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Lot 300

A George IV silver serving spoon, London 1828; a George III silver serving spoon, London 1799; a pair of Victorian silver sugar bows, London 1847; a George IV silver condiment ladle, London 1830, 6oz (4)

Lot 301

A set of six George IV silver grapefruit spoons, Sheffield 1939, 5.6oz, cased; another set similar, Sheffield 1933, 5oz, cased (2)

Lot 302

A George V silver helmet shaped cream jug, scroll handle, resting on three cabriole pad feet, 8cm, Birmingham 1916, 69.5g

Lot 303

A George V silver star shaped tea caddy, push on ogee cover, 11cm, London 1927, 161.8g

Lot 304

A Victorian silver goblet, knopped beaded stem and foot, 13cm, Birmingham 1869, 134g

Lot 305

An Edwardian silver dressing table box and cover, embossed with Reynold's Angels, the border decorated with angels and scrolling stems, resting on four slender cabriole legs, knurl feet, 8cm wide, 5.5cm, Birmingham 1904, 115g

Lot 306

A set of twelve late Victorian silver teaspoons, foliate scroll terminals, London 1901, 171g, boxed

Lot 307

A pair of Victorian silver pierced fruit spoons, the bowls engraved with pineapple, peaches and grapes, foliate open work terminals, London 1891, 113.7g

Lot 308

A George V silver oval trinket box and cover, four cabriole legs, blue velvet interior, 12.5cm wide, Birmingham 1938, 256g; a George V silver rectangular cigarette box and cover, 10.5cm wide, Birmingham 1926, later engraved and monogrammed, cedar lined, 272g (2)

Lot 309

A George VI silver hand mirror and brush, composed set of plain design, Birmingham c.1940; a glass hobnail cut dressing table jar, silver domed cover, London 1920, the cover, 15g (3)

Lot 310

An Edwardian silver mounted clear glass smelling salt bottle, original drop-in stopper, 4.5cm, Birmingham 1904; a pair of Edwardian silver topped dressing table jars, 2.5cm high, Birmingham 1909; an Edwardian silver easel shaped photograph frame, 12cm, Chester 1910; a 20th century sterling silver oval photo frame, 7.5cm (5)

Lot 311

A George V silver rounded rectangular easel photograph frame, egg and dart borders, ebonised to verso, 25.5cm x 20.5cm, Sheffield 1916; a George V silver shaped rectangular photograph frame, 18cm high, Birmingham 1911 (2)

Lot 312

A silver mounted miniature New Testament Bible, the cover embossed with Reynolds angels, 7cm, London 1991

Lot 313

A George V silver Regency style three piece cruet set, blue glass liners, Birmingham 1931, silver weight 117g; a Victorian silver ovoid cream jug, 5.5cm, Birmingham 1886, 49g; two silver napkin rings, 46g (6)

Lot 314

Lady's Accessories - a George V silver circular powder compact, hinged cover with mirror, suspension loop, 5.5cm diameter, Chester 1923, with powder puff, 24.6g

Lot 315

A Scottish silver circular brooch, cast with a stag in Highland vale, 4cm diameter, Edinburgh marks indistinct, late 19th/early 20th century, 22.9g

Lot 325A

A Sterling silver golfing vesta case

Lot 326

A smokey quartz dress ring, unmarked, possibly 9ct rose gold, 10g; a silver and amber brooch; a sterling silver mounted faceted smokey quartz pendant, 4cm wide; costume jewellery; gold plated locket pendant; a silver gilt coin pendant; a marcasite gondola brooch; metal jewellery; qty

Lot 338

Horology - a Victorian silver gentleman's open-face pocket watch, (1); an early 20th century silver lady's pocket watch, enamel dial, later 1920s faux tortoiseshell outer-case and strap, (1); an early 20th century plated pocket watch, (1), [3]

