined weight)
£200-300
363
GREENOCK – A SCOTTISH PROVINCIAL SOUP LADLE
THOMAS DAVIE
marked TD, anchor, C, oak tree, Celtic Point pattern with deep circular bowl and gothic initials McC to terminal 41cm long 7.3oz
£250-350
364
GREENOCK – A SCARCE SCOTTISH PROVINCIAL TABLESPOON
JAMES BURRELL
marked IB, anchor, IB of Old English pattern with engraved initials to terminal; together with an Old English pattern tablespoon by A Campbell marked AC, ship, anchor, ship and a Celtic Point pattern example by T Davie marked TD, anchor, ship, C, oak tree (3)
19.5cm, 24cm ad 23.5cm long combined weight 5.9oz
£300-500
365
GREENOCK – A SCARCE SCOTTISH PROVINCIAL SINGLE HANDLED STRAINER
JOHN TAYLOR
marked IT, anchor, IT, S, the deep bowl with simple pierced decoration and reeded rim, with large open work single handle 13.5cm long 2.3oz
£600-800
366
GREENOCK - A COLLECTION OF SCOTTISH PROVINCIAL FLATWARE
THOMAS DAVIE
to include a pair of tablespoons, marked TD, anchor, ship, C, tree, of Old English pattern with script initial B to terminal; four dessert spoons, marked TD, ship, C, tree, of Old English pattern and two teaspoons, marked TD, anchor, tree, of Celtic Point pattern; together with a pair of dessert spoons, Alex Cameron, Dundee, Edinburgh 1822, and a pair of dessert spoons, William Cummings, Dublin 1825, of Fiddle pattern (12)
14.4oz (combined)
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£400-600
367
INVERNESS - A SCOTTISH PROVINCIAL COWRIE SHELL SNUFF MULL
ALEXANDER MacRAE
marked AMR, of traditional form the hinged lid set with stylised shell terminals, Bright-cut engraved border, with copper shield to centre 9.5cm long
£300-500
368
INVERNESS – A GROUP OF SCOTTISH PROVINCIAL FLATWARE
to include Fiddle pattern toddy ladle by T Stewart marked TS, thistle, INS; Fiddle pattern toddy ladle by R Naughton marked RN, cornucopia, thistle; Fiddle pattern toddy teaspoons by Jamieson & Naughton, William Munro and Charles Jamieson (5)
4.3oz (combined weight)
£200-300
369
INVERNESS – A SCOTTISH PROVINCIAL WINE FUNNEL CHARLES JAMIESON
marked to spout CJ, J, S, of conventional two piece construction with shallow bowl with engraved rim 12cm high
£500-800
370
INVERNESS – A SCOTTISH PROVINCIAL SOUP LADLE CHARLES JAMIESON
marked CJ, INS, camel, J, Old English pattern with foliate initial Y to terminal 36cm long 5.9oz
£200-300
371
INVERNESS - A SET OF SIX SCOTTISH PROVINCIAL TABLESPOONS
ALEXANDER STEWART
marked A.S, INS, C, of Old English pattern 22cm long, 12.5oz
£300-500
372
INVERNESS – A SCOTTISH PROVINCIAL TABLESPOON
ALEXANDER MCRAE
marked AMR, running horse, H, A, A, of Fiddle pattern with foliate initial engraved; together with toddy ladles by Donald Fraser, Alexander McLeod and teaspoons by A Stewart and
PERTH – A SCOTTISH PROVINCIAL SNUFF BOX
TM (UNKNOWN)
marked TM, eagle, TM, of simple rectangular outline with reeded sides, the flush hinge cover with crest motto and script initial PC, the interior engraved ‘P Christie Mercht Perth 1822’; together with a Victorian snuff box by J Nasmyth Edinburgh 1837, with cross hatched decoration to sides and base, the hinged cover with cast scroll and thistle border and engraved ‘Presented to Mr James Miller from the workers of the Pleasance Bank Mill Dundee 13th July 1838’ (2)
7.6cm and 8.2cm wide, 3oz and 4oz
£500-800
383
PERTH – A SCOTTISH PROVINCIAL SNUFF BOX
A DRUMMOND (ATTRIBUTED)
marked AD, Edinburgh 1850, of rounded rectangular form the body with engraved foliate scrolls, the hinged cover with scroll and foliate cartouche with cross hatched panels flanking 9cm wide, 2.2oz
£400-600
384
385
PERTH – A COLLECTION OF SCOTTISH PROVINCIAL FLATWARE
A Fiddle pattern tablespoon by J Sid marked JS, eagle, JS, eagle, S; Fiddle pattern tablespoon W Ritchie marked WR, eagle, WR, eagle; a Fiddle pattern dessert spoon R McGregor marked RMcG, eagle, RMcG, eagle and Fiddle pattern table fork D McLean marked DMcL, device, eagle, device, eagle, device (4)
8.9oz (combined weight)
£220-280
386
PERTH - A COLLECTION OF SCOTTISH PROVINCIAL FLATWARE
ROBERT KEAY
comprising six table forks, marked RK, double-headed eagle, twice, RK, of Fiddle pattern, engraved motto, crest and initial to terminal; ten dessert forks, Edinburgh 1845, of Fiddle pattern, nine teaspoons and two toddy ladles, marked RK, double-headed eagle, RK, engraved motto, crest and initial to terminal Combined weight: 33oz
£300-500
387
PERTH – TWO SCOTTISH PROVINCIAL SERVING SPOONS WILLIAM RITCHIE
marked WR, WR, eagle, eagle, WR of Old English pattern with script initial H and numbered 1 to terminal; James Wright marked J.W, S, eagle, anchor of Celtic Point pattern with foliate script initial T to terminal (2)
28.5cm and 305cm long, 3.4oz and 3.5oz
£400-600
388
PETERHEAD – A SCARCE SCOTTISH PROVINCIAL TEASPOON
WILLIAM FERGUSON
marked WF, PHD, of Fiddle pattern with foliate initial M to terminal 13.2cm long, 14g
£250-350
389
PETERHEAD - A SCOTTISH PROVINCIAL LADLE
WILLIAM S FERGUSON
marked, WF, PHD, Edinburgh 1826, with turned wooden handle 37cm long
£300-500
390
PETERHEAD – A RARE SCOTTISH PROVINCIAL TODDY LADLE
WILLIAM SIMPSON
marked WS, PHd, anchor, Fiddle pattern with script initial S to terminal 17cm long 60.1g
£600-800
391
PETERHEAD – A SCOTTISH PROVINCIAL TODDY LADLE
WILLIAM SIMPSON
marked WS, PHD, fouled anchor, of Fiddle pattern with foliate script initial S to terminal 15.5cm long, 27.7g
£400-600
392
STONEHAVEN - A RARE SCOTTISH PROVINCIAL TEASPOON
ALEXANDER GLENNY
marked device A.G, of Fiddle pattern with engraved crest motto and gothic initials JM
14.3cm, 15.4g
£600-800
393
STONEHAVEN – A RARE SCOTTISH PROVINCIAL PRESERVE
SPOON
ALEXANDER GLENNY
marked AG, stylised thistle, X, of Fiddle pattern 14cm long 23.4g
£500-800
394
TAIN (?) – A SCOTTISH PROVINCIAL TODDY LADLE
JOHN EWAN (?)
marked star burst, JoE, starburst, of Oar pattern with script initial F to terminal 15.5cm long, 22g
Note: Although John Ewan is recorded working in Aberdeen, this rare combination of marks is not seen in connection with him or any other maker in Aberdeen. A suggestion has been made that the starburst mark maybe be the same as used by Alexander Stewart in Tain. This may suggest Ewan working there for some time or retailing wares for there.
£300-500
395
TAIN – A SCARCE EARLY SCOTTISH PROVINCIAL TABLESPOON
HUGH ROSS
marked HR (conjoined), SD with St Duthac between, A, D, Old English pattern with script initials P / AB to terminal
21.2cm long 60g
£800-1,200
396
A COLLECTION OF SCOTTISH PROVINCIAL TEASPOONS
to include, six, Benjamin Lumsden - Montrose, marked BL, rose head, of Celtic Point pattern, engraved M to terminal; William Mills of Montrose, marked, triple rose head, WM, of Fiddle pattern, italic M engraved to terminal; six by Charles Jamieson of Inverness, marked CJ, C, of Old English pattern, italic initials engraved to terminal; six by John McQueen of Banff, marked B, A, thistle, McQ, of Old English pattern, italic initials engraved to terminal and another six, Thomas Stewart of Elgin, marked TS, ELn, of Fiddle pattern, engraved initials to terminal (30)
12.9oz (combined weight)
£500-800
UNATTRIBUTED – A SCOTTISH PROVINCIAL SERVING SPOON
A.C, St Andrew on Cross, anchor, TL, of Fiddle pattern with script initials EP to terminal
31.5cm long, 3.7oz
Note: Although this group of marks has previously been attributed to St. Andrew and the iconography of them certainly fits for the town, no documentary evidence has been found to support this or the presumed maker’s names often ascribed as well. However, still unattributed, these are a rare combination of Scottish provincial marks and unusual to see the maker’s punch AC additionally struck.
£400-600
398
UNATTRIBUTED - A SCOTTISH PROVINCIAL TOOTHPICK CASE
marked to inside of lid, RF? four times, of plain cylindrical form, slight threaded rims, pull off lid with engraved crest 8cm long, 27g
Provenance: A Private East Coast Scottish Collection, collected over two generations
Purchased from Lyon & Turnbull sale Jewellery, Silver and Watches, 12th October 2016, lot 142
£250-400
399 A COWRIE SHELL SNUFF MULL
apparently unmarked, the oval flat lid engraved scroll decoration and ‘SNUF’ to centre, simple thumbpiece 9.5cm long
£300-500
400
UNASCRIBED - A MATCHED SET OF SIX SCOTTISH
PROVINCIAL FORKS
R.H.
marked R.H. b, thistle, b, of Old English pattern, engraved initials to terminal 21.5cm long, 12.5oz
WICK – A RARE SET OF SIX SCOTTISH PROVINCIAL TABLE FORKS
JOHN SELLAR
marked JS, WICK, Old English pattern with crest of a seated cat and motto SANS PEUR above for Sutherland 21.8cm long 14.8oz (6)
Note: The survival of Scottish provincial forks is much rarer than those of spoons. These table forks are likely the only set of Wick still in existence together and unusually are of Old English pattern, as the vast majority of Wick flatware to survive is Fiddle Pattern.
£5,000-8,000
402
WICK – A SCARCE SCOTTISH PROVINCIAL TABLESPOON
JOHN SELLAR
marked JS, WICK of Fiddle pattern with crest and initial M to terminal 22.7cm long, 2.4oz
£600-800
403
WICK – A SCOTTISH PROVINCIAL TODDY LADLE
JOHN SELLAR
marked JS, WICK, S, S, of Fiddle pattern with gothic initial to terminal 16.5cm long, 1.2oz
£400-600
404
WICK – A SCOTTISH PROVINCIAL TABLESPOON
JOHN SELLAR
marked JS, WICK, JS, JS, Fiddle pattern with vacant terminal 23cm long 68.1g
£500-800
JOHN SELLAR
marked JS, WICK, the tapered baluster bowl with engraved crest of a griffin head above a torse, the slender tapered spout with reeded detail at the base of the bowl, the pull-out double muslin rim with reeded border 11cm long, Diameter of bowl 7cm, 3.09oz
Note: Considered one of the classic rarities of Scottish silver the survival of Wick-made silver has always been considered remarkable. Wick hollowware is certainly rarer than Tain silver, which is often ranked amongst the rarest. Tain has in excess of twenty items of hollowware by Hugh Ross I and II alone, while Wick only has four or five items by either of the recorded makers.
