A few examples of appraisal values for
DUMFRIES

• WHITE MARBLE BUST OF A GENTLEMAN,
  WHITE MARBLE BUST OF A GENTLEMAN, JOHN KIRK (SCOTTISH B.1832) DATED 1850 depicted in the classical style, the back inscribed 'John Kirk Sculp, 1850', with an associated socle82cm high, 45cm wide, 25cm deepNote: "John Kirk of Dumfries (Scottish b.1832) joined the Royal Academy Schools in 1847... He exhibited at the Royal Academy, 1847-1854, and at the British Institution, 1849-1854, showing busts etc." - Gunnis, R. Dictionary of British Sculptors 1660-1851, The Abbey Library, London, p.230
• JOHN FAED R.S.A. (SCOTTISH
  JOHN FAED R.S.A. (SCOTTISH 1819-1902) 'LOOK AFTER THE PENNIES' Signed, oil on canvas61cm x 76cm (24in x 30in)Provenance: Private collection, ScotlandNote: John Faed was born near Gatehouse of Fleet, Kirkcudbrightshire. Artistic talent emerged early and between the ages of 11 and 12 he worked as an itinerant miniature painter fulfilling portrait commissions for Galloway aristocracy. In his late teens Faed moved to Edinburgh to study at the Trustees Academy, and was soon regularly exhibiting portraits and historical and genre scenes at the Royal Scottish Academy. Many of his compositions derived from the works of William Shakespeare, as well as Walter Scott and Robert Burns; more still depict characters and scenes inspired by his native Dumfries and Galloway. Look After the Pennies is set within a humble domestic interior, and demonstrates Faed’s exquisite handling of light and shade to articulate form: delightful details such as the soft light on the boy’s green woollen beret, the older woman’s hands, and the dust on the well-used spinning wheel exemplify his mastery.Faed’s paintings proved immensely popular to a Victorian audience in Britain, and he also had a significant following in the United States, in acknowledgment of which he painted an important posthumous equestrian portrait of George Washington (1856). Faed’s siblings James (1821-1911), Thomas (1826–1900) and Susan (1827–1909) were also successful artists.
• Miles Birket Foster (British,
  Miles Birket Foster (British, 1825-1889) Caerlaverock Castle, Dumfriesshire watercolor on paper signed with monogram (lower left) 5 1/2 x 3 3/4 inches.
• SCOTTISH FLINTLOCK FOWLER BY
  SCOTTISH FLINTLOCK FOWLER BY HAUGH OF DUMFRIES, CA. 181...A beautiful flintlock fowler in 12 gauge, by the Scottish gun maker Haugh of Dumfries, and so marked on the lockplate, as well as in a gold cartouche on the breech. The barrel is Damascus, and the mounts are beautifully engraved steel, with a pineapple finial on the trigger guard, and motifs that include hounds, a St. Andrew’s cross, a partridge, and other sporting motifs. The ramrod is wooden, mounted on a steel rib. There is beautifully executed checkering on the wrist. The gold includes a line on the breech, the maker’s cartouche, and the touch hole surround. The gun is extraordinarily light, and the workmanship is clean and elegant. Dimensions: The gun is 53.5 inches long overall, and the barrel is 38 inches. Processing and Shipping within the continental U.S. $105.00 plus 1.5% replacement cost insurance. Condition: Excellent condition, with almost all of its original brown finish. The gold is completely intact, so I suspect that the gun was seldom fired. The stock has a few minor surface scratches, but appears to retain its original varnish. Witherell's strives to provide as much information and photographs as possible but encourages in-person inspection by bidders. Condition: statements are only for general guidance and should not be relied upon as complete statements of fact and do not constitute a representation, warranty or assumption of liability by Witherell's. All lots are sold "AS IS" under terms and conditions.