Lot 34

A Royal Crown Derby paperweight, Midsummer Hare, silver stopper; another, Fletchers Rabbit, silver stopper, boxed (2)

Lot 35

A cut glass decanter with silver presentation label, marked silver, five similar whisky tumblers

Lot 363

A Royal Doulton characeter jug, Happy John, with foaming quart; Falstaff; Athos; Mr Pickwick; Long John Silver; Granny and Cardinal (7)

Lot 386

A late 19th century hand held police lamp, The Crescent Lamp, by Dolan & Co. Vauxhall London; Lucas Silver King lamp; A Bratish Railways B R (M) lamp; etc

Lot 43

An Edwardian mahogany inlaid domed mantel clock, white enamel dial with Arabic numerals, twin winding holes, silver presentation plaque, with key

Lot 62

A set of six silver dessert forks and spoons, Sheffield 1934, 19oz, cased

Lot 62A

An Elizabeth II silver easel photograph frame, Sheffield 1989

Lot 63

A silver cruet set, pierced salt, pepper and tabkard mustard, blue glass liners, spoons en-suite, cased, Birmingham 1962; a sterling silver funnel shaped vase, 45g

Lot 63A

An Edwardian silver photograph frame, circular aperture, Saunders & Shepherd, Chester 1903; another (2)

Lot 104A

AN EDWARDIAN PAPER KNIFEJOSEPH COOK & SON, BIRMINGHAM 1914of traditional design, engraved thistle motif to the stem with engraved interwoven Celtic motifs to the terminal, set with a thistle shaped faceted quartz; together with a sgian dubh, TB, Edinburgh, 1925, the interwoven carved wooden handle claw set with a citrine paste pommel to the terminal, the leather-covered scabbard with applied silver-mounted engraved with interlaced detail, with a single fullered blade27cm, 19cm long

Lot 107

A VICTORIAN SILVER GILT AND PEBBLE VESTA CASE D C RAIT OF GLASGOW maker's mark only, of rectangular outline the hinged cover with cabochon citrine to centre, the engraved borders inset with Scottish pebbles and hardstones, the sides and base finely engraved, the back edge with applied steel striker(4.6cm wide)

Lot 108

COWAL GAMES – TO COWAL MEDAL FOBS BIRMINGHAM 1931 (9CT GOLD) AND 1932 (SILVER) the armorial bearing flanked by thistles with banner above and below saying ‘COWAL MEDAL’ and motto ‘FORWARD’; together with two hardstone kilt pins/brooches formed as basket-hilted swords, one yellow metal and one silver(Gold Cowal medal 4cm (including bale) 7.9g)

Lot 115

A SCOTTISH SILVER MOUNTED COWRIE SHELL SNUFF BOX LATE 18TH CENTURY, UNMARKED the polished cowrie shell mounted with scalloped rim, the hinged cover with bright cut engraved border and inscribed with crest and initials(9cm wide)

Lot 123

AN EARLY 19TH CENTURY TABLE SNUFF MULL the polished cow horn with simple silver mount engraved 'Robert Bell Bewling Inn 1828', with hinged cow horn cover with large thistle mount, the body with applied shield cartouche suspending tools, 31cm long; together with A CURLY HORN SNUFF MULL, of conventional form with simple rim, the hinged cow horn cover with cabochon agate to centre, 7cm long

Lot 136

ABERDEEN – A PAIR OF SCOTTISH PROVINCIAL HORN AND SILVER CASTERS WILLIAM DUNNINGHAM & CO, EDINBURGH the flared cylindrical horn bodies with simple pull off pierced and domed cover(17cm high)

