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LYON & TURNBULL AUCTIONEERS EDINBURGH
JACOBITE, STUART & SCOTTISH APPLIED ARTS
182 Bath Street, Glasgow G2 4HG
Tel. +44 (0)141 333 1992
Fax. +44 (0)141 332 8240
78 Pall Mall, London SW1Y 5ES
Tel. +44 (0)20 7930 9115
Fax. +44 (0)141 7930 7274
13TH MAY, 2015
33 Broughton Place, Edinburgh EH1 3RR
Tel. +44 (0)131 557 8844
Fax. +44 (0)131 557 8668
Email. [email protected]
www.lyonandturnbull.com
Wednesday, 13th May, 2015
33 Broughton Place
Edinburgh EH1 3RR
Jacobite, Stuart &
Scottish Applied Arts
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Jacobite, Stuart &
Scottish Applied Arts
Including
Items previously in the Fingask Castle
collection
Jacobite relics from the collection of James
Graham of Airth, including The Four Peers
ring
A Jacobite portrait decanter previously in the
collection of Sir Hector Munro, Baron Munro
of Langholm
The Lord Belhaven Mary, Queen of Scots
casket
Wednesday, 13th May, 2015
at 11am
Sale Number LT429
Viewing Times
Sunday, 10th May 12 noon - 4pm
Monday, 11th May 10am - 5pm
Tuesday, 12th May 10am - 5pm
Morning of Sale from 9am
Enquiries
Lyon & Turnbull Ltd.
33 Broughton Place
Edinburgh EH1 3RR
Tel. 0131 557 8844
Fax. 0131 557 8668
Email. [email protected]
www.lyonandturnbull.com
Catalogue: £15
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Buyer’s Guide
This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website).
If you have not bought at auction before we will be delighted to advise you.
Buyer’s Premium &
Other Charges
The buyer shall pay the hammer price
together with a premium, at the
following rate, thereon.
25% up to £50,000 / 20% thereafter.
VAT will be charged on the premium at
the rate imposed by law (see our
Conditions of Sale).
Additional VAT
† VAT at the standard rate payable at the
standard rate on the hammer price
* 5% import VAT payable on the
hammer price
No VAT is payable on the hammer price
or premium for books bought at
auction.
Droit de Suite
§ indicates works which may be subject
to the Droit de Suite or Artist’s Resale
Right, a royalty payment for all qualifying
works of art. Under new legislation
which came into effect on 1st January
2012, this applies to living artists and
artists who have died in the last 70
years. This royalty will be charged to the
buyer on the hammer price and in
addition to the buyer’s premium. It will
not apply to works where the hammer
price is less than €1,000 (euros). The
charge for works of art sold at and
above €1,000 (euros) and below €50,000
(euros) is 4%. For items selling above
€50,000 (euros), charges are calculated
on a sliding scale.
More information on Droit de Suite is
available at www.dacs.org.uk
Registration
All potential buyers must register prior
to placing a bid. Registration
information may be submitted in person
at our registration desk, by email, by fax
or on our website. Please note that all
first time bidders at Lyon & Turnbull will
be asked to supply the following
documents in order to facilitate
registration:
1 – Government issued photo ID
(Passport/ Driving licence)
2 – Proof of address (utility bill/ bank
statement).
We may, at our option, also ask you to
provide a bank reference and/ or
deposit.
By registering for the sale, the buyer
acknowledges that he or she has read,
understood and accepted our
Conditions of Sale (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. Further information on
Collection & Shipment, including
professional packers and shippers
known to us, can be found at the back of
the catalogue or on our website.
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. If
potential buyers are unable to inspect lots
in person (public viewing times listed in
every catalogue), our specialists will be
happy to prepare detailed condition
reports and additional images. These are
for guidance only and all lots are sold ‘as
found’, as per our Conditions of Sale.
Import/Export
Prospective buyers are advised that
several countries prohibit the importation
of property containing materials from
endangered species, including but not
limited to; rhino horn, ivory, coral and
tortoiseshell. Accordingly, prospective
buyers should familiarise themselves with
all relevant customs regulations prior to
bidding if they intend to import lots to
another country. It is the buyer’s sole
responsibility to obtain any relevant
export or import licence. The denial of any
licence or any delay in obtaining licences
shall neither justify the recession of any
sale nor any delay in making full payment
for the lot.
Endangered Species Please be aware
that lots marked with the symbol Y
contain material which may be subject to
CITES regulations when exporting outside
the EU. For more information visit
http://www.defra.gov.uk/ahvla-en/
imports-exports/cites
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Meet the Specialists
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 current
condition of a lot or just want to ﬁnd out more about the auction process.
Colin Fraser
Works of Art, Silver, Arms & Armour
[email protected]
Cathy Marsden
Books, Manuscripts & Printed Material
[email protected]
Carly Shearer
Paintings
[email protected]
John Batty
Arms & Armour
Consultant
How to Find Us in Edinburgh
P
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Parking
Multi-storey car parking is available at
Greenside Place and in the St. James Centre;
ﬁve minutes walk from the saleroom
York Place Tram Stop
Waverley Station
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The Cult of the Jacobite
An essay by Peter Davidson
I
For two and a half centuries, the people of Britain and Ireland
occupied a divided polity, torn by conﬂicting claims on their
loyalties and identities. What we think of as the Jacobite period
in British history was a continuation of the quarrels and
divisions which had existed in Britain since the reformation and
Jacobitism borrowed many of its songs and visual images from
earlier communities of Recusant Catholics and ‘Cavalier’ Stuart
loyalists. Throughout these long quarrels, from the early 1500s
to the death of Henry Benedict Stuart (or Henry IX) in 1807, the
crucial focus of division was the legitimacy of religious and
political rule. Elizabeth I’s claim to the throne of England was a
fragile one: her Protestant regime had no alternative but to be
aggressive, faced with Recusant Catholic resistance and covert
promotion of the rival claims of Mary Stuart.
Thus battle-lines were drawn which remained remarkably
constant throughout the struggles which followed: the
communities of ‘upland Britain’ – north Wales, northern
England, northern Scotland – upheld Stuart monarchy and
hierarchic, ceremonial religion, either Catholic or Episcopalian.
The opposing movement, mostly based in the lowlands and
cities of eastern Britain, manifested itself ﬁrst as radical
Puritanism, then as parliamentarian action in the Civil Wars of
the mid 17th century. After the accession of the openly Catholic
James VII and II in 1687, it then manifested itself as the
Whiggery of the ‘Glorious Revolution’, and later in support for
the House of Hanover.
Thus, Jacobitism neither begins with the deposition of James VII
and II, nor ends with Culloden; there are continuities with the
Stuart-loyalism of the mid-seventeenth-century wars (wars
which smouldered on in Scotland throughout the reign of
Charles II). Centres of Jacobite dissidence in mainland Britain
tended also to be areas of Episcopalian religious conservatism
(like Aberdeenshire or North Wales) or of Catholic survival (like
Front Cover
Lot 64 (detail)
Inside Front Cover
Lot 107 (detail)
Inside Back Cover
Lot 105 (detail)
Lancashire). These geographies of resistance are highly visible
in the rising of 1715, where the two areas which generated the
most intense military activity were upland Scotland and
northern England (Jacobite sympathy in western England being
held in check by pre-emptive Hanoverian garrisons). The battle
of Sherrifmuir was mirrored by the defeat of the Northumbrian
and Lancastrian risings at Preston.
Even if hopes of a Stuart restoration had grown unrealistic by
the mid-century, Jacobitism remained a lively (if covert) identity
throughout Britain and Ireland. Many of the highly-recognisable
white rose glasses were engraved for Jacobite societies in
England and Wales in the middle years of the eighteenth
century. Later still, the congregation of the Episcopal Chapel in
Aberdeen continued to shuﬄe and cough when the Monarch
was named in prayers, rendering the name inaudible. Memory
and regret ﬂourish when hope is gone, and it was only the
European wars of the end of the century which drew the
divided realities of Britain into a kind of unity.
II
To maintain the claims to authenticity and authority which
were essential to both sides in the long dissentions of
seventeenth and eighteenth century Britain, material objects
were crucial. This need has its root in the intense symbolic
weight given to objects and likenesses at the time of the
reformation: prohibition of the material culture of Catholic
devotion was balanced by an oﬃcial promotion of carefullycontrolled images of the ruling monarch. It can be no
coincidence that, in deﬁance of rumours about substituted
infants, likenesses of James Francis Edward as a small child
were put into wide circulation. While civic institutions and elite
individuals demonstrated their loyalties by the display of Royal
portraits, dissident communities were fertile in the invention of
symbolic and emblematic expressions of forbidden allegiance,
shared secrets and allusions. Many of the embroideries which
Mary Stuart made in her captivity draw on this emblematic
language to assert her own legitimacy. Stuart loyalty was
nurtured during Cromwell’s rule by the circulation of prints
commemorating the dead King as a martyr and by songs such
as When the King Enjoys his Own Again, which were to go on to
have a century’s life amongst the Jacobites.
In this culture, where the circulation and display of likenesses is
a part of the identity of individuals of all classes, objects and
images were produced for the consumption of an
extraordinary range of people. If at one end of the social
spectrum there was an extensive market for ﬁne replicas of
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Lot 3
continental portraits of the exiled Stuart monarchs (or for
equally numerous replicas of Ramsay’s Hanoverians), so there
was also a lively trade in mass market objects like ribbons and
engravings. It is an index of the ambiguities of the whole period
that these engravings were sometimes produced with a blank
space where the sitter’s name would normally be printed, so
that the purchaser could write in the identiﬁcation of Prince or
Pretender, depending on their own apprehension of the reality
of the times. The opposition carries through into almost every
production in the ﬁne and applied arts: the roses and portraits
of Jacobite glasses are answered by Whig glasses with the white
horse of Hanover. If the Whigs had the celebratory music of
Handel, the Jacobites continued to sing the songs which had
long sustained the adherents of the Stuarts, songs which were
later shaped for publication by Burns, and which remain in
performance to this day.
III
Jacobite culture, in hope and in eclipse, is particularly sustained
by a class of objects which might be described as objects of
memory; objects which recall (or, in some sense, stand in for)
those who are absent, exiled or dead.
The Four Peers Ring (Lot 20) bears central symbols of the four
noblemen executed after 1745, and the surrounding names
of the dead of the Manchester Regiment inscribed on
enamelled scrolls. It takes its form not only from mourning
and ‘posy’ rings but from such composite reliquaries as
the early seventeenth century Blairs Jewel with its central
miniature of Mary Stuart surrounded by scrolls with the
names of martyrs and saints. This leads to the more
general thought that many Jacobite memorials draw
on the old culture of religious relics, transforming it
into a culture of dynastic and historical ‘reliques’ and
memorials. Even after the political contention was
eﬀectively at an end, locks of hair and fragments of
tartan clothing were conserved as family treasures.
These memorials became particularly important in
the second half of the eighteenth century, as the
return of the King over the Water grew less and less
likely. Small format portraits of James VIII and III
continued to be produced until the end of his life.
More suited to private contemplation than to
ceremonial display in a public room, miniatures of
Charles Edward, often elegantly mounted, continued to
be valued. Of course, in Jacobite heartlands, in the kinds
of secluded castles and lairds’ houses which had in earlier
centuries sheltered Recusant Catholic chapels, more overt
displays were possible; a full Kaisersaal of portraits of the
Stuart dynasty, or a family portrait with white rose, proscribed
tartan, and Stuart miniature.
As time passed the motivation for this conservation appears to
us ever more complex and more interesting; an intricate action
of a society in mourning, not only for what it had lost, but for
what it had been and what it might have been. The ﬁrst of a
series of novels which transformed nineteenth-century Europe,
Walter Scott’s Waverley, was published only seven years after
the death of Henry Benedict (Henry IX) in 1807. The gallantry of
the Regency romance is beautifully haunted and shaded by
authentic disquiet, born of the recollection of a divided society.
Lot 63
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Threipland of Fingask Castle
Fingask Castle, Perthshire (photo courtesy of Fingask Castle).
Undoubtedly one of the most important collections of Jacobite
art and relics ever to be sold, the Fingask sale oﬀered a unique
opportunity into an untouched collection of material so closely
and personally connected with the Uprisings.
Not only was this connection close and an unbroken line of
provenance but the ownership so well recorded. The sale of
contents from Fingask Castle, 26th-28th April 1993, held by
Christie’s Scotland sparked the interest in collecting of such
material and oﬀered a ﬁne range of items from all spheres of
this ﬁeld of interest.
Fingask Castle, near Errol in Perthshire, stands over 200 feet
above the Carse of Gowrie and was said to have been
inhabited, not in its current form, from as early as 1194. The
main tower still surviving was however built in 1594, various
additions and changes have been made from this date and two
main wings were added in 1674 to the west by the Threiplands
of Fingask and 1828 a northern wing by Sir Patrick Murray
Threipland, 4th Baronet. The Threiplands came to Fingask
around 1672 when it was purchased with the estate from the
Bruce of Fingask family and it added to the established
Perthshire families’ lands in the area and as far south as
Peebles. In the same year Sir Patrick Threipland was knighted
and received the direct thanks for the Chancellor for his eﬀorts
in enforcing the Governments religious policies. He was later
bestowed a baronetcy by King James II in 1687, conﬁrming the
families staunch and close Stuart support.
However the political ﬁeld of the United Kingdom was
moments from change and by Patrick’s death only two years
later he had seen his King removed from his thrones in the
glorious revolution of 1688 and by association the close allies
of King James such as himself and family turned into rebels. Sir
Patrick was imprisoned at Stirling Castle for this loyalties and
passed the lands, estate and title to his son Sir David
Threipland. Sir David not only inherited the title but the
staunch Stuart loyalties and was among the ﬁrst to pledge
allegiance to the cause with the Earl of Marr in trying to regain
the Stuart throne in 1715. As is well recorded the eﬀorts were
in vein, and while Marr was considered a military incompetent
and the would be King a melancholy character, neither could
cement the support nor ﬁnish the cause.
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Jacobite, Stuart & Scottish Applied Arts 7
Sir David Threipland was given the honour of entertaining
Prince James for the night of 7th January 1716 on James’s route
to Scone for his coronation. Sir David not only lost his land and
title in this failed uprising but also his son, a large burden on
any families support to the cause.
The house of Fingask was fortiﬁed to the victors after being
occupied by Government troops through the ’15 and was sold
as fortiﬁed lands to the York Buildings Company.
During the occupation Lady Threipland gave birth to Sir David’s
ninth son and eventual heir, both were so ill they were
expected not to survive long after the birth. However the plans
for the infant’s baptism were in hand and Lady Threipland
overheard these discussions and those for choice of name,
even in her weakened and invalided state see was heard to
whisper at the choice of name only one word ‘Stewart’,
supporters through the hardest of times!
The family’s support for the Stuart cause was assured when in
1745 the uprising came again, this time under Prince Charles
Edward Stuart. Sir David, by now an elderly man, was so
supportive of this cause and was set to join the Jacobite army
on 3rd September 1745 in the now occupied Perth. It is
recorded “Sir David, though in is seventy-ninth year, was keen
to take to the ﬁeld; but the devoted old man was suddenly
seized by Death’s arrest while drawing on his boots to ride to
Perth’.
However, Sir David’s son, Stewart would play a much closer role
than many within the uprising and was one of Prince Charles
Edward Stuart’s closest advisors and conﬁdants. By the ’45
Stewart was a trained physician and became, throughout the
campaign, personal physician to Charles. No doubt seeing and
Accompanying label to lot 6,
an early 18th century glass
candlestick.
being so closely involved at the sharp end of the campaigns
cemented this personal relationship with the Prince. He was at
Culloden with Charles and ﬂed after fearing further trial and
retribution as family had seen after the ’15.
This was not by any means the family’s only involvement in the
plight of the ’45 and Fingask again saw ‘action’ from the
Government troops. They descended on the well-known
families home and in an act of vandalism no doubt meant to
send a very clear message destroyed the bed of Prince James
(where he had slept during his visit on route to Sconce some 29
years earlier).
Indeed the inhabitants of the estate fared no better for their
support and a 21 year old gardener on the estate, James
Thomson, was transported as prisoner number 3274 as he ‘was
seen wearing a Highland habit and white cockade and
marching in arms as a sergeant in the Duke or Perth’s
Regiment’.
The forfeited lands were ﬁnally resorted to Stewart Threipland
some 36 years after his return under amnesty, being bought
through auction in Edinburgh in 1783 for £12,000, Threipland
was the only bidder.
The collections and important family relics remained
untouched through these periods under the close protection of
the family over the generations. The Threipland’s also were
careful collectors of relics from within the circle of supports left
within Scotland. They also supported the promotion of the
cause through lending to the important early exhibitions on
Stuart and Jacobite history in the 1880s and 1890s.
An 18th century portrait miniature of
Prince Charles Edward Stuart (lot 4).
This group of objects collected at the time of the sale in 1993
are brought together from various sources for the ﬁrst time,
giving a new generation of collectors and academics within the
ﬁeld of Stuart and Jacobite history an opportunity to be
connected to this most important collection.
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8 Lyon & Turnbull
1
A late 18th century gentleman’s Jacobite silver and
bloodstone supporter’s ring
2
A late 18th century gentleman’s Jacobite gold and
bloodstone supporter’s ring
Provenance:
Threipland family collection
By direct descent
Fingask Castle, 26th – 28th April 1993, Christies, Lot 947
Royal House of Stuart, The New Gallery London 1889, No. 527
Museum of Science and Arts, Edinburgh 1892, No.118-42B
Provenance:
Threipland family collection
By direct descent
Fingask Castle, 26th – 28th April 1993, Christies, Lot 948
unmarked, the simple silver shank with rectangular intaglio carved
bloodstone seal with displayed rose and motto ‘THE ROSE THATS LIKE
THE SNAW’ above
£3,000-5,000
unmarked, the gold shank with ﬁnely engraved foliate details to
shoulders and shank, the shield shaped head with intaglio engraved
bloodstone seal inscribed ‘AWA WHIGS AWA’
Exhibited:
Royal House of Stuart, The New Gallery London 1889, No. 527
Museum of Science and Arts, Edinburgh 1892, No.118-42B
£3,000-5,000
3
A ﬁne 18th century gold pendant enclosing a lock
of Prince Charles Edward Stuart’s hair
the oval glazed panel backed with blue silk and enclosing a
coiled lock of hair, incised arched border, pierced and
engraved integral suspension loop, the reverse engraved ‘Lock
of Prince Charles Edward Stuart’s hair 1763’, contained in a
small red morocco leather initiation book, with inscribed note
to inner cover ‘Prince Charles Stuarts Hair 1745’
locket 32mm long, excluding loop
Provenance:
Threipland family collection
By direct descent
Fingask Castle, 26th – 28th April 1993, Christies,
Lot 950
Exhibited:
Royal House of Stuart, The New Gallery London
1889, No. 533
Museum of Science and Arts, Edinburgh 1892, No.118-5
£5,000-7,000
4Y
Attributed to Charles Dixon An 18th century portrait miniature of
Prince Charles Edward Stuart
the oval portrait on ivory of Prince Charles
Edward Stuart in tartan doublet with blue sash
and Garter star, contained within a reeded
gold frame, foliate suspender, the reverse set
with a polished panel of Montrose blue lace
agate, contained in an oval shagreen case with
green velvet lining
50mm high (including suspender)
Provenance:
Threipland family collection
By direct descent
Fingask Castle, 26th – 28th April 1993, Christies,
Lot 834
Note:
This miniature is a copy after Robert
Strange’s mezzotint Prince Charles
Edward Stuart circa1749. Strange
(Scottish 1721-1792) is an artist
synonymous with Jacobite
portraiture and this image a very
familiar view of the Prince, as
Strange had captured his likeness in
both a mezzotint and engraving.
Both of these works were very
widely distributed following the
rebellion of 1745, and became the
most utilised basis for copies right up
until 1760. In a large number of the
copies, as here, the plain coat of Strange’s
original outﬁt is transformed into a tartan coat, a type
of cloth that had quickly become synonymous with
Bonnie Prince Charlie and the Jacobite cause.
£2,500-3,500
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Jacobite, Stuart & Scottish Applied Arts 9
5
The Fingask ‘King over the water’ wine glass
the bell shaped bowl with engraved portrait of Prince Charles Edward Stuart within a simple
cartouche, engraved above in banner ‘AUDENTIOR IBO’ the panel ﬂanked by engraved rose and
thistle, raised on broken twist stem with swollen knop, set into a turned wooden foot
10cm high
Provenance:
Threipland family collection
By direct descent
Fingask Castle, 26th – 28th April 1993, Christies, Lot 1322
Exhibited:
Royal House of Stuart, The New Gallery, London 1889, item 528
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
from 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 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.
Family tradition from Fingask dictated that this glass was last used by Prince Charles Edward Stuart to toast the
uprising and was ceremonially broken by Threipland, in a deﬁant show of support and so that no lesser man could
drink from it. The glass was then kept within the family as a relic of the close relationship with Prince Charles and the
family.
The Audenitor Ibo motto is an ingenious reference to two diﬀerent speeches in Virgil’s epic of an exiled prince The
Aeneid, a work which is often the source of coded Jacobite references. As often with secret writings, the original
contexts in which a phrase occurs are evoked by the quotation, thus ‘Audentior ibo’ ‘I will advance more bravely’
evokes the prophecy of the future of Aeneas in Book VI, ll.86-96, that he will come into his kingdom after many
struggles ‘Tu ne cede malis sed contra audentior ito’ – ‘Do not yield to ills but go forth bravely against them’, as well
as the speech of the young hero Euryalus at book IX, ll.280-292, which ends ‘audentior ibo in casus omnis’ –‘I will go
forth more bravely to meet all dangers’.
£3,000-4,000
6
An early 18th century glass candlestick
simple bucket sconce above a tapered square section stem, on a domed foot with reeded
rim. With accompanying letter of provenance
19.5cm high, base 11cm diameter
Provenance:
MacDonald family collection
Stuart of Appin family collection
To Miss J E Oliphant
Gifted to Miss Threipland of Fingask
Threipland family collection
By direct descent
Fingask Castle, 26th-28th April 1993, Christies, Lot 1321
Note:
The weight placed on the relation and custodianship the Threipland and Fingask names carried is borne out
with the gift of such an important and personal gift from one Jacobite family to another. Rather than lose
the item’s history or remove it from its native land it was gifted to the ‘protector’ of the cause.
Sold with accompanying label stating ‘Candle stick used by Prince Charles when in the MacDonald house,
see Miss Oliphant letter indicating (?) the tale’ and with a handwritten letter detailing provenance and gift
which reads
“Perth
72 George Str
15 Apr 1814
My Dear Miss Threipland
I am quiting my own beloved land. I take the liberty of sending you a candlestick which in itself has no value.
But it was the one that was used by our beloved but ill used Prince while he took refuge under the roof of
one of the noble family of the McDonalds who fought monfuly for him it has never been used since it was
last used by Prince Charlie in his Bedroom.
Do not think my thoughts for my Dear Prince is lessened by parting with this, since that descended through
my forefather the Stuart of Appin I felt certain that while a branch of the noble family of Fingask is left this,
we think was an admirer at some of Prince Charles’ campaign he can fully ﬁnd pardon me and say a feeling
of pride rises in my chest that I have the privilege of this giving. My sincere thanks to your care and I assure
you of feel happily, yes happy for hoping that can ****, should I see this country fall into the hands of those
that loved not, nor would not ﬁght for my ill used Prince.
I close this with Miss Elphinstone and great ﬁne feelings and remain, dear Miss Threipland
Sincerely
June E. Oliphant. “
£2,000-3,000
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10 Lyon & Turnbull
7
A framed section of Jacobite ribbon
the section of silk ribbon woven with ﬁgure of
a Highlander (likely to represent Bonnie Prince
Charlie) in harlequin dress with sword and
targe, in ebonised and gilt glazed frame
ribbon 9cm x 3.5cm
Provenance:
Fingask Castle, 26th - 28th April 1993, Christies
Scotland, extra lot not in catalogue
£300-500
8
A late 18th/early 19th century
Scottish silk bonnet
the tartan bonnet of conventional form
with green corded rim and silk cockade
Provenance:
Fingask Castle, 26th - 28th April 1993, Christies
Scotland, extra lot not in catalogue
£200-300
9
A mid 18th century brass sporran
cantle
of hinged square topped form with ring and
dot decoration, with locking mechanism and
clasp
18cm wide
Provenance:
Fingask Castle, 26th - 28th April 1993, Christies
Scotland, lot 1087
Note:
With accompanying hand written label stating ‘Found
on Culloden Field’
£500-800
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10
1715 Uprising
A compleat history of the late rebellion.
London: W. Hinchcliﬀe, 1716. Second edition,
8vo, contemporary panelled calf rebacked,
damp-stained [ESTC T31008]
Provenance:
Threipland Collection, Fingask Castle, purchased
privately. Private collection.
£150-250
11
Jacobite and Scottish manuscript
folk music, including words by
Robert Burns, early 19th century
91 manuscript pp., some interleaved with
additional manuscript music and lyrics,
including lyrics for Oh my Bonny Highland
Laddie, The White Cockade, Bonny Charlie and
music & lyrics for songs such as Burns’s O’er
the Water to Charlie, My Heart’s in the Highlands,
Welcome Royal Charlie, You’re welcome Charlie
Stuart, Fallen Heroin [sic.], and The Last of the
Stuarts, also three songs in European
languages, one set of interleaved lyrics dated
1822, contemporary quarter morocco album
Provenance:
Threipland Collection, Fingask Castle, purchased
privately
Note:
By the time Robert Burns wrote O’er the Water to
Charlie in 1788, Jacobites and the ideology could no
longer be considered a powerful political force.
However, the romance of ‘The King over the Water’
remained and Jacobite songs became a popular
Scottish folk genre.
£500-700
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The James Graham of Airth Jacobite Relics
This important group of Jacobite relics come with direct
provenance to a long declared Jacobite family who supported
not only as men of inﬂuence but on the battle ﬁeld in both
the defeats of the ’15 and ’45. James Graham of Airth used
political power and status as Dean of the Faculty of
Advocates and Judge of the Court of Admiralty to try and ﬁnd
more lenient punishment for the survivors in the courts.
James Graham of Airth Snr. (born 1676), married his ﬁrst wife
Marion Hamilton (his ﬁrst cousin), daughter of Lord
Pentcaitland in 1700, they had ﬁve children three sons all of
whom died young and two daughters. By 1705 James
Graham had inherited his father lands and by 1707 also
those of his uncle, Henry Graham W.S of Gilchriston,
Haddington. By 1717 however he has purchased the lands of
Airth and the associated Tower which he set about turning
into Airth Castle.
After the death of his ﬁrst wife, James re married Lady Mary
Livingstone, daughter of Alexander the third Earl of
Callendar, by his wife the Lady Anne Graeme, daughter of
the second Marquis of Montrose. They had six children and
James was succeeded by their fourth William.
Their ﬁrst son, like his father was involved in the ’45 and is
described “as a devoted adherent of Prince Charles Edward,
he went abroad with his Prince after Culloden and, as his
name was on the list of attainder, he could never return or
take up his estate; he died like many of his compatriots at
the Scots College in Paris where he held the rank of colonel;
a man of almost unprecedented strength, it is related how he
would lift between his teeth the large round mahogany table
that stands in the lobby at Airth, or taking the kitchen poker
he would twist it round his wrist, or round the necks of two
Highlanders!”.
Judge Graham was working judge travelling Scotland on the
country court circuit. He attended after the ’15 to the
prisoners of the uprisings and is said he “had gone to
London at his own charges to defend some Jacobite’s taken
prisoners at Preston.” Taking such a forward and open
stance in the defence of the prisoners must surely have
placed him as one of the most public Jacobite’s post defeat.
It is said he had “procured leave to be counsel or the
prisoners, on the purpose to dispute this point, which he
declares he’l maintain to the hazard of his very life, as well as
his fortunes. The judges seem to hope that they shall be able
to ward oﬀ this argument. And indeed the Solicitor General
and the rest of our English counsel, on the Crown side,
appear as loath to engage it”.
He was a man of great fortune and reputation and was
painted in his Judges robes within the studio of the
celebrated Edinburgh portrait painter Allan Ramsay, the
portrait now within the collection of the National Trust for
Scotland.