Of the recorded surviving Wick hollowware it would appear that only three of the items can be considered Wick-made and of these one is highly likely to have been bought in and marked by Sellar. Both mugs seem likely Wick-made (although one now later embossed and decorated) as are simple and plainly made and certainly within the skills of Sellar. For a recently sold example, the other in a Private Collection, see Woolley & Wallis 28th October 2009 ‘A Private Collection of Scottish Silver’ lot 123, hammer price £14,000.
The wine funnel under discussion, one of possibly three recorded, is almost certainly made in Wick, while the other surviving example (within Inverness Museum and Art Gallery’s collection) is highly likely bought in. Its style is certainly more Edinburgh or London with cast gadrooned border and shell clip, both features that would be impossible to make in a workshop the size of Sellar’s.
£3,000-5,000
BRONZE & SILVER ANIMAL MODELS
406
A LATE 19TH CENTURY AUSTRIAN COLD PAINTED BRONZE RED GROUSE FRANZ BERGMAN
signed to underside of tail, the standing model of a red grouse with naturalistically painted feathers 16cm high
£800-1,200
407
A VINTAGE MODEL OF A RED DEER STAG SHEFFIELD 1999
the naturalistically modelled standing Royal stag on a rocky and foliate base, further raised on a simple wooden base 29cm high (overall)
£400-600
PAIR OF BRONZE STAG FIGURES, AFTER JULES MOIGMIEZ (FRENCH 1835-1894)
dark brown patina, each signed, raised on oval marble plinths
75cm high, 35cm wide, 19cm deep
9.5cm highest, 10oz (combined)
£700-900
411 A BRACE OF GROUSE IMPORT MARKS FOR B MULLER & SON, EDINBURGH
each modelled naturalistically, facing one another, with hinged wings (2) 16cm high, 12.9oz, 12.7oz
£2,000-4,000
DAY TWO
WEDNESDAY 21 AUGUST
FROM 10AM
LOTS 413 - 580
HALLMARKED SILVER
A MODERN BRITANNIA STANDARD ENGRAVED TUMBLER CUP
MALCOLM APPLEBY, EDINBURGH 2010 of hemispherical form with scalloped edge, the surface with matt textured surface and entwined engraved initials 8cm diameter, 6.4oz
£300-500
414
A MODERN BRITANNIA STANDARD ENGRAVED TUMBLER CUP
MALCOLM APPLEBY, EDINBURGH 2010 of hemispherical form with scalloped edge, the surface with matt textured surface and entwined engraved initials and dated 2014 8.5cm diameter, 6.05oz
£300-500
416
A CONTEMPORARY MODERN BRITANNIA STANDARD BOWLREED COLLECTION
GRAHAM STEWART, EDINBURGH 2007 of hemi-spherical form, chased interwoven bands to a planished finish ground, gilt interior, raised on a collet foot
11.5cm diameter, 8.5cm high, 14.5oz
£600-800
415
A MATCHED PAIR OF MODERN GOBLETS
JAMES B WARD, EDINBURGH 2007 AND 2008 with deep tapered bowls on a knopped and flared stem to domed foot (2)
15cm high, 7.9oz and 8oz
£600-800
A SET OF TWELVE FIRST COURSE PLATES & TWELVE SIDE PLATES
GARRARD & CO. LTD., LONDON 1975
each of circular outline with gadrooned border, engraved armorial to centre of each for Clan MacPherson
CHRISTOPHER NIGEL LAWRENCE, EDINBURGH 1970 of circular outline, the lugs each with a recessed textured groundwork
8.7cm across lugs, 8.5oz
£300-500
419
A 1940S QUAICH
H D FALCONER & SON GLASGOW 1946 with engraved Celtic detail to lugs
£300-500
420
A 1930S CENTURY INDIAN QUAICH
HAMILTON & Co. OF CALCUTTA
marked H &Co Ltd., elephant, C, sterling, for 1939, of traditional form, engraved ‘Hey Ho the - Wind and the Rain’ Simla 1940
7.3cm (width across lugs), 6oz
£250-400
421
A 1920S SQUARE SALVER
MACKAY & CHISHOLM, EDINBURGH 1929 of square outline with rounded canted corners, raised on four hoof feet
25.5cm wide, 25oz
£350-500
422
A 1920S THREE PIECE TEA SERVICE
MACKAY & CHISHOLM, EDINBURGH 1929
comprising a teapot, twin-handled sugar basin and a milk jug, all of oval outline, gadrooned border, C-scroll handles 13.5cm height of teapot, 26oz (combined)
£300-500
423
A 1920S CELTIC KNOTWORK QUAICH
FENTON BROTHERS Ltd., SHEFFIELD 1926 of hemispherical form, Celtic knotwork border, the lugs, each of waisted form with engraved interwoven motifs, raised on a circular foot
3.5cm across lugs, 26.4oz
£400-600
the hemispherical bowl with Celtic knotwork border and boss spacers, raised on three legs with split shoulders, to a domed circular foot, with similar Celtic knotwork border, engraved presentation engraving to foot ‘...1918’
15.5cm high, 11.5oz
£300-500
425
A SCOTTISH BASKET HILTED BROADSWORD LETTER OPENER
J AITCHISON, EDINBURGH 1912 with pierced and engraved basket with thistle motifs and fluted pommel, with simple tapered blade
25.5cm long, 71.4g
Provenance: Purchased from Lyon & Turnbull, Silver and Jewellery sale, 27th November 2012, lot 85
£400-600
426
A SET OF SIX EDWARDIAN WHISKY NOGGINS
HUKIN & HEATH, BIRMINGHAM 1907 each of traditional form, plain silver mounts, simple thumb-piece, star
HAMILTON & INCHES
Hamilton & Inches were founded in 1866 by James Hamilton and his nephew Robert Kirk Inches. With initial premises located at 88 Princes Street, the firm specialised in clocks, silver, and fine jewellery.
Sir Robert also served as Lord Provost of Edinburgh from 1912-1916. After founding Hamilton & Inches in 1866, the firm quickly went on to become one of the leading brands in Scottish luxury. They received a royal warrant from Queen Victoria in 1893 having quickly established their name as Edinburgh’s premier jeweller and silversmith and would continue to obtain Royal Warrants from Queen Elizabeth II. In 1903 Sir Robert co-founded the Edinburgh Association of Goldsmiths, Silversmiths & Watchmakers, so as to maintain a high standard of craftsmanship amongst the city’s jewellers and silversmiths. Robert Kirk Inches’ company legacy was carried on through his son Edward James and in turn ran under the ownership of his sons, Campbell and Ian. Today, it is privately owned and has recently enjoyed a luxurious refresh to its iconic Georgian-style showroom.
This building was originally home to the firm of Brook & Son another jeweller and silversmith with a warrant to the crown. Established in 1891 and trading until it merged with Hamilton & Inches in 1941, the firm was particularly known for making reproductions of the Roman treasure hoard found at Traprain Law Hill, East Lothian in 1919 and is the largest silver hoard outside the Roman Empire. The hoard dates from the 5th century and can now be found in the collection of National Museums Scotland.
Hamilton & Inches champions the very best of craft, with in house jewellers, silversmiths, engravers, polishers and watchmakers. Relocating to 87 George Street in 1952, with a sprawling warren of workshops above their luxurious showroom, Hamilton & Inches’ craftspeople have been responsible for creating some of the most iconic silverware and jewellery known around the world, including the Scottish Open trophy, the Royal Highland Show trophies, the Doddie Wier and Massimo Cuttitta cups, and silver-bound casings for seven hand-illustrated copies of The Tales of Beedle the Bard by J.K. Rowling. They are also dedicated engravers and repairers for the Rugby Union Calcutta Cup.
In 2019, Hamilton & Inches became one of only two Scottish retailers to gain access to the Scottish gold sustainably removed from the mine at Cononish near Tyndrum. Initially crafting a 22ct Scottish gold collection inspired by Mary Queen of Scots, the company recently launched their second, highly desired 18ct range of earrings and pendants in iconic fleur-de-lys style.
This collection of Hamilton and Inches silverware showcases the depth of skill and craftsmanship from 1870s right up to modern-day commissions such as the pair of candlesticks. Lots 427 to 441 highlight how important Hamilton and Inches have been and continue to be not only to the retail environment of Edinburgh’s George Street but in the investment in their apprentices and the continual development of craftsmanship across Scotland.