• FIVE PIECES NATCHEZ COIN SILVER
  FIVE PIECES NATCHEZ COIN SILVER FLATWAREMississippi, mid 19th century, including tablespoon, fiddle handle, marks for George Macpherson (working 1843-1871); serving spoon, fiddle handle, marks for Samuel Cockrell (Dumfries, Virginia, before 1838; St. Francisville, Louisiana, c. 1838 and Natchez, Mississippi, working 1838-1893); three pieces with marks for Thomas Chester Coit (Norwich, Connecticut, c. 1811-1819; Natchez, Mississippi 1820-1832 and New York, NY 1833-c. 1840) including pair salt spoons and sauce ladle, most with monograms, 4.09 oz. T., 4-1/8 in. to 9 in. Provenance: Private Property from a New Orleans Collection Condition: some small dents in bowl, one salt with pitting on edge, all with light scratches and small dents
• THREE FRAMED PIECES TO INCLUDE
  THREE FRAMED PIECES TO INCLUDE SIX VIEWS OF SCOTLAND: P...Three framed pieces to include Six Views of Scotland: Pitlochry, Dumfries, Banchory, Kirkcudbright, Falkirk, gelatin silver, framed together, early 20th century, overall 20" x 19"; Lorenzo Homar (Puerto Rican, 1913 - 2004), Unicornio, lithograph on paper, signed and editioned in pencil lower center "Homer 64/65 artist proof", 58 1/4" x 30 3/4"; along with Thomas Mower Martin (American, 1883 - 1934), titled "B", 1979, graphite on paper; signed and titled in pencil lower right "B." Tom Martin", 29 1/2" x 41 1/2". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• PAIR OF GEORGE III MAHOGANY,
  PAIR OF GEORGE III MAHOGANY, SATINWOOD, FRUITWOOD AND PENWORK CARD TABLES LATE 18TH CENTURY the crossbanded demilune tops decorated sunflower motifs within flower head and ribbon borders, opening to green baize playing surfaces, above friezes outlined with corresponding banded decoration and raised on square tapered legs ending in block feet(2)107cm wide, 72cm high, 52cm deep [closed]Provenance: Paxton House, Berwickshire, and thence by family descent to the present vendorNote: Paxton House was built by Patrick Home between 1759 and 1763, most likely to designs by John and James Adam. When Patrick Home succeeded to the Wedderburn estates in 1766, Paxton was sold to his cousin Ninian Home who undertook completing the interiors. Between 1774 and 1791, Thomas Chippendale and his son were commissioned to furnish the house. With Ninian Home spending most of his time on his plantation in the West Indies, there doesn’t seem to have been any rush to complete the job, with things proceeding at a leisurely pace after the initial phase commenced in 1774. In a letter of instruction to Thomas Chippendale, Ninian requests furniture that is ‘done in a neat but not an expensive manner’. The furniture supplied was generally speaking true to that direction and of a simple and practical nature, unlike the other great Chippendale commission, the grander Dumfries House, to which Paxton is often compared.Paxton now ranks as a major documented Chippendale house. Letters between patron and cabinet-maker cover a span of at least fifteen years. The archive of correspondence between Ninian Home and Haig and Chippendale is an invaluable aid in demonstrating the level of involvement between client and furniture maker, and the extant invoices supplied by Haig and Chippendale offer a rare insight into the costs of such a commission. Since Paxton and Wedderburn have remained in the same family, the Chippendale furniture was left largely in situ, although over the years there has been some interchange of furniture between houses and family members.This pair of satinwood tables were at one time attributed to Thomas Chippendale and displayed for many years at Paxton as such. Research into the archives has now determined they cannot be accredited to Chippendale, but were made by another, unknown maker, however no bills from other cabinet-makers are known to exist in the archive.
• A Scottish provincial silver
  A Scottish provincial silver toddy ladle, Joseph W Hinchliffe of Dumfries, marks for Glasgow 1825, crested
• A mahogany mantel timepiece of
  A mahogany mantel timepiece of drumhead form, the 8 inch white painted dial signed R McAdam, Dumfries with subsidiary seconds. the single-train fusee movement with substantial lever platform, the case with floral carved decoration
• TWELVE VIRGINIA BANKNOTES, TWO
  TWELVE VIRGINIA BANKNOTES, TWO ANTEBELLUM AND TEN WAR-DATE To include: Bank of Virginia $5 (1854); Exchange Bank of Virginia $100; County of Augusta 50¢ (1862) (two notes); Promissory Note Dumfries, VA, 50¢ (1861); City of Lynchburg 60¢, 75¢, 90¢ (all 1862); Bank of the Old Dominion $2 (1862); City of Portsmouth, $1 (1861); Bank of Rockingham $1 (1862); Surry County $1 (1862).