These items relate to the personal collections of Airth but
also show, as seen with Threipland of Fingask, the want for
relics to be kept together, cementing their value and
importance, with latterly the addition of the McGrouder
collection. This importance placed on the protection and
guardianship of such pieces being a constant within the close
group of supporters left after the defeat of the various
uprisings.
James Graham of Airth (photo © The National Trust for Scotland:
Gladstone’s Land).
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12
An 18th century French gold snuﬀ box
with Paris marks to lid and base, of canted rectangular form with
engine decorated border with lattice panel of beaded and rose
head decoration, the base and body similarly decorated
8.2cm x 3.9cm, 98.5g
Provenance:
Gifted by Prince Charles Edward Stuart to William Graham of Airth
By descent to Mary Graham (second daughter of William Graham) who
married John Stirling of Kippendavie, 1781
By direct descent to current vendor
£4,000-6,000
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The McGrouther Relics
Although a family not well recorded within the annuals of
Jacobites and their supporters, the McGrouther (aka as
McGrowther, McGrouder or MacRudder) gave as much to the
cause as any member of the landed gentry and were at the
side through not just the ’45 but also the ’15 before.
Alexander McGouther, son of John McGrouther of Meigor and
Jean Drummond (presumably a relation of the Duke or Perth’s
family) was born in around 1673.
In 1715 Alexander, aged 42, was sent in place of his father (by
this time aged over 80) along with his brother William to rise
with the Duke of Perth in support of King James. However he
was captured at Preston in November 1715 as a Captain in
Logie’s Regiment, one of 778 taken at the time. He was one of
those marched to London to face trial, which took place at the
Court of Exchequer on 31st May 1716 with six other
defendants. The result of the trial appears not to have been
recorded but it appears Alexander spent the next year in
Newgate Jail until he was released under the Act of Indemnity
of 1717 and returned to Scotland.
During this sentence he was passed over for succession of his
father’s estates in 1716, his younger brother John taking his
inheritance, as he was still imprisoned for his part in the ’15.
Even after such hardship and imprisonment in the 1715
uprising, McGrouther was still an active member of the forces
in the ’45, not on his own this time but with his son Alexander
Jnr. By this time, aged 72, he re-enlisted in the Duke of Perth’s
regiment. He and his son were both listed in the list of rebel
Oﬃcers and soldiers who surrendered at Carlisle. They were
transported to London on 10th February in a heavily guarded
wagon train and sent to various prisons.
Alexander Jnr, Lieutenant in the Duke of Perth’s regiment, died
aged only 21 in the New Gaol, Southwark, unmarried and
without heir before his trial had been set.
Alexander Snr’s trial and punishment however was a much
more colourful aﬀair. Spending February - June in prison he
was heard in front of the Grand Jury on 25th and 26th July 1746
when “Counsel for the prisoners begged for further time to
prepare for trial, because their witnesses were not ready. This
opposed by the Counsel for the Crown and refused by the
Court, for on 31st July the Court met at St. Margaret’s Hill for
their trial, when Alexander McGrouther, senior, of Perthshire, a
Lieutenant in Perth’s regiment, was brought to the Bar and
pleaded Not Guilty”.
“He brought four witnesses to prove that the Duke of Perth,
whose vassal he was, had forced him into the rebellion,
threatening, if he did not immediately join the army, to burn all
his houses destroy his lands and drive his cattle away. But they
only swore that they heard himself say that he was ordered to
join the Duke of Perth and he must comply”.
The prosecutors replied to this evidence, now shaky on the
watered down testimony of his four witnesses, saying “that it
was unreasonable to suppose that a man forced into the rebel
army should continue so long in it, accept of a commission,
and act as an oﬃcer, and that it was proved that when the
rebels got possession of Edinburgh he was with them in
Highland dress, a white cockade in his blue bonnet, a dirk and
pistols in his girdle, and was a very vigilant and active
encouraging the rebel oﬃcers to be hearty in the cause, and
not to doubt of success; that he acted at the battle of
Prestonpans as a Lieutenant; that he marched with the rebels
into England; and that when Carlisle surrendered to the Duke,
he acknowledged himself to be a lieutenant in Perth’s
regiment”.
This stacked evidence against him would signal the end of his
defence and the possibility of a not guilty verdict seemed, and
was, impossible. After the three hour trial, and without leaving
the court he was found guilty. As he was escorted from court
he was recorded as stating “By my faith this is a very infamous
verdict they have brought against me”. Even when led back to
the Bar for sentencing he was still deﬁant in his defence and
that he was forced into his actions, however these pleas would
fall on deaf ears.
In his sentencing, The Lord Chief Justice, after a ‘pathetic
speech’ pronounced sentence on McGrouther and others
stating “let the several prisoners above named return to the
gaol of the county of Surrey, from whence they came; and from
thence they must be drawn to the place of execution, and
when they come there they must be severally hanged by the
neck, but not till they be dead; for they must be cut down alive,
then their bowels must be taken out and burned before their
faces; then their heads must be severed from their bodies, and
their bodies severally divided into four quarters; and these
must be at the King’s disposal”.
This was not however the end for Alexander as once the
warrant for his execution was issued on 19th August – for
execution on 22nd – he was reprieved only the day before. This
was one of three reprieves from the gallows and he would
escape hanging and be released by 1749.
13
An 18th century gold open faced pocket watch
the simple plain case with white enamel dial, Arabic numerals to outer
minute and inner calendar dial, the main chapter ring with Roman
numerals, gold hands, the verge movement unsigned
dial 40mm diameter
Provenance:
Inherited by Duncan McGrouther
By descent to his wife, Margaret McGrouther (nee Stirling of Kippendavie)
Gifted by his wife to female line of Stirling of Airth family
By direct descent
£1,500-1,800
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14
The Alexander McGrouder snuﬀ box
unmarked, the tapered box with reeded rim and twin hinged covers,
with ﬂush hinge with engraved decoration, the covers engraved
‘Alexander McGrouder’ and ‘Fear God and Honour thee King, Be not
given to Changes’, the base of the box engraved ‘Newgate 17 July 1717’
9.7cm wide, 2.1oz
Provenance:
Gifted to Mary Stirling (nee Airth), second daughter of James Graham of Airth, from
c1781
By direct descent
Note:
Family tradition dictates that this box was commissioned by Alexander McGrouder
while in prison in 1717 after his involvement in the ‘15, further it has been suggested
the box was altered from the base of a silver drinking ﬂask.
£2,000-3,000
15
Duncan MacGrouther memorial ring
the oval head formed as a double sided glass panel enclosing woven
hair, the black enamel shank with gold detail inscribed ‘DUNCAN
MCGROUDER ob. 16th SEP 1755 AE 41’
Provenance:
Inherited by Duncan McGrouther
By descent to his wife, Margaret McGrouther (nee Stirling of Kippendavie)
Gifted to Mary Stirling (nee Airth), second daughter of James Graham of Airth, from
c1781
By direct descent
Note:
Duncan McGrouther, brother of Alexander McGrouther Snr, was born 12th April
1714. He appears to have not played an active role in the ’45 but served as heir
general for his elder brother John by 1748. As well as looking after family aﬀairs at
these diﬃcult and turbulent times, he was also a Surgeon based in Crieﬀ. He ended
being the beneﬁciary of various family bonds and annuities gifted through James,
Lord Drummond. These bonds show the close relationship the family had to such
staunch Jacobite supporters and again perhaps debunk the idea of Alexander Snr
and Jnr being forced into the Perth regiment by the Duke.
£600-800
Other Relics
16
A fragment of blue silk garter
The small fragment of blue silk from Prince Charles Edward Stuart’s sash
of The Order of The Garter, pinned to a handwritten note stating ‘Prince
Charles’s Garter worn by him at Fernton, the then seat of Lord John
Drummond, 1745-6’
9cm long
Note:
Along with the Order of the Thistle breast badge worn by Prince Charles, the Garter
sash is a constant reminder of his position and power within portraits. Such high
levels of chivalry cement his claim and right to the throne showing his just cause.
A large section of what appears the same ribbon is within the collection of the
National Museum of Scotland (H.NC57, gifted by Gilbert Innes, in 1798)
£500-800
17
An 18th century Continental silver gilt snuﬀ box
apparently unmarked, of scalloped shaped outline, the straight sides with
chased ﬂoral and scroll decoration, the hinged cover with scroll formed
border with a country scene of three ﬁgures in a landscape
7.5cm wide, 3.3oz
Provenance:
Gifted by Prince Charles Edward Stuart
To Provost Hind Smith L.P of Glasgow
By descent
Mr Fairburn (descendant of Provost Aird Smith)
Sold privately by Mrs Fairburn (widow of above) c1881
To Stirling family, Kippenross Dunblane
By direct descent
£1,000-1,500
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18
CIRCLE OF ANTONIO DAVID (ITALIAN 1698–1750)
PORTRAIT OF PRINCE CHARLES EDWARD STUART
And a companion, a portrait of his brother Prince Henry Benedict
Clement Stuart, oil on canvas
63cm x 52cm (24.75in x 20.5in)
Provenance:
By family tradition the gift of King James and Maria Sobieska
Judge James Graham of Airth, by direct descent to Helen Graham of Airth
Property of a Gentleman
Note:
Antonio David was one of the Jacobite court’s oﬃcial painters in Rome. Both he
and his studio produced several copies of this pair of portraits after 1729.
£12,000-18,000
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19
ATTRIBUTED TO E. GILL, AFTER MARTIN VAN MEYTENS
(DUTCH/SWEDISH 1695-1770)
A PORTRAIT OF JAMES FRANCIS EDWARD STUART, THE OLD PRETENDER
And a companion, a portrait of Princess Maria Casimire Clementina
Sobieska. Both half-length, he in armour, wearing the Order of the Garter
and the Thistle, with a gorgoneion at his neck; she in a silver dress and
an ermine-lined cape, oil on canvas, a pair (2)
69cm x 56cm (27in x 22in)
Provenance:
By family tradition the gift of King James and Maria Sobieska Judge James Graham of
Airth, by direct descent to
Helen Graham of Airth
By descent, sold Property of a Gentleman
£12,000-18,000
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Note:
Martin Van Meytens was commissioned to paint the original pair of portraits by James
in 1725. They were produced in Rome upon the birth Henry and were designed as
mutual gifts to be hung in each other's private rooms. Van Meytens then moved to
Vienna and became the oﬃcial court painter. The two originals were considered
among the most successful likenesses of the pair. It is not known whether the
originals survive but in 1727 James commissioned an artist called E. Gill - an
Englishman who was in Rome for a time - to produce ten copies which were then
gifted to Jacobite supporters. One pair of Gill's copies are housed in the National
Gallery of Scotland. It is not known how many of Gill's copies still exist but the quality
and age of this pair are very close to the known examples. The image that Van
Meytens produced of Maria Clementina became her "oﬃcial" portrait and is the most
recognised image of her, being copied on countless occasions.
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The Four Peers ring - an important mid 18th century
Jacobite gold and enamel ring
the shaped rectangular head of white enamel with four initials and
coronets to corners with dates surrounding an executioners axe to
centre in gold, the shoulders formed as a rose and thistle in green, white
and pink enamels, the interwoven shank with gold detailed initials and
dates on a white enamel ground
Provenance:
Commissioned by Lord Francis Oliphant of Gask
Gifted to Judge James Graham of Airth or his son William Graham of Airth.
By direct descent to Mrs Ann Graham of Airth (nee Stirling of Ardoch)
By direct descent to her great grandson Colonel Stirling of Kippendavie
By direct descent
£15,000-25,000
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Jacobite, Stuart & Scottish Applied Arts 21
The ‘Four Peers Ring’ is perhaps one of the most
iconic and romantic examples of Jacobite jewellery
and contemporary relic. While relic normally denotes
a fragment or part of a revered place, person or
object these important rings were created at a
contemporary moment as a commemorative
memorial for the Peers and high ranking Oﬃcers who
gave the greatest sacriﬁce for the cause they so
staunchly upheld. The execution of these men was
not only a deﬁning moment in the aftermath of the
uprising and Jacobite history but shows the fear and
recrimination of the Scots and the Clans which the
Hanoverian dynasty dealt after the defeat of Culloden.
The aftermath of the battle was not the only
recrimination for the nation, the butchery on the ﬁeld
of battle, the humiliation of the Prince and Stuarts,
and the seizing of lands and titles from those involved
was not enough. A public face had to be put to the
defeat and in the absence of a Stuart the closest thing
were his most trusted and closest advisors and
supporters.
undisturbed, the whole day with his drummer,
enlisting all who oﬀered themselves……, ‘to each of
whom a white cockade was given, and a bounty of ﬁve
guineas promised.
There were nine oﬃcers from the Manchester
Regiment executed on 30th July 1746. While many
regiments, families and men felt the force of
Hanoverian recrimination those laid down on the
Manchester regiment were ferocious, a regiment of
English men in the service of the Scots (as was seen
by the Hanoverians) had to be punished. It is said
“This unit indeed was treated with a ferocity which
indicated that its degree of culpability was held to be
higher than that of any other in the Jacobite army”.
FT – Francis Towneley – immortalised with George
Fletcher with their decapitated heads on a spike in an
anonymous contemporary engraving.
AB – Andrew Blood
TD – Thomas Theodore Deacon
TS – Thomas Sydall
DM – David Morgan
JD – James Dawson
GF – George Fletcher
TC – Thomas Chadwick
JB – John Beswick
Those who had not ﬂed and were captured were
punished to varied degrees but those of the ‘Four
Peers’ no doubt the harshest.
This important ring is one of only four recorded
examples, the only in private hands and of the them,
arguably, the ﬁnest in survival and provenance.
Three others are known to survive, all within
institutional collections, National Museums Scotland
(H.NJ 154), two within the British Museum (1418 and
1490, the latter Ex Sir A. W. Franks Collection).
Although unmarked, it has long been considered
within the Jacobite families who owned these rings
that they originated from Oliphant of Gask family and
were presented to surviving and staunch Jacobite
families for their work and eﬀort within the cause.
It has long been considered, although never proven,
that these rings were commissioned from Ebenezer
Oliphant, Goldsmith in Edinburgh, by Lord Francis
Oliphant of Gask. While not proven a more likely
candidate cannot be considered. Ebenezer Oliphant’s
place within the Jacobite establishment as brother of
the Laird of Gask, cousin to Laurence Oliphant,
Goldsmith and Aide de Campe to Prince Charles
Edward Stuart, and his own place as renowned
Jacobite Goldsmith all make him the likely, if not the
only, candidate. Indeed, the production of such rings
supporting the Jacobites would have been a very
dangerous oﬀence and so close to the defeat at
Culloden could only have been made by the
staunchest of supporters. It is not surprising that the
ring is unmarked as any 18th century hallmarked
Scottish jewellery is scarce. Also advertising the maker
of such a piece, if it were found by Hanoverian
supporters, would surely have guaranteed problems
and re-crimination for the craftsmen.
The Oliphants had been key supporters of the Stuart
claim and had been vocal opposition to the Act of
Union in 1707. They had been with King James in the
uprising of 1715 and played an active role in support,
funding and propaganda for the ’45. The 10th Lord
escaped after Culloden to Sweden and latterly lived in
France. He bought his amnesty in 1763 and returned
to Scotland but did not stop his staunch and open
Jacobite support.
The original owner of this example of ‘The Four Peers
Ring’ could not have been closer to the uprising and
its aftermath, John Graham of Airth being not only a
supporter but self-proclaimed defender of the
Jacobites after the defeat in 1715.
James Graham worked on behalf of the Peers and
other captives at their trials in 1716 trying to provide
some defence for the prisoners and while his duty
seemed destined to fail, with the full weight of
Hanoverian monarchy and hierarchy against him, the
case he fought was considered a victory. Although
appealing for leniency, and not the death penalty, was
obviously his goal the likelihood of winning such
terms was minimal.
Some consider the precedents he set in 1716 as the
cornerstone for the treatment of prisoners after the
’45, in particular the Peers, nobleman of the nation,
22nd August 1747
Etching of Francis Towneley and George Fletcher’s heads on
spikes by unknown artist. Published 20 September 1746. ©
National Portrait Gallery, London.
were only hung rather than their original sentence
that to be hung, drawn and quartered.
The Manchester Regiment
The men immortalised on the shank of the ring show
the variety of classes, regiments and geographical
origins of the oﬃcers ﬁghting under Prince Charles.
This group of men were somewhat overlooked on
their executions after those of the Peers whose
involvement was even more political. The executions
were staged in three batches, all commemorated on
the shank.
The Manchester Regiment was formed during the end
November 1745 as a regiment of foot under the
command of Francis Towneley. In response to the
advancing Jacobite army and success they had seen,
they joined Prince Charles’ army marching south to
Derby on 1st December. However, they were almost
immediately forced to retreat to Carlisle. Their
support of the Jacobite cause would ultimately lead to
execution or transportation for many of the regiment.
The regiment had been started by a deserter from the
Hanoverian troops who had been captured at
Gladsmuir. He began recruitment in the city and,
although reports vary, his successes were obvious,
enlisting around 180 men (some reports suggesting
upwards of 600, one as few as 30). This success was
hardly guaranteed as he arrived in Manchester with
only his mistress and drummer as support, some
reports suggesting the whole aﬀair was against
superior’s orders and one of his own invention. The
process, oﬃcial or otherwise, in the number of 30 or
600 must have been a sight.
“Within an hour of his arrival he began to beat up for
recruits. The populace did not at ﬁrst interrupt him,
conceiving that the whole army was near the
town…….they surrounded him in a tumultuous
manner, with the intention of taking him prisoner.
Dickson presented his blunderbuss, which was
charged with slugs, threatening to blow out the brains
of those who ﬁrst dared to lay hands on himself or
the two who accompanied him; and by turning
around, continually, facing in all directions, and
behaving like a lion, …….. those of the inhabitants
of Manchester who were attached to the house
of Stuart took arms, and ﬂew to the
assistance of Dickson, to rescue him from
the fury of the mob; ……. He now
triumphed in his turn, and putting
himself at the head of his
followers, proudly paraded,
JN – James Nicolson who was an owner of a coﬀee
house in Leith, and held a commission as Lieutenant
in the Duke of Perth’s regiment. It was stated at his
trial that he was an uncle of Donald McDonald.
D McD – Donald McDonald or McDonell was a Captain
in Keppoch’s regiment.
WO – Walter Ogilvie was a Lieutenant in Lord Lewis of
Gordon’s Regiment.
28th November 1746
JW – Sir John Wedderburn, Bart., of Blackness, was
captured in arms at Culloden. He had also acted in
the capacity of Collector of Excise for the Jacobites in
Perthshire and Forfarshire. He appealed for mercy at
the end without success.
JB – James Bradshaw was serving in Elcho’s Life
Guards at the time he was captured, although he had
originally been in the Manchester Regiment, which
likely was the reason he was executed.
JH – Colonel John Hamilton raised a considerable
number of men in the Gordon country, and was
Governor of the Castle of Carlisle at the time of its
surrender.
AL – Alexander Leith was a Captain in Glenbucket’s
regiment. Although he was said to be old and inﬁrm
he was still executed.
AW – Andrew Wood was a shoemaker from
Glasgow and Captain in Roy Stuart’s regiment.
He made a speech on the scaﬀold stating that
he raised a company at his own expense.
The belief they had in their cause is
seen in the ﬁnal moments in Thomas
Theodore Deacon’s speech to the
assembled crowd.
“I am come here to pay the
last debt to nature, and I
think myself happy in
having an
opportunity of
Image of the ‘Four Peers’ ring
adapted to show the full
naming on the shank.
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22 Lyon & Turnbull
Charles Radcliﬀe, 5th Earl of Derwentwater
(1693-1746)
Of the four Peers commemorated on the ring, Charles
Radcliﬀe was the only one to be executed for his part
in the 1715 uprising along with that of his
involvement in 1745.
The connection of the Radcliﬀe family and the Stuarts
was close from an early time. Their titles had been
bestowed by King James II and made them amongst
the most feared Jacobite families in England. Charles,
along with his brothers Francis and James, were sent
to the Stuart court at St Germain at the request of
Queen Mary, widow of James II, to be companions and
fellow pupils of Prince James Francis Edward.
James Radclyﬀe, 3rd Earl of Derwentwater. © National Portrait
Gallery, London.
dying in so just and so glorious a cause. The deluded
and infatuated vulgar will no doubt brand my death
with all the infamy that ignorance and prejudice can
suggest. But the thinking few who have not quite
forsaken their duty to God and their King, will I am
persuaded look upon it as being little inferior to
martyrdom itself, for I am just going to fall a sacriﬁce
to the resentment and revenge of the Elector of
Hanover and all those unhappy miscreants who have
openly espoused the cause of a foreign German
usurper and withdrawn their allegiance from their
only rightful, lawful and native sovereign, King James
the 3rd……”
However, such impassioned pleas and the work of the
Jacobite lawyers could not save the Oﬃcers and the
Newgate Calendar describes their ﬁnal journey and
ﬁnal act for the Stuart cause.
“After the sentence of the law was passed, the
convicts declared that they had acted according to the
dictates of their consciences, and would again act the
same parts, if they were put to trial. When the keeper
informed them that the following day was ordered for
their execution, they expressed a resignation to the
will of God, embraced each other, and took an
aﬀectionate leave of their friends.
On the following morning they breakfasted together,
and having conversed till near eleven o’ clock, were
conveyed from the New Gaol, Southwark, to
Kennington Common, on three sledges. The gibbet
was surrounded by a party of the guards, and a block;
and a pile of faggots, were placed near it. The faggots
were set on ﬁre while the proper oﬃcers were
removing the malefactors from the sledges.
After near an hour employed in acts of devotion,
these unhappy men, having delivered to the sheriﬀs
some papers, expressive of their political sentiments,
then underwent the sentence of the law. They had not
hung above ﬁve minutes, when Townley was cut
down, being yet alive, and his body being placed on
the block, the executioner chopped oﬀ his head with a
cleaver. His heart and bowels were then taken out,
and thrown into the ﬁre; and the other parts being
separately treated in the same manner, the
executioner cried out “God save King George !”
The bodies were quartered and delivered to the
keeper of the New Gaol, who buried them: the heads
of some of the parties were sent to Carlisle and
Manchester, where they were exposed; but those of
Townley and Fletcher were ﬁxed on Temple-Bar,
where they remained many years, till they fell down.”
Charles and his elder brother James were involved in
the uprising of 1715 and both surrendered at Preston.
Charles was tried on 18th May 1716 and found guilty
and sentenced to death. This sentence was deferred
until July and he latterly obtained a further stay of
execution because of the change in public mood. The
success of the ’15 had been limited and the defeat so
deﬁnite the public mood seemed not to demand
public retribution. Eventually, with several other
Jacobites he escaped Newgate prison in December
and ﬂed to the continent, living in Urbino. He was
appointed the Chevalier’s agent in Paris and was
presumably an important and ever present member
of the Stuarts inner circle and court.
Charles participation in the ’45 seems never to have
been in doubt and indeed he was involved in the
organisation from the continent. He, along with his
son James, were captured before their part could be
played. In 1745 they were travelling aboard the French
privateer ship, Esperance, enroute to Scotland with
arms for the Jacobite army. On this voyage they were
captured by the British ship Sheerness and sent
directly to the Tower of London where he was retried
and condemned to death for his involvement and
escape of the ’15h and his obvious support and
involvement in the ’45.
William Boyd, 4th Earl of Kilmarnock (1705-1746)
Boyd’s career as a Jacobite is marred with conﬂicting
sides and evidence. He appears to have been perhaps
a soldier chasing fortune, not the complete political or
religious ideal. In the uprising of 1715 he followed his
father, the 3rd Earl of Kilmarnock, into battle under
their own regiment in support of the government.
His father died in 1717 and he succeeded him to
lands and titles. Sadly, his land by this point was
encumbered and Boyd later confessed his was a
‘careless and dissolute life’ marked by ‘vanity, and
addictedness to impurity and sensual pleasure’. He
played an active part in the peer’s elections and rarely,
if ever, voted against the ministry and establishment.
In the hotly contested 1734 election, it was noted by
the opposition, he was brought back from France by
the government, indeed at their expense, and both he
and his wife received pensions of £200.
Present at Culloden and in the rear guard, but in the
heat of the closing stages of the battle they mistook
the Hanoverian Royal Dragoons as a Jacobite regiment
and were captured.
Imprisoned at Inverness he was transported to
London and tried for High Treason at the House of
Lords, with Earl Cromarty and Lord Balmerino. While
he pled guilty he repented for his part in the Jacobite
actions, however to little avail. Even with supporters
such as the Duke of Hamilton and Lady Townshend
making pleas for leniency he was sentenced to death.
As with Lord Balmerino, he was accused of acting
upon Prince Charles’s, apparent order to ‘give no
quarter’, he and Balmerino opposed this view and
were publicly interviewed of the facts. Although
repenting his part in the ’45 he and Balmerino
(staunch to the end) ended their lives together and as
friends.
Dressed in black, he met his ﬁnal moments bravely
and in his statement said that “his punishment was
just”.
Unlike many others executed in London, Boyd’s head
was not displayed and was reunited with his body in
the coﬃn, buried within the Tower of London,
perhaps allowed due to his attempt to repent his part
in the uprising or as a small gesture to the fact he was
the highest-ranked peer to be executed for these
crimes.
Arthur Elphinstone, 6th Lord Balmerino and
3rd Lord Coupar (1688 - 1746)
Arthur Elphinstone was a member of a family with
the tradition of ‘ﬁerce Episcopalian nationalism’,
his father before him had been an opponent to the
Act of Union in 1707, however Arthur wrestled with
his beliefs and accepted (as many other Jacobite
did) a commission under Queen Anne in Lord
Shannon’s regiment. Fighting in the ’15 for the
Hanoverians he deserted to the Jacobites and on the
eventual defeat of the uprising had to ﬂee to Avignon
where he appears as a Lieutenant Colonel in the
refugee lists.
By October 1745 he joined Prince Charles Edward
Stuart as an Honorary Colonel commanding forty
horse in the Life Guards. He was present on the
march south to England and was the ﬁrst commander
to take his troops into Derby.
However, by the time Walpole left oﬃce his pension
had been withdrawn and his leanings change
markedly to becoming a high proﬁle Jacobite – for
which he will forever be remembered. He is quoted as
telling the Duke of Argyll “for the two Kings and their
rights, I cared not a farthing which prevailed; but I was
starving, and, by God, if Mahommed had set up his
standard in the Highlands I had been a good
Mussulman for bread, and stuck close to the party, for
I must eat”.
He was relatively late in joining the cause, in October
of 1745, and had no part in the planning of the
uprising. He was one of the few lowland Peers who
followed Prince Charles and it can still be debated if
this was with the view to restoring his fortunes alone.
After joining he quickly rose through the ranks and
was named to the Privy Council. Although an advisor
he generally followed the will of Charles and was not
as outspoken as many other important ﬁgures. He
commanded a troop of Horse Guards and led their
march south into England. His local knowledge helped
him distinguish himself on 17th January 1746 at the
battle of Falkirk.
William Boyd, 4th Earl of Kilmarnock (1702- 1746).
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Jacobite, Stuart & Scottish Applied Arts 23
At Culloden he was at Prince Charles side and as the
battle led to defeat, he helped Charles away from the
ﬁeld and to his eventual escape.
After the defeat, and against Lord Elcho’s advice,
Balmerino gave himself up to the Hanoverian troops.
His thinking behind this is unclear, as a nobleman so
closely involved in the ’45 and in ’15 (and worse as a
deserter to the Hanoverians). He was charged on 29th
July with high treason and pled not guilty. He
conducted his own defence and, unlike Kilmarnock
and Cromarty, he did not request mercy.
He is perhaps best remembered, along with
Kilmarnock, as the two voices which stood beside
Prince Charles and defended the Hanoverian claims
that Charles had ordered no quarter be given to
Hanoverian prisoners or soldiers. Not only did
Balmerino refute this in a public interview with
Kilmarnock but also in his ﬁnal moments from the
gallows before his death.
On the gallows he wore a plaid cap under his wig,
showing his loyalty to Scotland to his ﬁnal moments.
He also handed the executioner, John Thrift, 3 guineas
requesting he carry his work out professionally and
swiftly. It however still took three blows to sever his
head.
