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Lot 504
A JACOBITE WINE GLASS 18TH CENTURY the bucket bowl with engraved trailing border of flowers including a Jacobite rose, rose buds, tulip sunflower etc. with foliage between, raised on an enamel twist stem and a domed circular foot 15.5cm high Provenance: The Late Michael Buckingham Collection
Lot 524
A JACOBITE WINE GLASS MID-18TH CENTURY the bucket bowl engraved with open rose head flanked by open and closed buds, the reverse with displayed thistle, engraved above 'SUCCESS TO THE SOCIETY', raised on a multi-enamel twist stem and circular foot 15cm high Provenance: Private collection of G. S. May Esquire Note: Although the exact Society referenced on this glass has not been determined it appears to fall within a small group of Society's glasses known. Others similar by the same hand are recorded with mottos such as 'Health To All True Blues' and 'The Friendly Hunt'. There is no doubt that the Society is pro Jacobite and it is considered by the addition of the thistle that it is likely this society was Scottish based. For a glass from the same set see 'The Jacobite and Their Drinking Glasses' G. B. Seddon plate 88, page 124.
Lot 425
A COLLECTION OF MODERN SCOTTISH ENAMEL EARRINGS comprising three pairs of earrings, each with black ground enamel, one disc shaped with gold baton inlay; an interchangeable pair of black and white zig zag with removable central domed stud (comes with smaller studs to replace), and a pair of curved with white snake skin detail, all in original boxes (8) INTRODUCTION TO JEWELLERY SECTION Maureen Edgar is arguably Scotland's most important enameller and while her name is not yet known to as many collectors as it should the appreciation of her work is becoming widespread. Her work can be found in the collections of The National Museum Scotland, Incorporation of Goldsmiths of the City of Edinburgh, The Goldsmiths Company London and likely the largest grouping within The Pearson Silver Collection. Artistic from an early age, Maureen Edgar started her art training with an evening class at Glasgow School of Art and was latterly accepted to Duncan of Jordanstone College of Art in Dundee. Here she moved from painting to the silver and jewellery department where she found her passion. Like many of the period, she trained under the eye of Bernard Harrington. It was in 1977 that she applied, and to her own surprise, was accepted to the Royal College of Art and would further her training under Gerald Benney for three years. In Maureen's own words about working with Benney 'This was my biggest opportunity'. Building from her training at Duncan of Jordanstone College of Art this would prove to be the final link in the chain turning Maureen fully into an enameller. Her work was almost immediately a success and even early in her career she was gaining a reputation and large commissions. This early success perhaps explains the relative rarity of her jewellery as she immediately found work in larger commissions such as goblets, eggs and napkin rings. Sadly, due to ill health her career was cut short prematurely and she retired from working in 1999, with her final commission being the cruet set for The Millennium Collection of silver for Bute House. For a full biography and illustrations of much of her important work see 'Designer British Silver' John Andrew and Derek Styles page 194 - 199.
Lot 436
A STAR OF SNOWDOUN MASONIC LADIES CHAPTER BROOCH DATED 1859 the central sunburst set with a bouton pearl with three forget-me-knots in a heart shaped border with green enamel leaf detail, suspending a snowdrop flower and surmounting a coronet, the reverse engraved 'Ladies Rock' and two references EPH III 17.18, Phil IV 7 in box of issue, title inside lid of box Star of Snowdoun Sech IV 6 and Luke XI 9 dated 1859 90mm 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. During the 'killing times' of the 1680's many martyrs were put to death due to their religious beliefs. Margaret Wilson, her younger sister Agnes, and Margaret McLaughlin succumbed to this fate, as covenanters, as they refused to swear an oath to James VII as head of the church. Agnes was only 12 at the time, and was spared, but is depicted in the memorial commissioned by William Drummond of Stirling in 1859. The statue depicts a guardian angel watching over Margaret Wilson reading the Bible to her younger sister, Agnes. In addition to the statue, William Drummond commissioned this brooch for all female members of his family for the inauguration of the Drummond funded Virgin Martyrs' memorial. The brooch, heavily symbolic, with the three forget-me-nots for each woman, the pearl symbolising purity and most significantly the cross, crown and laurel leaves of martyrdom. Two Biblical references are noted on the box and two are engraved on the brooch, Zechariah 4:6 and Luke 11:9 on the box, and Ephesians 3:17-19 and Philippians 4:7 on the reverse of the brooch. Three similar brooches can be found in the Stirling Smith Art Gallery and Museum. See 'A History of Stirling in 100 Objects', Elspeth King, 2011. Taken from New International Version (NIV), the biblical references are as follows; Ephesians 3:17-19 [17] so that Christ may dwell in your hearts through faith. And I pray that you, being rooted and established in love, [18] may have power, together with all the Lord's holy people, to grasp how wide and long and high and deep is the love of Christ, [19] and to know this love that surpasses knowledge-that you may be filled to the measure of all the fullness of God. Philippians 4:7 [7] And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus. Zechariah 4:6 [6] So he said to me, This is the word of the Lord to Zerubbabel: 'Not by might nor by power, but by my Spirit,' says the Lord Almighty. Luke 11:9 [9] So I say to you: Ask and it will be given to you; seek and you will find; knock and the door will be opened to you.