427 AN IMPRESSIVE ‘CHAMBERS’ COLLECTION PRESENTATION CENTREPIECE
HAMILTON & INCHES, EDINBURGH 2001 the funnel form bowl, to a spreading domed foot, with applied-card detail to stem, planished finish throughout, the associated wooden plinth with applied silver band engraved with presentation inscription to ‘Sir John Shaw CBE. Governor Bank of Scotland… 2001’, with presentation box 19cm high, 21cm with plinth, 41.4oz (weighable silver)
£1,000-1,500
the planished stems each of tapering square column form, to polished square bases and square drip pans (2)
35.5cm high, 54.5oz (combined)
£1,500-2,500
of traditional outline, waisted lugs, engraved presentation inscription to body; together with a lobed bowl, Hamilton & Inches, Edinburgh 1930 27cm across lugs, 13cm diameter of bowl, 17oz, 11oz
£400-600
430 AN EDWARDIAN FOOT RULE
HAMILTON & INCHES, EDINBURGH 1905
composed of four sections; together with a pencil, Stephen J Rose, London 1954 of hexagonal form and a miniature sugar sifter, Birmingham 1876, of cylindrical form, C-scroll handle (3)
71.5g (gross weight)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£300-500
431
A VICTORIAN COPY OF THE BESSIE BOYD DISC-END SPOON
HAMILTON & INCHES, EDINBURGH 1875
based on the Charles I disc-end spoon, compressed finial above disc terminal engraved ‘BB’ with slightly later date ‘1575’ bellow, the compressed lower cartouche with semi spiralled decoration, above large foliate decoration to stem, the join of stem and bowl with long V-shaped foliate detail with horizontal and vertical decoration below, prick engraved Constance Ada Maxwell 1876 to reverse
18.3cm long, 49g
Note: For the original disc-end spoon see lot 523 sale Scottish Silver 14 August 2012, Lyon & Turnbull
£180-220
EDINBURGH 1973
each of conventional triangular form with a beaded border 12cm at widest, 10oz (combined)
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611Purchased by the previous owner from Hamilton & Inches in 1973 to match the other that had been a wedding gift to their parents
£300-500
433
A MATCHED PAIR OF EDWARDIAN CHAMBER STICKS
HAMILTON & INCHES, EDINBURGH 1907 AND 1908
the diminutive dishes with central sconce and loop handle, one with engraved initials; a pair of toast racks Edinburgh 1935, a pair of embossed and pierced bon bon dishes, Edinburgh 1905 and a large baluster sugar caster Edinburgh 1948 all by Hamilton & Inches (7) 16oz (combined weight)
£200-300
434
AN EARLY 20TH CENTURY SWING HANDLED BASKET
HAMILTON & INCHES, EDINBURGH 1911 of oval outline with cast foliate and scroll border, the body with pierced border and scrolling panels, with foliate hinged swing handle 32cm wide 18oz
£250-350
435
AN EARLY 20TH CENTURY BISCUIT BOX
BROOK & SONS, EDINBURGH 1934 of straight sided oval form with hinged cover and gadrooned rim 16.5cm wide, 17oz
£300-500
436
A VICTORIAN SUGAR BOWL AND CREAM JUG
HAMILTON & INCHES, EDINBURGH 1893 of George III navette form with chased floral and scroll borders and engraved crest within cartouche; together with a baluster cream jug with hoof and shell feet, Hamilton & Inches Edinburgh 1883 (3) 15oz (combined weight)
£200-300
437
A VICTORIAN WHISKY TOT MUG
HAMILTON & INCHES, EDINBURGH 1893 formed as a miniature baluster mug with a planished finish, with engraved initials and date; together with three mustard pots all by Hamilton & Inches in the George III style (4) 11oz (combined weight)
£150-250
438
A SET OF SIX MATCHED EDWARDIAN APOSTLE SPOONS
HAMILTON & INCHES, EDINBURGH 1904 AND 1906 the bowl of rounded fig form, the apostle finial of traditional cast form (6)
18.5cm long, 13oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£300-500
439
AN EDWARDIAN COVERED JUG
HAMILTON & INCHES, EDINBURGH 1903 the straight sided body with semi-spiralled chased decoration, with reeded girdle and flared foot, the domed cover similarly decorated and with engraved crest, the bold S scroll handle with heart terminal 19cm high, 22.6oz
£500-800
OTHER MAKERS
440 Y
AN EDWARDIAN THREE-PIECE TEA SERVICE
GEORGE EDWARD & SONS, GLASGOW 1901
comprising a teapot, twin-handled sugar basin and milk jug, all of round square form, the bodies of baluster outline with chased scroll and floral panels, stylised angular handles, with ivory insulators to the teapot, each raised on a moulded square foot (3)
14cm high (teapot), 36oz (combined)
Note: With non-transferable CITES self-certification number: 7PBR2XA1
£300-500
441
A LATE VICTORIAN TWO-PRONGED TOASTING FORK
WB POSSIBLY WILLIAM BALLANTYNE, EDINBURGH 1891
additional import F mark, the polished horn handle with silver mounted terminal engraved with foliate WA
48.5cm long
£300-500
442
A SUITE OF VICTORIAN FIDDLE AND SHELL PATTERN FLATWARE
JAMES McKAY, EDINBURGH 1855
comprising six tablespoons, six table forks, six dessert spoons and six dessert forks, all with engraved crest and motto within a garter to terminal; together with a serving spoon, London 1800, of Old English pattern, engraved initials to terminal and a serving fork, Chawner & Co, London 1847 of Fiddle pattern, with engraved crest to terminal
52.5oz (combined weight)
£500-800
443
A COLLECTION OF VICTORIAN QUEEN’S PATTERN FLATWARE
PREDOMINANTLY WILLIAM CROUCH & SON, GLASGOW 1854
comprising ten tablespoons, eleven table forks, twelve dessert spoons, nine teaspoons and a pair of sugar tongs, all of single struck Queen’s pattern, most with engraved initial to terminal; together with two dessert spoons, James McKay, Edinburgh 1837, four mixed teaspoons and a pair of sugar tongs, all of a similar pattern
90oz (combined weight)
£700-1,000
444
A PAIR OF VICTORIAN ASPARAGUS TONGS
MARSHALL & SONS EDINBURGH 1844
445
444
A VICTORIAN DOUBLE-ENDED SPOON
JAMES HOWDEN & Co, EDINBURGH 1841
of Fiddle pattern, italic E J B engraved to the stem; together with a collection of flatware, to include four tablespoons, various makers, of Hanoverian pattern, twelve dessert spoons, of Hanoverian pattern, engraved crest and motto to terminal; two dessert spoons, of Old English pattern, another of Fiddle pattern, and a collection of three Fiddle pattern teaspoons and thirteen of Old English pattern (36)
31.5oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£400-600
446
AN EARLY VICTORIAN WINE FUNNEL
MARSHALL & SONS, EDINBURGH 1838
the tapered bowl with gadrooned rim and shell clip, with tapered spout with triple staves
14cm high, 4.5oz
Provenance: A Private East Coast Scottish Collection, collected over two generations
£350-500
447
AN EARLY 19TH CENTURY SCOTTISH SILVER MOUNTED
COWRIE SHELL SNUFF BOX
MAKER’S MARK INDISTINCT, EDINBURGH
the polished cowrie shell mounted with plain rim, the hinged cover with bright cut engraved border and inscribed ‘E Jardine 1801’
8.8cm long
£300-500
448
A PAIR OF WILLIAM IV ENTRY PASSES FOR THE EDINBURGH ASSEMBLY ROOMS
JAMES & WILLIAM McKENZIE, EDINBURGH
each of oval outline, dated ‘14 January 1836’, and ‘Not transferable’ the first engraved for ‘LADY HARRIET STUART/ FORBES’, the second engraved for ‘SIR/ JOHN STUART FORBES/ BT’, each with a circular bale
of Fiddle pattern with rectangular reticulated blades
21.5cm long, 3.8oz
£250-350
4.5cm long, 13.5g (combined)
Provenance: Formed part of Lot 366: Two Great Scottish Collections: Property from the Forbes of Pitsligo and the Marquesses of Lothian Sotheby’s 28 March 2017 London
of oval outline the baluster body with clasped acanthus leaves and engraved armorial to either side, the everted rim with gadrooned border, the twin handles with acanthus detail, raised on an oval foot with gadrooned border, the pull off domed cover with acanthus leaf decoration ad engraved crest for Clan Kilgour to either side, the loop handle modelled as a coiled snake
32cm high, 47cm across handles, 129.5oz
£6,000-8,000
450
A WILLIAM IV CARD CASE
MICHAEL CRICHTON, EDINBURGH, DATE LETTER LACKING, CIRCA 1830 of moulded rectangular outline, engraved with a bird amidst foliated scrolls to one side, foliate scrolls to the other with engraved initials to the central cartouche 9cm long, 63.4g
£200-400
451
A COLLECTION OF FIDDLE PATTERN FLATWARE
VARIOUS MAKERS AND DATES
to include six tablespoons, Donald Fraser Edinburgh 1830, six dessert spoons, J Asherheim, Edinburgh 1832, twenty four teaspoons and a pair of toddy ladles, Francis Howden, Edinburgh 1810, most with engraved initials to terminal 36.5oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations £300-500
452
A GEORGE IV CHAMBER STICK
MAKER’S MARK LACKING, EDINBURGH 1830 of traditional form, the plain beaver tail handle with engraved crest and motto 24.5cm across, 7.5oz
Provenance: A Private East Coast Scottish Collection, collected over two generations £300-500
453 Y
A GEORGE IV TEAPOT
JAMES HOWDEN & Co. AND MARK OF GEORGE PATON, EDINBURGH 1828 of circular form with an everted lip, the body of plain form, the hinged slightly domed disc lid surmounted by a floral finial, acanthus clasped C-scroll handle with ivory insulators, raised on a circular stepped foot
454
A GEORGE IV MARROW SCOOP
GEORGE McHATTIE, EDINBURGH 1825 of traditional double ended form; together with a fish slice, George McHattie, Edinburgh 1810, of Fiddle pattern, rectangular blade with Bright-cut detail, engraved crest and motto to terminal and a meat skewer AC, Edinburgh 1797, with traditional loop handle (3)
23cm, 29cm, 33cm, 12oz (combined)
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£400-600
455 Y
A GEORGE IV THREE-PIECE TEA SERVICE
GEORGE McHATTIE, EDINBURGH 1821
comprising teapot, twin-handled sugar basin and milk jug, all of demi-fluted circular form, cast floral borders, the hinged lid to the teapot with fluted detail and budding floral finial, the C-scroll handle with ivory inserts, each raised on a circular foot
16cm height of teapot, 49.5oz
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
Note: With non-transferable CITES self-certification number: SMGHK5FD
£600-800
456
A SET OF SEVEN GEORGE IV CRUET LABELS
JONATHAN MILLIDEGE CIRCA 1820
to include SOY, CAYENNE, CAYENNE VINEGAR, CAVICE, ANCHOVIE, OYSTER KETCHUP, LEMON VINEGAR, all of rectangular outline with canted edges and threaded border 2.2cm wide, 23g (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£300-500
of moulded circular outline with gadrooned border, engraved crest and motto to centre, raised on three hoof feet
31cm diameter, 28.4oz
£800-1,200
458
A GEORGE III WINE FUNNEL
JAMES MCKAY, EDINBURGH 1817
the tapered bowl with gadrooned rim and shell clip, engraved crest, the tapered spout with triple staves 14cm high, 4oz
£300-500
459
A GEORGE III ‘REGENCY’ TUMBLER
JAMES McKENZIE, EDINBURGH 1817
460
A GEORGE III ‘REGENCY’ BOWL
ALEXANDER EDMONSTONE, EDINBURGH 1817
of hemispherical form, heavily chased floral decoration throughout, engraved crest to both cartouches on body, raised on a circular foot, gilt interior
18.5cm diameter, 11.4oz
£500-800
461 Y
A GEORGE III ‘REGENCY’ TEAPOT
J. McKAY, EDINBURGH 1816
of demi-fluted oval outline, gardrooned border, engraved initials to the body, acanthus clasped C-scroll handle with ivory insulators, raised on four ball feet; together with a cream jug, George McHattie Edinburgh 1817, of similar form (2)
14cm high (teapot), 27.5oz (combined weight)
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
Note: With non-transferable CITES self-certification number: GLS9YR2E
£400-600
462
A PAIR OF GEORGE III PIN TRAYS
J. McKAY, EDINBURGH 1816
each of moulded oval outline chased shell and scroll decoration to the base (2)
9cm wide, 2.8oz (combined)
£250-400
463
A GEORGE III SALVER WILLIAM & PATRICK CUNNINGHAM, EDINBURGH 1815
464
A GEORGE III ‘SHRUB’ DECANTER LABEL