His ﬁnal words upon the gallows of Tower Hill were a
prayer. Adamant to the end, he ended his support for
the cause in such staunch manner no doubt to his
commitment could be levied,
“O Almighty God, I humbly beseech Thee to bless the
King, The Prince, and Duke of York, and the dutiful
branches of the Royal Family. Endue them the Holy
Spirit, enrich them with them thy heavenly Grace,
prosper them with all happiness and bring them to
thine everlasting Goodness, all my benefactors and
the faithful adherents to the Cause for which I am
about to suﬀer…….. God preserve my friends, forgive
my enemies, restore the King and have Mercy upon
my Soul’
At the end of this prayer he immediately gave the
signal for the executioner to compete his task.
Simon Fraser, 11th Lord Lovat (1667/8-1747)
Simon Fraser came from a line of Jacobites including
his father, Thomas, who had played a powerful role in
the Jacobite rising under John Graham of Claverhouse,
Viscount Dundee, in 1689, for which he suﬀered
imprisonment. In 1690 Thomas Fraser served with the
Jacobite general Thomas Buchan, and six years later
he allied with James, Lord Drummond (later second
Duke of Perth) and other nobles in an attempt to
capture Edinburgh Castle for James VII and II.
Simon had a rather colourful and, in some cases,
unseemly early life, trying to bribe family members to
change inheritance and lands to his beneﬁt. Trying to
force his cousin to marry him when his bribery failed,
however marrying her protector under duress in her
stead, only to call the marriage a sham joke years
later when its value was not apparent – having
married two other women while not divorced from
her.
Trouble followed him most of his early life and it took
a pardon from King William, only after he had been
found guilty of High Treason. However, this plea to
King William was for personal gain only and he was
still harboring his Jacobite feelings. Shortly after he
made two trips to the Jacobite Court in St Germaine.
To further cement his relationship in the Stuart court,
and after King William’s death, he converted to
Catholicism and met with Mary of Modena and the
titular James VIII and III. He aligned himself with the
Duke of Perth’s factions and was promoting an
uprising from as early as 1703.
By 1715 he had bought his pardon and return to
British soil and was based in London. By this time the
Duke or Argyll had convinced him to support King
George I. He headed north towards Inverness and
took and held the city on behalf of King George. His
fortunes now changing for the better, he appeared a
Hanoverian. However, the disbandment of his forces
and the city handed to others meant his income fell
and his rise was short lived. This likely helped push
him away from the Hanoverians and before long back
to the Jacobites.
This toing and froing of side to side was as blatant as
it was regular and it appears it was only his highly
regarded charm that kept him out of trouble. This
renowned charm got him not only into, but more
often out of, some rather tricky situations between
King George and King James on both sides.
By 1745 it was clear that his Whig allegiances had not
given him the power, land and full title he had
expected and this seems to have sent him back, for a
ﬁnal time, to the Stuart cause. As early as 1690 King
James had promised him reward for his support such,
as Lieutenant-General of the Highlands; furthermore,
the Pretender might be willing to elevate him to a
Dukedom. In 1739 Lovat was the ﬁrst to join the
association formed to invite the Pretender to land in
Scotland; his allegiance was secured.
Although a player from the outset in the return of
Prince Charles Edward Stuart, Lovat was not at
Glenﬁnnan in August, in part due to feigned sickness
possibly in part as the promised patent of Dukedom
had not reached him. This countered with the nonarrival of the French troops, part of the original party’s
plans perhaps caused him some points of thought.
Even throughout the campaigns. once he had pledged
the Lovat Frasers and himself to the cause, he was
keeping all avenues open and wrote regularly to the
Whig hierarchy, with them still hoping that if they
could not turn him they could at least secure his
neutrality.
By 1746 Lovat was in his 80s and hardly a player on
the battleﬁeld. This fell to his son and heir who was
threatened by disinheritance not to take part. He
indeed was captured and imprisoned in Inverness,
only to escape with help from local friends.
After the defeat of Culloden, Prince Charles ﬂed and
sought shelter from Lovat, who urged him on and
promised men for another battle, presumably seeing
his hopes, land, fortune and life slipping from his
grasp. Charles declined and left, and Lovat ﬂed his
home too. In his escape he was captured by
Hanoverian troops sailing up Loch Morar as he hid in
a hollow tree to evade capture. However, the tree
could not hide him and he was spotted and captured
and taken prisoner to Fort William.
Eﬃgies of the late Earl of Kilmarnock, and the late Lord
Balmerino.
Transported to London, he was interviewed and
famously sketched by William Hogarth. Lovat at this
Simon Fraser, Lord Lovat (1667-1747). © National Portrait
Gallery, London.
time was described by the Gentleman’s Magazine:
“Lord Lovat makes an odd ﬁgure, being generally
more loaded with clothes than a Dutchman with his
ten pair of breeches; he is tall, walks very upright
considering his great age, and is tolerably well shaped;
he has a large mouth and a short nose, with eyes very
much contracted and down-looking, a very small
forehead, almost all covered with a large periwig; this
gives him a grim aspect, but upon addressing anyone
he puts on a smiling countenance”.
He was tried for High Treason before the House of
Lords and gave his own defence. At the end of his
case, in inimitable fashion and charm he replied “,
‘Nothing except to thank your lordship for your
goodness to me. God bless you all, and I wish you an
eternal farewell. We shall not meet again in the same
place; I am sure of that”.
While public executions always attracted crowds, that
of Simon Lord Lovat attracted a huge crowd by any
measure. Perhaps the larger than life character, his
life story and advanced age convinced more to turn
out for this. Due to this popularity the crowds were
huge and too much for the erected scaﬀolding
platforms to hold, resulting in their destruction under
the weight of the crowd, killing 20 spectators. In his
larger than life character, Lovat found this implausibly
funny and was seen to laugh heartily and loud all the
way to the executioner’s block. It is reputed that this is
the origin of the saying to ‘laugh your head oﬀ’ Lovat
apparently laughing till his ﬁnal moments. This seems
a little extension of the truth as his ﬁnal words are
recorded, taken from Horace, ‘Dulce et decorum est
pro patria mori’ (‘It is sweet and proper to die for
one’s country’), then turned to moralising by quoting
Ovid’s ‘Nam genus et proavos, et quae non fecimus
ipsi, Vix ea nostra voco’ (‘For those things, which were
done either by our fathers or ancestors, and in which
we ourselves had no share, I can scarcely call our
own’).
Among the Four Peers and 120 Jacobite executed he
was last and indeed the last person to be publicly
beheaded in Britain.
References:
Jacobite Rings, Proceedings of the Society of Antiquaries of
Scotland 1945-46, pages 127-131 R. B. K. Stevenson, M.A.,
F.S.A.Scot
Catalogue of Finger Rings in the British Museum, O M Dalton,
1912, No. 1417
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24 Lyon & Turnbull
“I am now in my Boots to join the Prince . . . every
Scotsman in his senses will go the same way”
William Boyd, 4th Earl of Kilmarnock
21
An important Scottish provincial quaich
William Clerk of Glasgow, marked to rim with indisinct makers mark
sturck three times, of conventional form with engraved panels of ﬂower
head and thistle to exterior with withie line under, the twin shaped lugs
with hatched borders and initials ‘IS’ and ‘MI’ within
19.5cm across handles, bowl 12.5cm diameter, 6.5oz
Provenance:
William Boys, 4th Earl of Kilmarnock
Christie’s, London May 9th 1898
Colonel Sir Ian Walker-Okeover, Bart Collection
Thomas Lumley, London
John Hyman Collection, 2008
Private Collection
Literature:
Further Reﬂections of Scottish Silver, Antiques Magazine, Aug 1998, J Hyman
‘I am now in my Boots to join the Prince’ and that ‘every Scotsman in his senses will
go the same way’
£10,000-20,000
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Jacobite, Stuart & Scottish Applied Arts 25
Note:
William Boyd, 4th Earl Kilmarnock succeeded his
father in 1717. Son of William Boyd, 3rd Earl and
Euphemia (daughter of 11th Lord Ross). He was
educated at Glasgow University and, in early life, a
country Whig with a great political background. A
lifelong member of the Church of Scotland, he
married Lady Anne Livingstone, from an Episcopalian
family, whose father was James 5th Earl of Linlithgow
and 4th Earl of Callendar. Through her aunt she was
also heir to the title of Countess of Erroll.
It is this family connection that likely helped sway
Boyd from his Hanoverian leaning of the ’15, to his
Jacobite support for the ’45. The possible restoration
of his fortunes and the rumour that his wife’s aunt
would disinherit them of the titles of Earl and
Countess of Erroll if he did not come out for the
Young Pretender in ’45.
Boyd’s involvement in the uprising is best stated in his
own words, recorded by Rev James Foster who
attended him in prison.
When I asked him, ‘what could be his motive to
engage thus in the rebellion against his conscience, in
deﬁance of God, and in violation of sacred oaths, and,
consequently, in contempt of all laws divine and
human, all types of justice and honour.’ He answered,
‘That the true root of all was his careless and dissolute
life, by which he had reduced himself to great and
perplexing diﬃculties; that the exigency of his aﬀairs
was in particular very pressing at the time of the
rebellion; and that, besides the general hope he had
of mending his fortune by the success of it, he was
also tempted by another prospect of retrieving his
circumstances, if he follow’d the pretender’s standard.
His love of vanity, and addictedness to impurity and
sensual pleasure (he said) had not only brought
pollution and guilt upon his soul but debased his
reason, and, for a time, suspended the exercise of his
social aﬀections which were by nature strong in him,
and, in particular, the love of his country:’ So that his
rebellion was a kind of desperate scheme, proceeding
originally from his vices, to extricate himself from the
distress of his circumstances…..”
Upon his death the lands and titles were forfeited, as
with many other Jacobites. However, his eldest son,
James Lord Boyd, who had fought on the government
side at Culloden successfully regained them through
litigation in 1751. By 1758 he had also inherited the
earldom of Erroll from his great aunt.
A family divided by the ’15 and ’45, their support for
both sides perhaps muddied the waters, or indeed
gives a telling example of the war torn nature of the
British isles with family ﬁghting against family (rarely
as closely as father against son). To try and come out
on the winning side of a war that arguably had no
clear winner, certainly not the nation of Scotland they
aimed to support.
For further discussion on William Boyd’s involvement
in the ’45 and his place within the Four Peers see
proceeding lot.
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King James VIII & III
22
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)
£400-600
23
18TH CENTURY COPY AFTER
FRANÇOIS DE TROY
HALF-LENGTH PORTRAIT OF JAMES
FRANCIS EDWARD STUART
In a feigned oval, oil on canvas
64cm x 76cm (25in x 30in)
£2,000-3,000
24
AFTER DOMENICO DUPRA
KING JAMES III & VIII AS A YOUNG MAN
Oil on canvas
38cm x 32.5cm (15in x 12.75in)
£2,000-3,000
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Jacobite, Stuart & Scottish Applied Arts 27
25
James Francis Edward Stuart
26
James Francis Edward Stuart
27
James Francis Edward Stuart
28
James Francis Edward Stuart
29
AFTER ALEXIS-SIMON BELLE
(FRENCH 1674-1734)
30Y
AFTER FRANCOIS DE TROY
(FRENCH 1645-1730)
Engraved portrait, [Paris?:] engraved by F.
Chereau after Alexis Simon Belle’s portrait of
1712, c.35.5 x 25.5cm, framed and glazed
£200-300
Jacobus Tertius Magnae Britanniae Rex,
engraved by Marie-Nicolle Horthemels,
Paris, after A. S. Belle: Belle, c.40 x 26cm,
framed and glazed, ﬁrst-state engraving
(with title in Latin rather than French)
after Alexis-Simon Belle, 1714
Note:
The print of James Francis Edward Stuart, ‘James
III’ of Great Britain or ‘the Old Pretender’ depicts
the sitter wearing the robes of the Order of the
Garter and the chain with the Greater George
jewel of the Order. Belle’s original 1714 portrait
was painted at Bar-le-Duc where James had set
up his court in exile. The painting is the ﬁrst
instance of James identifying himself in his
iconography as king, having concealed his
ambition whilst Anne was on the throne as he
was hoping to succeed her. When George I of
Hanover became king, this concealment became
impossible. The original painting is lost and this
print is its only record.
£80-120
Jacobus III. mag. Britan. &c. aRex Fidei
Defensor. Paris: chez le Roï, after Alexis Simon
Belle, engraved 1708, c.29 x 20cm, framed and
glazed
£150-250
Jacques François Edouard Prince de Galles...
Paris: engraved by N. de L’Armessin, showing
James Francis Edward Stuart as a small boy,
after 1690, 27 x 18.5cm, framed and glazed
£150-250
PORTRAIT MINIATURE OF KING JAMES VIII
AND III
Watercolour
PORTRAIT MINIATURE OF KING JAMES VIII
AND III, C.1698
Miniature on ivory
Note:
This miniature is a copy after Alexis-Simon Belle
(French 1674-1734), James III, 1712. Belle worked for
the Stuart court from 1699. He was married to the
miniature painter, Anne Cheron, and the couple lived
in Saint-Germain, home of the Stuart court, from
1702. Belle became the oﬃcial painter to the Stuart
court on the ﬁnishing of his large-scale portrait James
III with a Page in 1703. He continued painting portraits
for the Stuarts until 1714, ultimately completing ten
portraits of James III.
31
A James III ‘Peace Negotiations at
Gertruydenberg’ medallion
8cm x 6cm (3in x 2.25in), oval
£1,000-1,500
7.5cm x 5.5cm (3in x 2.25in), oval
£1,000-1,500
by N. Rottier, with right facing bust and motto
‘CVIVS EST’ to obverse, the reverse with map of
British Isles with ships at sea
35mm
£80-120
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Maria Clementina Sobieska
32
AFTER ANTONIO DAVID
PORTRAIT MINIATURE OF MARIA CLEMENTINA
SOBIESKA
Miniature on copper, gilt and ebonised frame
7.5cm x 5.5cm (3in x 2.25in), oval
Note:
This miniature is a copy after Antonio David (Italian 1698-1737)
Maria Clementina, 1719. Following her marriage to James VIII
and III, a portrait of Clementina with appropriate royal regalia
was urgently required to be sent to Paris as well as engraved
and distributed. David was commissioned to paint this work,
with the crown visible on the left hand side of the composition.
It was engraved by a variety of engravers though not always
correctly attributed as after David. Some of the later copies
omit the crown, making the subject more diﬃcult to identify
and thus safer for those artworks to be sent to Scotland and
England.
£1,500-2,500
33
AFTER ANTONIO DAVID
MARIA CLEMENTINA
Oil on canvas
64.5cm x 49cm (25.5in x 19.25in)
£1,500-2,500
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Prince Charles
Edward Stuart
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30 Lyon & Turnbull
34
Charles Edward Stuart
Carolus walliae princeps &c. &c. &c. [Paris?]:
engraved by J.G. Well after L. Tocqué, 1748,
engraved area c.45 x 33cm, framed and glazed
Note:
This half-length portrait shows Charles Edward Stuart
as prince, wearing armour.
£200-300
35
Charles Edward Stuart
Everso missus succurrere seclo. Paris: chez
Chereau, [n.d., between 1736 and 1792],
engraving, 26 x 18.5cm, framed and glazed
£200-300
36
Charles Edward Stuart
Everso missus succurrere seclo. Paris: chez
Chereau, [n.d., between 1736 and 1792],
engraving, c.27 x 19.5cm, framed and glazed
£150-250
37
Charles Edward Stuart and
Princess Louise of Stolberg-Gedern
Pair of engraved portrait miniatures depicting
Charles Edward Stuart and Princess Louise of
Stolberg-Gedern, engraved by Alessio
Giordoni, 1774, after Ferdinando Hamerani’s
marriage medal of 1772, each engraved area
c.8 x 6cm, framed and glazed
£150-250
38
Charles Edward Stuart - Manzi, Joyant
& Co.
Coloured engraving of Charles Edward Stuart .
Asnières-sur-Seine, 1900, engraved by Manzi,
Joyant & Co. after Largillière, taken from Lang’s
Prince Charles Edward, 1900, engraved area
c.23 x 18cm, framed and glazed
£100-150
38A
An early 20th century bronze plaque
Of rectangular outline with Celtic border and
with interlace, enclosing a proﬁle portrait of
Prince Charles Edward Stuart, with indistinct
signature, the suspender formed as a pierced
Jacobite rose
£200-300
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Jacobite, Stuart & Scottish Applied Arts 31
39
A mounted lock of hair and portrait of
Prince Charles Edward Stuart
the red velvet backing set with oval glazed
engraved portrait of Prince Charles Edward
Stuart, with oval separate locket below
containing a small lock of hair with a gilt metal
crown above
velvet board 19.5cm x 28cm
£250-350
40
CIRCLE OF NICOLAS DE LARGILLIÈRE
(FRENCH 1656–1746)
JAMES FRANCIS EDWARD STUART & PRINCESS LOUISE MARIE
THERESA STUART AS CHILDREN
Oil on board
38cm x 29.5cm (15in x 11.5in)
Note:
Indistinctly inscribed in script on old label verso: “The Pretender.... and his
sister... in the Gardens of the Palace of St. Germain. This rare portrait is
painted by Largilliere...”. Bears further old labels verso.
In the painting the children are accompanied by a greyhound. The dog is
one of the many elements in the portrait which symbolise both the loyalty
of Louisa to her brother and of the Jacobins to James II and his son.
The National Portrait Gallery, London holds an almost identical version of
this portrait, painted by Largilliere in 1695 (NPG 976). They record the
existence of several further versions of this painting: In addition to NPG
976, full size versions are in the Uﬃzi; in the collection of the late HM
Queen Elizabeth, the Queen Mother (from 1965), and of Mr and Mrs T.
Loman, California. One was apparently among the forty family pictures
sent to Florence in 1785. [2] The Uﬃzi version, [3] listed in the 1890
inventory, may well have been there since the 18th century while the
Queen Mother’s, at Sotheby’s, 10 February 1965, lot 90, may be from the
Hamilton collection, Christie’s, 8 July 1882, lot 1110, possibly painted for
the Jacobite supporter James, 4th Duke of Hamilton (1658-1712). A small
copy, formerly in the Bernal collection and subsequently at Clumber, was
last seen at Christie’s, 23 November 1962, lot 57. Among separate copies
of the ﬁgures of the Prince and Princess a three-quarter length of the
Princess was lent by Sir R.T. Gerard to the ‘NPE’ 1867 (197) and a half
length of the sitter was at Sotheby’s, 9 May 1951, lot 109.
£1,500-1,800
41
AFTER LOUIS TOCQUÉ
CHARLES EDWARD STUART
Oil on canvas
75cm x 61cm (29.5in x 24in)
£500-700
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42
PORTRAIT MINIATURE OF PRINCE CHARLES EDWARD STUART
Watercolour
5.5cm x 7cm (2.25in x 2.75in)
Note:
This unusual landscape-format miniature appears to be created from a combination
of existing portraits and print sources, to depict a young prince in armour. The
source of the Prince’s likeness was irrelevant to Jacobite supporters, as long as the
image was recognisable and in some way communicated the Stuarts’ entitlement to
the British throne. The window to the left-hand side of the composition seems to
oﬀer a view over sea to the British coastline, indicating the land that the Stuarts
were claiming their sovereignty of but were presently separated from, hence the
infamous Jacobite toast, to ‘The King over the Water.’ The composition with the
landscape seen through a window in the top left hand corner strongly recalls
portraits in the University and Trinity House collections in Aberdeen, attributed to
Charles Whyt, suggesting a northern Scottish provenance.
£800-1,200
43
AFTER SIR ROBERT STRANGE (BRITISH 1721-1792)
PRINCE CHARLES EDWARD STUART, C.1749
Watercolour, contained in a simple silver mount previously the cover of
a portrait snuﬀ box
6.5cm (2.75in) diameter, circle
Provenance:
Property of Sir Henry S Fernyham Bt., London
Note:
With exhibition label (exhibition unknown) showing a description for this item.
This miniature is a copy after Robert Strange’s mezzotint Prince Charles Edward
Stuart c.1749. Strange (Scottish 1721-1792) is an artist synonymous with Jacobite
portraiture and this image a very familiar view of the Prince, as Strange had
captured his likeness in both a mezzotint and engraving. Both of these works were
very widely distributed following the rebellion of 1745, and became the most utilised
basis for copies right up until 1760. In a large number of the copies, as here, the
plain coat of Strange’s original outﬁt is transformed into a tartan coat, a type of cloth
that had quickly become synonymous with Bonnie Prince Charlie and the Jacobite
cause.
£500-800
44Y
PORTRAIT MINIATURE OF CHARLES EDWARD STUART
An ivory and watercolour miniature, silver plated mounts
5.5cm x 4.5cm (2.25in x 1.75in)
Note:
This miniature is a copy after Robert Strange’s engraving Prince Charles Edward
Stuart c.1749. Strange (Scottish 1721-1792) is an artist synonymous with Jacobite
portraiture and this image a very familiar view of the Prince, as Strange had
captured his likeness in both a mezzotint and an engraving. Both of these works
were very widely distributed following the rebellion of 1745, and became the most
utilised basis for portrait copies right up until 1760. At ﬁrst the copies were drawn
directly from the originals with only minor additions or subtractions, but later copies
are clearly copies of copies and more visually distant from the original. This
miniature remains true to Strange’s engraving.
£300-500
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45
PORTRAIT MINIATURE OF
CHARLES EDWARD STUART
Over-painted print
7.5cm x 5.5cm (3in x 2.25in)
Note:
This miniature appears to be a copy after William
Mosman (Scottish c.1700-1771).
£200-300
46
PORTRAIT MINIATURE OF CHARLES EDWARD STUART
watercolour
8cm x 6.5cm (3.25in x 2.5in)
Note:
This miniature is a copy after Robert Strange’s engraving Prince Charles
Edward Stuart c.1749. Strange (Scottish 1721-1792) is an artist synonymous
with Jacobite portraiture and this image a very familiar view of the Prince, as
Strange had captured his likeness in both a mezzotint and an engraving. Both
of these works were very widely distributed following the rebellion of 1745,
and became the most utilised basis for portrait copies right up until 1760. At
ﬁrst the copies were drawn directly from the originals with only minor
additions or subtractions, but later copies are clearly copies of copies and
more visually distant from the original. In a large number of the copies, as
here, a bonnet is added and the plain coat of Strange’s original outﬁt is
transformed into a tartan coat, a type of cloth that had quickly become
synonymous with Bonnie Prince Charlie and the Jacobite cause.
£500-800
47
CHARLES EDWARD STUART
Copper engraved portrait of Charles Edward
Stuart, engraved by T.Scott, c.1745?, 19.5 x 24cm,
contemporary hand-colouring, border ruled in red
Note:
The engraving comprises a half-length portrait of Charles
Edward Stuart facing left, wearing the order of the garter, a
green sash and blue bonnet with white cockade. The
portrait is framed within an ornamental cartouche and sits
positioned on top of an anchor ﬂanked by women, a rose
and a thistle. A winding scroll reads Multum Ille iactatus In
Alto Pervenit In Latium Tandem (Much tossed on the sea, he at
last reaches Latium), identiﬁed by Neil Guthrie as words
based on lines from the prologue of Virgil’s Aeneid,
comparing Charles to Aeneas, who succeeded to greatness
in Rome despite past misfortune . Likewise, the rose and
thistle are clear references to England and Scotland, whilst
the ﬂowers surrounding the cartouche show roses in bud
and full-bloom forms, a common allegory of the three
Stuart claimants.
The engraving appears to have been published
independently of any other work. An uncoloured version
can be found in the Walter Blaikie Collection of Jacobite
prints in the National Library of Scotland, as variant 6.8B.
£400-600
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48Y
Prince Charles Edward Stuart’s, ivory and
silver mounted baroque ﬂute
the ivory shaft composed of four sections, shaped detail to
mouthpiece, simple reeded silver collar mount
61cm long
Provenance:
Property of Mrs Gordon of Hallhead
Seized as a Jacobite relic from her property by Major-General Henry Hawly,
from her house in Aberdeen when billited there on Hanoverian side February
1746
By repute given to a member of his staﬀ
Private Collection
Notes:
Amongst the most important Jacobite families of the North East were the
Gordons of Hallhead. Robert Gordon, claret merchant in Bordeaux has
connection to the Stuart court likely in both Scotland and mainland Europe.
Their name is attached as source and sometime owner of one of the most
important Jacobite relics housed in the in the Stonyhurst College collection,
the powder horn belonging to King James VII. They can be easily considered
Aberdeenshire Jacobite Gentry with close family connections within this
group in the North East.
£4,000-6,000
49
Prince Charles Edward Stuart’s
riding crop
the ball shaft and baluster wooden handle
covered in woven horse hair with
embroidered red, white and blue details, small
handwritten tag attached inscribed ‘Whip
which belonged to Prince Charles 1745’
61cm long
£3,000-4,000
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50*
A lock of Bonnie Prince Charlie’s hair
the lock of hair in simple scroll, within an inlaid wooden frame
frame 9.2cm x 10cm
Provenance:
Crown Prince of Bavaria
Gifted to Rev Dr Donald Orman
Harold Moyse
Gifted to Mrs Shelagh MacLeod (nee Boyd)
By direct descent
Note:
With accompanying letter stating ‘This is a genuine lock of Prince
Charles Edward Stuart’s (Bonnie Prince Charlie) hair. It was given to the
Rev Dr Donald Omand, an Anglican Priest, by the ex crown Prince of
Bavaria, whose mother was a member of the Stuart Clan.
The Rev Dr Donald Ormand requested that it should be given to me,
Harold Moyse, who is of Scottish descent at my death it must be given
to a Scot whom I shall name. Should the person named below refuse to
accept it, it must be given to a museum in Edinburgh which has the only
other lock of the Princes hair in existence. The person whom this is to
be given is Mrs Shelagh MacLeod (nee Boyd) of 19 Clunie Street Banﬀ,
Grampian AB4 I47. If unable to trace there refer to her parents
‘RedLaugh‘ West Main Street Blackburn W.Lothian’
£500-600
51Y
A lock of Prince Charles Edward Stuart’s hair
the woven hair mounted on a ivory plaque, lozenge shape, with
accompanied lose glazed font without mount, in a circular red
leather box
30mm x 15mm
Provenance:
Purportedly cut from Prince Charles Edward Stuart by John Stewart,
Secretary to the Prince and given directly to the grandmother of Lady Nairn,
Lady Strowen.
Referred to in the 1899 book by Rev George Henderson M.A, B.D, ‘Lady Nairn
and her Songs’
£300-500
52
A pair of red velvet mounted wine coasters
each of circular outline, the body formed of wood and red lacquer,
covered in red velvet with applied red silk bows
11cm diameter
Provenance:
The material is said to have come from the oﬀcuts of a suit of clothing the prince
was gifted from Cardinal of York, via the tailor who made the suit, a Mr Maughan, to
a Mrs Henrietta Trelfs. The suit itself was worn in Rome during 1769 by Prince
Charles Edward Stuart during a trip to the Opera at which Mrs Trelfs was present.
It was then given by a Mrs Trelfs to her grandson, Frank Trelfs, in 1822; her letter is
printed in the 1899 book ‘Lady Nairn and her Songs’, by the Rev George Henderson
M.A, B.D.
£500-800
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53
Prince Charles Edward Stuart’s breast
badge of the Order of the Thistle
the ivory silk ﬁeld with silver bullion fringed
border and cross, with central circular badge
of The Order of The Thistle, with embroidered
thistle within motto EMO . ME . IMPUNE .
LACESSIT, mounted and framed
badge 7cm x 9cm approximately
Provenance:
Bestowed upon Prince Charles Edward Stuart by his
Father King James VII (and II of England)
Gifted to James Drummond, 3rd Duke of Perth, by
Prince Charles Edward Stuart after the battle of
Culloden
Then gifted to Mr and Mrs William King of Newmill,
Elgin
Handed down for four generations
Archibald Stewart Leslie Esq. of Lesmurdle collection
Exhibited at the Scottish Print Club
‘The Jacobites and their Adversaries’ Christies Scotland
12th June 1996, lot 100d
Note:
The Most Ancient and Most Noble Order of the Thistle
was ﬁrst established in Scotland by King James VII of
Scotland (II of England) in 1678, a reestablishment of a
much older order. The true history of the earlier
establishment of the Order is lost in history but some,
spurious, histories suggest it was started as early as
the 8th century. King James bestowed the Order on
Prince Charles Edward Stuart as the ﬁrst Royal
member and his pride in this award was obvious.