Lot 469
A HIDDEN PORTRAIT JACOBITE ENAMEL SNUFF BOX MID-18TH CENTURY the circular box with enamel tartan decoration, the hinged cover opens to reveal a plain interior, the hidden double lid opens to reveal a finely enamelled portrait of Prince Charles Edward Stuart in tartan jacket with orders of The Garter and Thistle decorations, white cockade and blue bonnet 73mm across Provenance: The Scottish Sale, Bonham's Edinburgh 24th - 26th August 2005 lot 746 Note: Hidden portrait snuff boxes such as this are amongst the most iconic Jacobite works of art. While they are a well recorded type, they are rare in any form. This example is in particularly good condition and finely enamelled. The portrait is a variant of the famous Sir Robert Strange example which likely date this piece to circa 1750. For a similar example but with a pasted engraved print on the interior of lid see Lyon & Turnbull 'Scottish Silver & Applied Art' 17th August 2016, lot 496 (sold for £10,000 hammer).
Lot 112
19th Century French painted pine longcase clock the face marked F. Sole ver a Challans, repousse brass face with enamel Roman dial, the case with painted floral and ears of corn decoration. Exposed brass repousse pendulum. 240cm high approx. (B.P. 24% incl. VAT) CONDITION REPORT: Some splitting to the carcass but basically appearing complete including weight and pendulum.
Lot 778
LADY'S NINETEENTH CENTURY CONTINENTAL ENAMELLED GOLD HALF HUNTER KEYLESS WIND POCKET WATCH, unsigned movement, the round white enamel dial with Roman numerals in black, railroad outer seconds track in black, blued steel leaf hands, the case front enamelled in pink and with Roman numerals in blue, 35mm case numbered 155355 and marked 18C, 44g gross
Lot 782
MILITARY ISSUE METAL KEYLESS WIND POCKET WATCH, the round black dial with H. WILLIAMSON LTD 99210F, patinated lume Arabic numerals with white border, subsidiary seconds at 3, railroad outer seconds track in white, patinated lume spade hands, 55mm case with broad arrow and 99210F to the caseback; along with a silver open face key wind pocket watch, the round white enamel dial with Roman numerals in black, sunken subsidiary seconds at 6, railroad outer seconds track in black, 50mm case with London hallmarks for 1873, 113g gross (2)
Lot 805
EIGHTEEN CARAT GOLD FULL HUNTER KEY WIND POCKET WATCH, the round white enamel dial with Roman numerals in black, sunken subsidiary seconds at 6, railroad outer seconds track in black, blue steel spade hands, 50mm case with partial hallmarks to the case front interior, with full London hallmarks to the caseback interior, metal movement cover, 102g gross
Lot 54
A French brass carriage timepiece with corniche case, white enamel Roman dial, single train movement, 4 1/4in. (10.8cm.) high plus handle, in original pink cloth and morocco case with key.* Condition: Chip to top right of front glass. Case tarnished. Winds and runs briefly but then stops - probably need a clean. Case faded, lacks glass.
Lot 600
A Marx Eugene Clauss Paris porcelain trinket box of square form, the gilt brass mounted hinged lid with figural outdoor scene and raised gold highlights, the ribbed sides with raised gold foliate scroll, bearing underglaze crossed swords and initial mark, 1 7/8in. (4.8cm.) square, together with enamel circular patch box 'Thou givft me Pleafure' (a/f) and a pair of faux tortoiseshell lornettes. (3)
Lot 732
Railwayana - GWR Great Western Railway collectable selection comprising of a small blue enamel sign 'PLACE PENNY IN THE SLOT. TURN KNOB TO RIGHT ----- PENNIES ONLY; small tin the lid 'GREAT WESTERN RAILWAY'; POOLEY & SON LD GWR 7306 contractors plate; brass plate 'READING GWR GOODS DEPT 3'; GREAT WESTERN RAILWAY loo roll plate; carriage key, marked G.W.R, door plate; hinge; scissors.
Lot 431
Four ex London Transport Routemaster Bus seat cushions, as fitted to the buses in their earlier years of service, covered in the familiar maroon, yellow and green moquette fabric designed in the 1950's by Douglas Scott especially for the Routemaster. The cushions, which include two different styles - two of them having leather panels to one edge, have a grey board back and contain a dense foam filling, each measure approximately 45 x 80 cm, We are informed by the vendor that these cushions were four of those understood to have been removed from RML2577 during its refit in South Yorkshire during the early 1980's. This lot also includes a London Transport metal Running Number stencil plate '41', an enamel L.T. Bus Stop 'E plate' sign for Route 44 (although at a later date a plastic film has been applied to the blank side, making it into a dual function plate, showing 'Peak Hours 79A' on the reverse), three paper Routemaster bus 'To and From' destination signs from the 1970's together with an interior bus poster from the same era advertising 'Red Rover Tickets'. (10)
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395599 item(s)/page