GEORGE McHATTIE, EDINBURGH 1815
of rectangular outline with canted edges and threaded border; together with an oval wine label for ‘Claret’ marked MB and a label engraved ‘B’, John Reily London 1804 (3)
26.4g (gross weight)
Provenance: The Shrub label: purchased at Jane Pollock, 1987 The B label: purchased from Schredds of Portobello in 1991
£250-350
465
A GEORGE III ‘REGENCY’ SAUCE BOAT
GEORGE McHATTIE, EDINBURGH 1812
of baluster outline with a gadrooned border, engraved coat of arms and motto for Clan Dundas to the body, the handle of S-scroll form with acanthus clasped detail, raised on an oval foot 15.5cm high, 16oz
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£400-600
466
A COLLECTION OF FLATWARE
VARIOUS MAKERS AND DATES
mainly Edinburgh, to include, six dessert forks, Edinburgh 1812, Fiddle pattern, italic initials engraved to reverse of terminal; two table forks, Henry Holland, London 1845, italic initials engraved to reverse of terminal; one table fork, Robert Gray & Son, Edinburgh 1815, of Fiddle and Shell variant pattern; a tablespoon, William Patrick Cunningham, Edinburgh 1795, of Old English pattern, engraved initials to terminal; pair of table forks, Alexander Zeigler, Edinburgh 1800, of Old English pattern, engraved crest and motto to terminal; six dessert spoons, John Wilkie, 1847, 1855, of Fiddle pattern, engraved italic M to terminal and a collection of six teaspoons, various patterns including Scot’s Fiddle pattern (24)
35oz (combined)
£400-600
467
A SET OF TWELVE GEORGE III TABLESPOONS
WILLIAM MARSHALL, EDINBURGH 1811
of Fiddle pattern, engraved J to terminal; together with six tablespoons James McKay 1829 and 1830, of Fiddle pattern, italic L engraved to terminal and one Fiddle and Shell tablespoon, also James McKay; a serving spoon Thomas Smith & Son, Glasgow 1878, of Fiddle pattern, italic R engraved to terminal; three toddy ladles, William Marshall, Edinburgh 1835, of Fiddle pattern, engraved italic initials to terminal and three Scottish Provincial teaspoons, Aberdeen, of Fiddle pattern and another similar for Glasgow (27)
43.5oz (combined weight)
£600-800
468
A GEORGE III GOBLET
JAMES McKAY, EDINBURGH 1811
of traditional demi-fluted baluster form, the upper body chased with floral scrolls and engraved presentation inscription to cartouche, vacant to other side, raised on a fluted stem to a circular foot
18cm high, 10.5oz
£300-500
469
A COLLECTION OF GEORGE III WINE AND SPIRIT LABELS to include a wine label for “Lisbon”, Robert Gray and Son (of Glasgow), Edinburgh 1811; a wine label for “Madeira”, W&P Cunningham, Edinburgh, 1797; a spirit label for “Brandy”, W&P Cunningham, Edinburgh 1815; a wine label, “Hollands”, E Morley, London 1808/9; together with a wine label for “Madeira”, George Nangle, Dublin, c.1795 (5)
37.5g (gross weight)
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£300-500
A GEORGE III SALVER
GEORGE McHATTIE. EDINBURGH 1810 of circular outline, with a gadrooned border, engraved foliate L to underside, raised on three bracket feet 25cm diameter, 18.5oz
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£300-500
471
A GEORGE III CAMPANA GOBLET
JOHN MCKAY, EDINBURGH 1808 of traditional form with flared rim and fluted lower section, engraved with foliate initial S, raised on a knopped stem and spreading foot 17.5cm high, 11.4oz
£300-500
472
A MATCHED COLLECTION OF EIGHT GEORGE III SPOONS
ROBERT GRAY 1792 & WILLIAM AULD 1808
three by Robert Gray, four by William Auld and one by another, all of Old English pattern, with engraved italic initial to terminal; together with a toddy ladle, Edinburgh 1805 and a pair of sugar tongs, Alexander Henderson, Edinburgh 1821 (10) 22.7cm long, 18.5oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£300-500
473
A SET OF MATCHED TEN GEORGE III TABLESPOONS
WILLIAM HANNAY (OF PAISLEY), EDINBURGH 1806
of Old English pattern, numbered 1-4 and 7-11, engraved initials to reverse of terminal; together with another, 1805, numbered 12 24cm long, 22.5oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£500-800
474
A SET OF THREE GEORGE III SPIRIT LABELS
WILLIAM CONSTABLE (OF DUNDEE), EDINBURGH 1805 to include, RUM, WHITE WINE and BRANDY, all of rectangular outline with canted edges and threaded border 5cm wide, 34.5g (combined)
£300-500
475
A PAIR OF GEORGE III SERVING SPOONS
WILLIAM & PATRICK CUNNINGHAM, EDINBURGH 1797 of Celtic Point pattern, italic B engraved to terminal 32.7cm long, 6.8oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£300-500
476
A GEORGE III TEAPOT STAND ROBERT SWAN, EDINBURGH 1793
of circular outline, slightly raised threaded border, raised three plain bracket feet
18cm diameter, 7oz
£400-600
477
A MATCHED SET OF GEORGE III TABLE AND DESSERT SPOONS
WILLIAM ROBERTSON, EDINBURGH 1790 & 1791
to include six table spoons, 1791 and twelve dessert spoons, 1790, each of Celtic Point pattern, engraved crest and motto “Semper Vires cit Virtus” to terminal for Clan Marshall
24cm, 19cm 24.5oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£400-600
478
A SET OF SIX GEORGE III CELTIC POINT PATTERN TABLESPOONS
FRANCIS HOWDEN, EDINBURGH 1790
italic HS to terminal 23.7cm, 12.5oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£250-400
479
A RARE SUITE OF TWENTY-FOUR GEORGE III SCOTTISH
SILVER GILT TABLE AND DESSERT KNIVES
DAVID MARSHALL, EDINBURGH CIRCA 1785 - 1795 (DATE LETTER LACKING)
comprising twelve table knives and twelve dessert knives, each with rounded silver gilt handles, beaded edges and oval cartouches with ribbon tied surmount each engraved with crest and armorials, simple steel blades
table knives 25cm long, dessert knives 22.5cm
Note: Scottish hallmarked knives are incredibly rare in any quantity. Sets such as this of both table and dessert knives are virtually unheard of. The poor survival rate and likely limited production levels due to supply from specialist cutlers/ knife makers in Sheffield and London undercutting the
480
A COLLECTION OF WINE & SPIRIT LABELS
VARIOUS MAKERS, EDINBURGH
to include a matched pair, William Robertson, Edinburgh c.1790 for CLARET and SHERRY; a small rounded oblong wine label with gadrooned border, J. Millidge, Edinburgh c.1820, for HOLLANDS and a similar larger for SHERRY; one for PORT, Jonathan Millidge Edinburgh; WHISKY, J. Hay, Edinburgh; together with another, Hester Bateman, London for HOCK; one for SHERRY and one for RUM (9) 3oz (gross weight)
483
A COLLECTION OF GEORGE III TABLESPOONS
ALEXANDER SPENCE, EDINBURGH 1789
Provenance: A Private East Coast Scottish Collection, collected over two generations
£300-500
481 Y
A FINE GEORGE III TEAPOT AND STAND
ALEXANDER SPENCE, EDINBURGH 1790
each of moulded oval outline, with Bright-cut engraved borders, shield cartouche with engraved italic initials to centre, the teapot, with a straight spout, angular wooden handle, ivory pineapple finial, the stand raised on four bracket feet 18cm high, 17.5oz (teapot), 20cm wide, 10.4oz (stand)
Note: With non-transferable CITES self-certification number: FAJ7PSGQ
£1,200-1,500
482
A COMPOSITE SET OF OLD ENGLISH FLATWARE
VARIOUS MAKERS AND MARKS
comprising a soup ladle, Edinburgh 1799, six tablespoons, Matt Craw, Edinburgh 1813, eight dessert spoons, various marks, six table forks, Patrick Sutherland, Edinburgh 1832, six dessert forks, Edinburgh 1844 and six teaspoons, all of Old English pattern, some with engraved initials to terminal; together with a set of six side knives and six table knives, William Bush & Son Ltd, Sheffield 1968 (45) 44oz (weighable silver)
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£600-800
of Celtic point pattern, italic B engraved to terminal; together with a Fiddle pattern tablespoon, Newcastle, 1849, modern sauce ladle, London, of Hanoverian pattern; A German/ Polish spoon with Loth mark for .812 purity; three Scottish Provincial tablespoons, Thomas Hamilton & Co. Glasgow circa 1780s 15.5 (combined weight)
£400-600
484
A GEORGE III BEAKER WILLIAM DEMPSTER, EDINBURGH 1788 of plain tapered form 12cm high, 9oz
£400-600
485
A MATCHED SET OF SIX CELTIC POINT PATTERN TABLESPOONS
WILLIAM AULD, EDINBURGH 1798 & PATRICK ROBERTSON, EDINBURGH 1788
with engraved initials to the terminal of the first and engraved crest and motto to the second; together with a set of three Hanoverian pattern tablespoons, James Mitchelson, 1717 and one by James Kerr, 1747, initials engraved to reverse of terminal and one Old English tablespoon, William Dempster 1747, initials engraved to both sides of terminal 24oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£500-800
481
486
A GEORGE III ST. ANDREWS UNIVERSITY RECTORY BOX CONTAINING SEAL
PATRICK ROBERTSON, EDINBURGH 1788
the outer silver box of rectangular outline, engraved to the lid, ‘PRESENTED BY THE UNIVERSITY OF ST. ANDREW’S, TO The Right Honourable Henry Dundas OF MELVILLE &c &c &c THEIR CHANCELLOR 1788’, fitted with a wooden lining containing a red wax seal and ribbon for the arms of St Andrews University, in a circular silver box
14.3 x 15.2 x 2.5cm: box dimensions, 9.2cm: diameter of seal box 12.4oz box, 24.4oz (gross weight)
£5,000-8,000
Provenance: The Noble Collection
Purchased from J H Bourdon-Smith Ltd, January 2004
A Private East Coast Scottish Collection, collected over two generations
Note: Henry Dundas, 1st Viscount Melville, (1742 –1811), was born on the Royal Mile in 1742 and originally educated at Dalkeith Grammar School. A case of smallpox interrupted his education and after his convalescence, he restarted his instruction at Edinburgh’s Royal High School. He studied Law at Edinburgh University and would hold positions as Solicitor General and Lord Advocate of Scotland before becoming the MP for Midlothian in 1744.
He was a close ally of Prime Minister William Pitt and served in various roles including that of War Secretary. He was a hugely powerful figure in Scottish politics and society at a time when Royal connections with Scotland were at their most removed, and he virtually ran the country on his own accord in the absence of Royal oversight. A controversial figure, he has now become most famous for delaying the abolition of slavery. In 1806 abolitionist Charles James Fox described Dundas as the man “who took a lead in constantly opposing our attempts at a total and immediate abolition” even though he knew the trade “to be adverse to policy, humanity, and justice.” It has been argued, however, that without his continued opposition and delaying, that abolition would never have been passed and it was due to a gradual transition deployed to work around Dundas’s objections that slavery was ended.
Ultimately, he was a great supporter of the Enlightenment and a figure well-known in Edinburgh. He was instrumental in the development and improvements around New Town, which brought many benefits to those who were then moved out of the slum conditions in Old Town at the time. Dundas is immortalised atop the 150-foot column standing centrally in St. Andrews Square today.
As he was appointed Chancellor of the University, it is quite apt that his statue is placed in St. Andrews Square. The oldest of the four ancient universities of Scotland, founded in 1413, St. Andrews University is still regarded as one of the foremost educational institutions in the world.
There are often manuscripts and correspondence from Melville that appear at auction and within the collection of National Museums Scotland, but it is scarce to find silver relating to Dundas. On the 17th of August 2016, Lyon & Turnbull sold The Henry Dundas Canongate Freedom Box, lot 364 for £1,900.