Many of the most iconic and recognizable portraits
commissioned by the Stuart’s feature Charles wearing
his garter badge.
This items later history not only tells of close and
important Jacobite connections but also the turmoil
the ﬂeeing defeated Jacobite’s had in the aftermath of
the Battle of Culloden in 1746. The example worn by
Prince Charles throughout the campaigns of 1745-46
is undoubtedly the example seen in the famous
portraits and was a treasured personal possession. It
was gift to the James Drummond 3rd Duke of Perth
one of his most trusted supporters tells of a ﬁnal gift
given in the hardest of times. Drummond also
undoubtedly considered it if great value using it to
save his life. As is recorded in the Scottish Print Club
54
An 18th century gem set locket containing a lock of
Bonnie Prince Charlie’s hair
of heart shaped outline, modelled in silver, the glazed panel set with a lock
of Bonnie Prince Charlie’s hair in a foliate enamel border and initials CP, pink
paste set border, the bale similarly set, the reverse with engraving ‘HAIR OF
PRINCE CHARLES EDWARD AT 16YRS’
3cm high including bale
Provenance:
Previously in the collection of the British Archaeologist Louis Colville Gray Clarke, Curator of
the Museum of Archaeology and Anthropology, University of Cambridge 1922-1937, and then
Director of Fitzwilliam Museum in Cambridge from 1937-1946.
Note:
Much of Bonnie Prince Charlie’s early years were spent in preparation for his ﬁght against the
Hanoverian monarchy to restore his father to the throne. It was a topic which dominated
family life during his childhood in Italy, and as a strong believer in the divine right of kings
and the legitimacy of the House of Stuart, the family life was one of privilege despite their
exile. In 1734, the Young Pretender had his ﬁrst experience of war whilst joining the Spanish
forces at the siege of Gaeta where he reportedly conducted himself bravely. The lock of hair
from this locket represents an early part of his life, during a period that he and his father
were in pursuit of support to return to England and attempt to reclaim the throne.
£3,000-5,000
exhibition ‘lent by Archibald Stewart Leslie Esq. of
Lesmurdle consisted of an embroidered silk badge of
the Order of the Thistle which was worn by ‘Bonnie
Prince Charlie’ during the campaign of 1745-46. After
the fated battle of Culloden it was given by the Prince
to the Duke of Perth. During his ﬂight from Culloden
the Duke to refuge in the house of Grey Friars, Elgin,
the residence of Mr. and Mrs. William King of Newmill.
Here he was concealed, with two companions, in a
hiding hole behind the kitchen ﬁreplace. A Hanoverian
search party failed to discover the fugitives, and after
the departure of the troops the Duke presented the
badge to Mrs. King as token of gratitude’.
The risk taken by the King family to hide three wanted
Jacobites was a great risk and showed the support
that was given to the ﬂeeing armies. This was repaid
with a personal relic of Charles and the cause,
showing not only the value placed by giver but also
receiver, the token being payment for the possible
retribution that would have befallen the King family.
Although a simple piece of embroidery, the iconic
nature of the piece still resonates today.
£1,000-2,000
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55
Prince Charles Edward Stuart’s pocket watch
the French gold case with charge mark JQ, Elio Bircharch Paris 1758, with ﬁnely enamelled
reverse with cypher an star within oval cartouche, crowned above all in gold, with enamel lion,
unicorn, roses and thistles ﬂanking, the out border composed of gold and enamel trailing rose
bud, oak leaf and acorn border, with diamond set thumbpiece and enamel bezel, the dial with
green enamel ground and roman numerals with arabic chapter ring, the verge movement
signed ‘In Obsquii Rignus Devotissimus Carus’
dial 40mm, case 46mm
Note:
While Jacobite symbolism is seen in many and varied objects, the wealth displayed on this piece can leave no
doubt to its importance. From the obvious use of green, a Catholic colour (the crowned cypher being a
standard emblem within Royal silver and jewellery); the addition of the star is seen on various Jacobite works,
most notably glass. The Scottish royal supporters of lion and unicorn and the delicate thistles and roses are
also used, all contained within a border of oak, the symbol of strength and used for the Stuart line as early as
Charles II, hiding in the famous and celebrated Boscobel Oak during the English civil war.
The inscription to the movement leaves little doubt as to the intention of the decoration 'A most devoted dear
token as an oﬀering'.
£15,000-25,000
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56
A ﬁne 18th century Jacobite portrait
decanter
the baluster body with simple straight spout and
facetted diamond stopper, the main body engraved
with facing portrait of Prince Charles Edward Stuart in
a circular cartouche with banner inscribed
‘AUDENTIOR IBO’ above, the reverse ﬁnely engraved
with large displayed open rose head with open and
closed buds within foliage
27cm high
Provenance:
Previously in the collection of Sir Hector Munro, Baron Munro
of Langholm, who was a conservative politician and member of
parliament for Dumfries for 33 years.
Purchased at Sotheby’s 24th November 1986, Lot 34.
Note:
While Jacobite glasses of all forms are well recorded, including
those scarce examples with portraits, the survival of Jacobite
decanters such as this in any form is extremely rare. This
particularly ﬁne example is not only rare with respect to the
quality of the engraving and iconography but more so in the
use of such an overt portrait of Prince Charles Edward Stuart.
As seen with surviving glasses, only a very small percentage
have such overt representations of Charles and ﬁnding one in
such a large and ﬁne scale on a decanter is highly unusual. It is
considered that only a very small handful of Jacobite decanters
of any form survive and this is perhaps one of less than ﬁve
featuring a portrait.
£4,000-6,000
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57
A large Jacobite goblet
the deep bell shaped bowl with ﬁnely
engraved facing portrait of Prince Charles
Edward Stuart within laurel leaf cartouche, the
banner inscribed ‘AUDENTIOR IBO.’ above,
ﬂanked by intertwined displayed rose heads
and bud and with displayed thistle and star
above to reverse, raised on four air dropped
knopped stem and large spreading circular
foot
23cm high
£800-1,200
58
A ﬁne large Jacobite wine glass
the drawn trumpet bowl ﬁnely engraved with
proﬁle portrait of Prince Charles Edward
Stuart within a laurel leaf cartouche with
ribbon above inscribed ‘AUDENTIOR IBO’ with
oak leaf spray below, the reverse with large
display of an engraved open rose ﬂanked by
open and closed bud and thistle within rose
leaves, on a tapered plain stem with tear drop
air bubble, the domed foot with engraved
Prince of Wales feather and folded foot
20cm high
£1,500-2,500
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59
A scarce pair of large Jacobite
ale glasses
the bucket bowls slightly tapered engraved
large displayed rose head ﬂanked by open and
closed buds, the reverse with moth, on a large
straight stem with domed foot with folded rim
(2)
16.5cm high
£3,000-5,000
60
An impressive large Jacobite tumbler
the deep tapered bowl with engraved portrait
in proﬁle of Prince Charles Edward Stuart
within a laurel leaf cartouche, each side
ﬂanked by open rose with twin open and
closed buds
17cm high
Note:
The large scale of this tumbler is highly unusual in
Jacobite glass and probably signifying communal
drinking, either within a gathered group of Jacobite
supporters or possibly in the Jacobite clubs which
sprang up within the wake of the failure of the ‘45.
£1,500-2,500
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(reverse)
61
An important Jacobite “King Charles III”
salt glazed teapot circa 1766
of tapered bullet form with cobalt blue glaze
with white rose and rose bud decoration to
body and cover, inscribed C*R / III, with
moulded naturalistic branch formed curved
spout and C scroll handle.
14cm high
Provenance:
Byrom Family collection
By descent
Note:
This teapot is one of only two recorded of this Jacobite
decoration and a very rare relic of Prince Charles
Edward Stuart titling himself King Charles III. One other
example is recorded within the collection of the British
Museum (1938,0218.1.CR). Although unmarked, the
style, date and use of such bold cobalt blue glaze
suggests Longton Hall as a possible factory. As with
most Jacobite ceramics no marks are present but this
theory appears universally accepted.
After the death of his father, King James, Charles
considers himself the heir to the thrones that they had
been ﬁghting for his whole life. He drops his assumed
title as Prince of Wales, taking his rightful one as King
Charles III.
The representation of Jacobite decoration in rose head
and rose buds has also changed from the more
commonly encountered rose and twin buds
(representing King James, Prince Charles and Henry
Benedict, Cardinal Duke of York) to show only two
Stuarts, with one rose and one bud. The bud still
remains closed for Henry Benedict as even after the
death of his father he had no future claim to the lineage
having denounced all claims previously.
This teapot must therefore date tightly to 1766 when
the Stuart plight would again have been in the public
conscious both on the death of James but the
ascension of Charles.
A newly recorded example of this rare form, this
teapot formed part of a collection of Jacobite relics
held with the branches of the Byrom family. The
Byrom family, particularly John Byrom (1692 – 1763)
appear to have been important Jacobite supporters in
England, based originally in the north of Manchester.
The 1745 uprising was not solely or, in many ways,
predominately a Scottish uprising. The interest and
inﬂuences in the cause had resonance throughout the
United Kingdom and support was found in many
areas within England. The planned invasion of
England, from French shores, could only have worked
with the support and timed uprising of English
Jacobites. Their support throughout the campaigns is
unquestioned, even if the timed uprising and invasion
did not come to ﬁnal fruition.
The Byrom Family had been supporters throughout
the ’45 although their support appears to have been
less public than some. John Byrom has variously been
considered a Jacobite or indeed a double agent for
the Crown. Both are possible as keeping an eye on
both camps was not uncommon at the time, as falling
on the wrong side after any eventual victory or defeat
would, and did, prove dangerous. Byrom’s Jacobite
sympathies and support are seen within this teapot,
the ownership of such an overt object being a
dangerous aﬀair.
It seems likely that a man of such intellect and
education played an important role within the
organisation of the uprisings. His invention of ‘New
Universal Shorthand’ in 1716 was not only used by
King George II’s clerks in the House of Lords but was
taught at both Oxford and Cambridge. He was
granted sole right of publishing the art and method of
such for twenty one years. Although the form was
superseded in the 19th century this form was widely
regarded in its day and used in many forms.
John Byroms Jacobite sympathies again cannot be
questioned by his membership (and possibly
founding) of Jacobite societies and indeed a version of
his shorthand was engraved to the glasses of the
society with Jacobite mottos hidden from view. Rarely
glasses of this form are found with the motto ‘Down
With The Rump’ engraved in shorthand. The toasts
recorded for the club again show his clever use of
double negatives
God bless the King! (I mean our faith’s defender!)
God bless! (No harm in blessing) the Pretender.
But who Pretender is, and who is King,
God bless us all! That’s quite another thing!
£6,000-8,000
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62
A scarce Jacobite Staﬀordshire teapot
(reverse)
of bullet form with polychrome enamels with portrait of Prince Charles Edward Stuart within
laurel garland cartouche, ﬂanked with thistle and white rose, the opposing side with rose and
ﬂoral bouquet, with naturalistic branch handle and spout with green enamel details, the pull-oﬀ
cover with branch ﬁnial and thistle, rose and bud
14cm high
Note:
Jacobite ceramics, while generally unmarked, seem to have stemmed from two main centres of production. Firstly
Staﬀordshire and secondly the export trade from China. No Scottish made examples are recorded.
The range of wares and styles seems to predominantly (even within such a small survival) to have been for
portrait representations of Prince Charles Edward Stuart, mainly taken from known portraits, or representations
of the Royal Arms of Scotland in connection with known Jacobite symbolism. Items in any form are rare but more
often they seem to have been made for communal use in relation with drinking, whether teapots, punch bowls or
beer jugs. These combined with the survival of Jacobite drinking glass, show the culture of celebrating the Stuart
line and the society in which these were used.
£5,000-8,000
63
A scarce Staﬀordshire Jacobite
commemorative plate
of shaped circular outline with moulded rim
and low releif lattice and basket weave panels
with scrolls between to rim, the centre well
with ﬁnely enamelled portrait of Prince
Charles Edward Stuart in armour wearing
garter sash, with laurel wreath above
suspending two pennants for battle of Preston
Pans and Falkirk, with scroll cartouches
between with initials C S within, the ribbon
below the bust inscribed ‘Success to Bonnie
Prince Charlie’
24.5cm diameter
£5,000-8,000
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64
A ﬁne French ormolu, porcelain
and tortoiseshell hidden portrait
snuﬀ box
of simple circular outline, the ormolu body
with inswept sides and simple repeating linear
panels, the hinged cover set with domed
porcelain plaque with ﬁne representation of
white rose buds with butterﬂy, two moths
above and a caterpillar in foliage below,
opening to reveal a second inner cover with
reverse painted on glass portrait of Prince
Charles Edward Stuart, the base of the box set
with ﬁnely formed radiating panel of pressed
tortoiseshell
7.5cm diameter
Note:
The culture of hidden symbolism is synonymous
within Jacobite applied art. The power of the portrait
and images associated with any cause go back to the
roots of self-promotion; from the ancient Egyptians
representation of themselves in paintings and
sculpture to the political manifesto ﬂiers received
today.
But perhaps the Jacobite movement and Prince
Charles Edward Stuart took this to a new level in the
18th century arts. From eﬃgies in portraits and
miniatures showing the Bonnie Prince and his father
as they wished to be considered - strong military men
with a divine right to the throne - to the propaganda
placed by both sides throughout the uprising in
medallions, symbolism and hidden meanings were
abound.
After the defeat at the battle of Culloden in 1746,
showing one’s Jacobite support was not only
dangerous but a treasonous oﬀence. The Act of
Proscription in 1747 had banned tartan, bagpipes and
controlled the Jacobite and Scottish identity, therefore,
the ownership of any Jacobite items was a high risk
aﬀair.
The outer cover of this box shows a wealth of such
hidden messages, the large white rose a clear display
of political aﬃliation. A commonly used symbol within
the movement but seen in this combination of a large
open displayed rose head ﬂanked by two buds (one
open, the other closed) was a greater and powerful
symbol. Representing King James VIII / III (of England)
(the open rose), Prince Charles (the open bud
representing his claim and right to the throne) and
Henry Benedict Stuart, Cardinal Duke of York (the
closed bud showing the fact he had renounced his
rights and his claim to the throne was now ‘closed’), to
the second layer showing the three heroines of the
uprising again as butterﬂy, and two moths.
The caterpillar beneath perhaps a slightly more covert
symbol has always been to signify the passing of time
and change generating new life and evolving into
one’s rightful position.
These hidden emblems would have been known and
obvious to supporters of the cause but remained
hidden from Hanoverian forces and perhaps saved
the lives of the owners. These hidden sympathies
could be outwardly shown in close and trusted
company with the revealing of the hidden portrait
under the cover which left no doubt to those seeing
or handling the box of the owner’s true sympathies.
It is interesting to note that the majority of these
boxes are made in France or Europe (while English
enamel examples do exist) and it was perhaps a small
but important trade on the Continent supplying the
interest of the Jacobites at home as well as the exiled
Jacobites on the continent.
£4,000-6,000
65
A Bonnie Prince Charlie portrait ring
the oval portrait with glazed panel, in a single
border of cut steel detail, to a plain unmarked
yellow metal shank
Ring size: I/J
Note:
The image of Bonnie Prince Charlie in this ring is
taken from a portrait previously attributed Alan
Ramsay, and currently in the Derby Museum and Art
Gallery.
£3,000-5,000
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Handbill - Oﬀering a reward for the
apprehension of George II
Charles Prince of Wales, &c., Regent of the
Kingdoms of Scotland, England, France and
Ireland, and the dominions thereunto
belonging... [Kinlocheil?:] Jo Murray, August
22nd 1745, handbill c.31 x 20cm with some
wear and repairs, hole to ‘r’ of ‘Prince’
Provenance:
Stirling of Keir Castle, collection
Private Collection
Note:
Rare - ESTC T137848 lists only 3 copies in libraries in
the British Isles (1 in the British Library & 2 in the
National Library of Scotland)
The handbill oﬀers a “...Reward of Thirty Thousand
Pounds Sterling, to him or those who shall seize and
secure, till Our further Orders, the Person of the
Elector of Hanover...”, dated August 22nd 1745 “in Our
Camp at Kinlocheill” signed “Charles, P. R. By His
Highness Command Jo. Murray.” The proclamation
was issued in response to a similar order for the
apprehension of Charles Edward Stuart, oﬀering
£30,000 for his capture.
Exhibited:
The Swords and the Sorrows. Culloden, National Trust
for Scotland 1996, item 9:12
£1,500-2,000
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AFTER ANTONIO DAVID (ITALIAN 1698-1750)
CHARLES EDWARD
Oil on canvas
82cm x 64cm (32.25in x 25.25in) and another, Cardinal Duke of York, a pair (2)
Provenance:
Sir James H Drummond, Hawthorden Castle
By descent
Private Collection
Exhibited:
Stuart Exhibition at the New Gallery 1888-9
Bonnie Prince Charlie, Fact and Fiction, 2nd June 1995 - 28th April 1996
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Note:
This striking pair of portraits depict the Princes’ Charles and Henry during their
teenage years. David had been painting for the Stuart court for many years,
including creating childhood likenesses of the boys. The slightly later pair, although
very similar to the childhood portraits, present the Princes in more mature apparel,
with Henry sporting a breast plate under his elaborate jacket and Charles in full
armour, possibly in reference to his ﬁrst military experience, witnessing the siege of
Gaeta in 1734. This later pair of portraits, that the oﬀered paintings are after, were
the last portraits painted by David for the Stuarts.
£12,000-18,000
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Henry Benedict, Cardinal Duke of York
68
The Henry Benedict, Cardinal Duke of York sermon case
An important mid 18th century silver sermon case, unmarked, probably Italian, the
simple rectangular hinged case cover ﬁnely engraved with the full armorials of Henry
Benedict, Cardinal Duke of York, the reverse with applied cross centrally set with an
emerald cut garnet, simple shaped hinged clasp, interior plain
18cm wide, 23.5cm high, weight 25oz
Note:
Although an important member of the Stuart family, relics and personal property of Henry Benedict,
Cardinal Duke of York are extremely rare. Although referring to himself as King Henry IX he was perhaps
not as public a face of the uprisings, as may be expected. It is well recorded he worked in the
background on his father’s and brother’s behalf. A ﬁne full length portrait by Blanchet of him in his
Cardinal’s robes along with his silver gilt rosewater laver and basin were in the Duke of Hamilton
collection, sold through the famous Hamilton Palace sale of 1882, the latter now on loan to the National
Museum of Scotland.
Henry lived his life in relative comfort, in comparison to his brother who was plagued by debts but his
fortunes changed dramatically with the French Revolution, when, in 1799, his residence in Frascati was
ransacked and he barely escaped with his life. He eventually settled in Venice and is recorded
supporting his income by selling family and personal silver and art. It is likely this sermon case and
scent ﬂask were sold at this time to fund his life style. Old and inﬁrm, it was undoubtedly an insult to his
status but one which the touring nobles of Europe were pleased to support by visiting him and
entertaining in his company, and in rare circumstances buying such personal and Jacobite relics.
Perhaps not as celebrated within the uprisings, it is not until the death of Henry Benedict in 1807 that
the Hanoverian reign could ﬁnally consider the possible claim of the Stuarts to the throne extinguished.
£10,000-15,000
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Embroidered panel from Henry Benedict,
Cardinal Duke of York livery
the silk square with embroidered full armorial of
Henry Benedict, Cardinal Duke of York in ﬁne silks
and gold bullion
overall 22cm x 17cm approximately
Note:
While now only a part of what was presumably a much
larger item of clothing this armorial would have been the
focus of the piece. Its precise use or section within the
original garment is unknown but it is more than likely from
Henry Benedict’s personal wardrobe.
£1,800-2,500
70
A French gold mounted holy water ﬂask
with French gold decharge marks c.1750, the pear shaped ﬂask of panelled glass
with scallop gold mounted collar and pull out stopper on chain, with red case
12.1cm long
Provenance:
Henry Benedict, Cardinal Duke of York
The Malatesta Family, Rome
Purchased by Balfour Townley Balfour, circa 1842
By family Descent until c1985
Private Collection
The Jacobites and their Adversaries, Christies Scotland 12th June 1996, lot 159
Private Collection
Exhibited:
The Monarchs of England, New Gallery London, January 1902
Literature:
Papers of Devotion of James II, Oxford University Press 1925
Note:
The collection, now dispersed, of Balfour Townley Balfour was a ﬁne collection of relics,
portraits and miniatures formed at a very early period in the subjects interest. Buying
from the early Victorian era the collection was formed at a time when good quality
and ﬁnely provenanced items were becoming available and the culture and myth
around objects was yet to form.
£8,000-12,000
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PORTRAIT MINIATURE OF HENRY BENEDICT STUART,
CARDINAL DUKE OF YORK
watercolour on ivory in circular gilt brass frame
5.5cm (2.25in), diameter
Note:
This miniature depicts Henry in later life, with his clothing clearly
demonstrating his on-going commitment to a long career in the Roman
Catholic Church. Henry was the fourth and ﬁnal Jacobite heir to claim the
throne, though unlike his predecessors he made no explicit eﬀort to actually
seize the throne. Following the death of his brother, Charles Edward Stuart, in
1788 the Catholic church did not recognise him as ruler. A miniature such as
this suggested the owner remained committed to the Jacobite cause, even as
deﬁnitive action started to seem to belong in a distant past.
£1,000-1,200
72
AFTER DOMENICO CORVI
PRINCE HENRY STUART,
CARDINAL DUKE OF YORK
Oil on canvas
68cm x 53cm (27in x 21in)
£500-800
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Stuarts: Supporters
& Adversaries
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A Britannia standard Queen Anne sugar caster
London 1704, makers mark partially struck, of large baluster form with
reeded girdle and engraved armorial within rococo cartouche, raised on a
short stem and domed spreading foot, the bayonet ﬁtted domed cover
with pierced and engraved scroll and cast ﬁnial
22cm high, 17.5oz
Note:
The armorial to the caster relates to the Coutts family, likely that of John Coutts of
Edinburgh. Son of Patrick Coutts a tradesman of Montrose and latterly Edinburgh. John
Coutts became a successful merchant in Edinburgh and was Lord Provost from 1742 1744.
Although a careful and successful business man involved in the ﬁnance and merchant
banking world John was known for his lavish spending and banqueting at home during
his time as Lord Provost, he was also a patron of the ﬁne arts. His Jacobite or
Hanoverian leanings were precarious as he had both family in Montrose with Jacobite
sympathies but because of his position in Edinburgh a close tie with the Hanoverian
ministers was safest. The family therefore seem to have carefully walked both edges of
the divisive line.
The family would later help create the Coutts banking company in London and rise to
become bankers to the Royal family. By 1758 in these new high standings Alexander
Coutts became H.M. Heritable Usher for Scotland and held position as White Rod.
£2,000-3,000
74
A mid 18th century silver baluster snuﬀ mull
unmarked, the baluster body with simple reeded girdle and foot rim, the
hinged cover with scroll thumb piece and engraved armorial of Cluny
MacPherson within foliate scroll formed cartouche
6cm high, 5cm wide, 3.2oz
Note:
Ewen MacPherson of Cluny, better known as Cluny MacPherson, was chief of Clan
Chatton during the 1745 Jacobite uprising. After the disastrous battle of Culloden, at
which Cluny and his six hundred men weren’t present but were guarding the passes at
Badenoch, and the demise of the Jacobite rebellion, Cluny went into hiding; arguably the
most famous period of his life.
He headed towards Loch Ericht, and found a small cave, not much more than a hole in
the ground with a fallen tree for a roof and was ultimately to remain there for nine years,
hiding from the Hanoverian troops. He was joined by Bonnie Prince Charlie himself, for a
period of ﬁve months; and it was said that during this time the young pretender asked
Cluny for his thick plaid to keep him warm, refusing Cluny oﬀered to share and so they
reportedly slept under the same plaid for those ﬁve months.
He was later made famous by the novelist Robert Louis Stevenson in his 1886 novel
‘Kidnapped’; in which the main character David Balfour meets Cluny in his hiding place,
known as ‘Cluny’s Cave’. Stevenson portrays him as a man who often entertains
travellers, taking them in and entertaining them with a sense of dignity despite his
meagre circumstances.
In 1765 Cluny escaped to France, but he died soon after, reportedly of a broken heart,
pining for his native Speyside.
£800-1,200
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Note:
The Carse of Fordelcarse family had been an
important Stuart family within Scotland and Mark
Carse Senior had been recorded a supporter of the
Stuart line since the mid 17th century, although under
the pressure of the Cromwellian advances it is noted
by 1662 he apparently had switched sides when he is
listed, within the Shire of Edinburgh, in the “Act
containing some exceptions from the act of
indemnity”.
75
The Carse of Fordelcarse snuﬀ mull
A ﬁne early 18th century ebony baluster snuﬀ
mull The ebony baluster body with simple
girdle to lower section, the rim with applied
butterﬂy hinge to domed ebony cover, the
cover centrally set with a carved oval mother
of pearl plaque with full armorial
5.5cm high
“But considering that by these troubles and rebellious
courses many of his good subjects have been under
great suﬀerings and liable to great loss for their
aﬀection and loyalty to his majesty, therefore, in order
to their reparation, and for diverse important
considerations of state, His Majesty, with advice and
consent of his estates of parliament, has thought ﬁt to
burden his pardon and indemnity to some (whose
guiltiness has rendered them obnoxious to the law
and their lives and fortunes at His Majesty’s disposal)
with the payment of some small sums, and in so far to
except them from the beneﬁt of his majesty’s pardon
and, therefore, the king’s majesty, with advice and
consent foresaid, has thought ﬁt and, accordingly,
does hereby declare, that the persons particularly
after-mentioned, each of them for their own parts, are
excepted from His Majesty’s pardon and indemnity, in
so far as may concern the payment of the sums
underwritten namely.
Within the shire of Edinburgh: ……. Mark Carse of
Cockpen, £6,000”
His son Sir Mark Carse II, was not only a landowning
gentleman but a military oﬃcer and is recorded;
“Of Cockpenne. Lieut. To the Master of Ross’s Troop
10 Sept 1680. Lieut. To Lord Ross’s Troop in
Claverhouse’s Regt., 26 Dec. 1682; Comm. renewed by
James VII. in March 1685; serving with the Regt. In
England when it was struck oﬀ the establishment, Jan
1689. In the Lyon Oﬃce Matriculation Register
reference is made to “Sir Mark Carse of Fordelcarse.”
Sir Mark Carse married Isobel Nicolson and had at
least six children and it is most likely that their son
Mark Carse III was the owner of this snuﬀ mull.
Mark Carse III was actively trying to follow in the
family line of military career and by all accounts on
the side of the Stuart line. As early as 1706 he is seen
petitioning the Earl of Marr for a military commission.
He was successful in this petition and was captured at
Preston in the ’15 as ﬁghting for the rebels and was
taken prisoner to London, although no trial or charges
appear to have been brought against him.
However, this does appear to be the beginning of the
end for Sir Mark and his fortunes take a distinct down
turn after the ’15, although he does manage to keep
his lands and titles. In 1718 he was still owner and
Laird of Cockpen but by the early 1730’s ownership
and passed to Archibald Cockburn after various
actions by creditors against him.
£600-800
76
A Jacobite snuﬀ mull
with silvered metal mounts, the hinged cover with the date 1745 and inscribed
beneath the collar ‘JOHN MORISON’ with a coat-of-arms and the motto ‘Uno Ictu’
11cm long
Note:
There was a John Morison of Banﬀshire listed as captured at the Battle of Culloden according the
“Prisoners of the ‘45”. What became of him is unknown as no record of his trial or release has
been found. It is possible that this snuﬀ mull was engraved with the date 1745 at a later time to
commemorate his involvement in the Jacobite uprising. Another potential candidate is John
Morison of Bognie whose family had strong Jacobite ties
£400-600
77
An early horn beaker
of slightly tapered cylindrical form with
concave lip and three moulded girdles, with
attached handwritten note
22.5cm high, rim 8cm diameter (approximately)
Note:
The attached note reading ‘Drinking cup belonging to
Forbes of Culloden 70 years ago given by him to his
ghillie whose son and daughter, an old pensioner
before her death gave it to Mrs Souter Byrnie (?)’