Lot 137

ABERDEEN - A RARE SCOTTISH PROVINCIAL COFFEE POT COLINE ALLAN marked CA, ABD, Continental import mark, of baluster form, heavily chased and embossed scroll and floral decoration throughout, the central Rococo shaped cartouche with armorials to one side and crest and motto to other, leaf clasped spout, the hinged lid with similar decoration and conical finial(29cm high, 31.9oz)Footnote: Heraldry: The Marital Arms of Blagrave and Blagrave Arms: (on the dexter) Or on a bend sable three legs in armour couped at the thigh and sans foot proper (for Blagrave) (on the sinister) Or on a bend sable three legs in armour couped at the thigh and sans foot proper (for Blagrave) Note: Only two other Aberdeen 18th century coffee pots are recorded, this being the only available to private collectors. There is another of similar form also by Coline Allan in Aberdeen Art Gallery & Museum (see Silver, The Aberdeen Story page 73 and catalogue item 68) and a chased baluster example by James Wildgoose previously in the V.J. Cumming collection which now resides in Kelvingrove Museum & Art Gallery (see Finlay, Scottish Gold and Silverwork, plate 100). Why coffee pots should be so rare when compared to Aberdeen teapots is unclear but when looking at the wider survival ratio of Scottish coffee and teapots it is perhaps not surprising. Any form of 18th century Scottish coffee pot must be considered scarce. This perhaps suggests the spread and popularity of coffee was smaller and/or took longer to establish in Scotland making these not only rare survivals but ones commissioned by people at the front of fashionable trends in Scotland.

Lot 142

ABERDEEN – A SCOTTISH PROVINCIAL GRANITE BROOCH M RETTIE & SONS marked RETTIE & SONS / ABERDEEN (incuse), formed as conjoined pink and silver ovals, with hinged pin and C clap; ether with a gold (unmarked) hardstone mounted interlaced panel brooch(5cm and 3.5cm wide)