492
487
A GEORGE III SWEETMEAT BASKET
WILLIAM DAVIE, EDINBURGH 1784
of oval outline, beaded border above a pierced edge, raised on an oval pierced foot, the swing handle with similar beaded decoration 17cm high (with handle raised), 8oz
Provenance: A Private East Coast Scottish Collection, collected over two generations
£500-700
488
A GEORGE III LARGE SUGAR BOWL
PATRICK ROBERTSON, EDINBURGH 1783
the deep tapered oval bowl with arrowhead border and engraved foliate and flower head swag, raised on a simple short stem and domed foot
15.3cm wide, 9oz
£300-500
489
A GEORGE III MUG
EDINBURGH 1780
of baluster outline, S-scroll handle, raised on a stepped circular foot, rubbed engraved initials to underside of foot
9cm high, 5oz
£400-600
490
A SET OF SIX GEORGE III HANOVERIAN TABLESPOONS
JAMES HEWITT, EDINBURGH 1776
engraved italic G to reverse of terminal; together with another, Coline Allan, marked CA, ABD, engraved Baron’s coronet surmounted foliate B to reverse of terminal
22.3cm, 21.5cm long, 15.5oz (combined)
£250-350
491
A GEORGE III GRAVY STRAINER SPOON Mc, EDINBURGH 1775
of Old English pattern, engraved crest and motto “Sola Juvat Virtus”, surmounted with baron’s coronet, for Blantyre, possibly the 10th Baron Lord Blantyre, Alexander Stuart 22cm long, 3oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£200-300
492
A GEORGE III TWIN-HANDLED CUP
PATRICK ROBERTSON, EDINBURGH 1775
of traditional urn form, with Bright-cut engraved floral swag detail, engraved crest and motto for Clan MacDonald to one side and italic A to the other, the C-scroll handles with acanthus clasped detail, raised on a spreading circular foot
22cm high, 28oz
£800-1,200
493
A COLLECTION OF HANOVERIAN PATTERN TABLESPOONS
VARIOUS MAKERS, EDINBURGH
to include a set of four James Welch, Edinburgh 1773, of Hanoverian pattern, initials engraved to reverse of terminal; pair of tablespoons, Dougal Ged, Assay Master Archibald Ure, Edinburgh 1734, of Hanoverian pattern, initials engraved to reverse of terminal, another, William Ged, Edinburgh 1714, of Hanoverian pattern, rat tail bowl, initials engraved to reverse of terminal; a pair, John Welsh, Edinburgh 1767, of Hanoverian pattern, initials engraved to reverse of terminal; another, James Ker, Edinburgh 1731, of Hanoverian pattern, initials cross keys to reverse of terminal and John Jolly; another, Edinburgh 1778, of Hanoverian pattern, italic B engraved to reverse of terminal; and another, Charles Dickson, Edinburgh 1740, of Hanoverian pattern, initials engraved to reverse of terminal (12)
26oz (combined)
Provenance: A Private East Coast Scottish Collection, collected over two generations
£500-800
494
A GEORGE III HASH SPOON DAVID EDMOND, EDINBURGH 1770 of Hanoverian pattern
42.5cm long, 15.5oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£500-700
495
A GEORGE III SALVER
JAMES HEWITT, EDINBURGH 1770
of circular outline with a gadrooned edge, chased inner border, raised on three hoof feet
23.5cm diameter, 14oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£600-800
496
A MATCHED SET OF GEORGE III OLD ENGLISH FEATHER EDGE PATTERN FLATWARE
PATRICK ROBERTSON, EDINBURGH 1770 AND 1785
to include a soup ladle, 1785, italic B engraved to reverse of terminal, crest and motto “God be our Guide” engraved to terminal; together with four serving spoons, eleven tablespoons, twelve dessert spoons, all of Old English Feather Edge pattern, engraved crest and motto “By Dand” to terminal (24)
36cm, 31.5cm, 21.5cm, 17.7cm, 58.5oz (combined)
Provenance: A Private East Coast Scottish Collection collected over two generations
£800-1,200
497
WILLIAM TAYLOR, EDINBURGH 1767
of Hanoverian pattern, with large script initials HG to terminal 41.5cm long 7.8oz
TWO GEORGE III FISH SLICES
PATRICK ROBERTSON, EDINBURGH 1767 & JAMES HEWITT, EDINBURGH 1776
the first, the pierced blade with fish and sea monster motifs, engraved crest “Sola Juvat Virtus” to terminal; the second of with feather edge handle, pierced scroll blade, engraved crest “Free for a Blast” to terminal 30cm, 30.5cm, 5.5oz, 6.5oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£300-500
498
A LATE 18TH CENTURY QUAICH ALEXANDER OCHILTREE
maker’s mark only, of traditional early 18th century form with shallow bowl and downswept lugs, raised on a simple foot rim 14cm across lugs, 2.4oz
£800-1,200
£800-1,200
501
A GEORGE III CHAMBERSTICK
PATRICK ROBERTSON, EDINBURGH DATE LETTER LACKING the central sconce set to a simple dished base with threaded detail, engraved H with a Viscount’s coronet, the C-scroll handle with plain
PATRICK ROBERTSON, EDINBURGH 1765
of traditional form, engraved crest and motto for the Swinton family to body, turned wooden finial to pull-off lid, wooded C-scroll wooden handle, straight spout
13cm high, 22oz
£1,000-1,500
A GEORGE III TEAPOT AND MATCHING STAND
JAMES OLIPHANT EDINBURGH 1764 AND 1765
the teapot of drum form, engraved crest and motto to body, straight spout and S-scroll wooden handle, the pull-off lid with a turned wooden finial; the stand of moulded circular outline with a cast shell border, raised on three hoof feet (2)
15cm height of teapot, 25oz, 19cm, diameter of stand, 7oz
Heraldry: The crest of Hepburn
A horse argent furnished gules tied to a yew tree properMotto: Keep trystFrom the research it would appear that the owner of this teapot hailed from the branches of the family of Hepburn from the County of Haddingtonshire in East Lothian. Upon an examination of various sources the most likely candidate would be Robert Hepburn of Clerkington in the aforesaid county (born before 1743 died 2nd January 1798). Robert was educated at the University of Edinburgh and thereafter he is stated as
with floral chased decoration, vacant cartouches, ivory insulators to the acanthus clasped C-scroll handle, the finial to the hinged lid modelled as a phoenix in flight, ‘McGill’ engraved to the underside of
A Private East Coast Scottish Collection collected over
With non-transferable CITES
506
A GEORGE III HASH SPOON
ALEXANDER AITCHISON, EDINBURGH 1760 of Hanoverian pattern, italic L C engraved to reverse of terminal 38cm long, 7oz
£400-600
507
A GEORGE III CASTER
BENJAMIN COUTTS, EDINBURGH 1758
Assay Master Hugh Gordon, of typical baluster form with domed pull off cover with finely pierced and engraved panels, acorn finial 15cm high, 4.7oz
£150-250
508
A MATCHED SET OF NINE GEORGE III HANOVERIAN PATTERN TABLESPOONS
VARIOUS MAKERS AND MARKS
26cm high, 32.5oz
£1,500-2,500
to include four by Ker & Dempster, Edinburgh 1755; two by George Forbes (possibly) 1753 and 1740, two by Patrick Robertson 1770 and 1740, and one by James Wemyss 1740, all of Hanoverian pattern, some with engraved initials and some with engraved crests to reverse of terminals (9)
21.5cm long, 21oz (combined)
£500-800
509
A COLLECTION OF SCOTTISH FLATWARE to include, a pair of tablespoons, William Dempster, Edinburgh 1753, of Hanoverian pattern, engraved initials to reverse of terminal, and another slightly smaller with rubbed marks; a set of seven dessert forks, Alexander Henderson, Edinburgh 1811, of Fiddle pattern, crest and motto engraved to reverse of terminal; a set of six dessert spoons, G.R.,Glasgow 1826, of Fiddle pattern, engraved initial to terminal, eight teaspoons, Robert Keay of Perth, of Old English pattern, engraved initial to terminal; together with a marrow scoop William Robertson, Edinburgh, engraved crest to bowl
Combined weight: 26oz
£300-500
510
A GEORGE II/III MOTE SPOON
ROBERT LOW, EDINBURGH
marked LOW, of traditional form, the pierced bowl to a tapered stem with pointed finial 17cm long, 11.5g
Note: Although Mote spoons are a standard production in 18th century England their manufacture and survival are very rare in Scottish silver. This must be one of the most unusual parts of an 18th century Scottish tea service to survive.
£300-400
21.5cm long, 13.8oz
£300-500
513
A SET OF FOUR CAST EARLY GEORGE III CANDLESTICKS
LOTHIAN AND ROBERTSON, EDINBURGH 1760
each with a knopped and panelled stem, raised on a square foot, engraved crest and motto for Clan Maxwell with gadrooned detail border, the removable sconces and knopped stem with gadrooned detail
26.5cm high, 87.8oz (combined)
£6,000-8,000
514
AN UNSUAL GEORGE II SILVER MOUNTED COWRIE SHELL SNUFF BOX 1759
the polished cowrie shell mounted with plain rim, the hinged cover with chased floral scroll decoration, the central cartouche engraved ‘John Wallace 1759’
11cm long
£400-600
515
A GEORGE II CREAM BOAT
ALEXANDER AITCHISON, EDINBURGH 1758
of traditional form, the everted rim chased with floral decoration, acanthus clasped handle, crest engraved to the body, raised on three hoof feet
9.7cm high, 6.5oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£300-500
516
A GEORGE II FOOTED SUGAR BASIN
WILLIAM GILCHRIST, EDINBURGH 1755
Assay Master, Hugh Gordon, of circular outline, the everted rim with chased floral decoration, to a stepped domed foot
9cm high, 13.3cm dimension, 8oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£400-600
517
A GEORGE II KITCHEN PEPPER
WILLIAM DEMPSTER, EDINBURGH CIRCA 1750
(MAKER’S MARK ONLY)
of traditional form, threaded bands, simple loop handle, engraved to underside ‘DC’
6.3cm high, 46g
£250-400 513
518
A SET OF FOUR GEORGE II CANDLESTICKS
WILLIAM AYTOUN, EDINBURGH 1748
each cast with a knopped stem to a stylised square base with chased floral corners and engraved crest and motto ‘La Virtus Nobilitat’, to one corner, scratch weight 14”9, 14”8, 14”4 and 14”8 engraved to underside 18.5cm high, 12.5oz, 12.5oz, 13oz, 13oz
Provenance: A Private East Coast Scottish Collection collected over two generations
References: ‘Scottish Gold and Silver Work’, I Findlay, plate 79 ‘Compendium of Scottish Silver II’, R & J Dietert, listed page 73
£4,000-6,000
519
A GEORGE II WAITER
EBENEZER OLIPHANT, EDINBURGH 1747
Assay Master, Hugh Gordon, of moulded circular outline, cast scroll & shell border, chased inner border flowers, shells & scrolls, with engraved initials JEO the centre, raised on three hoof feet 21.5cm diameter, 11oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£400-600
520
A GEORGE II SUGAR BASIN
EDWARD LOTHIAN, EDINBURGH 1746
Assay Master Hugh Gordon, of traditional form, chased shell and scroll detail to the body, everted rim, raised on a stepped foot
521
A GEORGE II SALVER
EBENEZER OLIPHANT, EDINBURGH 1742
Assay Master, Edward Lothian, with a pie crust border, chased inner border, engraved crest and motto “Non Sibi sed Cinctis” to the centre, raised on three hoof feet
25cm diameter, 17oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£700-1,000
522
A GEORGE II HASH SPOON
WILLIAM DAVIE, EDINBURGH 1742
of Hanoverian pattern, engraved initials MB/ MC to reverse of terminal 38cm long, 9oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£600-800
523
A SET OF TWELVE GEORGE II THREE-PRONG FORKS
JAMES KER, EDINBURGH 1740
Assay Master, Dougal Ged, of Hanoverian pattern, italic initials engraved to the reverse of terminal (12) 20cm long, combined weight: 25oz
£1,200-1,500
524
A GEORGE II SUGAR BASIN
EDINBURGH 1740
Assay Master, Dougal Ged, of slight baluster form, chased scroll and floral border to body, the everted rim with similar chased detail, raised on three scroll and paw feet
14.5cm diameter, 7.5oz
£400-600
525
A GEORGE II CASTER
WILLIAM DEMPSTER, EDINBURGH 1737
Assay Master, Archibald Ure, of baluster form, pronounced girdle, engraved crest and motto ‘NON DORMIT QUI CUSTODIT’ the pull-off pierced domed cover with pierced panels and knopped finial 22cm, 12oz
£1,200-1,800
525
526
A GEORGE II WAITER
ALEXANDER FARQUHARSON, EDINBURGH 1735
Assay Master, Archibald Ure, of square outline with inswept corners the centre with trailing shell and foliate scroll border, raised on four hoof feet
14cm wide 7.5oz
£300-500
AN IMPRESSIVELY LARGE GEORGE II TANKARD
WILLIAM JAMIESON, EDINBURGH 1731
Assay Master, Archibald Ure, of conventional cylindrical form with a waisted girdle, the stepped domed hinged cover with foliate thumb piece and acorn finial, raised on a stepped circular foot
27cm high, 47oz
£5,000-8,000
528
A GEORGE II BUN SUGAR CASTER
WILLIAM AYTOUN, EDINBURGH 1730
Assay Master, Archibald Ure, of plain baluster form with reeded girdle and raised on short stem and spool foot, the pull off domed cover with simple pierced decoration
10.5cm high 3.8oz
£700-900
529 Y
A GEORGE II CHASED BULLET TEAPOT
JAMES MITCHELSON, EDINBURGH 1729
Assay Master, Archibald Ure, the slightly tapered bullet form with chased shell, scroll and foliate border to body and rim of flush hinged cover, with S scroll handle with ivory insulators and a tapered straight spout
16.5cm high, 19.8oz
Note: For a fine example of an apple form teapot by the same maker see Lyon & Turnbull ‘Scottish Silver & Accessories’ 13th August 2014 lot 420. With non-transferable CITES self-certification number: S2A2SUH1
£1,500-2,500
530
A MATCHED SET OF FIVE HANOVERIAN PATTERN TABLESPOONS
A PAIR OF GEORGE II MUGS
CHARLES DUNCAN, EDINBURGH 1727
to include two, David Mitchell, Edinburgh 1726, two, Patrick Graham, and another, all with rat tail bowls and engraved initials or crest to terminal; together with two others, one, Ker & Dempster, 1750 and another, Hugh Penman, 1737, Gothic initials engraved to terminal (5) 15oz combined
Provenance: A Private East Coast Scottish Collection collected over two generations
£300-500
each of slight baluster form with slightly flared rim and engraved crest and motto for Boyd, above engraved initials A.Y., resting on a socle foot, with simple S scroll handle with plain thumb piece, CB/AR engraved to the underside of foot
18.5cm high, 9.8oz (combined)
£1,000-1,500
A GEORGE I BOWL
WILLIAM AYTOUN, EDINBURGH
1723
Assay Master, Edward Penman, the deep bowl with engraved crest, to a stepped circular foot
12cm diameter, 8.7cm high, 6.4oz
Note: The survival of early sugar or slop bowls which would have formed an important part of early tea services is surprisingly rare. This perhaps suggest that while teapots became fashionable, and a must have in silver early on, the equipage such as a bowl and milk jugs remained popular in ceramic. When looking at the survival of teapot to sugar / slop bowls and milk jugs the disparity is obvious.