Duncan Forbes, Lord Culloden 10 Nov 1685 - 10
December 1747 was a Scottish politician during the
ﬁrst half of the 18th century. During his years at
school in Inverness he and his brother became well
known for their sociable nature, to such an extent that
the pair became well known as ‘the greatest boozers
in the north’. Indeed, on the death of his mother in
1716, Forbes and the rest of the funeral party became
so drunk that they turned up to the burial place, only
to ﬁnd they had forgotten the body!
In his later years, ill health having curbed his alcohol
consumption, Forbes became increasingly politically
active, particularly in the Whig cause. During the
Jacobite uprising of 1715 he was notable for his loyalty
to the Hanoverian cause, his brother joined forces
with the infamous Simon Fraser, 11th Lord Lovat, to
raise forces in support of the government. However,
his increasingly public admonitions of the way the
rebel prisoners were treated after the Battle of
Sherrifmuir, aligned him more and more with the
Jacobite cause. In the lead up to the 1745 uprising,
Forbes travelled to the highlands to talk to many of
the clan leaders, particularly Lovat in an attempt to
dissuade them from supporting the Stuart claim to
the throne, and after Culloden was again vocal about
the cruelties inﬂicted by the Duke of Cumberland.
The increasing stress caused by his diﬃcult position
during the uprising ultimately lead to his death in
1747, however his legacy had by then become one of
endeavouring for humanity, rather than of drunken
prowess.
£200-300
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A mid-18th century momento
mori ring
the central plaque of rectangular outline, the
glazed panel with inlaid plaited hair and
banded black enamel border, with engraved
inscription to the rear reading ‘ James
Drummond, Earl of Perth, 1746’, the shoulders
with open twisted wirework detail to a reeded
shank, unmarked
ring size, O, plaque: 20mm x 15mm
Provenance:
Family collection, Viscount Strathallan, Stobhall Castle
Private Collection
Note:
An important aspect of the Jacobite Rebellions was
due to the success of the loyalty of clans to the Stuart
attempt at the British throne; landed families used
their ability to raise their own armies including
voluntary fencibles.
Perthshire itself played an important geographical
role, as a link between the highlands and the lowland
and was the traditional seat of Kings and Queens at
Scone palace. The Stuart dynasty emphasised their
link to Robert the Bruce, and thus the claimant to the
succession.
The background of the Jacobite rebellions meant that
families risked their hereditary lands and titles to
ensure the success of re-instating the Stuart line to
the thrones of England and Scotland.
In the case of James Drummond (1648 -1716), the ﬁrst
Duke of Perth, the 4th Earl and the 7th Lord
Drummond, he was attainted for supporting the
Jacobite cause during the rising of 1715. He was
succeeded by James Drummond (1674 - 1720), who
maintained the titles under the peerage of Scotland.
In reality these titles were only acknowledged by
supporters of the Jacobite cause or those adverse to
the protestant royal dynasty.
Consequently the owner of this ring was the selfstyled 6th Earl and third duke of Perth. As soon as
79
A French Rosary ring
French marks to shank, the oval head with
oval Miraculous medallion, on a beaded gold
shank
Provenance:
Family collection, Viscount Strathallan, Stobhall Castle
Private Collection
£200-300
Prince Charles Edward arrived in Scotland in July 1745
Perth declared his allegiance. Awarded lieutenantgeneral of the highland army, Perth participated in the
successful battle of Prestonpans. However as the tide
turned in Inverness-shire Perth ﬂed the battle of
Culloden and was taken aboard the French frigate
ship La Bellone, which had arrived with supplies for
the highland forces. Worn out by the campaign he
died at sea on 13 May of that year.
The battle of Culloden not only ended the Jacobite
attempts for the British throne, it can also be claimed
that it ended a history of clanship and narrowed the
divide between the highlands and lowlands of
Scotland. Personal eﬀects of individuals oﬀer an
insight into this period highlighting sentiments.
Momento mori rings provide reliable dates and the
inscription on the inside of this ring reads ‘James
Drummond, Earl of Perth, 1746’. The inclusion of a
lock of plaited hair reﬂects societal fashions and the
ring oﬀers a tangible link to the succession
throughout the Drummond family and their titles. The
attainder was eventually removed in the midnineteenth century although estates had been
returned in the late 18th century.
£1,000-1,500
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80
CIRCLE OF RICHARD WAITT
(SCOTTISH 1708-1733)
JACOBITE PORTRAIT
Oil on canvas
59cm x 36cm (23in x 14in)
Note:
The artist of the original Richard Waitt (1708 - died
1733), which hangs in the Scottish National Portrait
Gallery, has produced several portraits depicting
individuals like this in their environment. Waitt left
Scotland perhaps due to his Jacobite sympathies and
the 1715 Jacobite Rising. When he returned in 1722 he
resumed work for the Clan Grant based in Castle
Grant, Strathspey.
This painting, a copy completed by Waitt’s circle, was
made shortly after the original. The subject Kenneth
Duﬀus Earl of Sutherland (1679-1734) himself had
Jacobite sympathies after initially supporting the
Hanoverian succession and political union of 1707. He
joined the Jacobite cause in 1715 but after the defeat
at Sheriﬀmuir he escaped to Sweden where he
married Charlotte Christina, daughter of Eric de
Sioblade, the governor of Gottenburgh.
Whilst in Hamburgh, Duﬀus was forcibly removed and
committed prisoner to the Tower in London. However
in 1717 was set free without being brought to trial in
an Act of Grace. Throughout Sutherland’s life he
pursued a Maritime career, after succeeding his father
in 1705 he was a captain in Queen Anne’s Navy. On
return of his liberty he entered the Russian naval
service, in which he was a ﬂag-oﬃcer, and died before
1734.
His only son Eric Sutherland, (born in 1710) in 1734
presented a petition to the king claiming the dignity of
baron Duﬀus, but the House of Lords, found that he
had no right to it. The elder son of Eric, James
Sutherland, born in 1747, was an oﬃcer in the army
and was restored to the honours of his family, by act
of parliament in 1826.
It is a portrait not only of the Earl of Sutherland, but
also a portrayal of the wider highland aristocracy
emphasising landed pursuits such as deer hunting
and the fashion for wearing full highland dress.
Depicted in martial pose, slashed jacket and a
signiﬁcant array of Scottish weapons, this is a good
example of Highland aristocracy. In particular his belt
pistol is of scroll butt type profusely inlaid with silver
and typical of those made by Thomas Cadell of Doune
in circa 1700. The basket hilt of his sword appears to
be of silver and similar to the silver hilts made in the
North East of Scotland at the time. The dirk is of early
form with bi-knife and bi-fork sitting side by side in
pouches on the scabbard. An impressive targe lies at
the subject’s feet with evidence of hair of the deer
skin lined back in view. On top of this is a long gun
typical of some made in England to highland
speciﬁcation.
This painting is a rare example of Scotland prior to the
political upheavals caused by the Jacobite rebellions of
the 18th century narrating how individual members of
the elite were required to choose allegiances that
would alter their inheritance and ultimately changed
the landscape of Scotland.
£3,000-5,000
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CIRCLE OF JOHN ALEXANDER
(ﬂ.1710-1757)
A FULL LENGTH PORTRAIT OF
ALASDAIR RUADH MACDONELL,
13TH CHIEF OF GLENGARRY
Inscribed with sitter’s name old label verso, oil
on canvas
68.5cm x 51cm (27in x 20in)
Provenance:
Fingask Castle, 26th - 28th April 1993, Christies
Scotland lot 256
Exhibited:
Loan Exhibition of Scottish National Portraits,
Edinburgh 1884 No. 467 titled ‘A Portrait of Alistair
MacDonnell of Glengarry’
Note:
This historic portrait depicts one of the Jacobite story’s
most controversial and fascinating characters:
Alasdair Ruadh MacDonell, 13th chief of Glengarry of
Invernesshire, alias Pickle the Spy. Correspondence
from Pickle to the English Government date as early
as 1752, and it is known that the information he
supplied to the Duke of Newcastle and George II was
at points hugely detrimental to the Jacobite cause.
Such sensitive and signiﬁcant information could only
have come from a close and therefore trusted ally of
Prince Charles.
Over the centuries many have speculated as to
Pickle’s true identity. For years the ﬁnger of suspicion
pointed at James Mohr MacGregor, Rob Roy’s son. As
poetic as this may have been, little evidence
supported this theory and his role as a spy is now
considered to be a minor one.
In 1897 the author Andrew Lang undertook a detailed
analysis of Pickle’s letters - of which many survive and found that the evidence pointed emphatically to
The Young Glengarry, as MacDonnell was known. The
timing of events, his relationship to Charles and the
sway he held over the Highland clans all strongly
support the truth of Lang’s theory. Combining these
circumstantial factors with the similarities in the tone
of their letters (including interesting idiosyncrasies of
spelling shared by Pickle and MacDonnell), the case
becomes more compelling still, and culminates with
the fact that he was at one point publically denounced
by the widow of Archibald Cameron, the “last Jacobite
Martyr”.
The MacDonells were, at that time, the most
signiﬁcant Catholic clan in Scotland and had begun
staunchly in support of Prince Charles’ cause. In 1738
the teenaged MacDonnell was dispatched to France
where in 1743 he joined Lord Drummond’s regiment
of Royal Scots Guards in the French service. In 1745,
he was employed by the Highland chiefs on a secret
mission to the Prince, the aim of which was to
dissuade him from landing in Scotland without ﬁrst
securing signiﬁcant European support. As we know,
this advice was not heeded and the Prince continued
rashly with his plan. MacDonnell nonetheless
sustained his support of Charles’ mission but was
captured soon after by the English and imprisoned in
the Tower of London from 1745 until 1747. It was
probably this period of imprisonment that secured
the unwavering trust of his Prince, whilst ironically
providing MacDonnell with the time to re-consider his
aﬃliations. It was not long after his release that The
Young Glengarry succeeded as Chief of the Clan in
1754, simultaneously inheriting the deep ﬁnancial
woes that troubled his estate.
Lang suggests that Glengarry became deeply
disillusioned with the lack of remuneration aﬀorded
the loyal followers of the Jacobite cause. He took a
calculated risk, born out of self-interest perhaps, or
through the realisation that Charles’ plans were
becoming increasingly unworkable, and turned coat.
Through his popularity and standing within the Clans,
MacDonnell was perfectly positioned to, as Lang puts
it, “paralyse a serious, or promote a premature, rising
in the Highlands, as seemed best to his English
employers”.
This portrait, which is illustrated opposite the title
page of Lang’s 1897 publication, depicts a handsome
young man with a “frank and pleasing face” and a
graceful bearing. One can easily picture how hard it
would have been for his peers to suspect a man of
such standing. It is also one of the few paintings to
exist that shows the change and development in
Scottish Highland dress; MacDonnell is shown earing a
belted plaid, and his manservant stood behind him is
wearing a version of what we know today as the
modern kilt.
A further version of this painting can be found in the
collection at Armadale Castle, Scotland.
£15,000-25,000
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A lock of Flora MacDonald’s hair
the small lock of hair pinned to a velvet pad, contained in an
envelope, with various hand written notes and description
Provenance:
Previously in the collection of Colonel MacDonald,
great-grandson of Floral MacDonald.
Given by him to a Mrs MacLeod
of Inverness, and thence to a Mr
Paterson of Bridge of Allan in
1884.
Sold by Lyon & Turnbull circa 197580, to the current private Scottish
collector.
Note:
Flora MacDonald was born in 1722 to a
tenant farmer on the island of South Uist
in the Outer Hebrides of Scotland. Her
father died when she was still a child, and
her mother was abducted and then married
by Hugh MacDonald of Skye, leaving Flora to
be brought up by the chief of her clan, the
MacDonald’s of Clanranald and was later
educated in Edinburgh.
After his defeat at the Culloden in 1746 Bonnie
Prince Charlie ﬂed to the island of Benbecula in the Outer Hebrides, and
the twenty-four year old Flora was at that time visiting her brother on the
island. After persuading her to help him escape the island undetected,
Flora persuaded the commander of the local militia, her stepfather, to
grant her a pass of the mainland by boat for herself, two servants and a
crew of six. The young pretender was disguised in a dress as Irish
spinning maid Betty Burke, until he reached Skye where Flora was able
to ﬁnd him help; and thus she became the quintessential heroine of
the Jacobite cause.
Unfortunately upon arriving in Skye people became suspicious, and though Bonnie
Prince Charlie was able to escape, Flora was arrested and sent to the Tower of London, she was
allowed to live out with the conﬁnes of the tower for a time, under the watch of a gaoler, until her release in 1747.
She later married, and moved with her new husband to North Carolina for a period, however her husband was
captured while ﬁghting for the Hanoverian forces during the War of Independence, and upon his release they
returned to Scotland via a short stay in Nova Scotia. The voyage home was anything but quiet, and after their ship
was attacked by privateers, she was injured in the arm after refusing to take shelter below deck.
Flora and her husband took up residence on the Isle of Skye and she remained there until her death in 1790.
During her time in Skye she met Samuel Johnson, the English essayist who was travelling in Scotland for a period,
and after meeting her he recorded ‘’her name will be mentioned in history, and if courage and ﬁdelity be virtues,
mentioned with honour.”
£400-600
83
Flora MacDonald
Miss Flora MacDonald. [London?], published
according to an Act of Parliament... 6th June
1747, after J. Markluin, c.30 x 25cm, handcoloured, framed and glazed
Note:
The mid-eighteenth century saw a ‘cult of celebrity’,
with printed material and artworks produced in
honour of society ﬁgures. This print from 1747 is such
an example. Robin Nicholson writes: “There is a
continuously observable trend during this period,
primarily in London, whereby certain individuals
enjoyed brief periods of intense public interest...and
Flora MacDonald’s brief vogue between 1746-8 can
readily be seen as part of this ever-evolving,
commercially led process.”
£100-200
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84
A framed piece of Flora MacDonald’s plaid
the section of paisley pattern material mounted on
card and title ‘from Flora MacDonald’s Plaid, Dileas
gu Bas’, in a tartan ribbon border and glazed black
frame
frame 39.5cm x 24cm
£200-300
animosity between James and Anne, Prince Henry was
to remain in the care of John Erskine, Earl of Mar until
his father became King of England in 1603 and the
family moved south.
85
A ﬁne 17th century horn penknife
the shaped handle form of ﬁne translucent
horn, with delicately carved intertwined
trailing thistle and rose heads emanating from
a displayed lion, within foliate border, the
hinged steel blade marked ROI with cross
above
handle 85mm long, overall 15cm long
Provenance:
Personal property of Prince Henry, elder brother of
King Charles I, around 1612
Collection of Mrs Egiston Bairns
Note:
Henry Fredrick Stuart, Prince of Wales was the elder
brother of Charles I, the eldest son of James VI of
Scotland and I of England and Anne of Denmark. He
was born in 1594 in Stirling Castle and soon after his
father had him removed from the care of his mother,
for fear of him picking up her Catholic sympathies.
While this naturally created a certain amount of
It was at the same time that the title of Duke of
Cornwall was bestowed on Henry, followed by that of
Prince of Wales and Earl of Chester in 1610. He was
widely considered as a bright young man, very active,
taking part in many of the popular sports of the
period including hunting, hawking and jousting; and
was also keenly interested in the Kingly business into
which he was to one date enter, often disagreeing
with his father on matters of state. Naturally this
created a certain amount of friction between father
and son, particularly when Prince Henry’s popularity
seemed to be over taking that of his father.
As a bright and promising heir to the throne, he was
also a devout Protestant, so much so that he was said
to have strongly opposed his fathers suggested
French match for him, announcing that he was
‘resolved that two religions should not lie in his bed.’
His untimely death came at the age of 18, and while
there were rumours of poison, it is widely accepted
that he died of typhoid fever. He was greatly mourned
by the nation; with esteemed poets such as John
Donne and Ben Johnson writing elegies. If he had
lived we may have been spared the civil war which
followed during his brother’s reign, and which
ultimately cost Charles his head; and would certainly
have prevented the Jacobite uprising.
£3,000-4,000
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86
A mid Victorian velvet casket,
set with a memoriam locket of
Mary Queen of Scots hair
the rectangular casket with rounded corners,
and brass lock escutcheon, the slightly domed
cover set to centre with oval glass panel with
hair beneath with applied brass engraved
Scottish royal crown above and ribboned
garter below inscribed ‘’A LOCK OF QUEEN
MARY’S HAIR WHICH BELONGED TO THE LATE
LADY BELHAVEN’, the interior of the casket
simply lined with watered cream silk
15.5cm x 12cm x 9cm
Provenance:
Part of the lock found by 8th Lord Belhaven in
Holyrood Palace, Edinburgh (the main proportion
bequeathed to Her Majesty Queen Victoria - see notes
below)
The widow of 8th Lord Belhaven
This lock bequeathed to 9th Lord Belhaven
Gifted to his father in law John Watson (later Sir John
Watson 1st Bt.)
Thence by descent to Sir Simon Watson 6th Bt.
Lyon & Turnbull Scottish Silver & Accessories, 26th
August 2008, lot 262
Private Scottish Collection
Exhibited:
‘Scottish National Memorials - a record of the
historical and archaeological collection of the Bishops
Castle’’, catalogue edited by James Paton, Glasgow
1888, item 192, lent by John Watson (later Sir John
Watson 1st Bt.) where described:
‘Small Casket, containing a portion of the hair of
Queen Mary. it belonged to the late Lady Belhaven
and formed a small portion of the lock subsequently
bequeathed by Robert, eighth Lord Belhaven, to Her
Majesty the Queen, for a note on which see p. 45
(192) Lent by JOHN WATSON’.
Note:
The lock of hair contained with this casket was part of
a larger ﬁnd made by the 8th Lord Belhaven in his
position of High Commissioner of Scotland. The main
part of the lock was subsequently gifted to Her
Majesty Queen Victoria and formed part of her
collection of Queen Mary Stuart relics.
The lock was found within his oﬃcial residence at
Holyrood in a secret drawer of a bureau in an
envelope with the handwritten note saying ‘a lock of
my own hair’ and signed ‘Mary R’. The signature was
later authenticated as that of Queen Mary Stuart,
believed to have been compared with original
documents held in the Royal Collections.
When its importance was realised, the bequest by
Lord Belhaven to Queen Victoria was made and the
lock split in two.
It is also believed that before this a butler at the
Palace took a small section of the hair and possibly
gave it as a token to a lady in waiting of the Palace.
This piece sold within these rooms, lot 173, 31st
March 2001, now in the Hawick Museum and Scott
Gallery.
Great discussion on the locks of hair (and their colour)
was given in the 1888 Scottish National Memorials
Exhibition catalogue.
This exhibition was one of the early types of national
historical exhibitions and began a trend in multi
discipline exhibitions which followed on through the
19th century and could indeed perhaps be considered
the forerunner of the modern day museum
exhibitions. Similar exhibitions were held in 1894,
1911 and 1932 and all proved successful and of
interest to the public, as the opportunity to see such
collections had not been given before and the
structure of public museums had not yet been fully
established.
£5,000-10,000
87
DUNCAN MACKELLAR
(SCOTTISH 1849-1908)
MARY QUEEN OF SCOTS’ BEDROOM,
HOLYROOD PALACE
Signed, oil on canvas
38cm x 53cm (15in x 20.75in)
£500-800
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85
ATTRIBUTED TO
COSMO ALEXANDER
(SCOTTISH 1724-1772)
HALF-LENGTH PORTRAIT OF A LADY,
BELIEVED TO BE JENNY (JEAN) CAMERON
Oil on canvas
73cm x 60cm (28.75in x 23.5in)
£4,000-6,000
89
JEAN CHRETIEN VALOIS
(18TH/19TH CENTURY DUTCH)
90
MURRAY MACDONALD
(SCOTTISH ﬂ. 1889-1914)
26cm x 21cm (10.25in x 8.25in)
18cm x 14cm (7in x 5.5in)
£250-350
PORTRAIT OF FARQUHAR MACRAE OF
INVERINATE
Watercolour
Note:
Inscribed verso; “Farquhar Macrae of Inverinate,
Invernesshire, XIIIth Chamberlain of Kintail. Born 1720
- Died 1789. Fought for Prince Charles in Culloden in
the rising of 1745 and after the Battle of Culloden was
captured and from his likeness to the Prince was
taken to be him and conveyed to Fort William where
he was identiﬁed and released. Great grandfather of
C. Macrae.”
£600-800
A FOLLOWER OF PRINCE CHARLIE
Signed and dated 1886, watercolour
91
EUAN MACALLISTER
(SCOTTISH 19TH CENTURY)
VICTORIOUS GOVERNMENT TROOPS AND
THE DEFEATED JACOBITES, ON A ROUTE
MARCH TO INVERNE
Signed and dated 1888, watercolour
28cm x 58cm (11in x 22.75in)
£600-800
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92Y
A PORTRAIT MINIATURE OF MARQUESS OF MONTROSE
Watercolour and bodycolour, on ivory in oval gilt border and lacquered frame
6.5cm x 5cm (2.5in x 2in)
Note:
James Graham, 1st Duke and 4th Marquess of Montrose (1682 – 1742) was a Scottish nobleman,
landowner and politician. Originally the fourth Marquess of Montrose, James was elevated to a
dukedom in 1707 as a reward for his important support of the Act of Union against the Jacobite
opposition in Scotland. Subsequently, he was elected to the House of Lords and Keeper of the
Privy Seal of Scotland. Upon the death of Queen Anne, he served as Lord of the Regency for Great
Britain in 1714 and in the same year he became Chancellor of the University of Glasgow until
1742. From 1716 to 1733 he served as Keeper of the Great Seal of Scotland. Furthermore, he was
shortly appointed Secretary of State for Scotland at the time of the Georgian ministry of Lord
Townshend. In 1719 he was one of the main subscribers to the Royal Academy of Music, a
corporation that produced baroque opera on stage. He served as a Governor of London’s
Foundling Hospital at the time of its foundation in 1739.
£1,000-1,500
93
William Duke of Cumberland,
Battle of Culloden medallion
after M.Holtzhey, obverse with right facing
bust of William Duke of Cumberland, reverse
with scene of the battle with motto ‘Rebellion
justly Rewarded, Culloden 1746’
36mm diameter
£100-200
94
Duke of Cumberland - a rare uniface
medallion
bronze uniface medallion with portrait with
and motto P WILLIAM:D.OF. CUMB BORN 13 A.
1721’
20mm diameter
£100-200
95
18TH CENTURY ENGLISH SCHOOL
HANOVERIAN OFFICER
Oil on canvas
73.5cm x 61.5cm (29in x 24.25in)
£800-1,200
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Applied Arts
including
Silver, Jewellery & Glass
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96Y
A mid 18th century inverted pear shaped teapot
Ebenezer Oliphant, Edinburgh 1748, Assay Master Hugh
Gordon, of typical inverted pear shaped design with chased
border of scrolls and ﬂower heads within rococo scroll panels,
with twin, vacant, scroll formed cartouches, with ﬂuted S scroll
spout and simple C scroll handle with ivory insulators and
acanthus capped thumb piece, raised on domed foot
17cm high, 21.5oz
Note:
Ebenezer Oliphant is perhaps the best known, within a very small group of true Jacobite
Goldsmiths in Scotland. Whilst various craftsmen are termed Jacobite, few showed such
strong allegiance as Oliphant. His views are clearly seen during his time as a member of the
Incorporation of Goldsmiths when he refused (with a small group of others) to take the
traditional oath to the King.
Oliphant was from the staunch Jacobite family of Oliphant of Gask whose support for the
cause was without doubt. A relationship and belief shown so iconically in the commission by
Gask and Ebenezer Oliphant in the production of the Four Peers Rings. (See lot 20 in this sale)
Ebenezer Oliphant was apprentice to James Mitchelson of Edinburgh in 1727 and worked
successfully in the city until he retired in 1766. His work is characterised by uniform high
quality with a real ﬂare for ﬁne chasing. At the peak of his career in the mid 18th century in
Edinburgh’s ‘Golden Age’ of silversmithing he was amongst the most respected and successful
makers.
The culmination of his success as a maker, quality of chasing and support for the Jacobite
cause can be so clearly seen in the ﬁne silver and gilt travelling canteen presented to Prince
Charles Edward Stuart on his 21st birthday, now in the National Museum collection
£800-1,200
97
A mid 18th century chamber stick
Edward Lothian, Edinburgh 1745, Assay Master Hugh Gordon,
the central sconce set to a simple dished base with C scroll
handle with plain thumb piece, raised on three ball feet, the
underside engraved with foliate initials
base 12cm diameter, 6oz
Note:
Although the nation was in turmoil and rarely had Scotland or the United
Kingdom been such an uncertain place, it is interesting to see the fashion
of commissioning silver still active in 1745. Life must go on and perhaps
the commissioner’s intent was not only to have another piece of ﬁne silver
plate for his home, but also have his wealth in an easily portable form
should the uprising and rebellion go the wrong way.
£1,200-1,500
98
An early 18th century bone and silver
mounted snuﬀ mull
of simple baluster form with hinged bone
cover with silver butterﬂy hinge and plaque
6.3cm high, 5.3cm wide
£400-600
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99
A mid-18th century Jacobite ring
collet set with an oval speckled agate with
intaglio rose detail, the shoulders and shank
with engraved rose and foliate detail, in
unmarked yellow metal
ring size O/P
£600-800
100
A Jacobite supporter’s fob seal
the steel fob with simple loop terminal, the
matrix with pierced heart motifs to cup
setting, the oval glass matrix with intaglio
carved rose and thistle with crown above
3cm high, matrix 1.7cm
101
A Jacobite supporter’s ring
£300-600
the oval blue glass cabochon intaglio carved to
reverse ‘45’, in modern 9ct gold setting
cabochon 12mm long
£800-1,200
102
A late 19th century Samson painted
porcelain and gilt metal mounted
casket
the domed cover and rectangular body
decorated with thistles, ﬂowering foliage and
C scrolls, painted with the Royal Coat of Arms
of Scotland and the motto NEMO ME IMPUNE
LACESSIT, with a red thistle mark enclosing the
letter G
18cm wide
£600-800
103
A late 19th century embroidered
panel
with Scottish emblems and mottos, formed as
a central lion rampant within shield with
crowned lion above and ﬂanked by lion
rampant standards, above twin unicorns and
thistles, with motto ‘NEMO ME IMPUNE
LACSSIT’
40cm x 47cm
£200-250
104
A cast iron stick stand
the back formed as a standing ﬁgure of Prince
Charles, with basket hilted sword and shield in
foliate surround, named bellow ‘Bonnie Prince
Charlie’, with rectangular base and simple
stand for umbrella and sticks
75cm high
£300-500
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105
A large Jacobite ﬁring glass
the drawn trumpet bowl with engraved displayed open rose head
ﬂanked by open and closed buds with trailing rose leaves, the reverse
with oak leaf, star and inscribed ‘FIAT’ above, raised on a short straight
stem with enamel twist, on a thick domed foot
15.5cm high
£2,000-3,000
106
A Jacobite cordial glass
the trumpet bowl above plain stem and spreading foot, engraved with
intertwined displayed rose head and twin buds
15cm high
£700-900
107
An 18th century Jacobite wine glass
108
A pair of 18th century Jacobite wine glasses
15cm high
15cm high
the rounded funnel bowl with ﬁnely engraved displayed rose with open
and closed buds in trailing foliage, the reverse with oak leaf, the straight
plain stem to a domed foot with engraved Prince of Wales Feathers
£1,500-2,500
the slightly tapered bucket bowl engraved with displayed rose head and
closed bud within trailing leaves, a bird to the reverse, above a straight
triple white enamel twisted stem and spreading foot
£800-1,200
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109
A mid 18th century Jacobite wine glass
the tapered bucket bowl with large engraved open rose
head with opening bud and trailing foliage, on a slightly
tapered plain stem above a domed circular foot with
folded rim
17cm high
£1,500-2,500
110
A continental European Jacobite soda glass
the deep bell shaped bowl with detailed engraving of two open
displayed rose heads within trailing foliage, raised on a double knop air
bubble stem and domed foot with moulded rim
23cm high
Note:
Although most commonly encountered on British glass, Jacobite symbolism was
engraved on Continental glassware as well. While diﬃcult to prove, circumstantially
the survival seems to be slightly later in period than much of the British made
examples. This perhaps suggests that these pieces were being commissioned by
exiled Jacobites after the ‘45 who were still staunch and overt in their beliefs.