Lot 158

THE STEEPLE KIRK, DUNDEE COMMUNION CUP, A CHARLES I SCOTTISH PROVINCIAL COMMUNION CUP ROBERT the tapered bowl engraved around upper rim 'EX DONO IACOBI SMITH MERCATORIS', raised on a tapered baluster knopped stem with foliate decoration to cushioned lower knop, on a stepped spreading base with flat chased foliate border(23cm high, diameter of bowl 12cm, diameter of foot 11.5cm, 19.3oz)Footnote: Provenance: Gifted by James Smith, Merchant, Dundee circa 1640 Kirk Session, Steeple Kirk Dundee Previously on loan MacManus Galleries & Museum, Dundee from 1974 Note: This cup forms part of the main and earliest section of the communion plate in the Steeple Kirk of Dundee, with the original gift, of three matching surviving, cups commissioned from Robert Gardyne II. All bearing the same inscription and decoration these are the three earliest surviving cups and are amongst the earliest surviving Communion plate in Dundee. One now resided within MacManus Galleries & Museums, its pair sold Lyon & Turnbull, Scottish Silver & Accessories, 14th August 2012, lot 398. It is unknown how large the original gift of cups was and seems highly likely that three would not have been the full complement; possibly other cups latterly being recycled and re-worked into the later surviving cups; or even destroyed in the turmoil Dundee has born witness to over the past four centuries. Dundee's Steeple Kirk is one of the most historic and important early buildings within the city. Built in the 12th century by the Earl of Huntington, brother of Scottish King William the Lion, it has withstood the numerous onslaughts of Dundee's tumultuous history to become the city's most important church and its oldest surviving building. The Earl of Huntington on returning from the Crusades reportedly made a vow that should God deliver his ship safely home he would build a Church in his honour. Upon his arrival he set about constructing the Steeple Kirk, selecting a spot out with the burgh boundaries. In 1303 the Kirk experienced the first of what would be many reincarnations after the forces of Edward I attacked the city and torched the church; work didn't begin on rebuilding the Kirk until the 15th century and was completed by the city council in 1462. Not only a building of importance in Dundee the north and south transepts were the largest of any ecclesiastical building in Europe, while the tower, which was completed in the 1480s is the only original part of the 15th century structure still standing today. This tower would witness the key role the Kirk was to play in the city's history, beginning in 1547 when it was captured by English forces and used as a stable by the soldiers. During this occupation it caught fire, and all but the tower and the choir was burnt to the ground. The council eventually built the west end of the choir and in it established the first Reformation Church of Dundee, further renovations on the destroyed south transept were carried out in the 16th century in order to house a second congregation. However, this would not be the last of the Kirk's troubles; the English General Monk, under orders from Cromwell, besieged the city in 1651, and the tower played an important role in the city's defences. Cannon ball marks can still be found on the building, a testament to its endurance, and the lock on the door leading from the hall to the stairs is the very same that held firm against Cromwell's onslaught. In 1759 the north transept was rebuilt, housing a third congregation, and in 1789 the nave was rebuilt allowing a fourth congregation under the Kirk's roof. Until 1841 all four congregations remained under one roof, each with their own ministers, but sharing the tower and bells. Even into the Victorian era problems beset the church and in 1841 another fire broke out, this time in the heating system, and once again the transepts were destroyed leaving only the nave and the tower. The Chapter House, adjoining the north wall of the east Church was also burnt down, along with the library of over 1800 volumes, including works in Latin and Greek, many dating from pre-reformation clergy. The east and south transepts were rebuilt in 1844 for their respective congregations, the north transept's congregation was re-housed. These three congregations remained in the one church until the 1980s when they finally amalgamated, giving the Kirk and its congregation its present-day appearance. This group is now split between McManus Museum & Galleries, the Steeple Kirk and private collections. The timing of these presentations of plate to the Kirk shows not only the variety of makers and styles in Dundee but the growth in wealth within the city which would have been far more prevalent in these ‘safer’ times than the turmoil the Kirk was so well exposed. This group was the most complete service of Dundee Communion plate and without doubt the most important grouping within the city, perhaps only outranked by a single object – the highly important – The Fithie Basin by Thomas Lindsay. Little is known about Robert Gardyne II but it is safe to say he forms part of the important Dundee, Perth and St Andrews family of makers who were responsible for some of the most important early Scottish plate made in the nations expanding Burgh's. At least three members of the family are recorded and possibly an earlier fourth member working within the trade. This would put the spread of the Gardyne's careers at around 1561 - 1708 with Robert Gardyne II falling within the middle of this period known to have been active around 1624 - 1656. It is assumed, as was the tradition within early Goldsmithing families, that Robert was apprenticed to his father Robert Gardyne I also of Dundee and is first mentioned a Freeman of the trade in 1624 within Dundee. There has often been confusion with the working dates of Gardyne and this has previously caused these cups being attributed as late as 1692. This however was more on the assumption they were presented by James Smith who was harbour master in that year. However, the donor appears far more likely to have been James Smith Merchant of Dundee, who died in 1640 and was interned in Dundee's historic graveyard, the Howff. Gifts of money within wealthy patrons' wills for the benefit of the church was not uncommon in Scotland; this date and the known working dates of Gardyne fit better than previous attributions. Also, close comparisons of marks on other dated early Gardyne plate confirms this theory.

Lot 180

IONA – A SCOTTISH PROVINCIAL COMPACT ALEXANDER RITCHIE marked AR, IONA, Chester 1914, of simple circular outline, the hinged lid with galleon decoration, the gilt interior with mirrored cover, with suspension chain and ring(5cm wide)Footnote: Note: For a similar compact and mirror by Alexander Ritchie see Lyon & Turnbull ‘Scottish Silver & Applied Arts’, 14th August 2019, lot 301

Lot 181

IONA – A COLLECTION OF SCOTTISH PROVINCIAL JEWELLERY IAIN MACCORMICK comprising a red enamel targe brooch; blue enamel bar brooch with Celtic knot work; a light blue enamel galleon brooch and three silver brooches(4cm diameter (Red enamel brooch))

Lot 183

IONA - A SCOTTISH PROVINCIAL SILVER AND ENAMEL NECKLACE ALEXANDER RITCHIE marked A.R. IONA, the central pendant modelled as a dove in flight, within a blue enamel ground, the chain composed of Celtic motif links each set with a blue enamel lozenge link(70m long)Footnote: Note: For an example of this pendant and chain in turquoise blue enamel see ‘Iona Celtic Art, the work of Alexander and Euphemia Ritchie’ E. Mairi MacArthur, page 41, plate 9b.