£1,000-1,500
534
A SET OF SEVEN GEORGE I THREE PRONG FORKS
WILLIAM GED, EDINBURGH 1718
Assay Master Edward Penman, of Hanoverian pattern, engraved motto, “Spes Ultra”, crest and italic N to terminal (7)
19cm long, 14.5oz (combined)
Provenance: A Private East Coast Scottish Collection collected over two generations
£1,200-1,500
533
A SET OF SIX GEORGE I THREEPRONG FORKS
MUNGO YORSTOUN, EDINBURGH 1720 of Hanoverian pattern, engraved crest and motto ‘virtute et opera’, and engraved letter B to terminal of each (6)
20cm long, 12.9oz (combined)
£1,000-1,200
535
A GEORGE I SUGAR CASTER AND LATER MATCHED PAIR
PATRICK MURRAY, EDINBURGH 1718 AND J. MCKAY, EDINBURGH 1818
A RARE PAIR OF QUEEN ANNE SUGAR CASTERS
COLIN MCKENZIE, EDINBURGH 1708
each of octagonal outline, the pierced pull-off lids with knopped finials, raised on an octagonal foot
16.5cm high, 8.3oz, 7oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£1,500-2,500
536
A COLLECTION OF HANOVERIAN TABLESPOONS
VARIOUS MAKERS, EDINBURGH
to include a pair, Colin McKenzie, Assay master, Edward Penman, Edinburgh 1719, of Hanoverian pattern, rat tail bowls, crest and motto engraved to reverse of terminal; another, Alexander Aitchison, Edinburgh c. 1760, of Hanoverian pattern, italic B to reverse of terminal; another Robert Clark, Edinburgh 1769, of Hanoverian pattern, engraved initials to reverse of terminal; a pair James Hewitt, Edinburgh 1778, engraved italic B to reverse of terminal and a pair, James Mitchell I, Edinburgh 1742, italic B engraved to reverse of terminal (8)
16.5oz (combined)
Provenance: A Private East Coast Scottish Collection collected over two generations
£300-500
537
A PAIR OF GEORGE I TABLESPOONS
JAMES TAIT, EDINBURGH 1717
Assay Master, Edward Penman, of bold Hanoverian pattern with rounded terminal, engraved with initial RY / EC and with long rat tail to the bowl (2)
19.8cm long, 4.5oz
£200-300
Assay Master, Edward Penman, of flared cylindrical form with moulded foot and girdle, engraved with crest and motto, the pull-off domed cover with pierced and engraved decorations and cast acorn finial 17cm high, 15.2oz (combined)
Provenance: Sotheby’s 24th February 1966 lot 35 Lyon & Turnbull, Scottish Silver & Accessories, 12th August 2015 lot 425 Private Collection
Heraldry: With crest and motto of Thomson
£3,000-5,000
539
A LARGE QUEEN ANNE CASTER
WILLIAM GED, EDINBURGH 1708
Assay Master, Edward Penman, of baluster form with reeded girdle, the body engraved with the Blair crest and motto AMO PROBUS above in a banner, the domed pull off cover with engraved trailing foliate border and with lattice pierced sections with acorn finial above
19.2cm high, 9.3oz
Provenance: The Blair Sale Lyon & Turnbull 14th March 2012 lot 845 (part)
£1,000-1,200
A QUEEN ANNE DOG NOSE SPOON
THOMAS KER, EDINBURGH 1703
with rat tail bowl, engraved initials RC/ EH to reverse of terminal
21cm, 2oz
Provenance: A Private East Coast Scottish Collection collected over two generations
£400-600
541
A PAIR OF WILLIAM III LIGHTHOUSE CASTERS
ROBERT BRUCE, EDINBURGH 1703
Assay Master, James Penman, of cylindrical form with flared domed foot and pull-off upper half, each with gadrooned border, engraved motto and crest for Clan Erskine, the domed cover of pierced floral design with knopped finials (2) 15cm high, 10.3oz (combined)
£3,000-5,000
542
A LATE 17TH CENTURY QUAICH
JOHN SEATON, EDINBURGH CIRCA 1695
maker’s mark struck twice to rim, of typical form with shallow bowl engraved to interior and exterior with staves, the exterior additionally with withie line, the twin handle with down swept lugs with cross-hatched border, raised on a simple outturned foot, the rim engraved with contemporary script initials MC 9cm diameter of bowl, 15cm width across lugs
Note: John Seaton is recorded working in Edinburgh from 1688, and various fine quality examples of Edinburgh silver bear his mark. These include a fine mug and cup and cover, both within the National Museum of Scotland’s collection. For a miniature Thistle Tot Cup struck with the same maker’s mark only, see Scottish Silver & Applied Art, Lyon & Turnbull 16th August 2017 lot 404 and a fully hallmarked lidded tankard of 1702 see Fine Jewellery & Silver Lyon & Turnbull 30th November 2011 lot 421.
£2,000-3,000
541
the triple knopped stem to a stepped square base with canted edges, scratch weight, 12=2 to one and 11=12 to the other 17cm high, 11.7oz + 11.5oz
Provenance: Sotheby 24th June 1953, lot 117 Sotheby’s 5th February 1987, lot 53
Note: This remarkable pair of Scottish candlesticks are amongst the earliest known to survive. They are predated by only two pairs, both Edinburgh made hallmarked in 1695 and 1697. The also match in date with another pair by Robert Inglis. Although it is tempting to consider that these were bought in from London and merely hallmarked in Edinburgh this seems unlikely. The overall proportion and the configuration of stem and knops is different to recorded London pairs. They are no doubt however inspired by the fashion of London given a Scottish flavour.
It would appear that the candlesticks have been retailed by Mungo Yorston as are dated before he gains his Freedom in 1701. This could be explained by him retailing old stock for his master John Seaton once he has become free or having taken them in trade for new silver, as was standard practice, and rather than melting them re selling them.
£8,000-12,000
COLLECTABLES & JEWELLERY
544
THE DUKE AND DUCHESS OF SUTHERLAND WILLIAM IV SEAL SET
SILVER-GILT CHARGER
PAUL STORR, LONDON 1834
Of stylised octofoil outline, with embossed foliate scroll decoration throughout, set with nine various seals
Provenance: George Granville Leveson-Gower, 2nd Duke of Sutherland K.F. (1786-1892), thence by descent
Christie’s, London, 13th November 2018, lot 384, sold for £10,000 The Matrix Collection
£3,000 - £5,000
Note: At one point, one of the wealthiest families in Great Britain, the marriage alliance of the Leveson-Gower family and the Sutherland family found its success in the landed nobility of the Sutherland family combined with the affluence of the Leveson-Gower family.
This charger commemorates this union and the accomplishments of the family. Most likely commissioned by George Granville Leveson-Gower, the 2nd Duke of Sutherland (1786 – 1861), the date suggests that it was in memoriam of his father George Granville Leveson-Gower the first Duke of Sutherland (1758-1833). The Dukedom was only confirmed in 1833, months before the death of the first duke and would therefore be a celebration of this inauguration and achievement. Each seal acknowledges the important family members and the contribution to their rise. There are also marital arms recognising the marriage in 1785 between George Granville Leveson-Gower, 1st Duke of Sutherland and Elizabeth Sutherland (1765- 1839), which fortified the union and created the dynasty still in existence to this day.
The Leveson-Gower family had previously ascended politically, but it was the inheritance through a maternal uncle, Francis Egerton, 3rd Duke of Bridgewater in 1803, that really propelled the family. The inheritance included the Bridgewater Canal and a major art collection. They also owned estates in Staffordshire, Yorkshire, and Shropshire which all contributed to their rising status in British society.
The Sutherland family, on the other hand, had been admitted into the Scottish landed nobility since the 13th century. The family in the 18th century made their money from slave plantations in Jamaica but did not have the same magnitude of wealth as the Leveson-Gower family. When Elizabeth’s father, the 18th Earl (1735–1766) passed away, due to primogeniture, it was not guaranteed that Elizabeth would inherit but was only confirmed by the House of Lords in 1771. This confirmation made her an enticing match for the well-to-do Leveson-Gower who she married in 1785.
Together, Elizabeth and George Granville known as Lord and Lady Stafford set about making Dunrobin in the Scottish Highlands a profitable estate and are most known for the controversial Highland clearances. Dunrobin is still the main seat of the family under the current 7th Duke.
As one of the wealthiest families in the UK, it is unsurprising that they chose Paul Storr, deemed one of the most prolific and successful British silversmiths for the commission of this family relic. At a time that has often been considered the period that saw the greatest demand in the production and trading of silver wares, Storr always ensured that exceptional craftsmanship was maintained at the highest level. Following Storr’s early personal success, the company ‘Rundell Bridge and Rundell’ (who had been appointed Jewellers, Goldsmiths and Silversmiths to the Crown, and had also attained the Royal Warrant from HRH The Prince of Wales and The Duke of York) scouted Storr and he joined the company in 1807. Due to the volume of production at Rundell Bridge and Rundell, Storr’s role became almost supervisory, interacting with the existing staff to convey his work practices. A plate bearing Storr’s mark may not have been worked by his hands, but the hallmark was his and acted as a guarantee of the quality. Perhaps due to the lack of opportunity to be ‘hands-on’, in 1819 Storr opened his own shop, and in 1822, formed the company Storr & Mortimer. From working directly with prestigious companies with royal warrants to personal commissions, Paul Storr is remembered for fine examples of masterful craftsmanship predominantly in the Neo-Classical design. It is interesting to note that this charger does not immediately appear in any of the annals of Paul Storr and is clear to see that it is a bespoke commission from the family. A true one-off piece for both the family and the silversmith.