£400-600
111
A large Jacobite goblet
the deep bell shaped bowl with profusely engraved open rose head
ﬂanked by open and closed buds within foliage, the reverse with
displayed thistle and crowned initials ‘I*H’, a straight stem with ﬁne
white enamel mesh and twist, on a domed circular foot
23cm high
£1,200-1,800
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112
A pair of Jacobite silk garters, circa 1745
woven with tartan detail and inscription ‘GOD
BLESS P.C AND DOWN WITH RUMP’, both still
joined as one ribbon
24cm x 3cm
Note:
It was the Jacobites who popularised the wearing of silk
garters emblazoned with slogans supporting their
political cause. While the uprising itself came to a head in
1745, feelings did not dampen straight afterwards and
indeed the production of these garters was at its highest
point during the ten years after the uprising and its
culmination at Culloden.
There are many diﬀering opinions as to where these
pieces were produced, however Manchester seems to be
the most likely location. There are references to the
production of similar items in various local publications,
including the Manchester Magazine in 30th December
1746 in which a satirical letter appeared stating ‘Several
looms have lately been employed to furnish watch strings and garters with this elegant motto ‘’God
preserve P.C and down with the rump’’.
The slogan was a popular one amongst Bonnie Prince Charlie’s supporters, the rump being a
derogatory term for the Hanoverian establishment against which they were ﬁghting; it was recorded
by the same magazine in 1748 that it was used by Jacobite supporters during a riot in the city. While
this was a more public display of contempt for the Hanoverians, these garters were more likely to
have been worn at secret meetings of the Bonnie Prince’s supporters, rather than during public
appearances which would have proved dangerous.
There are few examples of the garters which have survived, however the Victoria & Albert Museum
have an example from the same period featuring the motto ‘Our prince in brave and our course is
just.’ (T.121-1931), as well as a pin cushion with the same motto as our lot (T.120-1931). A pair, of
identical form, are also in the British Museum’s collection (1893,0205.58). However, the condition and
fact that the garters have yet to be separated makes this example more unusual.
£3,000-5,000
113*
A pair of Jacobite silk pin cushions
the white silk ground of incurved rectangular form with blue silk tassels,
printed to both sides with central Jacobite rose surrounded by ‘Mart:
For: K & Cou :1746’ the cartouche printed with names and titles of the
Peers and supporters of the Jacobite cause executed and martyred for
the cause (2)
10cm wide
Note:
For a similar example fo this pin cushion from the Threipland of Fingask family
collection see ‘The Jacobites and their Adversaries’, Christies Scotland, 12th June
1996, lots 113 and 114
£300-500
114
A Jacobite pin cushion
the woven silk with chequered design, with motto down ribbon ‘GOD
BLESS PC AND DOWN’ and to the main cushion ‘WITH THE RUMP’
cushion 8.5cm long, overall 40cm long
Provenance:
‘The Jacobites and their Adversaries’, Christies Scotland, 12th June 1996, lot 115
£600-800
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115
An early to mid 18th century brass sporran cantle
of arched form with ring and dot decoration and compressed ﬁnials, the
reverse of the cantle with locking mechanism and engraved ‘Do McIM’
15.5cm wide
£400-600
116
A mid 18th century sporran
the square topped brass hinged cantle with ring and dot decoration to
front, the reverse with iron loops, locking mechanism and engraved IMK,
with leather and hair pouch
cantle 18cm wide, 19cm long
£600-800
117
A tobacconist advertising ﬁgure of a
Jacobite
the carved pitch pine ﬁgure of a highlander in full
dress, on a square base
92cm high
£2,000-3,000
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Arms & Armour
118
A copy of the Earl of Huntly targe,
brass and silver mounted
the leather covered wooden circular carcass
with a brass domed and studded border
enclosing alternating panels of lozenge and
circular form, these and the outer borders
with tooled Celtic knot work and trailing
scrolls, surrounding a central domed and
studded silver boss, the reverse with traces of
mounting loops
55cm diameter
Provenance:
Property of a gentleman
Note:
The Highland targe is perhaps the most overlooked
yet iconic aspect of a Jacobite’s apparel. The targe was
as important to the men that bore them as the basket
hilted sword, and its use in the deadly ‘Highland
Charge’, which had proved so eﬀective throughout the
campaigns, is undeniable.
Their importance at the time, now often overlooked,
was obvious, as there are many examples of portraits
of important Jacobite ﬁgures with their targes and
they also feature prominently in poetry of the early
18th century.
“Joyful tidings through the Highlands,
Hosts for conﬂict arming,
Hammers beating making targes of bossy ﬁne
devices”
Taken from Alexander MacDonald’s ‘A New Song’
Compared to swords, dirks and even pistols the
survival rate of these targes is small. It is well
recorded that they were often the ﬁrst item to be
discarded upon the aftermath of the defeat at
Culloden as men trying to make their escape needed
to do so unencumbered of weight, and the sword and
dirk were the ﬁghting tools needed if they were
captured. Also by the nature of manufacture, they
were not the type of items to survive being hidden as so many swords and dirks were post 1746 - in the
romantic thatch of a roof or under ﬂoor boards.
It appears that these objects were not provincially or
amateur made items but, as with swords, dirks and
pistols, centres of manufacture appear to have sprung
up. Sadly, no documentary evidence can be found to
support this or suggest a location. However, even
within the small survival there are features of design
and style which must be from the same hand.
While the surface construction perhaps appears
simple, the ﬁner details of construction bear out the
professional manufacture. Often formed of overlaid
twin layers of oak or pine planks to give strength the,
leather covering not only bound this structure
together but provided a surface to deﬂect softer
blows. The cover to the reverse, also with deer hide,
often had packing material between, to cushion the
blow and the fur outwards again adding another layer
of protection.
The use of the Highland targe appears to have
virtually ended with the defeat at Culloden and this
signalled the beginning of the loss of Scottish targes.
This example is an obvious direct copy of the famous
Earl of Huntly’s targe, thought to have been carried at
the battle of Sheriﬀmuir in 1715. Huntly was an
important follower of the ‘15 and raised large forces in
his Episcopalian lands of North East of Scotland. His
targe, now in the National Museum of Scotland
(H.LN.52) is one of the ﬁnest surviving targes and one
of only a very small number silver mounted. While
this example shows some diﬀerences in minor detail
and placement of elements it is obviously copied from
it.
£4,000-6,000
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119
An early 19th century Scottish targe
of typical circular outline with leather covering,
brass studded star and roundel design, the
reverse with remnants of twin straps
51cm diameter
£300-500
120
A ﬁne late 17th century powder horn, dated 1674
of typical curved ﬂattened cow horn with ﬁnely carved decoration with
interlace borders and ﬁne celtic knotwork roundels and bosses,
inscribed with initials ‘A*I’ and a cross above ‘1674’, the back edge of the
horn inscribed with indistinct naming and ‘FOR THIS WAS WROVGHT
THER IS MOR TO BE BOVGHT DRINK LES AND BVY AN OF THY OWN’,
with integral suspension loop and wooden plug with brass studs to
terminal
36cm long
£1,000-2,000
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121
An 18th century brass mounted pistol
the all brass stock and butt with engraved
chequering and foliate decoration, with
hexagonal steel barrel and simple percussion
lock
34cm long, barrel 20.5cm
£700-900
122
A pair of gold mounted musket balls
the spherical lead balls in simple collar gold
mounts with suspension loops (2)
Provenance:
By repute found at Culloden Moor
Private Scottish Collection
£100-200
123
A Scottish steel and silver scroll butt belt pistol the lock
by Christie and Murdoch, Doune 1752, steel stock of traditional form
engraved overall with foliate scrolls, the signed lock with disc comb on
cock pierced with a star, the four stage barrel with receded breech
scroll, engraved centre section with ﬂared octagonal muzzle scroll,
butt with silver ﬂattened ball pricker and matching trigger plain, silver
escutcheon on one side and engraved crest of a hand grasping a
raised dagger surmounted by the motto POUR MON DIEU with
original pierced belt hook and original iron ramrod the engraved base
inset with three bars of silver
30.5cm (12 inches) long
Note:
The Partnership of John Murdoch (working 1750-1798) and John Christie (working
1750-1775) is recorded in Doune from 1750, the earliest mention of both makers.
Only two pairs of pistols under this partnership are recorded (see The Scottish
Pistol, by Martin Kelvin). John Christie is considered amongst the ﬁnest makers of
Scottish pistols and ﬁne examples of his work are in the National Museum of
Scotland, ex Sir Noel Paton collection who commented on them ‘I have nowhere
seen pistols more, or, indeed, so beautiful as these’. The Royal Collection at
Windsor also houses a particularly ﬁne example with a gold plaque to the butt
believed to have been gifted to King George III on his accession to the throne in
1760. John Christie, and also when in partnership with John Murdoch, uniquely for
Doune gunsmiths, engraved the date of manufacture to the inside of the lock
plate. This example dated 1752.
John Murdoch was a far more proliﬁc maker of Scottish pistols and although a
high quality was constant it appears that the peak of his work was under the
partnership with Christie.
£4,000-6,000
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124
The Preston Blunderbuss - A rare trophy
brass blunderbuss barrell, circa 1690
barrel by James Spencer of London, octagonal at the
breech, then polygonal, terminating in three raised
lines, then round section for fourteen inches to the
ﬂared muzzle, struck with gun makers view and proof
marks and initials IS surmounted by a crown,
engraved at the breech in contemporary hand “This
was taken from a Highlander at Preston 1715 loaded
17 balls“, raised ramp cut with a back sight with iron
tang, the walnut full stock mounted with brass
furniture, trigger guard and heel of the brass butt
engraved with martial trophies with union ﬂag, ﬁne
deep chequered grip with each section punched with
four stars within a cross, mounted with a ﬂintlock,
circa 1770, signed HW MORTIMER, with its original
horn-tipped ramrod
57cm (22.5 inch) barrel 96.5cm (38 inches) overall
Note:
The 17th century brass barrel is marked for James Spencer (working
1689-1699) in business in Aldgate London and would have been a ﬁne
piece of the period. The contemporary engraving denoting it taken
from a Highlander, suggests that it was captured by a Hanoverian
solider and most likely a high ranking oﬃcer. Such a valuable trophy
of war would not have been the preserve of lower ranks.
Its re modelling in c.1770 by the gun maker to the King, Henry W
Mortimer, perhaps suggests that when it was taken it had a broken or
damaged stock and even if not, it shows the high regard in which this
ﬁrearm was held, some 50 year later.
It seems highly unlikely it was re-mounted for use, only to preserve
and display a ﬁne and, by 1770, historic object. The preservation and
in many cases remounting of earlier historic weapons is seen
throughout the Jacobite uprisings with the famous Captain
Goodenough Blunderbuss (collection of National Trust for Scotland,
Culloden Battleﬁeld), and various basket hilted and earlier swords and
their blades being re fashioned and preserved.
A similar barrel is illustrated page 206 Great British Gunmakers 15401740 by William Keith Neal and David Back
£10,000-20,000
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An 18th century sgian dubh/sgian
ochle and scabbard
the tapered tubular box wood handle with
triple carved band of Celtic interlace, with
pewter mounts to short point blade, simple
tooled and stitched leather scabbard
125
blade 6cm long, overall length 16.5cm
126
£300-500
126
An 18th century sgian dubh/sgian
ochle
the tapered burr walnut handle with carved
celtic interlace with a short pointed steel blade
blade 4.7cm long, overall length 14cm
£300-500
127
A Scottish Highland dirk circa 1700
with carved dark hardwood grip with brass
mounts and with brass disc top retained with
ﬂower head nut, carved with interlace below
the shallow pommel, the blade of cut down
back sword struck with running wolf, orb and
cross marks, in black leather damaged
scabbard with brass mounts
blade 40.5cm (16 inch) long
£2,000-2,500
128
An 18th century silver mounted
Highland dirk
the ﬁnely carved wooden grip with celtic
interlace, the haunches and pommel set with
silver mounts, the tapered blade with plain
back edge and spear point, with single fuller,
the leather mounted scabbard with simple
mounts (chape mount lacking)
overall length 48cm (18.75 inches), blade 36cm
(14.25 inches) long
127
128
129
130
131
£1,800-2,500
129
A mid 18th century Highland dirk
the carved wooden grip with celtic interlace
and carved haunches, the haunches and
pommel with silver mounts, the tapered blade
with plain back edge and spear point,
indistinctly marked, the leather scabbard with
silver mounts set with bi knife and fork, with
basket carved grips and plain caps, the knife
blade signed ROBTSORBY & SONS’
overall length 50cm (19.75inches) , blade 39cm
(15.25 inches) long
£1,800-2,200
130
A mid 18th century Highland dirk
the boldly carved wooden grip with interlace
and haunches, the pommel with plain cap and
facetted nut, the tapering blade with plain
back edge and single fuller signed ‘PALMER’, in
leather scabbard with scalloped mounts
overall length 44cm (17.25 inches), blade 22cm
(8.75 inches) long
£2,000-3,000
131
A Scottish Highland dirk, circa 1730
the carved dark root wood grip with brass
mounts, the brass disc top retained with
ﬂower head nut, cut with interlace below the
shallow pommel and interlace and Celtic strap
work over the entire grip, the blade of cut
down back sword struck with Andrea Ferrara
in oﬀ centre fuller, in black leather damaged
scabbard the brass mounts with scalloped
edges
blade 40.5cm (16 inch) long
£1,500-2,500
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132
A Scottish ribbon hilted broadsword,
circa 1690
the basket of ﬂat section iron plate formed
into saltires with S at each side guard, slight
stub wrist guard and neb forward guard with
remnant of leather liner, ﬂattened bun shaped
pommel, plain double edge blade with two six
inch fullers at each ricasso
blade 76cm (30 inches) long
£2,000-3,000
133
Scottish basket hilted back sword,
circa 1720
the guard of round section bars, the side and
forward guards pierced with two apertures
above pierced shields, small scrolled wrist
guard, replacement chequered wooden grip
with turned collar, bun shaped pommel cut
with lines at each join of the saltire bars the
single edge Anti Union German blade etched
with St Andrew holding a saltire above
PROSPERITY TO SCHOTALAND AND NO UNION
on the reverse GOD SAVE KING JAMES8 (all
rubbed) with a laurelled male bust and a
crown and scepter on a cushion
blade 86.5cm (34 inches) long
Literature:
Swords and Sorrows Catalogue 1996, no.1: 26, page
35, depicts an identical blade.
£3,000-5,000
134
A Scottish basket hilted back sword,
circa 1730
the patinated basket formed of round section
bars, the side guards pierced with hearts, with
plain forward guard plate, missing wrist guard
the spiral wooden grip covered in black
dogﬁsh skin missing its binding wire but
retaining one interlaced ferrule, large rounded
plain pommel, the single edge blade retaining
some rubbed engraved decoration of a
warrior holding a raised sword with indistinct
engraving
blade 86.5cm (34 inches) long
£1,200-1,800
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A Scottish basket hilted broadsword,
circa 1730
with elongated dark patinated basket formed
of round section bars with the side guards
pierced with hearts with two S ‘s forming the
back guards at each side with a large wide
wrist guard, the spiral wooden grip covered in
black dogﬁsh skin missing its binding wire but
retaining one scalloped ferrule conical
pommel cut in quartered groves, the German
double edge blade struck with a running wolf
mark of Solingen
blade 76cm (30 inches) long
£1,000-1,500
136
A Scottish basket hilted broadsword,
circa 1730
with elongated dark patinated basket formed
of round section bars with the side guards
pierced with hearts, with two S ‘s forming the
back guards at each side with a small scroll
wrist guard the spiral wooden grip in pieces,
conical pommel cut in quartered shaped
groves wide double edge blade with two
ﬁfteen inch fullers
blade 79cm (31 inches) long
£2,000-3,000
137
A Scottish basket hilted broadsword
of Glasgow type, circa 1700
the basket formed of round section bars with
grooves, side guards with hearts pierced on
each plate, small wrist guard, the pommel cut
with grooves, the replacement wooden grip
bound with leather, the blade with three long
fullers struck FERRARA in the centre groove
blade 81cm (32 inches) long
£1,200-1,800
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138
A Scottish basket hilted broadsword
of Stirling type, circa 1700
the basket formed of round section bars with
grooves, side guards with hearts pierced on
each plate, the pommel cut with grooves, the
wooden grip with black dogﬁsh skin bound
with a double twist of silver wire, the wrist
guard reattached, the blade with two fullers
each struck ANDREA FERRARA
blade 74cm (29 inches) long
£1,500-1,800
139
Walter Allen, Stirling - A ﬁne Scottish
basket hilted broadsword of Stirling
type, circa 1700
bearing signature for Walter Allen of Stirling,
the basket formed of ﬂat section bars with
incised lines, elongated side guards with
hearts pierced on each plate, the pommel of
ﬂat bun shape, the wooden grip covered in
black dogﬁsh, missing its binding with two
large ferrules, struck with the initials WA by
the wrist guard, the blade with two fullers
struck with a series of marks
blade 89cm (35 inches) long
£2,000-3,000
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A Scottish basket hilted broadsword
of Glasgow type, circa 1730
by John Simpson of Glasgow, with basket
formed of ﬂat section bars and side guards
pierced with slotted aperture forming a cross
on both saltire plates with the edges ﬁled into
decorative edging, the bars all cut with lines
struck at the base of the forward guard I -S,
missing wrist guard the wooden grip covered
in black hide bound with brass wire and with
ferrules top and bottom, conical pommel cut
in quartered groves, the German single edge
blade struck with ANDREA FERRA in each fuller
blade 84cm (33 inches) long
Note:
James Simpson I of Glasgow is recorded as working
from 1683 until 1718. He appears unique in the
placement of his signature ‘IS’ on the main knuckle
guard to the front of the basket, rather than the
underside as more commonly seen. For a similar
example in the Kelvingrove Art Gallery & Museum
collection (W.1940.45.ef) see British Basket-Hilted
Swords, Cyril Mazansky, sword F5b(IS) page 102.
£8,000-12,000
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141
A Scottish basket hilted broadsword,
circa 1730
by Thomas Biggart of Irvine, with patinated
basket formed of ﬂat section wavy bars with
the side guards pierced with hearts, the
forward guard engraved with ‘1M D 2’ above
inventory number ‘93’ and struck at the
quillon TB over I, with small wrist guard, the
spiral wooden grip covered in brown hide
missing its binding wire but retaining one
ferrule, bun shaped pommel cut in quartered
groves, the double edge blade struck with a
series of long fullers
blade 96cm (35 inches) long
Note:
This sword appears to be a unique survival of a signed
basket hilted sword from Irvine. The family of Biggart
was long associated with ﬁne steel work in both
Kilmaurs and Irvine, unqiuely seen in this instance in a
basket hilted sword. The family specialised in working
with steel to a very ﬁne quality and often combined
with work in tortoiseshell. This is seen in a small
group of silver and tortoiseshell cutlery, a particularly
ﬁne hunting hanger (Kelvingrove Museum and Art
Gallery).
The later engraved numbering to the sword shows its
continued use up to 1800 when it had been brought
into military service, possibly within a volunteer or
Fencibles regiment. The number likely denoting 1st
Mounted Dragoons, 2nd Company, 93rd sword or
soldier.
£7,000-9,000
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Books, Manuscripts & Other Printed Material
142
Stuart monarchs of Scotland
of the Stuart monarchs of Scotland (James I to James VI, with Mary
Queen of Scots), late 17th century, each c.33 x 24cm, loose, and prints of
Charles I and Charles II (making 9 in all) by James Clark (9)
Note:
The seven prints of earlier Stuart monarchs are re-issues of engravings from around
1602 (date assigned by the National Portrait Gallery, London, which lacks James III).
The copper plates used to produce these prints appear to have been pierced top
centre as if for decorative hanging. The prints of Charles I and II originate from the
late 17th century.
£350-400
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143
William Hamilton of Bangour, poet and Jacobite Strange, Sir Robert
William Hamilton of Bangour (1704-54) engraved by Sir Robert Strange,
after Jean-Baptiste Descamps (1706-91), Rouen: 1747-8, 23 x 27.5cm
including mount (not laid-down)
Note:
Both the original oil and the engraving were done in Rouen in 1747-8 (not in Rome,
as stated in ‘Notices of the Life of William Hamilton of Bangour, Esq, Communicated
by James Chalmers to David Laing’, Archaeologia Scotica. Transactions of the Society of
Antiquaries of Scotland, III,1831, pp. 255-66). The present image, as engraved by
Strange after Descamps, was re-engraved for the article in Archaeologia Scotia, but
that version bears the sitter’s name and indicates the ownership of the original oil
(Threipland of Fingask Castle). This small print is rare, only a few copies being
known. One was presented by the 11th Earl of Buchan to the Society of Antiquaries
of Scotland in 1782 (now in SNPG). Another was in the collection of Charles
Kirkpatrick Sharpe. Besides the re-engraving for Archaeologia Scotica in 1831, the
print appeared again, in poor lithographic form, as frontispiece to James Paterson’s
edition of the poems and songs of William Hamilton of Bangour, Edinburgh 1850.
See p. xvii of this work for the scarcity of the original print. This print is not in the
National Portrait Gallery, London, nor is it in the Walter Biggar Blaikie Jacobite
Collection (National Library of Scotland).
£100-150
145
Charles I - Oliver Cromwell Pierre Lombart
Oliverius Magnae Britanniae, Hiberniae et Totus
Anglici... [N.p. but London?, c.1660]; Carolius I Dei
Gratia Magae Britanniae, Franciae et Hiberniae
Rex... [N.p. but London?, c.1660]; each c.55 x 37cm,
rebacked, some repairs (2)
Note:
These two prints from a celebrated series illustrate the
changing taste and political priorities in the art market. The
image is popularly known as the ‘Headless Horseman’. Just
before the Restoration of 1660, Pierre Lombart made his
plate of Oliver Cromwell. Sara Stevenson writes that Lombart
was thus ‘caught just before the arrival of Charles II with, at
best, an unfortunate choice of subject.’ Cromwell’s head and
the identifying text below the image were speedily removed
and Charles I was substituted, the royal collar and the page’s
breeches being made more dressy and an attempt being
made to give the King the badge of the Order of the Garter.
The entire composition is based upon a famous Van Dyck of
Charles I which had become an icon of Stuart and
subsequent Jacobite imagery.
£80-120
144
Robert Dalziell - Petit the Younger
The Hon.ble. Robert Dalziell Esq. aged 84... [N.p., c.1745], engraved by
Petit the Younger after Cosmo Alexander (1724-72), 32 x 23cm, framed
and glazed
Note:
Robert Dalziell (1661/2-1758) was a kinsman of the attainted 5th Earl of Carnwath
who came out with the Earl of Mar in the ‘15. He, however, was of a diﬀerent
political persuasion and served both Stuart and Hanoverian monarchs. He died aged
96 in 1758. This print shows him as a full general - he reached that rank in 1745 - of
84, the oldest general in the British Army. Dalziell had been commander in chief in
North Britain in 1732. His remarkable coat of arms says a lot about a man of his
toughness, as do some anecdotes of his life and character. The unusual fauxbrickwork surround to the image also suggests rugged solidity. Paradoxically,
Alexander, who probably painted Dalziell’s portrait just before going into exile in
Rome, was a Jacobite.
A scrace print, not in the Scottish National Portrait Gallery collection.
£200-250
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A collection of prints of Jacobite
interest
Simon Fraser, 11th Lord Lovat Lovat’s ghost
on pilgrimage. [London?], 1747 [second state,
1788], engraved by Samuel Ireland, 22 x 33cm,
framed and glazed, a satire using Hogarth’s
caricature of Lovat’s distinctive features on the
execution for high treason of the elderly
Jacobite at the Tower of London in April 1747,
the last man to be publicly beheaded in
Britain, uncommon; John Campbell, 4th Earl
of Loudon The Rt. Hon.ble.: the Earl of
Loudoun, c.1756-7, engraved by Charles
Spooner, after Allan Ramsay 1747, mezzotint,
c.49 x 39cm including attractive gilt wood
frame: Loudon (shown here much as he must
have looked, shortly after the Rebellion, as a
Highland oﬃcer of the British Army), had
raised a regiment for service in the ‘45 but did
not distinguish himself, nor were his later
North American services, alluded to in the
inscription of this print, any more successful;
John Campbell, Second Duke of Argyll John
Duke of Argyll and Greenwich, [N.p., n.d. but
c.1750?], engraved by Johann Sebastian
Müller, after William Aikman, c.20 x 12cm, in
mount, Argyll claimed victory over the Jacobite
Earl of Mar at Sheriﬀmuir in 1715; Ruthven
Barrack Ruthven Castle, 1785, engraved by
Peter Mazell, after Charles Cordiner, 22 x
17cm, mounted: the plate calls the Barrack
‘Ruthven Castle’ and ‘Ruthven Ruins’, this title
being inscribed upon an ornate fragment of
masonry. Ruthven Barrack, Badenoch, was
built in 1719 as one of several such
fortiﬁcation to be ‘a curb upon the Highlands’.
It was besieged by the Jacobites in August
1745 and held by Sergeant Terence Molloy
and twelve men of the 6th Foot against some
300 attackers but was destroyed by the
Jacobites in 1746 (4)
£150-200
147
Smith, George - map of Carlisle
A map of the countries adjacent to
Carlisle shewing the route of the
rebels with their principal fords over
ye Rr. Eden. London, 1746,
c.21x27cm, hand-coloured, framed
and glazed
Note:
Smith’s map appeared in volume 16 of the
Gentleman’s Magazine in 1746, accompanied
by a letter describing the taking and
retaking of Carlise during 1745.
£100-200
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148
Battle of the Boyne interest Richard Talbot, 1st Earl of Tyrconnell
letters patent
Letters patent, c.47 x 68cm, from King James II
& VII granting Richard Talbot Earl of Tyrconnell
“to commission oﬃcers and men of horse and
foot in the defence of our Kingdom of Ireland”,
1688, manuscript and engraving on vellum,
lacking seal, large section lacking due to ﬁre
damage aﬀecting text and engravings
Note:
Richard Talbot, 1st Earl of Tyrconnell, 1630-14 August
1691, was an Irish royalist and Jacobite soldier. Upon
the accession of James II/VII, he was appointed
commander in chief of the forces in Ireland and
during his time as Lord Deptuty of Ireland (1687-88),
appointed Irish Catholics to high positions. As a
consequence, the Irish Catholic population largely
sided with James II during the ‘Glorious Revolution’. In
1689, James arrived in Dublin and was supplied by
Tyrconnel with a ready army. Despite this, King James
and Tyrconnel were defeated by William and Mary’s
Protestant forces in 1690 - a defeat often considered
to have turned the tides in William and Mary’s favour.
This letters patent is King James’ authorisation for
Talbot to appoint his army.
£700-900
149
Lockhart of Lee, of Carnwath (?1681-1731)
eldest son of Sir George Lockhart of Lee, of Carnwath (c.16301689), volume recording legal transactions, regarding a “tutor”
(the guardian and administrator of the estate of a pupil, for
George Lockhart (?1681-1731), eldest son of Sir George Lockhart
of Lee, of Carnwath, folio volume, 42pp., contemporary calf,
clasps, worn, cover detached, [1690-92]
Note:
On his father’s death, the young George needed a tutor (the guardian and
administrator of the estate of a pupil [a minor - girls under 12 or boys under
14]), and his uncle, Sir John Lockhart, Lord Castlehill of the Court of Session,
was appointed. The volume seems to record some of the subsequent legal
transactions.
150
Hogarth, William
The Gate of Calais (O the Roast Beef of Old England), engraved by
Hogarth and Charles Mosley, after Hogarth’s oil painting, London:
1749, ﬁrst state,
c.39 x 49cm, framed and glazed
Note:
Unlike most contemporary engravings, this print does not reproduce the
painting in reverse but shows the scene in the same way as the original. This
was necessary as it includes Hogarth himself, sketching the scene at the left,
and about to be arrested as a spy.
Packed with telling and wickedly observed anti-French and anti-clerical detail,
the scene famously shows a miserable Highland Jacobite in his French exile,
dressed in tartan and with a white cockade in his bonnet and black patches on
his forehead concealing wounds. He lolls disconsolately in the right foreground
accompanied by his meagre fare of an onion and a hunk of dry bread and with
an empty spirit measure.