Lot 184

IONA – A SCOTTISH PROVINCIAL BROOCH ALEXANDER RITCHIE marked AR, IONA, ICA, Birmingham 1931, of simple circular outline with galleon on dark blue enamel ground; together with a collection of Scottish pebble and silver jewellery(Ritchie example 2.5cm diameter)

Lot 191

KEITH - AN IMPORTANT SCOTTISH PROVINCIAL TEASPOON ATTRIBUTED TO J CUMMING marked JC, K, E, I, T, H, of Fiddle pattern, with vacant terminal and simple heel to reverse of bowl(14.2cm long, 15.4g)Footnote: Note: While the classic rarities of Scottish provincial silver are most commonly considered Stonehaven, Nairn, Tain or Peterhead all of these towns have had items appear at auction on various occasions and indeed all have more than one maker marking silver. The rarest Scottish provincial towns must be considered Ellon with one Toddy ladle confirmed, see Lyon & Turnbull Scottish Silver 16th August 2011 lot 205 (sold for £6250), and repeatedly overlooked Keith. Keith silver has rarely appeared at auction and it would appear the last example offered in a specialist sale was in the 1980s / 1990s Phillip’s of Edinburgh sales. From close comparison to the striking of the marks, it seems possible this spoon may be one of the two illustrated in Jackson’s Silver & Gold Marks of England Scotland and Ireland, page 609. The irregular placement and alignment match very closely to the first image, although the maker's mark is slightly clearer. Although the maker's name has not firmly been ascribed from documentary evidence there is a lot of local evidence for a John Cumming watch and clockmaker in Keith. Various pocket watch movements or clock dials are signed by him and watch repair papers are noted as well. While this is not confirmation, it would not be unusual for a watchmaker to have a punch made and applied to wares he most likely bought in. This may account for the rather oddly shaped and spaced punches, perhaps made by his own hand. This set of marks must rank amongst the rarest Scottish provincial marks recorded and Keith must therefore be considered the rarest of towns in line with Ellon.

Lot 196

PERTH - A SCOTTISH PROVINCIAL PUNCH LADLE JOHN PRINGLE marked I.P, double-headed eagle, I.P, oval bowl with flared wavy rim, scroll silver detail to the hardwood turned handle; the other Dundee, Edward Livingstone, four marks, EL, Thistle, D, topped heart, plain round bowl and stem, prick engraved initials, wrythen baleen silver-tipped handle(35cm longest length)

Lot 205

A PAIR OF SILVER-GILT TUMBLERS GRAHAM STEWART, EDINBURGH 2004 each of simple planished form, gilt interior, engraved EQ to body(7cm high, 9.6oz (combined))Footnote: Graham Leishman Stewart, 1955-2020 Not only was Graham Stewart one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions. As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection, which is devoted to Post-War II British silver, his work is well represented in both in public and private collections which supports his place a key contributor to modern Scottish and British silver.

Lot 212

A MID 2OTH CENTURY TEAPOT AND WATERPOT BERNARD HARRINGTON, EDINBURGH 1952 each of baluster form with everted lobed rim, planished finish overall, the C scroll wooden handles with silver stud detail, the high domed hinged lids with wood ball finials(28cm height of coffee pot, 66.3oz weight (all in))Footnote: Note: Bernard Harrington registered his punch at the Edinburgh Assay Office between 1948 and 1975 when he was an active silversmith, designer and University lecturer. His legacy is not confined to his output of fine silver, which encompasses various civic items, including the Maces for the City of Dundee in 1954 and that of the Deacon Convener of the Nine Trades of Dundee in 1953. He will also be remembered for his influence on a much wider sphere of Scottish silversmiths and jewellers as the head of Silversmithing and Jewellery Department at Duncan of Jordanstone College of Art and Design in Dundee. He held this position from 1943 until 1974 influencing a generation of students. His bold use of simple lines and traditional techniques set him apart from the mass produced / manufactured wares which had become commonplace throughout Britain since the end of WW1.