Heraldry: The arms on the central seal are those of Leveson impaling Granville and on the obverse Leveson quartering Gower, Gower of Stanesby and another, all impaling Granville, for William Leveson-Gower, later 4th Bt. (d.1691) and his wife Lady Mary Granville (1653-1696), daughter of John, 1st Earl of Bath (1628-1701), whom she married in 1668.
William was born with the family name Gower, but changed it to Leveson-Gower on succeeding to the estates of his great uncle Sir Richard Leveson Kt. (1598–1661), of Trentham. The quarterings and the absence of the baronet’s badge dates the seals to between 1661, and 1689, when William became the 4th baronet on the death of his elder brother’s son, Sir Thomas Gower 3rd Bt.
1 Gower quartering Leveson within the Garter motto and beneath a duke’s coronet for a Duke of Sutherland, on carnelian matrix.
2 Gower quartering Leveson beneath an earl’s coronet with Sutherland in pretence beneath a countess’ coronet, for George Granville Leveson-Gower, as Earl Gower, later created 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (1765-1839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (17351766), whom he married in 1785, on silver-gilt matrix,
3 Gower quartering Leveson impaling Egerton with viscount’s coronet above, for Granville Leveson-Gower as Viscount Trentham of Trentham, later 2nd Earl Gower and 1st Marquess of Stafford (1721-1803) and his second wife Lady Louisa Egerton (1723-1761), daughter and eventual co-heir of Scroop Egerton, 1st Duke of Bridgewater (1681-1744), on carnelian matrix.
4 Gower quartering Leveson beneath a duke’s coronet with Sutherland in pretence beneath a countess’ coronet, for George Granville Leveson-Gower, as 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (1765-1839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (1735-1766), whom he married in 1785, on carnelian matrix.
5 Gower quartering Leveson beneath an earl’s coronet with Sutherland in pretence beneath a countess’ coronet, for George Granville Leveson-Gower, as Earl Gower, later created 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (1765-1839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (17351766), whom he married in 1785, on bloodstone matrix.
6 Gower quartering Leveson beneath a marquess’ coronet with Sutherland in pretence beneath a countess’ coronet, for George Granville Leveson-Gower, as 2nd Marquess of Stafford, later created 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (17651839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (1735-1766), whom he married in 1785, on milky chalcedony matrix.
7 Gower quartering Leveson beneath a marquess’ coronet within the motto of the Order of the Garter, for either Granville Leveson-Gower, 1st Marquess of Stafford (1721-1803), or his son George Granville Leveson-Gower, as 2nd Marquess of Stafford, later created 1st Duke of Sutherland (1758-1833), on carnelian matrix.
8 Gower quartering Leveson with viscount’s coronet above, for Granville Leveson-Gower as Viscount Trentham of Trentham, later 2nd Earl Gower and 1st Marquess of Stafford (1721-1803), on gold matrix.
545
A CLAN CAMPBELL SEAL
A 19TH CENTURY CARNELIAN FOB SEAL
the fluted and scrolling mount enclosing a rounded rectangular chalcedony matrix, finely engraved with arms, crest and motto ‘IN OBLIVIS CARIS’ for Clan Campbell
2.2cm x 1.9cm (matrix) 3.2cm (overall)
Provenance: The Matrix Collection
£150-250
THE LORD HIGH ADMIRAL OF SCOTLAND SEAL
A GEORGE III SILVER SEAL, WILLIAM PITTS LONDON 1816 of circular outline, bearing the engraved crest for the Lord High Admiral of Scotland, in a border modelled as a garter with anchor to a further border with the engraved Latin motto ‘SIGILLUM ADMIRALITATUS SCOTIAE’
6cm diameter 10oz (gross weight)
Provenance: The Matrix Collection Lot 518 Keys Fine Art Auctioneers 2016
Note: The Lord High Admiral of Scotland was the Monarchs lieutenant and justice-general upon the high seas, the coast and the Kingdom. Following the Union of 1707 between Scotland and England, the High Court of Admiralty was amalgamated but Scotland continued to oversee the jurisdictions for any maritime law in Scotland. The office was formed in the early 15th century and was once held by the Earls of Bothwell and the Dukes of Lennox.
The date of this seal, highly likely the last ever issued for the position, is pertinent as in 1817 The Public Offices (Scotland) Act 1817 provided that no person thereafter appointed as Vice Admiral should receive a salary. Furthermore, the court was abolished in Edinburgh in 1830 when the court of Session was granted subject-matter-jurisdiction.
£2,000-3,000
547
THE ROBERTSONS OF KINDEACE FAMILY SEAL
A 19TH-CENTURY DOUBLE-ENDED FACETTED HARDSTONE SEAL
the facetted cylinder engraved to one end with a monogram and to the other ‘KINDEACE/ DELNY/ ROSS-SHIRE/ N.B.’ 4.7cm long
Provenance: The Matrix Collection
£200-400
548
THE NEWCASTLE ATHOLL LODGE MASONIC SEAL
AN EARLY 19TH CENTURY STEEL AND WOODEN SEAL
the baluster wooden handle, to a steel circular matrix engraved ‘SEAL OF THE ATHOLL LODGE No 131 NEWCASTLE’ to the border, with Masonic iconography to the centre, the reverse engraved ‘Presented to the Atholl Lodge by Br Thom Wilson 15. April 1811’
4.3cm diameter of seal, 9cm long (overall)
Provenance: The Matrix Collection
Note: In 1772, the Duke of Atholl was installed Grand Master of the “most ancient and honourable fraternity of Free and Accepted Masons,” in presence of the Masters of the Grand Lodges of Scotland and Ireland.
Literature: Morris, David. The Matrix Collection- A Collection of British Seals 2012. pg 80-81
£600-800
550
A SCOTTISH VICTORIAN HARDSTONE SET PAPER KNIFE
the tapered handle set with various hardstones and engraved scroll work to the other side, the blade with intricate engraved scroll work to either side and three stylised hardstones to one side, with a box finial 24cm long, 4.9oz (gross weight)
£600-800
551
A SCOTTISH VICTORIAN HARDSTONE SET NOVELTY DESK INKWELL
JR, EDINBURGH 1885
raised on three stag’s heads, the body of ovoid form, set throughout with various hardstones, including bloodstone, Montrose agate, banded agates etc, to an engraved scrollwork ground, the hinged lid opens to a gilt interior with removable ink well, marked JR, Edinburgh 1885, of octagonal outline
13cm high, 14oz (without inkwell)
£2,000-3,000
552
A SCOTTISH HARDWOOD SNUFF BOX
549
A SCOTTISH VICTORIAN HARDSTONE MOUNTED DESK BLOTTER
of traditional rectangular outline, the mahogany cover with an applied silver lozenge, set with various hardstones including Montrose agates, bloodstone, and other agates, engraved scroll detail to each corner, to a leather interior
27cm long
£1,000-1,500
of oval outline, the wooden sides engraved with scrollwork decoration, the hinged lid with engraved thistle 8.3cm wide, 5.5cm high
£300-500
553
A SERPENT HEAD CURLY HORN SNUFF MULL UNMARKED
of traditional curled form with carved serpent head terminal with inset eyes, the hinged cover with applied mounts, oval cartouche with engraved initials 10cm long
£250-400
551 550
549
554
557
AN 18TH CENTURY NOVELTY ELEPHANT SNUFF MULL
the carved cow horn shaped as an elephants head with inlaid eyes and bone tusks, the body applied with a vacant silver shield cartouche, the hinged cover formed of a polished agate panel within reeded silver mount
9.5cm long
£300-500
558
A VICTORIAN DEER’S HOOF DOUBLE SNUFF MULL
UNMARKED
A MID VICTORIAN PRESENTATION SNUFF MULL
UNMARKED
the large well coiled cow horn with applied shield cartouche inscribed ‘presented to Mr James Stewart by the Bank of the Minend (?)…. 1825’, the domed cover with chased foliate scrolls surrounding a facetted paste to centre, with large ball and claw hinge 11cm long
£300-500
555
A VICTORIAN COW HORN SNUFF MULL
UNMARKED
the polished slightly curved horn set with a hinged lid, engraved to the central disc cartouche with italic initials, AH and a Pictish depiction, within a scallop border
14cm long
£300-500
556 Y
A NOVELTY HORN ELEPHANT SNUFF MULL
UNMARKED
the polished cow horn body formed as an elephant’s head with bone inset eyes and rabbit teeth tusks, the hinged lid with applied circular disc with engraved initials
9cm long
£400-600
the digits each set with a hinged lid, scroll decoration engraved throughout and collet set to the centre each with a paste, with suspension chain and macerating spoon 9cm long
£300-500
559
A SCOTTISH BOVINE BONE QUAICH of traditional twin handled form; together with a bone teaspoon with applied shield and another jam spoon 11.7cm across lugs
£250-400
558
555
556
560
AN EARLY 18TH CENTURY RAM’S HORN TABLE SNUFF MULL
INDISTINTLY MARKED I*, C
the large curled horn carved to the terminal with a face, the hinged lid modelled as a Tam O’ Shanter
25cm long
£600-800
561
A SCOTTISH VICTORIAN MULTI-GEM AND HARDSTONE SET BROOCH
MARKED 18CT
the upper hemi-spherical section collet set with an oval citrine in an engraved border, flanked to either side with alternating jasper and bloodstone lozenges, the lower half of moulded outline, engraved with foliate decoration, collet set with an oval amethyst and flanked to either side with an oval citrine, engraved to the reverse, G.W.B, stamped 18CT with brooch fitting and safety chain
6cm diameter
£600-800
562
A SCOTTISH VICTORIAN GEM-SET PLAID BROOCH UNMARKED
of shaped circular design, the chased thistle motif claw set with four yellow foil backed oval shaped pastes, and another round shaped purple foil backed paste to the centre surmounted by the Clan Laing family crest detailing the phrase ‘patience’
8.5cm diameter
£400-600
563
A COLLECTION OF SCOTTISH HARDSTONE BROOCHES
VARIOUS DATES AND MAKERS
of shield outline, collet set with central oval shaped amethyst, oval shaped Cairngorm citrines to either side, the outer border set with alternating panels of hardstones, including jasper, Montrose agate, and moss agate, an oval shaped amethyst to the apex, to brooch and bale fittings; a smaller example of a shield centrally set with an oval shaped glass gem, surmounted with a crown collet set with hardstone and garnet cabochons to brooch fittings; of floral shape with alternating vari-hardstone petals, claw set to the centre with a Cairngorm citrine in an engraved foliate border to brooch and bale fittings; together with another of circular outline claw set to the centre with a Cairngorm citrine in pierced border, the outer border with a double row of jasper and bloodstone, with Victorian registration mark to brooch fittings (4)
4.50 x 6cm, 3.50 x 5cm, 5.10cm diameter, 4.50cm diameter
£200-300
564
A LARGE SCOTTISH VICTORIAN OVAL AGATE SET
PLAID BROOCH
UNMARKED
set with an oval agate to the centre, the border with engraved scroll and floral motifs; together with an annular brooch, set with alternating Montrose agate panels and collet set yellow pastes, to an unmarked white metal and another, of foliate outline, set with varying hardstones, to an unmarked yellow metal with Victorian registration mark (3)
8.1cm, 5cm, 4cm
£400-600 562
565
A SCOTTISH VICTORIAN HARDSTONE SET BRACELET composed of a row of facetted alternating bloodstone and hardstone links, to a central buckle link with heart locket dependent; together with another composed of stylised floral links, each set with vari-hardstones, to a buckle clasp (2)
20cm long (each)
£400-600
566
A SCOTTISH VICTORIAN HARDSTONE SHIELD BROOCH UNMARKED
modelled as a shield, and set with alternating lozenges of agate, the central panel set with three Maltese style crosses, to an unmarked yellow metal with brooch and pendant fittings
5.5cm long
£300-500
567
A SCOTTISH VICTORIAN GEM SET AND HARDSTONE KILT PIN UNMARKED
modelled as a dirk, set with various hardstones, engraved mounts, fancy cut citrine set to pommel and miniature bi-knife and fork, each set with a citrine and amethyst; together with an annular hardstone brooch, of scalloped outline and a citrine set fob (3)
9.5cm long, 5cm diameter
£300-500
568
A SCOTTISH VICTORIAN CITRINE AND HARDSTONE MOUNTED THISTLE ANNULAR BROOCH UNMARKED
the central motif modelled as thistle spruces, set with facetted citrines for the thistle heads, in a border of alternating oval hardstone lozenges, to an unmarked white metal with brooch fitting and safety chain
5.3cm diameter
£300-500
568
566
565
569
A SCOTTISH MID-VICTORIAN CITRINE AND HARDSTONE MOUNTED BROOCH
UNMARKED
claw set with a citrine in a quatrefoil border of various hardstones, to an outer circular border set with alternating panels of bloodstone and agate, to an unmarked yellow metal with brooch and pendant fittings
4.1cm wide
£300-500
570
A SCOTTISH VICTORIAN GOLD, HARDSTONE AND GEM-SET MOUNTED PLAID BROOCH
UNMARKED
of shaped circular outline, claw set to the centre with Cairngorm citrine, the outer border set with alternating panels of various hardstones, including jasper, bloodstone, and Montrose agate and round brilliant-cut amethysts, citrines, and garnets, modelled in an unmarked yellow metal with brooch and bale fittings
6cm diameter
£700-1,000
573
TWO SCOTTISH VICTORIAN CITRINE AND HARDSTONE
MOUNTED BROOCHES
UNMARKED
the first, claw set with a citrine in a border of alternating panels of agate and bloodstone, to an unmarked yellow metal with brooch and pendant fittings; together with another claw set with a citrine to the centre in a circular border of Montrose agate, agate, and bloodstone with stylised saltire spacers, to an unmarked yellow metal with brooch and pendant fittings (2)
2.9cm, 3.9cm diameter
£500-800
571
A SCOTTISH VICTORIAN AGATE SET BROOCH AND ANOTHER MOMENTO MORI PENDANT
UNMARKED
the first of circular outline, set to the centre with a disc of bloodstone and jasper in a quatrefoil motif, to a border of hardstone and engraved scroll work design, to an unmarked yellow metal, with brooch and bale fittings; together with a smaller star shape brooch set throughout with various hardstones with a central domed jasper cabochon, with a glazed panel set to the reverse, to an unmarked yellow metal (2)
4cm diameter, 2.5cm wide
£300-500
572
A SCOTTISH VICTORIAN AGATE MOUNTED BROOCH