This is the ﬁrst state of a print sold in 1749 at 5 shillings a copy. The plate was
subsequently reworked, and the print several times reissued: originals are,
however, not common.
£400-500
Lockhart, who was member for the shire of Edinburgh in the Parliament of
Scotland, was appointed a commissioner for arranging the union with
England in 1705. After the union he continued to represent Edinburgh and,
later, the Wigtown burghs. His sympathies were with the Jacobites, whom he
kept informed of all the negotiations for the union; in 1713 he took part in
an abortive movement aiming at the repeal of the union. Lockhart was the
source of intelligence revealing the extensive bribery of Scottish
parliamentarians prior to the Treaty of Union, giving rise to the famous
Robert Burns line: “bought and sold for English gold”. He published a list of
bribes paid by the English Treasury, and was deeply implicated in the rising
of 1715.
We would like to acknowledge the help of the National Records of Scotland
in cataloguing this lot.
£200-250
151
Contemporary account of the defence of Edinburgh,
1745, Manuscript letter
from Alexander Tait, stating “the alarm of the Highlanders still
continues.. we are beginning to put ourselves in a posture of
defence”, noting an unaccountable slowness to do this, “resolved
to put the walls in repair and plant cannon at the Gates”, noting
that “The Highlanders are said to be about 5000 strong but very
poorly armed, and many of them very despicable, they have
however behaved very civilly to the inhabitants of Perth”, noting
that Lord Ogilvie and the Duke of Perth have joined them, and
reporting the murder of Stewart of Glenbuckie, 1 page,
Edinburgh, 7 Sept, 1745; and a typed list of Relics purchased by
the clan Macpherson on 3rd May 1943, 4pp. (2)
£300-400
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John Campbell, the Equivalent Company
Letter from James Mathias [secretary of the Equivalent Company] to
John Campbell, regarding payments, written on one side of folded
notepaper with address and seal to verso, page dimension 23 x
19cm, dated London 10. September 1745 (note states that the letter
was answered on 17th September 1745)
Note:
Between 1745 and 1777, John Campbell was cashier for the Royal Bank of
Scotland, having started working with the bank at its foundation in 1703.
Campbell’s diary of the 1745 Jacobite uprising explains how he helped to protect
the bank following the Jacobite army’s entry into Edinburgh on 17th September
1745. Campbell orchestrated a payment from the bank to Charles Edward
Stuart, in spite of a lockdown in Edinburgh Castle where the bank’s gold was
kept. He destroyed a large number of the bank’s unissued notes to prevent
them becoming a liability in the turbulent climate.
It was on this day, 17th September, that Campbell replied to James Mathias’s
letter. In the letter sent to John Campbell, Mathias states that he has debited
Campbell’s account with the Equivalent Company, “...for the quarter annuity and
charge of management...” and asking that he remits the Company, “...as soon as
possible in the Royal Bank’s Bills as usual...payable to the Committee of Treasury
of the Equivalent Company.”
James Mathias was the London Secretary of the Equivalent Company at the time
and John Campbell, alongside his position at the Royal Bank of Scotland, was
also the Company’s Agent in Scotland. One of the ﬁrst customers of the Royal
Bank of Scotland, the Equivalent Company was set up to compensate Scotland
for taking a share in England’s national debt following the Union of Crowns. In
particular, losses suﬀered by the investors in the Darien Campaign were to be
compensated, and many joined the ‘Equivalent Society’.
This letter is an example of banking procedures between England and Scotland
taking place at the time of the 1745 Jacobite uprising.
£250-350
153
After Culloden - Hanoverian soldier’s
letter, May 1746
Letter written by a Pat.? Russell home to his
father [in London?], dated Darlinton [sic.], 15.
May 1746, 2pp. on one sheet of notepaper
c.21 x 23cm torn into 4 pieces, wax seal
Note:
This letter would appear to be a young man’s
description of riding south to London from Scotland.
He describes his progress from Edinburgh, crossing
the Tweed, through Morpeth, Newcastle and Durham
to Darlington, mainly concentrating upon where he
has spent the night and dined. A reference to
“Drink[ing] the Duke of Cumberlands health and our
Friends in Scotland” suggests that the author of the
letter had been engaged in ﬁghting Jacobite forces at
Culloden on 16th April. He also refers to England as
the “land of Canaan”.
£400-600
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154
Rebellion in Scotland Gentleman’s Magazine
Over 300pp. of articles and excerpts, mainly
from The Gentleman’s Magazine, chronicling the
1745 Jacobite Rebellion, inset into each leaf,
including the magazine’s Account of the Battle
of Culloden from volume xvi (1746) and A short
account of the trials of the Manchester rebels
from July 1746, also containing numerous
engravings: Earl of Kilmarnock aged 42; Lord
Balmerino aged 58; Manner of the execution;
Scotch pride humbled or the rebellion crushed
1745; Map of the counties adjacent to Carlisle
shewing the route of the rebels; William Duke
of Cumberland; and a miniature of George II;
battle plans of the Battles of Falkirk,
Gladsmuir, the Battle of Culloden House; a
few relevant manuscript notes, all neatly
presented in full morocco album with gilt lines
and raised bands on spine, marbled
endpapers, all edges gilt, 29.5x23.5cm
Note:
Armorial bookplate of John MacLachlan, appears to be
compiled from a Hanoverian perspective.
£300-400
155
The Stuarts
Some papers given in by the commissioners of the
Parliament of Scotland to the honourable houses
of the Parliament of England, in answer to their
votes of the 24. of September 1646. concerning
the disposing of his majesties person. Edinburgh
[i.e. London?]: Evan Tyler [Robert Bostock?], 1646.
Third impression, 8vo, false imprint, later half calf
[ESTC R201195]; Duke of Lorraine The Duke of
Lorraine’s letter to Her Majesty, containing a
description and character of the pretender...
London: J.Roberts, 1714. 8vo, modern red half calf
gilt [ESTC T128514]; [Lindsay, Colin], Earl of
Balcarres An account of the aﬀairs of Scotland
relating to the revolution in 1688. As sent to the
late King James II. when in France. Edinburgh:
Gideon Crawfurd, 1754. Second edition, 8vo,
modern boards [ESTC T81820] (3)
£150-200
156
Mackenzie, Sir George
Jus regium: or, the just and solid foundations of
monarchy in general; and more especially of the
monarchy of Scotland... London: R. Chiswel, 1684.
8vo, portrait, contemporary speckled calf, blindstamps, bookplate [ESTC R945]; [Atwood, William]
The superiority and direct domain of the imperial
crown of Scotland and the divine right of
succession to both crowns inseparable from the
civil... London: J. Hartley, 1704. 8vo, errata leaf
bound following text, contemporary panelled calf
rebacked with modern spine, bookplate of Los
Angeles Board of Law Library Trustees [ESTC
T99914]; Defoe, Daniel The history of the union
between England and Scotland to which is added
the articles of union, &c. Dublin: printed by John
Exshaw, 1799. 8vo, lacking half-title, contemporary
tree calf gilt, bookplate [ESTC T71935] (3)
£150-200
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157
Sir William Parkyns
The arraignment, tryal and condemnation of
Sir William Parkins Knt. for the most horrid
and barbarous conspiracy to assassinate his
most sacred Majesty King William... London:
Samuel Heyrick..., 1696. Small folio,
imprimatur on leaf [A]1v, some shaving to
page numbers [ESTC R11595]; Robert
Charnock, and others The tryals and
condemnation of Robert Charnock, Edward
King, and Thomas Keyes, for the horrid and
execrable conspiracy to assassinate His sacred
Majesty, K. William. London: Samuel Heyrick...,
1696. Small folio, imprimatur on leaf [A]1v ,
holes to ﬁnal leaf with some loss [ESTC
R4539]; modern quarter calf over blue boards,
some damp-staining and soiling
£200-300
158
Acts of Union
The act of security... [Edinburgh?], 1704. Small
4to, later half calf [ESTC T19164]; An inquiry
into the reasonableness and consequences of
an union with Scotland. London: Ben. Bragg,
1706. 8vo, contemporary calf rebacked with
modern spine, some dampstaining [ESTC
T88638]; Marshal, Ebenezer The history of
the union of Scotland and England...
Edinburgh/London: Peter Hill/ Longman &
Rees, 1799. 8vo, modern quarter calf [ESTC
T93850] (3)
£200-300
159
[Maiseaux, Pierre Des or Daniel Defoe
or Arthur Maynwaring]
A letter from a gentleman at the court of St.
Germaiins to one of his friends in England;
containing a memorial about methods for
setting the pretender on the throne of Great
Britain. London: 1710. 8vo, modern quarter
morocco, note to half-title verso in early hand:
“King James ye Third or the Pretend Prince of
Wales” [ESTC T66275]; Hooke, Colonel The
secret history of Colonel Hooke’s negotiations
in Scotland, in favour of the pretender.
London: T. Becket, 1860. 8vo, original boards
with paper label to spine [ESTC T71121] (2)
£100-150
160
John Erskine, 6th Earl of Marr
A journal of the Earl of Marr’s proceedings,
from his ﬁrst arrival in Scotland, to his
embarkation for France. London: J.Baker,
[1716?]. Second edition, 8vo, modern half calf,
[ESTC T69397 listing 8 copies in libraries in the
British Isles and 1 copy in a North American
library]; [Defoe, Daniel] A trumpet blown in
the north, and sounded in the ears of John
Erskine, call’d by men of the world, Duke of
Marr. By a ministering friend of the people
call’d Quakers. [Glasgow:] Henry Luke, 1715.
8vo, modern half calf, darkening to pages
[Rare: ESTC T177253 listing only one copy in a
library in the British Isles and another in a
North American library] (2)
£150-200
161
[Lockhart, George]
Memoirs concerning the aﬀairs of Scotland
from Queen Anne’s accession to the throne to
the commencement of the union of the two
Kingdoms of Scotland and England... London:
J. Baker, 1714. Second edition, 8vo [ESTC
T39119]; [bound with] A key to the memoirs of
the aﬀairs of Scotland. London, 1714. 8vo
[ESTC N72124]; contemporary calf rebacked
with modern spine; [Oldmixon, John]
Memoirs of North-Britain. London: J. Baker...,
1715. 8vo, contemporary panelled calf
rebacked with modern spine [ESTC T83144];
Ker, John The memoirs of John Ker of
Kersland in North Britain, Esq. London, 1726.
8vo, ﬁrst part of Ker’s memoirs, eighteenth
century mottled calf, bookplate, joints split (3)
£150-200
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Jacobite, Stuart & Scottish Applied Arts 87
162
Patten, Robert
The history of the rebellion in the year 1715.
London: James Roberts, 1745. Fourth edition,
8vo, repairs, later panelled calf, rebacked with
modern spine, spotting, some loss to text on
p.232 and ﬁnal leaf [ESTC T1958]; Boyse, S. An
impartial history of the late rebellion in 1745.
Reading: J. Robinson, 1748. 8vo, portrait, 2
maps (one folding), 2 plans, errata leaf,
contemporary half calf, rubbed, bookplate
[ESTC T83111, listing 9 copies of this variation]
(2)
£150-200
163
[Boyd, William, 4th Earl of Kilmarnock?]
The chronicle of Charles, the young man.
[Edinburgh: 1745?] 8vo, 8pp. tract published in
support of Charles Edward Stuart following the
Battle of Prestonpans, 19th or 20th century half
calf gilt [ESTC T116754, listing 12 copies in
libraries in the British Isles and 4 in North
American libraries]
£150-200
164
[Gordon, Thomas]
Four letters taken from the General Evening
Post, relating to the present rebellion...
[London:] 1745. 8vo, modern half calf [ESTC
T109436, listing 6 copies in libraries in the
British Isles and 2 copies in North American
libraries]
£200-300
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88 Lyon & Turnbull
165
Archibald Stewart
The trial of Archibald Stewart Esq... Edinburgh:
Gideon Crawfurd, 1747. 8vo, 2 parts in one
book, contemporary half calf, ownership
signature to title verso, several small tears
[ESTC T140658]; [Henderson, Andrew] A full
and authentic history of the rebellion
MDCCXLV. and MDCCXLVI. London: W. Reeve...,
[n.d. but 1755?] 12mo, contemporary calf,
rubbed [ESTC N7858]; Hooke, Colonel The
secret history of Colonel Hooke’s negotiations
in Scotland, in favour of the pretender; in
1707. London: T. Becket, 1760. 8vo,
contemporary calf, ownership signature to
endpaper [ESTC T71121] (3)
£200-250
168
[Henderson, Andrew]
The history of the rebellion, 1745 and 1746…
London: R. Griﬃths, 1748. Second edition,
reprinted from the Edinburgh edition, 8vo,
modern quarter morocco, a few tears [ESTC
N246]; The Maitland Club.The Cochrane
Correspondence regarding the aﬀairs of
Glasgow, M.DCC.XLV - VI. Glasgow, 1836.4to,
frontispiece, 5 leaves of facsimile letters and
signatures (2)
£150-250
166
Elphinstone, Arthur, 6th Baron
Balmerino, and others
True copies of the papers wrote by Arthur
Lord Balmerino [and others]. [London, 1746?]
8vo, modern half calf gilt [ESTC T51840];
[Idem] True copies of the papers wrote by
Arthur Lord Balmerino [and others]. London,
1746. 8vo, modern half calf, lacking pp.35-38
in second part [ESTC T51841]; [Griﬃths,
Ralph] Authentic copies of the letters and
other papers delivered, at their execution, by
the nine rebels... London: sold by the
publishers and pamphlet-sellers, [1746]. 8vo,
modern half calf gilt, hole to p.24 with slight
loss to letters; [Willison, John] A letter to an
English member of Parliament, from a
gentleman in Scotland... London: M. Cooper,
1746. 8vo, modern half calf gilt [ESTC T67599];
[Mansﬁeld, William, Earl of Murray] The
thistle... London: H. Carpenter, 1747. 8vo,
modern blue half calf [ESTC T50150] (5)
£200-250
169
Johnson, Samuel
A journey to the Western Islands of Scotland.
London: W. Strahan [&] T. Cadell, 1775. 8vo,
lacking errata leaf and part of quire A? [ESTC
T84319]; Boswell, James The journal of a tour
to the Hebrides with Samuel Johnson...
London: Charles Dilly, 1786. Third edition, 8vo,
half-title, advertisement leaf, contemporary
calf with gilt tooling to spine [ESTC T53587];
Anderson, John Prize essay on the state of
society and knowledge in the Highlands of
Scotland... Edinburgh: William Tait, 1827. 8vo,
inscribed on half-title: “To James Hope Esq.
from the Author”, advertisement leaves, bluegreen cloth Skene, William F. The
Highlanders of Scotland. London: John Murray,
1837. 2 volumes, 8vo, original boards (5)
£200-300
167
Charles Edward Stuart
[Anonymous] The wanderer: or, surprizing
escape. A narrative founded on true facts.
London: Jacob Robinson, 1747. 8vo, attractive
modern half calf gilt, some soiling, title-page
repaired [ESTC N66339 lists only 3 copies of
this variation of this work in libraries in the
British Isles and North America, the ESTC lists
6 variants altogether]
Provenance:
A trimmed ownership signature to the title-page
reads: ‘My Lady Douglas book’
Note:
A contemporary note to the title-page verso, possibly
by Lady Douglas, reads: “This pamphlet is ﬁlled with
many gross falsehoods in the relation of facts. To
those which consist with my own personal knowledge
I have aﬃxed on the margin this mark m”. Several
passages are accompanied by the ‘m’ mark, and many
of the omitted names in the text have been ﬁlled out
with the same hand. The work is a criticism of Ralph
Griﬃths’ descriptions of Charles Edward Stuart’s
actions in his Ascanius.
£200-300
170
Hogg, James
The Jacobite relics of Scotland...
Edinburgh/London: William Blackwood/T.
Cadell and W. Davies, 1819. First edition, 8vo,
ﬁrst series only, contemporary calf rebacked
with modern spine; [Idem] Another copy,
1874, 2 volumes, 8vo, portrait, ﬁnely bound in
contemporary calf with gilt tooling and red
morocco gilt labels to spine (2)
£180-220
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Jacobite, Stuart & Scottish Applied Arts 89
171
Charles Edward Stuart
An authentic account of the conduct of the young
chevalier. From his ﬁrst arrival in Paris, after his defeat at
Culloden, to the conclusion of the peace at Aix-la-Chapelle.
Londod [sic.]: Nutt, Dodd [&] Barnes, 1749. Second edition,
8vo, half-title [ESTC N43377 listing only one copy of this
printing in libraries in the British Isles and one in a
Canadian library]; [bound with] Burton, John A genuine
and true journal of the most miraculous escape of the
Young Chevalier... London: W. Webb, 1749. 8vo [ESTC
T40754]; [bound with] Pasquin and Marforio on the
peace... London: W. Webb, [1748]. Second edition, 8vo,
half-title [ESTC T43732]; contemporary calf rebacked
£300-400
172
Ray, James
A compleat history of the rebellion.
[York?], 1757. 12mo, portrait, map,
later blue quarter morocco gilt;
Ascanius Or, the young adventurer...
Edinburgh: J. Ogle..., 1812. 12mo,
hand-coloured frontispiece, folding
table and 3 hand-coloured plates,
contemporary dark red morocco (2)
£100-150
173
Scottish History Society
A list of persons concerned in the Rebellion.
Edinburgh: T. and A. Constable, 1890. 8vo,
original blue gilt stamped cloth; Seton, Sir
Bruce Gordon - Arnot, Jean Gordon The
prisoners of the ‘45, edited from the state
papers. Edinburgh: T. and A. Constable, 1928.
3 volumes, 8vo, original green gilt stamped
cloth, bookplate of Sir Norman Lamont in
volume 1 (4)
£150-200
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90 Lyon & Turnbull
174
Culloden House - auction catalogue 1897
Purchasers’ catalogue of the valuable contents of
Culloden House which were sold by auction for
Messrs A. Fraser & Co., Inverness, on Wednesday,
21st July, 1897, and following days, by R.J. Doglas,
Auctioneer, Forres. 4to, rebound in modern boards
with original tartan cloth gilt pasted to upper and
lower covers
£100-150
175
Lang, Andrew
Prince Charles Edward. Edinburgh: William
Brown, 1900. Folio, number 1384 of 1500
copies on ﬁne paper, colour portrait, 35
plates, red morocco with tooled gilt ‘CE’s and
thistle and rose motif to upper cover by
Riviere & Son, red morocco doublures with gilt
tooled roses, t.e.g., a little wear and fading;
Paton, James, editor Scottish history & life.
Glasgow: James Maclehose & Sons, 1902.
Folio, original blue cloth gilt (2)
£200-300
176
Lang, Andrew
Prince Charles Edward. Edinburgh: William
Brown, 1900. Folio, number 366 of 1500
copies on ﬁne paper, colour portrait, 35
plates, original paper covers, dust-jacket,
some spotting, soiling and tears to dust-jacket
£100-150
177
Norie, W. Drummond
The life and adventures of Prince Charles
Edward Stuart. London: Caxton Publishing
Company, [1900]. 4 volumes, 4to, number 211
of 850 copies, original blue cloth gilt,
bookplates, some wear; Culloden papers
Comprising an extensive and interesting
correspondence from the year 1625 to 1748...
London: T. Cadell and W. Davies, 1815. 4to,
portrait, additional title, contemporary half
morocco gilt (5)
£150-200
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Jacobite, Stuart & Scottish Applied Arts 91
178
Buchanan, William
A historical and genealogical essay upon the
family and surname of Buchanan. Glasgow:
printed by William Duncan, 1723. First edition,
small 4to, engraved plate torn with loss and
laid-down, pp.107-8 torn with some loss [ESTC
T154470]; Arnot, Hugo The history of
Edinburgh. Edinburgh/London: W. Creech/ J.
Murray, 1779. 4to, frontispiece, folding map of
Edinburgh, contemporary calf gilt with tooling
to spine and ‘XS’ with a crown in gilt to upper
cover, joints split [ESTC T142880]; Johnston,
T.B. - Robertson, James A. Historical
geography of the clans of Scotland. Edinburgh
and London: W. & A.K. Johnston, 1899. 4to,
loose linen-backed folding map, original red
cloth gilt; Kilgour, Wm. T. Lochaber in war
and peace. Paisley: Alexander Gardner, 1908.
8vo, modern quarter calf (4)
£200-250
179
Treaty of Union - Lizars, William Home
The signatures and seals of the English and
Scottish commissioners for the Treaty of
Union, signed 22 July 1706, facsimile engraved
by William Home Lizars, c.1815, and printed
subsequently Edinburgh: c.1825 (watermark
J. Whatman 1825), hand-coloured seals,
framed and glazed, c.52 x 65cm including
frame
Note:
This facsimile was intended for inclusion in the
Appendix to Acts of the Parliament of Scotland,
volume XI (Reign of Queen Anne), 1824. However,
most copies of the work are published without this
illustration. A small stock of the printed but unbound
sheets survived into the 1970s but is now dispersed.
The copperplate remains in the National Records of
Scotland. This example is untrimmed.
£150-200
END OF SALE
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Page 92
Conditions of Sale
SELLERS
1. DEFINITIONS
In these Conditions of Sale (Sellers):
“Auctioneer” means Lyon & Turnbull Ltd or its
authorised auctioneer, as appropriate;
“Buyer“ is the person who makes the highest possible
bid or offer accepted by the auctioneer, and/or such
person’s principal where bidding as agent;
“Buyer‘s Premium” is the commission payable by the
Buyer on the Hammer Price at the rates set out in the
Sale Catalogue Guide to Prospective Buyers and an
amount in respect of applicable VAT;
“Hammer Price” is the highest bid accepted by the
auctioneer by the fall of the hammer or in the case of a
post-auction sale, the agreed sale price;
“Item” means each and every item consigned for sale
following express written agreement between Lyon &
Turnbull and the Seller;
“Lot“ means each Item offered for sale by Lyon &
Turnbull;
“Lower Estimate” means the low estimate provided by
Lyon & Turnbull to the Seller in relation to each Item, or
in relation to any Item which Lyon & Turnbull holds on
behalf of the Seller;
“Lyon & Turnbull” means the company which has its
registered office at 33 Broughton Place, Edinburgh, EHI
3RR registered in Scotland No. 191166
“Net Sale Proceeds” are the Hammer Price, less
commissions and other charges, of the Lot sold, to the
extent received by Lyon & Turnbull in cleared funds;
“Proposed Sale” means the intended sale through which
the items will be sold on
“Purchase Price” is the Hammer Price and applicable
Buyer‘s Premium;
“Reserve” means the lowest price below which an item
cannot be sold;
“Upper Estimate” means the high estimate provided by
Lyon & Turnbull to the Seller in relation to each Item, or
in relation to any Item which Lyon & Turnbull holds on
behalf of the Seller;
“Terms of consignment” means the stipulated terms and
rates of commission on which the Auctioneer accepts
instructions from Sellers or their agents;
“You”, “Your” means the seller
“Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd
The singular includes the plural and vice versa as
appropriate.
2. WARRANTY OF TITLE AND AVAILABILITY
The Seller warrants:-
(a) that you are the true owner of the property
consigned or are properly authorised by the true owner
to consign it for sale and are able to transfer good and
marketable title to the property free from any third party
claims.
(b) that all requirements have been complied with, legal
or otherwise, relating to any export or import of the
property consigned, all duties and taxes in respect of
the export or import of the lot have (unless agreed in
writing with us) been paid and, so far as you and any
principal for whom they are acting in relation to the lot
are aware, all third parties have complied with such
requirements in the past.
(c) that you have provided Lyon & Turnbull with any
and all information concerning the item’s provenance
or any concerns expressed by third parties concerning
its ownership, condition, authenticity, attribution, and
export or import history; and
(d) Unless the Seller advises Lyon & Turnbull in writing
to the contrary on delivery of the item to Lyon &
Turnbull, there are no restrictions on Lyon & Turnbull
rights to reproduce photographs or other images of the
item in connection with the sale or any other marketing
which will be done in accordance with good taste and
decency.
3. PREPARATION FOR SALE
(a) Lyon & Turnbull shall decide the way in which a lot
may be included in the sale, how any lot is described
and illustrated in the catalogue or any report, and the
marketing, promotion, date, place and conduct of the
sale.
(b) Lyon & Turnbull will instruct, consult with, and rely
on, any outside experts or restorers, agents or other
third parties, and carry out such other due diligence,
inquiries, research or tests in relation to the property
or its provenance, either before the Proposed Sale as it
may deem appropriate in its reasonable discretion.
the period identified in paragraphs (a) above, Lyon &
Turnbull’s liability to compensate the Seller in respect of
that loss shall be restricted to a maximum of the upper
estimate, or actual loss incurred, whichever is lower.
This compensation will be subject to a deduction of a
1.5% loss & warranty fee (subject to VAT).
(d) The Seller acknowledges that attribution of Items is a
matter of opinion and not of fact, and is dependent
upon (amongst other things) information provided by
the Seller, the condition of the property, the degree of
research, examination or testing that is possible or
practical in the circumstances, and the status of
generally accepted expert opinion at the time of
cataloguing
(1) If an item is unsold it may, with your consent, be reoffered at a future sale. Where in our opinion an item is
not suitable for a future sale we may either request (a)
you collect such items from the saleroom promptly on
being so informed. We shall be entitled to charge you
for storage costs, charges shall be made at a reasonable
daily rate;or (b) suggest that the item be transferred to a
secondary saleroom for sale without reserve. All
transferred lots will be sold for the best price on the
day, this may not bear any reflection on the item’s
original estimate. Lyon & Turnbull are not liable for any
items (whether it be selling price or loss & damage)
when transferred.
(c) Any oral or written estimate or evaluation or report
provided by Lyon & Turnbull is a genuinely held
opinion only. It may not be relied on as a prediction of
the selling price or value of the Item, and may in Lyon &
Turnbull’s absolute discretion be revised from time to
time.
4. TERMS OF SALE
The Seller acknowledges that lots are sold subject to
these Conditions and on the Terms of Consignment as
notified to the consignor at the time of the entry of the
lot.
5. STANDARD SELLER FEES AND CHARGES
(Subject to VAT)
(1) Commission: 15% is charged on the selling price of
each lot, (subject to a minimum charge of £30). Loss and
damage warranty: 1.5% on value of lots sold.
Photography: min charge £30. Online Listing: £10 per
lot.
(2) Transport: Items for sale must be consigned to the
sale room by any stated deadline and at your expense.
We may be able to assist you with this process. When
organised on the Seller’s behalf the provision of
transport will be contracted to third parties. Fees for
transport will be deducted at the initial settlement.
(3) Illustrations: The cost of any illustrations will be
borne by the Seller , unless agreed otherwise prior. The
copyright in respect of such illustrations shall be the
property of us, the auctioneers, as is the text of the
catalogue.
6. RESERVES
(a) You are entitled to place, prior to the auction, a
reserve on any lot consigned, being the minimum
hammer price at which that lot may be sold. Reserves
must be reasonable and we may decline to offer goods
which in our opinion would be subject to an
unreasonably high reserve.
(b) Firm reserves may be no greater than lower pre-sale
estimate level.
(c) A reserve once set cannot be changed except with
our agreement.
(d) You may not bid or instruct or permit any other
person to bid on your behalf on your own property. If
the Seller breaches this prohibition, Lyon & Turnbull
may treat the Seller as bound as Seller and as Buyer
but without the benefit of Lyon & Turnbull
Authenticity Guarantee or the reserve, and/or pursue
other remedies.
(e) We may sell lots below the reserve provided we
account to you for the same sale proceeds as you would
have received had the reserve been the hammer price.
7. LOSS & DAMAGE WARRANTY
(a) Subject to condition 7(c) below Lyon & Turnbull will
assume liability for loss or damage to an item,
commencing at the time that item is taken into physical
control and possession by Lyon & Turnbull and ceasing
on the earliest date of;
(i) when risk passes to the Buyer of the lot following its
sale;
(ii) for unsold lots, when the lot is released to the Seller,
or, within 3 months of the sale;or
(iii) 6 months from the date of delivery to Lyon &
Turnbull for items still in the possession of Lyon &
Turnbull but not consigned for sale (unless part of a
long-term storage agreement).