Lot 217

AN 18TH CENTURY LEATHER BOMBARD the cylindrical body with applied border to bold interwoven handles, applied crest to the body of a standing or leaping lion, the folded rim with spout(20cm high)Provenance: Property from Kilmany House, FifeFootnote: Note: This is the 'model' for the previous silver lot. Leather drinking and pouring vessels have been in use for centuries, but the more common examples seen are from the 16th century to the 19th century being overtaken then by pewter. Silver mounts were not unusual on blackjacks, often with the owner's initials or if high enough standing his crest or armorials. This bombard is unusual in being twin handled and probably for communal use to be passed round a group of friends or members of a family, clan or club and with an applied crest which we believe to be a demi-lion rampant. The original medieval bombards were based on the shape of an explosive device called a petard and used in the storming of a castle, thus bombing it. The very rotund shape was packed with any old item of metal and gunpowder and was carried by a man who laid it at the foot of the castle gate. Obviously he retreated as quickly as possible but on many occasions was blown up by the petard, leading to the expression “hoisted by his own petard”. Over many years the petards became known as bombs because they were used to “Bomb” castles and from which the army rank of Bombardier originates. It is from this source that the name of bombard was finally given to leather pouring jugs of a similar shape. The shape of pouring bombards was based on the old bombard gun barrel which was very bulbous and not truly cylindrical. The bulbous shape was to allow room for an expanding explosion, which a truly cylindrical shape would not create. The cylindrical shape to this example possibly indicates a later bombard. The method of hardening leather is called “Jacking”, hence the vessel name. Jacking caused the leather to turn black, hence “Black Jack”. Our thanks to Stephen Roberts of Hidebound Ltd. for his comments

Lot 218

A GEORGE V DUCAL PRESENTATION BOX WILLIAM HAMILTON & SONS, EDINBURGH 1911 the box composed of Pollard ash, of rectangular outline, with applied Celtic bosses and knotwork motifs, applied Armorials to centre of body, the hinged lid with Ducal coronet finial and presentation plaque, 'To the/ Duke and Duchess of Abercorn/, on the occasion his Grace's birthday/ August 24th 1912/ From the Tenants and Residents of Duddingston/ Estate', applied silver plaque to inside, 'Made of Pollard Ash/ grown on the estate/ casket made by John Hay, silver work by Wm Hamilton & Sons...', all raised on four ball feet; together with a photograph portraying the recipient and family with the box(35cm wide,25cm high)

Lot 225

A COMPREHENSIVE EDWARDIAN CANTEEN CRIGHTON AND BRUCE, EDINBURGH 1907 of Old English pattern, comprising a soup ladle, two sauce ladles, eighteen tableforks, eighteen tableknives, six tablespoons twelve dessert forks, twelve dessert knives, twelve dessert spoons, six teaspoons, one sugar spoon, six coffee spoons, three mustard spoons, and six salt spoons, sugar tongs, serving spoon and asparagus tongs, four napkin rings, six modern side knives a pickle fork, sugar sifter and a pair of grape scissors; together with two carving sets and a George III serving spoon, all contained in a five drawer oak canteen(234.8oz (weighable silver))