• A GEORGE III MAHOGANY SUPPER TABLE,
  A GEORGE III MAHOGANY SUPPER TABLE, IN THE MANNER OF THOMAS CHIPPENDALE the rectangular top with drop-flaps, above a single frieze drawer, and a shelf beneath, encompassed by a wire mesh surround, on block legs and castors, 75cm high x 62cm wide (flaps down) x 65cm deep A similar table is recorded to have been supplied by Chippendale to Dumfries House. Invoiced on 5 May 1759 - “A mahog: breakfast table of fine wood wt. a Writing drawer and wirework round and castors etc. £6-8”.
• Scottish School, 19th
  Scottish School, 19th Century/Portrait of William Baillie 1768-1855/Sheriff of Dumfries/three-quarter length, wearing a black coat/oil on canvas, 91.25cm x 61.5cm/Provenance:-purchased lot 398 Chorley's January 2013
• Sir John Watson Gordon PRSA RA
  Sir John Watson Gordon PRSA RA (1788-1864)/Portraits of Thomas Loughnan Veitch and Elizabeth Veitch/three-quarter length/oil on canvas, 99.5cm x 126cm /Note: Thomas Loughman Veitch and his sister Elizabeth were painted along with their siblings at the family home at Eliock, Dumfriesshire. Provenance: Christie's Edinburgh May 1993/see illustration
• SCOTTISH GEORGE III 'DUMFRIES
  SCOTTISH GEORGE III 'DUMFRIES HOUSE' TYPE MAHOGANY CHEST OF DRAWERS 18TH CENTURY with three short over three long graduated drawers, on ogee bracket feet124cm wide, 101cm high, 58cm deep
• LARGE SCRATCH-BUILT DOLL'S HOUSE
  LARGE SCRATCH-BUILT DOLL'S HOUSE AND ACCESSORIES 20TH CENTURY modelled as a double bay Georgian country house with a 'slate' hip roof and double chimney stacks, the hinged front opening to six rooms, the hinged back opening to five further rooms, fitted with accessories including items by David Edwards, Beith Miniatures, Kim Selwood, Mike Sparrow, and St. Leger Miniatures; on a modern table120cm x 95cm x 84cm; table 139cm x 74cm x 118cmProvenance: The Late Dorothy Margaret HillNote: Dorothy Hill was artistic and creative with an eye for design, and in her later life she developed a passion for all things miniature. Fellow enthusiast and friend, Jane Murray Flutter, the daughter of the late author, Rumer Godden, owned this house. It was modelled on the family home, Ardnacloich, Moniaive, Dumfriesshire. When Jane moved from Ardnacloich, Dorothy was thrilled to acquire the doll's house, and derived much pleasure in decorating and furnishing it.
• A COLLECTION OF FIDDLE PATTERN
  A COLLECTION OF FIDDLE PATTERN FLATWARE various makers and dates, primarily London, to include five tablespoons, three table forks, four dessert spoons, four dessert forks, a sauce ladle and a collection of teaspoons; together with a Scottish provincial serving spoon, David Gray, Dumfries, marked unicorn, anchor, *, unicorn, anchor, DG(qty)Combined weight: 41.9oz
• 19TH CENTURY ROBERT MCADAM
  19TH CENTURY ROBERT MCADAM ENGLISH LONGCASE CLOCK: Bonnet features broken arch pediment full column turned supports. Oak case with walnut accent wood. Hand painted face with hunt scene motif signed Rob. McAdam Dumfries. Time and strike movement. 86'' h. x 21 1/2'' x 9 3/4''.CONDITION: Note replaced back panel smudging and fading to paint on face.
• Manner of Giovanni Antonio Canal
  Manner of Giovanni Antonio Canal called Canaletto Venice a View of the Bacino Di St Marco with the Bucintoro Returning to the Molo on Acscension Day oil on canvas 93.75cm x 150cm (36.75" x 59") Provenance: from the estate of Col. C.L.Spencer CBE of Warmanbie Annan Dumfriesshire by descent to vendor Note: The composition is based on Canaletto's original work formerly in the collection of Sir Robert Walpole 10 Downing Street London. Sold Paris 1993 Lot 13Note: This picture could be by the copyist formally known as William James In the past many such paintings have been ascribed to James without any real roof other than the style of painting James is known to have helped Canaletto in London in the mid 18th Century but nothing else is known about him and none of the works previously ascribed were signed or had any documentary evidence of authorship.