(b) Lyon & Turnbull shall charge a loss and damage
warranty fee of 1.5% of the hammer price, plus VAT.
(c) If any loss or damage should occur to the lot during
8. UNSOLD ITEMS
(2) Aftersales: We reserve the right to accept an afterauction offer on a lot on behalf of the seller, at the
agreed reserve price or above, for up to 48 hours after
the original auction. In which case the same charges will
be payable as if such lots had been sold at auction and
so far as appropriate these Conditions apply.
9. LOT WITHDRAWAL
If a Seller wishes to withdraw a lot organised for sale, a
withdrawal fee will apply;
(a) if withdrawn over 28 working days prior to the sale,
this will be charged at 10% of the mid estimate along
with any ancillary charges incurred (such as
photography), all subject to VAT at the current rate.
(b) if withdrawn within 28 working days of the sale, this
will be charged at 20% of the mid estimate along with
any ancillary charges incurred (such as photography), all
subject to VAT at the current rate.
(c) Lyon & Turnbull may withdraw a lot from the
proposed sale without any liability if:
(i) Lyon & Turnbull reasonably believes that there is any
doubt as to the lot‘s authenticity or attribution; or
(ii) it reasonably doubts the accuracy of any of the
Seller’s warranties; or
(iii) the Seller breaches any provisions of the Conditions
of Sale in any material respect; or
(iv) the lot suffers from loss or damage so that it is not in
the state in which it was when Lyon & Turnbull took
delivery of it.
(d) if an item is withdrawn from sale under Condition
9(c) (i), or (iv), the Seller shall not be charged a
withdrawal fee and the item shall be returned to the
Seller or dealt with pursuant to Clause 8, as the Seller
decides.
10. AUTHORITY TO DEDUCT COMMISSION AND
EXPENSES AND RETAIN PREMIUM AND INTEREST.
The Seller authorises us to deduct commission at the
stated rate, and all expenses incurred for your account
from the hammer price, and consents to our right to
retain beneficially the premium paid by the Buyer in
accordance with these Conditions of Sale and any
interest earned on the sale proceeds until the date of
settlement.
11. NON-PAYMENT BY THE BUYER
(a) Lyon & Turnbull will, where it considers appropriate,
take reasonable steps to investigate the ability of
bidders to pay for lots and will use reasonable
endeavours, in consultation with the Seller, to enforce
payment of the Hammer Price by any Buyer.
(b) Lyon & Turnbull, in consultation with the Seller, will
decide whether to pursue any of the remedies available
to it, including those set out in Condition 10 of the
Condition of Sale (Buyers) including the right to cancel the
sale and return the property to the Seller. Lyon &
Turnbull will inform the Seller of any action which it
contemplates taking against the Buyer.
(c) lf the Seller elects to take action against any Buyer on
its own behalf Lyon & Turnbull will provide the Seller
with such assistance as may be reasonably necessary to
pursue that action.
(d) The Seller hereby agrees to inform Lyon & Turnbull
of any action which it chooses to take against the Buyer
Jacobite - pages 3:Layout 1
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15:16
to enforce payment of the amount due to the Seller.
(e) In the event that a Buyer fails to pay for a lot in
accordance with the Conditions of Sale for Buyers, that
lot will be treated in the same way as an unsold or
collected lot.
12. SETTLEMENT PAYMENTS
Subject to full payment by the Buyer, payment of the net
proceeds of sale due to you will be made over to you 28
working days following a sale. Provided we have received
cleared funds. Payment will be made by cheque or
BACS (if requested).
13. SALE BY PRIVATE TREATY
(a) The same Conditions of Sale (Sellers) shall apply to
sales by private treaty.
(b) Private treaty sales made under these Conditions are
deemed to be sales by auction and subject to our
agreed charges for Sellers and Buyers.
(c) Lyon & Turnbull undertakes to inform the Seller of
any offers it receives in relation to an item prior to any
Proposed Sale, excluding the normal method of
commission bids.
(d) For the purposes of a private treaty sale, if a lot is
sold in any other currency than Sterling, the exchange
rate is to be taken on the date of sale.
14. THIRD PARTY LIABILITY
All members of the public on our premises are there at
their own risk and must note the lay-out of the
accommodation and security arrangements. Accordingly
neither the auctioneer nor our employees or agents
shall incur liability for death or personal injury (except as
BUYERS
The Auctioneer carries on business with bidders, Buyers
and all those present in the auction room prior to, or in
connection with, a sale on the following General
Conditions and on such other terms, conditions and
notices as may be referred to herein..
1. DEFINITIONS
In these Conditions of Sale (Buyers):
"Auctioneer" means Lyon & Turnbull Ltd or its
authorised auctioneer, as appropriate;
"Hammer price" means the level of bidding reached (at
or above any reserve) when the Auctioneer brings down
the hammer;
"Lot" means each Item offered for sale by Lyon &
Turnbull;
"Purchase Price" is the Hammer Price and applicable
Buyer's Premium;
"Reserve" means the lowest price below which an item
cannot be sold;
"Total amount due" means the hammer price in respect
of the lot sold together with any premium, Value Added
Tax or other taxes chargeable and any additional
charges payable by a defaulting Buyer under these
Conditions;
“You”, “Your” means the Buyer
“Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd
The singular includes the plural and vice versa as
appropriate.
2. AGENCY
Lyon & Turnbull acts as agent solely for and in the
interests of the Seller. We do not act for Buyers in this
role and does not give advice to Buyers. When Lyon &
Turnbull make a statement about a lot it is doing so on
behalf of the Seller of the lot.
The Auctioneer normally acts as agent only and
disclaims any responsibility for default by Sellers or
Buyers.
3. BIDDING PROCEDURES AND THE BUYER
(a) Bidders are required to register their particulars
before bidding and to satisfy any security and credit
references or arrangements before entering the auction
room to view or bid;
(b) 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.
Page 93
required by law by reason of our negligence) or similarly
for the safety of the property of persons visiting prior to
or at a sale.
The Auctioneer normally acts as agent only and
disclaims any responsibility for default by Sellers or
Buyers.
(a) We shall have the right at our discretion, to refuse
admission to our premises or attendance at our
auctions by any person.
In connection with the management and operation of
our business and the marketing and supply of Lyon &
Turnbull’s services, or as required by law, we may ask
the Seller to provide personal information about
themselves or obtain information about the Seller from
third parties (e.g. credit information). Lyon & Turnbull
will not give out personal information except as may be
required by law.
15. GENERAL
(b) Any notice to any Buyer, Seller, bidder or viewer may
be given by email, or if not available then first class mail,
in which case it shall be deemed to have been received
by the addressee 48 hours after posting.
(c) Notices to Lyon & Turnbull should be in writing and
addressed to Nick Curnow at 33 Broughton Place,
Edinburgh EH1 3RR, quoting the reference number
specified at the beginning of the sale catalogue.
(d) Should any provision of these Conditions of Sale be
held unenforceable for any reason, the remaining
provisions shall remain in full force and effect.
(e) These Conditions of Sale are not assignable by either
party without the other’s prior written consent, but are
binding on the seller’s successor and representatives.
No act, omission or delay by Lyon & Turnbull shall be
deemed a waiver or release of any of its rights.
(f) The contract between the parties may be varied by
the parties by agreement and in writing.
16. AGENCY
Lyon & Turnbull acts as agent solely for and in the
interests of the Seller. We do not act for Buyers in this
role and does not give advice to Buyers. When Lyon &
Turnbull make a statement about a lot it is doing so on
behalf of the Seller of the lot.
(c) Once made, no bid may be withdrawn.
(d) Our right to bid on behalf of Sellers is expressly
reserved up to the amount of any reserve.
(e) The right to refuse any bid is also reserved.
(f) Commission Bids: While prospective Buyers are
strongly advised to attend the auction and are always
responsible for any decision to bid for a particular lot
and shall be assumed to have carefully inspected and
satisfied themselves as to its condition we shall, if so
instructed, clearly and in writing execute bids on their
behalf. Neither the Auctioneer nor our employees nor
agents shall be responsible for any failure to do so.
Where two or more commission bids at the same level
are recorded we reserve the right in our absolute
discretion to prefer the first bid so made.
(g) Telephone Bids: If a prospective Buyer makes
arrangements with us prior to the commencement of
the sale we will use reasonable efforts to contact them
to enable them to participate in bidding by telephone.
We do not accept liability for failure to do so or for
errors and omissions in connections.
(h) Online Bidding: We will use reasonable efforts to
carry out online bids and do not accept liability for
equipment failure, inability to access the internet or
software malfunctions related to execution of online
bids/ live bidding.
4. INCREMENTS
Bidding increments shall be at the Auctioneer's sole
discretion.
5. THE PURCHASE PRICE
For each lot purchased a Buyer's Premium of 25% is
payable on the first £50,000 of the hammer price, 20%
thereafter. VAT at the appropriate rate is charged on the
Buyer's Premium. No VAT is payable on the hammer
price or premium for printed books or unframed maps
bought at auction.
Live online bidding is subject to an additional 3%
premium (charged by the live bidding service provider
Invaluable). This additional premium is subject to VAT at
the appropriate rate as above.
6. VALUE ADDED TAX
Value Added Tax is charged at the appropriate rate
prevailing by law at the date of sale and is payable by
Buyers of relevant lots.
(1) Lots affixed with (†): Value Added Tax on the
hammer price is imposed by law on all items affixed with
17. DATA PROTECTION
If you would like further information on Lyon & Turnbull
policies on personal data, or to make corrections to
your information, please contact us on +44 (0)131 557
8844.
18. LAW AND JURISDICTION
(a) Governing Law: These Conditions of Sale and all
aspects of all matters, transactions or disputes to which
they relate or apply shall be governed by, and
interpreted in accordance with, Scots law
(b) Jurisdiction: The Seller agrees that the Courts of
Scotland are to have exclusive jurisdiction to settle all
disputes arising in connection with all aspects of all
matters or transactions to which these Conditions of
Sale relate or apply.
a dagger (†). This imposition of VAT maybe because the
Seller is registered for VAT within the European Union
and is not operating under a Margin Scheme.
(2) Lots affixed with (*): A reduced rate of Value Added
Tax on the hammer price of 5% is payable. This
indicates that a lot has been imported from outwith the
European Union. This reduced rate is applicable to
Antique items.
(3) Lots affixed with [Ω]: Standard rate of Value Added
Tax on the hammer price and premium is payable. This
applies to items that have been imported from outwith
the European Union and do not fall within the reduced
rate category outlined above.
7. DROIT de SUITE
This symbol § indicates works which may be subject to
the Droit de Suite or Artist's Resale Right, which took
effect in the United Kingdom on 14th February 2006.
We are required to collect a royalty payment for all
qualifying works of art. Under new legislation which
came into effect on 1st January 2012 this applies to
living artists and artists who have died in the last 70
years. This royalty will be charged to the Buyer on the
hammer price and in addition to the Buyer’s premium. It
will not apply to works where the hammer price is less
than €1,000 (euros). The charge for works of art sold at
and above €1,000 (euros) and below €50,000 (euros) is
4%. For items selling above €50,000 (euros), charges are
calculated on a sliding scale. All royalty charges are paid
to the Design and Artists Copyright Society (‘DACS’) and
no handling costs or additional fees are retained by the
auctioneer. Resale royalties are not subject to VAT.
Please note that the royalty payment is calculated on
the rate of exchange at the European Central Bank on
the date of the sale. More information on Droit de Suite
is available at www.dacs.org.uk.
8. PAYMENT
(1) Within 7 days of a lot being sold you will:
(a) Pay to us the total amount due in cash or by such
other method as is agreed by us. We accept cash, bank
transfer (details on request), debit cards and Visa or
MasterCard credit cards. We do not accept American
Express.
(b) Please note there is a surcharge of 2% when using
credit cards.
(c) Please note that under The Money Laundering
Regulations 2007 we cannot accept cash payments over
€15,000 (euros).
(2) Any payments by you to us may be applied by us
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towards any sums owing by you to us howsoever
incurred and without agreement by you or your agent,
whether express or implied..
9. TITLE AND COLLECTION OF PURCHASES
(1) The ownership of any lots purchased shall not pass
to you until you have made payment in full to us of the
total amount due.
(2) You shall at your own risk and expense take away any
lots that you have purchased and paid for not later than
7 working days following the day of the auction or upon
the clearance of any cheque used for payment
whichever is later. We can provide you with a list of
shippers. However, we will not be responsible for the
acts or omissions of carriers or packers whether or not
recommended by us.
(3) No purchase can be claimed or removed until it has
been paid for.
(4) It is the Buyer’s responsibility to ascertain collection
procedures, particularly if the sale is not being held at
our main sale room and the potential storage charges
for lots not collected by the appropriate time.
(5) Export of goods: Buyers intending to export goods
should ascertain (a) whether an export licence is
required and (b) whether there is any specific
prohibition on importing goods of that character, e.g.
items that may contain prohibited materials such as
ivory or rhino horn. It is the buyer’s sole responsibility
to obtain any relevant export or import licence. The
denial of any licence or any delay in obtaining licences
shall neither justify the recession of any sale not any
delay in making full payment for the lot.
10. REMEDIES FOR NON·PAYMENT OR FAILURE TO
COLLECT PURCHASES
(1) If any lot is not paid for in full and taken away in
accordance with these Conditions or if there is any
other breach of these Conditions, we, as agent for the
Sellers and on their behalf, shall at our absolute
discretion and without prejudice to any other rights we
may have, be entitled to exercise one or more of the
following rights and remedies:
(a) to proceed against you for damages for breach of
contract;
(b) to rescind the contract for sale of that lot and/or any
other lots sold by us to you;
(c) to resell the lot (by auction or private treaty) in which
case you shall be responsible for any resulting deficiency
in the total amount due (after crediting any part
payment and adding any resale costs).
(d) to remove, store and insure the lot in the case of
storage, either at our premises or elsewhere and to
recover from you all costs incurred in respect thereof;
(e) to charge interest at a rate not exceeding 1.5% per
month above the current base rate on all sums
outstanding for more than 7 working days after the sale;
(f) to retain that or any other lot sold to you until you
pay the total amount due;
(g) to reject or ignore bids from you or your agent at
future auctions or to impose conditions before any such
bids shall be accepted;
(h) to apply any proceeds of sale of other lots due or
which become due to you towards the settlement of the
total amount due by you and to exercise a lien over any
of your property in our possession for any purpose until
the debt due is satisfied.satisfied.
11. DESCRIPTIONS AND CONDITION
(1) Whilst we seek to describe lots accurately, it may be
impractical for us to carry out exhaustive due diligence
on each lot. Prospective Buyers are given ample
opportunities to view and inspect before any sale and
they (and any independent experts on their behalf) must
satisfy themselves as to the accuracy of any description
applied to a lot. Prospective Buyers also bid on the
understanding that, inevitably, representations or
statements by us as to authorship, genuineness, origin,
date, age, provenance, condition or estimated selling
price involve matters of opinion. We undertake that any
such opinion shall be honestly and reasonably held and
only accept liability for opinions given negligently or
fraudulently. Subject to the foregoing neither we the
auctioneer or our employees or agents accept liability
for the correctness of such opinions and no warranties,
whether relating to description, condition or quality of
lots, express, implied or statutory, are given. Please note
that photographs/images provided may not be fully
representative of the condition of the lot and should not
be relied upon as indicative of the overall condition of
the lot.
Page 94
(2) Condition reports: Condition reports are provided
on our website or upon request. The absence of a
report does not imply that a lot is without imperfections.
Large numbers of such requests are received shortly
before each sale and department specialists and
administration will endeavor to respond to all requests
although we offer no guarantee. Any statement in
relation to the lot is merely an expression of opinion of
the Seller or Lyon & Turnbull and should not be relied
upon as an inducement to bid on the lot. Lots are
available for inspection prior to the sale and you are
strongly advised to examine any lot in which you are
interested prior to the sale. Our condition reports are
not prepared by professional conservators, restorers or
engineers. Our condition report does not form any
contract between Lyon & Turnbull and the Buyer. The
Condition Reports do not affect the Seller’s obligations
in any way.
(3) Estimates: Estimates are placed on each lot to help
Buyers gauge the sums involved for the purchase of a
particular lot. Estimates do not include the Buyer’s
Premium or VAT. Estimates are a matter of opinion and
prepared in advance. Estimates may be subject to
change and are for guidance only and should not be
relied upon.
14. SALE BY PRIVATE TREATY
(a) The same Conditions of Sale (Buyers) shall apply to
sales by private treaty.
(b) Private treaty sales made under these Conditions are
deemed to be sales by auction and subject to our
agreed charges for Sellers and Buyers.
(c) Lyon & Turnbull undertakes to inform the Seller of
any offers it receives in relation to an item prior to any
Proposed Sale, excluding the normal method of
commission bids.
(d) For the purposes of a private treaty sale, if a lot is
sold in any other currency than Sterling, the exchange
rate is to be taken on the date of sale.
15. THIRD PARTY LIABILITY
All members of the public on our premises are there at
their own risk and must note the lay-out of the
accommodation, safety and security arrangements.
Accordingly, neither the Auctioneer nor our employees
or agents shall incur liability for death or personal injury
or similarly for the safety of the property of persons
visiting prior to, during or after a sale.
16. GENERAL
(4) Catalogue Alterations: Lot descriptions and
estimates are prepared in advance of the sale and may
be subject to change. Any alterations will be announced
on the catalogue alteration sheet, made available prior
to the sale. It is the responsibility of the Buyer to make
themselves aware to any alterations which may have
occurred.
(a) We shall have the right at our discretion, to refuse
admission to our premises or attendance at our
auctions by any person.
(6) Upholstered items: are sold as “works of art” only
and if bought for use must be checked over for
compliance with current safety regulation. Use of such
goods is entirely at the risk of the Buyer and no
warranties as to safety of the goods are given. Lyon &
Turnbull provide no guarantee as to the originality of
any wood/material contained within the item.
(d) Should any provision of these Conditions of Sale be
held unenforceable for any reason, the remaining
provisions shall remain in full force and effect.
(5) Electrical Goods: are sold as “works of art” only and
if bought for use must be checked over for compliance
with safety regulations by a qualified electrician first. Use
of such goods is entirely at the risk of the Buyer and no
warranties as to safety of the goods are given.
(7) Special terms may be used in catalogue descriptions
of particular classes of items (Books, Jewellery, Paintings,
Guns, Firearms etc.) in which case the descriptions must
be interpreted in accordance with any glossary
appearing in the catalogue. These notices and terms will
also form part of our terms and conditions of sales.
12. BOOKS, CLOCKS & WATCHES
(1) Books-Collation: If on collation any NAMED item in
the sale catalogue proves defective, in text or illustration
the Buyer may reject the lot provided he returns it
within 21 days of the sale stating the defect in writing.
This, however, shall not apply in the case of unnamed
items, periodicals, autographed letters, music M.M.S.,
maps, drawings NOR in respect of damage to bindings,
stains, foxing, marginal worm holes or other defects not
affecting the completeness of the text NOR in respect of
Defects mentioned in the catalogue, or at the time of
sale, NOR in respect of lots sold for less than £300.
(2) Clocks & Watches: All lots are sold “as seen”, and
the absence of any reference to the condition of a clock
or watch does not imply the lot is in good condition and
without defects, repairs or restorations. Most clocks and
watches will have been repaired during their normal
lifetime and may now incorporate additional/newer
parts. Furthermore, Lyon & Turnbull makes no
representation or warranty that any clock or watch is in
working order. As clocks and watches often contain fine
and complex mechanisms, Buyers should be aware that
a general service, change of battery or further repair
work, for which the Buyer is solely responsible, may be
necessary. Buyers should also be aware that Lyon &
Turnbull cannot guarantee a watch will remain
waterproof if the back is removed. Buyers should be
aware that the importing watches such as Rolex, Frank
Muller and Corum into the United States is highly
restricted. These watches cannot be shipped to the USA
and only imported personally.
13. CITES
Please be aware that all lots marked with the symbol Y
are subject to CITES regulations when exporting these
items outside the EU. These regulations may be found
at http://www.defra.gov.uk/ahvla-en/ importsexports/cites/
Lyon & Turnbull accepts no liability for any lots which
may be subject to CITES but have not be identified as
such.
(b) Any notice to any Buyer, Seller, bidder or viewer may
be given by email if not available then first class mail in
which case it shall be deemed to have been received by
the addressee 48 hours after posting.
(c) Notices to Lyon & Turnbull should be in writing and
addressed to Nick Curnow at 33 Broughton Place,
Edinburgh EH1 3RR, quoting the reference number
specified at the beginning of the sale catalogue.
(e) These Conditions of Sale are not assignable by either
party without the other's prior written consent. No act,
omission or delay by Lyon & Turnbull shall be deemed a
waiver or release of any of its rights.
(f) The contract between the parties may be varied by
the parties by agreement and in writing.
17. DATA PROTECTION
In connection with the management and operation of
our business and the marketing and supply of Lyon &
Turnbull's services, or as required by law, we may ask
the Buyer to provide personal information about
themselves or obtain information about the Buyer from
third parties (e.g. credit information). Lyon & Turnbull
will not give out personal information except as may be
required by law.
If you would like further information on Lyon & Turnbull
policies on personal data, or to make corrections to
your information, please contact us on
+44 (0)131 557 8844..
The Buyer hereby agrees to the release by Lyon &
Turnbull of the Buyer’s name and contact details to the
seller or the seller’s solicitor in the event of any dispute
between Lyon & Turnbull and the Buyer and/or Lyon &
Turnbull and the Seller. Lyon & Turnbull will give prior
written notice of the release of any such details to the
Seller of the Seller’s solicitor.
18. FORCE MA JEURE
Lyon & Turnbull shall be under no liability if they shall be
unable to carry out any provision of the Contract of Sale
for any reason beyond their control including (without
limiting the foregoing) an act of God, legislation, war, fire,
flood, drought, failure of power supply, lock-out, strike or
other action taken by employees in contemplation or
furtherance of a dispute or owing to any inability to
procure materials required for the performance of the
contract.
19. LAW AND JURISDICTION
(a) Governing Law: These Conditions of Sale and all
aspects of all matters, transactions or disputes to which
they relate or apply shall be governed by, and
interpreted in accordance with, Scots law
(b) Jurisdiction: The 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.
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Page 95
Guide to Bidding & Payment
Registration
All potential buyers must register prior
to placing a bid. Registration
information may be submitted in person
at our registration desk, by email, by fax
or on our website. Please note that all
first time bidders at Lyon & Turnbull will
be asked to supply the following
documents in order to facilitate
registration:
1 – Government issued photo ID
(Passport/ Driving licence)
2 – Proof of address (utility bill/ bank
statement).
We may, at our option, also ask you to
provide a bank reference and/ or
deposit.
By registering for the sale, the buyer
acknowledges that he or she has read,
understood and accepted our
Conditions of Sale.
Bidding
At the Sale Registered bidders will be
assigned a bidder number and given a
paddle for use at the sale. Once the first
bid has been placed, the auctioneer asks
for higher bids in increments
determined by the auctioneer. To place
your bid, simply raise your paddle until
the auctioneer acknowledges you.
Please ensure that the auctioneer
repeats your bidder number correctly
when confirming the sale. If there is any
doubt at this stage as to the hammer
price or buyer it must be brought to the
auctioneer’s attention immediately. All
lots will be invoiced to the name and
address given on your registration form,
which is non-transferable.
By phone A limited number of
telephone lines are available for bidding
by phone through a Lyon & Turnbull
representative. Phone lines must be
reserved in advance. All bid requests
must be received an hour before the
sale. All telephone bids must be
confirmed in writing, listing the relevant
lots and appropriate number to be
called. We recommend that a covering
bid is also left in the event that we are
unable to make the call. We cannot
guarantee that lines will be available, or
that we will be able to call you on the
day, but will endeavor to undertake such
bids to the best of our abilities. This
service is available entirely at our
discretion and at the bidder’s risk.
In writing Bid forms are available at the
sale and/or the back of the catalogue.
These should be submitted in person, by
post, or by fax as soon as possible prior
to the sale and we will bid on your
behalf up to the limit indicated. In the
event of receiving two identical bids the
first one received will take precedence.
All bids must be received an hour before
the sale. This service is entirely at the
bidder’s risk.
On the internet A fully-illustrated
catalogue is available on our website.
Registered bidders may leave absentee
bids through the website and will
receive email confirmation of their bid.
Live online bidding (powered by
Invaluable) is also available, accessible
either through our website or at
www.invaluable.com. Please note that
an additional 3% premium is charged by
Invaluable for this live online service.
Payment
Payment is due within seven (7) days of
the sale. Lots purchased will not be
released until full payment has been
received. Payment may be made by the
following methods:
Bank Transfer Account details are
included on any invoices we issue or
upon request from our accounts
department.
Credit or Debit Cards Payment can be
made by Visa Debit, Maestro,
Mastercard or Visa Credit cards. Please
note there is a 2% surcharge on credit
card payments and we do not accept
Amex.
Online Card Payments We no longer
accept card payments by phone. Please
use our online payment service
(provided by Cardstream/Credorax. You
will find a link to this service in any email
invoice issued or you can visit the
payments section of our website.
Cheque Cheques should be made
payable to Lyon and Turnbull Ltd. We
reserve the right to wait until cheques
have been cleared by our bankers
before releasing bought goods. Cheques
can be cleared prior to sale on request.
Cheques drawn by third parties cannot
be accepted. If paying by post please
include the slip from your invoice.
Cash Cash payments can be made at
the accounts desk during or after a sale.
Cash payments limited to €15,000
(euros).
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Page 96
Collection & Shipping
Transport & Couriers
Please note that we do not pack or ship items. The following suggested carriers will
be able to arrange packing and shipping; please contact them directly to receive a
quote. You may wish to contact an alternative courier.
Local Deliveries
A&S Pert Removals
Tel. +44 (0)7876 343520.
New Leaf Removals
Tel: +44 (0)7999 926261
[email protected]
Thistle Removals
Tel: +44 (0)7836 774712
[email protected]
Smaller Items &
Pictures
Mailboxes Etc
44/46 Morningside Road
Edinburgh EH10 4BF
Tel: +44 (0)131 556 6226
Fax: +44 (0)131 652 3673
[email protected]
Book online at
www.mbe.co.uk/the_auction_room
Furniture & Larger Items
Constantine
Fine Art Logistics
Constantine House
North Caldeen Road
Coatbridge
North Lanarkshire ML5 4EF
Tel: +44(0)1236 750055
Fax: +44(0)1236 750077
[email protected]
A Van Man Transport
Unit 5, Benridge Park
Holyrood Close, Creekmoor
Poole, Dorset BH17 7BD
Tel: +44 (0)1202 600 012
Fax: +44 (0)1202 600 206
[email protected]
Aardvark Art Services Ltd
Birks Farm, Ballam Road
Lytham, Lancashire FY8 4NL
Tel: +44 (0)1253 794673
Fax: +44 (0)1253 730580
[email protected]
© Lyon & Turnbull Ltd. 2015. All rights reserved. No part of this
publication may be reproduced, stored in a retrieval system or
transmitted by any form or by any means without the prior
written permission of Lyon & Turnbull Ltd.
Arrangements for Sold Lots
All bought items will be held free of
charge for 7 days following the sale..
Thereafter lots will be removed to
storage and a charge incurred.
Administration fee:
£20 + VAT
Storage charges per lot per day are:
Large Items
£5 inc. insurance + VAT
Small Items
£2.50 inc. insurance + VAT
It is the buyer’s responsibility to
ascertain collection procedures,
particularly if the sale is not being held
at our main saleroom.
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LYON & TURNBULL AUCTIONEERS EDINBURGH
JACOBITE, STUART & SCOTTISH APPLIED ARTS
182 Bath Street, Glasgow G2 4HG
Tel. +44 (0)141 333 1992
Fax. +44 (0)141 332 8240
78 Pall Mall, London SW1Y 5ES
Tel. +44 (0)20 7930 9115
Fax. +44 (0)141 7930 7274
13TH MAY, 2015
33 Broughton Place, Edinburgh EH1 3RR
Tel. +44 (0)131 557 8844
Fax. +44 (0)131 557 8668
Email. [email protected]
www.lyonandturnbull.com
Wednesday, 13th May, 2015
33 Broughton Place
Edinburgh EH1 3RR
Jacobite, Stuart &
Scottish Applied Arts