modelled as a shield within a garter belt and set with various hardstones, to an unmarked yellow metal
4.6cm diameter
£300-500
573
571
569
570
574
A SCOTTISH VICTORIAN AGATE SET BRACELET
UNMARKED
formed of five links, each set with vari-hardstones in a Greek key pattern, to a concealed clasp and safety chain
20cm long
£700-1,000
575
A VICTORIAN GOLD HARDSTONE BRACELET UNMARKED
Composed of alternating double rows of vari-hardstone links to hardstone panels, the central off-set quatrefoil collet-set with a round Cairngorm citrine to tulip links to either side, to a heart padlock clasp collet-set with an oval shaped moss agate cabochon Length: 22cm
£700-1,000
576
A 9CT GOLD VICTORIAN GEM SET KILT PIN
WILLIAM HENRY LEATHER, 19TH CENTURY
modelled as a dirk, set with various hardstones, engraved mounts, fancy cut amethyst set to pommel and miniature bi-knife and fork 8.5cm long
£300-500
577
AN EARLY 19TH CENTURY SCOTTISH GOLD, AGATE AND ROCK CRYSTAL VINAIGRETTE PENDANT
UNMARKED
of rounded square outline with engraved and pierced gold border enclosing a polished agate and rock crystal, the hinged opening revealing a pierced and engraved thistle grill, with simple bale 4cm high
£500-800
578
A 9CT GOLD GLASGOW COAT OF ARMS PENDANT
of rectangular outline, modelled as the coat of arms of Glasgow, marked 9 375 to the loop fitting 5cm long (including loop fitting), 15g (gross weight)
£250-350
575
574
579 A SCOTTISH FRESHWATER PEARL PENDANT the ovoid pearl to a 9ct yellow gold chain
26cm long
Note: This lot has been granted a license from Scottish Natural Heritage, and it contains fresh water pearls legally taken from the wild prior to 27 March 1991.
£250-350
580 A SINGLE STRAND OF GRADUATED SCOTTISH FRESHWATER PEARLS EARLY 20TH CENTURY
Composed of a single strand of graduated, slightly baroque Scottish freshwater pearls, to a 9ct spring ring clasp
49cm long
Note: This lot has been granted a license from Scottish Natural Heritage, and it contains fresh water pearls legally taken from the wild prior to 27 March 1991.
£1,000-1,500 580
579
AUCTION 21 AUGUST 2024
LIVE FROM EDINBURGH & ONLINE
FEATURING THE ABERNETHY PEARL
Established in 1869, renowned Scottish Jewellers Cairncross of Perth quickly gained a reputation for their fine quality jewellery and bespoke commissions. They became synonymous with Scottish pearl jewellery, sourcing an unparalleled collection over the years. Alongside antique and contemporary jewellery, The Cairncross Collection offers a final opportunity to obtain a piece of Perthshire history.
For more information please contact Ruth Davis 0131 557 8844 | ruth.davis@lyonandturnbull.com
THE ABERNETHY PEARL A NATURAL SCOTTISH FRESHWATER PEARL 10.5mm-10.6mm
£40,000-60,000
FOR BUYERS (UK)
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.
In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.
A. BEFORE THE SALE
1. DESCRIPTIONS OF LOTS
Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.
2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS
We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.
(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.
(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.
(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.
3.
WITHDRAWAL
Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.
4.
JEWELLERY, CLOCKS & OTHER ITEMS
(a) Jewellery:
(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.
(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for
any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.
(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.
(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.
(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.
(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no
warranties are given.
(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.
(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.
(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.
B. REGISTERING TO BID
1. NEW BIDDERS
(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:
(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)
(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;
(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.
(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.
2. RETURNING BIDDERS
We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance
reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.
3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS
If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.
4. BIDDING ON BEHALF OF ANOTHER PERSON
(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her.
(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.
5. BIDDING IN PERSON
If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.
6. BIDDING SERVICES
The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.
(a) Phone bids
Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.
(b) Internet Bids
For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.
(c) Written Bids
While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.
C. DURING THE SALE
1. ADMISSION TO OUR AUCTIONS
We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.
2. RESERVES
Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.
3. AUCTIONEER’S DISCRETION
The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.
4. BIDDING
The Auctioneer accepts bids from:
(a) Bidders in the saleroom;
(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;
(c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.
5. BIDDING INCREMENTS
Bidding increments shall be at the Auctioneer’s sole discretion.
6. CURRENCY CONVERTER
The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.
7. SUCCESSFUL BIDS
Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.
8.
RELEVANT LEGISLATION
You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.
D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY
1. THE PURCHASE PRICE
For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.
2.
VALUE ADDED TAX
Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.
(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.
(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from
outwit the European Union. This reduced rate is applicable to Antique items.
(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.
3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)
This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www.dacs.org.uk.
E. WARRANTIES
1. SELLER’S WARRANTIES
For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.
2. AUTHENTICITY GUARANTEE
We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the
Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.
In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.
This Guarantee does not apply if:
(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or
(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or
(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.
This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:
(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.
We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and
Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.
3. YOUR WARRANTIES
(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.
(b) Where You are bidding on behalf of another person You warrant that:
(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant antimoney laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;
(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;
(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.
F. PAYMENT
1. MAKING PAYMENT
(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.
(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.
(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.
(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us
of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:
(i) When You collect the Lot; or
(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.
(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.
(f) No purchase can be claimed or removed until it has been paid for.
(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.
2. IN THE EVENT OF NONPAYMENT
If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
(a) To proceed against You for damages for breach of contract;
(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;
(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).
(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;
(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;
(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;
(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your
property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and
(i) Take any other action we see necessary or appropriate.
G. COLLECTION & STORAGE
(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website
(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.
(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;
(i) Charge You storage costs at the rates set out on our Website.
(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.
(iii) Sell the Lot in any way we think reasonable.
H. TRANSPORT & SHIPPING
1. TRANSPORT AND SHIPPING
We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.
2. EXPORT OF GOODS
Buyers intending to export goods should ascertain;
(a) Whether an export licence is required; and
(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.
3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION
Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/imports-
We accept no liability for any Lots which may be subject to CITES but have not be identified as such.
I. OUR LIABILITY TO YOU
(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.
(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or
(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.
(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.
(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot
(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.
J. OTHER TERMS
1. OUR ABILITY TO CANCEL
In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;
(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or
(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.
2. RECORDINGS
We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.
3. COPYRIGHT
We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.
4. ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.
5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.
6. REPORTING ON WWW.LYONANDTURNBULL.COM
Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.
7. SALE BY PRIVATE TREATY
(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.
(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.
(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.
(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.
8. THIRD PARTY LIABILITY
All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security
arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.
9. DATA PROTECTION
Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.
10. FORCE MAJEURE
We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.
11. LAW AND JURISDICTION
(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law
(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.
K.
DEFINITIONS & GLOSSARY
The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.
1. DEFINITIONS
“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;
“Bidder” a person who has completed a Bidding Form
“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.
“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words
“You” and “Your”
“Buyer’s Premium” the sum calculated on the Hammer Price at the rates
stated in Catalogue.
“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website
“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.
“Estimate” a statement of our opinion of the range within the hammer is likely to fall.
“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;
“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;
“High Value Lot” a Lot with a lower Estimate of £30,000 or above;
“Lot” each Item offered for sale by Lyon & Turnbull;
“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;
“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;
“Sale” the auction sale at which a Lot is to be offered for sale by us.
“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.
“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;
“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.
“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com
2.
GLOSSARY
The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:
“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to
“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.
“Lien” a right for the person who has possession of the Lot to retain possession of it.
“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.
“Title” the legal and equitable right to the ownership of a Lot.
GUIDE TO BIDDING & PAYMENT
REGISTRATION
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:
1 – Government issued photo ID (Passport/Driving licence)
2 – Proof of address (utility bill/bank statement).
We may, at our option, also ask you to provide a bank reference and/or deposit.
By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.
BIDDING IN THE SALEROOM
At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.
BIDDING OUTSIDE THE SALEROOM
BY PHONE
A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.
IN WRITING
Bid forms are available at the sale and/ or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.
ON THE INTERNET
- ABSENTEE BIDDING
Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com
- BID LIVE ONLINE
Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.
PAYMENT
Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.
Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:
BANK TRANSFER
Account details are included on any invoices we issue or upon request from our accounts department.
ONLINE CREDIT OR DEBIT CARD PAYMENTS
We no longer accept card payments by phone. Please use our online payment service (provided by 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.