Lot 226

A LARGE EDWARDIAN SCOTTISH LIDDED FLAGON LINDSAY & PAISLEY, GLASGOW 1907 of slightly tapering banded design, the body inset with various 16th century and later silver coins, the handle of S scroll form, thumb piece with also set with a coin, presentation engraving to underside, 'THIS TANKARD WAS MADE TO RECEIVE 14 COINS OF UNKNOWN ASSAY WEIGHING 10oz'(24cm high, 45.7oz)

Lot 229

AN EDWARDIAN CANTEEN OF FLATWARE HAMILTON & INCHES, EDINBURGH 1905 of Hanoverian pattern, with rat tail bowls, comprising twenty-four tablespoons, twenty-two dessert spoons, twenty one table forks, twenty one dessert forks, ten teaspoons, two sauce ladles and a serving spoon, all with crest and motto; together with twenty Old English and Thread table knives with Georgian part marks(197oz (weighable silver))

Lot 233

Y A GROUP OF THREE IVORY HANDLED FOUNDATION TROWELS 19TH CENTURY various makers and marks, the shaped blades all with engraved decoration and presentation inscriptions to centre; together with another silver-handled trowel and a Victorian cake trowel, JR&S, Edinburgh 1880 with a pierced interwoven blade(38cm long (longest))Footnote: Note: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

Lot 243

HEATHER CLUB INTEREST - AN IMPRESSIVE MID VICTORIAN CAPTAIN'S BATON CHARLES ROBB & SONS, EDINBURGH of cylindrical form, applied with individual bands each engraved with details of each annual meeting and Captain, with embossed floral decorated terminals and central waist, presented in a fitted mahogany box; together with a stand of scroll form, the central plaque with engraved inscription 'THIS STAND IS PART OF THE GREAT PLANE TREE AT KIPPENROSS...1871' with knopped finials to either end(52.5cm long, 46cm long (stand))Footnote: Note: The Heather Club was founded in 1823 by Joseph Sutherland who was a merchant of Edinburgh. He sought for those around him to appreciate the rural happiness away from the hustle and bustle of city life. His notion was that businessmen would meet at least once a year for a walk over the Pentland Hills near Edinburgh. The unwritten law that politics and religion were not to be discussed gave these men an opportunity to be in good company and absorb the countryside. The membership increased so much over the years that a committee was founded with a captain and lieutenant. Within the retrospective notes by James Hogg, it states, ‘The minutes of the 21st July 1834 says ‘ The party walked to Currie, breakfasted there and passed over the hills to Logan House, where they enjoyed themselves till four o’clock’ Furthermore, Hogg mentions, ‘About 12 years ago an elegant baton beautifully silver mounted, was presented to the Club by the late Captain Robb, Wine Merchant Frederick Street…a silver band with the name of the captain for the year is put on this baton’ This baton, handcrafted for a popular 19th century social group is unique and reflects a moment in time. For further reading, see The Edinburgh Heather Club. Retrospective notes. Hogg, James, 1806-1888

Lot 247

A GROUP OF FOUR SCOTTISH SILVER PUNCH LADLES to include, James Lockhart Spencer, Glasgow 1828, oval plain bowl, leaf clasped stem to a well-turned wood handle; another very similar, except marks to the outside of bowl; another, Mitchell and Son, Glasgow, round bowl inset coin (worn), turned-wood handle; another GW, Glasgow, similar round bowl and turned wood handle(42cm long (longest))

Lot 248

A PAIR OF GEORGE IV SILVER MOUNTED WOOD QUAICHS PETER AITKEN, GLASGOW 1823 of conventional twin handled form, the silver bowl with feature hallmarks to centre, the circular foot and lugs with applied silver mounts(10cm across lugs, 4.1oz (combined))

Lot 256

A LARGE SCOTTISH SILVER BASTING SPOON WILLIAM CUNNINGHAM, EDINBURGH CIRCA 1800 of plain Old English pattern, engraved initial(38cm long, 6.6oz)

Lot 288

A FINE CONTINENTAL LIDDED TANKARD LATE 17TH CENTURY likely Dutch with makers mark M struck twice, the straight-sided burr wood body with twin wavy applied girdles with spiralled wire mounts between, the foot rim with a wide flanged foot, the hinged burr wood cover carved to fit the scalloped rim, centrally set with a finely engraved armorial plaque dated 1688, the silver handle with eagle thumbpiece(19cm high)Footnote: Heraldry: Arms: Argent a man’s heart proper between three cocks gules Crest: A cock crowing proper Motto: Per adventure Note: This fine wooden and silver-mounted tankard undoubtedly was an item of great status when commissioned and made in the late 17th century. An impressive piece such as this bringing high quality wood and silver work together would have been not just an impressive and useful object but an exotic one on a Scottish table. An object such as this would unlikely ever have been made in Scotland but seeing an example such as this made for a Scotsman shows the ties between Scotland and the Europe in the late 17th century. The origin of the tankard is still unclear but Dutch, Swiss or German examples are found with comparable features. It appears likely that the armorial engraved to the boss was engraved in Scotland rather than by the maker, the style of engraving the mantling around the armorial and the lettering all showing much more Scottish characteristics than European. It seems likely that having acquired this piece on the continent Alexander Cockburn of Caldra has had his armorial engraved on return. Although a strikingly different object the engraving to the cover would not look out of place on the central boss of a quaich of this period and this style of object and engraving is likely what Cockburn was aiming to replicate with this tankard. The Cockburn family has been connection with Caldra (3 miles south of Duns in the Scottish borders) since it was first acquired in 1554. They continuously held the lands until 1745. Perhaps unsurprisingly for an east coast borders family they have obvious and strong connections with the continent. Various branches / members of the family are recorded serving in the Swedish army and living and working in Holland, Germany and France. This international aspect to family continued later in the 18th century with travels to American, West Indies and Australia. Their influence was not limited to foreign shores and various members of the family held important positions in Scotland. Varying from active roles in the Covenanting Army, serving as Governor of Stirling Castle and navigating the turbulent balance of Royalist and Parliamentarian wars and causes of the mid-17th century the family name often appears

Lot 289

A CITRINE AND DIAMOND SET BROOCH - JACOBITE INTEREST the oval foil backed citrine set in silver with small rose-cut diamonds, the enclosed setting engraved to the border; "H Farquharson killed at Culloden 16th April 1746" simple pin fitting; together with three small gold memento mori brooches and a seal wax impressionProvenance: Property from Tornaveen House, Aberdeenshire By direct family descent believed to have come from John Henderson of Caskieben (1743-1825) married a Miss Farquharson (d.1788) Their son Alexander Farquharson Henderson By descent to Alexia Beatrice Mary de dombal Flora Fraser (nee Macdonald) By direct descent to the current vendor

Lot 293

SCOTTISH BLUED STEEL AND GERMAN SILVER PERCUSSION LOCK SCROLL BUTT HIGHLAND BELT PISTOL signed CAMPBELL on the lock, gemstone inset on butt and forming the pricker terminal as a thistle head original belt hook and ramrod(23cm long)Provenance: Property from Tornaveen House, Aberdeenshire

Lot 294

A MID 18TH CENTURY SCOTTISH STEEL AND SILVER FLINTLOCK SCROLL BUTT HIGHLAND BELT PISTOL BY JOHN with rounded cock (replacement ) the signed lock in script, silver wire detail interlaced on butt, three stage barrel fluted breech, flared muzzle (blocked barrel) blank silver escutcheons belt hook and ramrodProvenance: Property from Tornaveen House, Aberdeenshire

Lot 295

A VICTORIAN SCOTTISH BASKET HILTED MILITARY OFFICER’S BROAD SWORD with a fish skin grip, bound with a double twist of silver wire with red cloth liner with VR cypher (LXXVII FRASER HIGHLANDERS) in original iron mounted scabbard(blade 81cm long)Provenance: Property from Tornaveen House, Aberdeenshire

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