A few examples of appraisal values for
EDINBURGH THISTLE

• EDINBURGH SCOTLAND CRYSTAL
  EDINBURGH SCOTLAND CRYSTAL THISTLE DECANTERCrystal decanter and stopper with hollow thistle form, engraved thistles above a band of diamond and slice cuts, unmarked. Measures approximately 7-3/4" high, and 2-3/4" in diameter to the base.
• An Elizabeth II Scottish silver
  An Elizabeth II Scottish silver circular brooch modelled and engraved with thistles and set with two cairngorms 1.5ins diameter Glasgow 1953 by W.B. and a similar silvery metal ditto
• Belleek. Aberdeen Vase & Thistle
  Belleek. Aberdeen Vase & Thistle Vase.Aberdeen vase has second black mark thistle vase has third black mark. From a New Rochelle NY home. Dimensions: 9'' high & 8.5'' high.
• Portrait of a Scottish nobleman,
  Portrait of a Scottish nobleman, wearing the Order of the Thistle collar and badge-appendant over a velvet and fur trimmed mantle, unsigned, oil on canvas, Christie's label verso inscribed "Brown…", chalk inscriptions verso "Lot 182", British School, 19th century, 29-7/8 x 25 in.; 19th century gilt wood and composition frame. Crackle, tear over proper right eye, lined, abrasions with paint loss, grime, retouch affecting 60 percent of surface; frame with abrasions, minor losses, some resurfacing. Estate of the late Judge John Emery Parks, Honolulu, Hawaii.
• Scottish Sterling Silver &
  Scottish Sterling Silver & Jeweled Horn 9'' long 19th century repousse thistles a beauty.
• AN EARLY 20TH C. SCOTTISH
  AN EARLY 20TH C. SCOTTISH SKEAN-DHU, EDINBURGH 1911The carved ebonized Celtic knot handle topped by an oval faceted glass stone in imitation of a cairngorm, silver mounts stamped for Edinburgh, Scotland, date mark 1911, original matching sheath.Measures 8 inches.Very good condition, noting noting spot corrosion, tarnish and grime, no damage, replacements or repair.Provenance: The collection of Josephine Bird Hall (1888 - 1948) by descent to her son, the present owner. Josephine's father was a founder of Kansas City's Emery, Bird, Thayer Department Store.
• Antique hat pin stand with a
  Antique hat pin stand with a Scottish thistle, stand approx 11.5cm H
• VIBRANT CARVED THISTLE FLOWER
  VIBRANT CARVED THISTLE FLOWER BUTTER PRINTca. 1830-1860; rare triple flower form print, lathe turned with plate round reverse and rim banding, incised rim band with pie crimp carved accent, central layout with spear shaped stem and fine variegated carved thistle heads and two variegated leaves, 3 3/4"-4"d, 1/2"h; Condition: missing original handle, noted staining to reverse from evidently metal strap handle
• A George III silver rose bowl
  A George III silver rose bowl Robert Gray and Son Edinburgh 1805 the border engraved a continuous band of alternating thistles shamrocks and roses and with garlands beneath the skirt base with beaded border bearing a presentation inscription dated 1806 25cm (9.75") diameter approximately 1050gm
• An early 19th Century Scottish cast
  An early 19th Century Scottish cast iron trivet, the circular top with pierced thistle decoration, 25cm diameter
• MT. WASHINGTON CROWN MILANO THISTLE
  MT. WASHINGTON CROWN MILANO THISTLE VASE. The thistle pattern vase. Unsigned. Each side with ornate thistle decoration. From a New Rochelle, NY estate. Dimensions: 8.5" h. Condition: Unsigned.
• Royal Doulton Glamis Thistle Teaset
  Royal Doulton Glamis Thistle Teaset by Percy Curnock (22)
• § A 1970S QUAICH Gerald Bennie,
  § A 1970S QUAICH Gerald Bennie, London 1972 of traditional form, textured detail to lower body, and similar detail to the lugs; together with a modern thistle cup, Hamilton and Inches, Edinburgh 2000 with millennium mark, modelled as a thistle head, engraved 'Thistle Mining Inc. June 1999'(2)Quaich width: 7.5cm, cup height: 6.5cm, combined weight: 8.5oz
• ELIZABETH BLACKWELL (SCOTTISH,
  ELIZABETH BLACKWELL (SCOTTISH, 1707-1758), THREE ANTIQUE BOTANICAL ENGRAVINGS Hand-colored engravings, 18th century, on laid paper, to include "Marrubium Nigrum Ballote (Black Stinking Horehound)," "Myrtus Boetica Sylvestris (Spanish Wils Myrtle)," and "Petum tabaccum (Cultivated Tobacco)," in uniform framing.
• SCOTTISH 'ST. MARGARET',
  SCOTTISH 'ST. MARGARET', EDINBURGH SCHOOL EMBROIDERED PANEL, CIRCA 1930, coloured silks on a blue silk ground with gilt thread embellishment, bears inscription ST. MARGARET44cm x 30cm
• Perthshire paperweight,
  Perthshire paperweight, five-petal multi-colored flower with green leaves above latticino base, "P" in center of flower, base with original "Perthshire, Crieff, Scotland" label, 2-3/4 in.
• Royal Doulton Glamis Thistle Tea
  Royal Doulton Glamis Thistle Tea Set signed Percy Curnock (16)
• The Edinburgh WaverlyTHE WAVERLY
  The Edinburgh WaverlyTHE WAVERLY NOVELS Sir Walter Scott (Edinburgh: T. and A. Constable 1901 - 1908) 48 volumes three-quarter calf over marbled boards with matching endpapers gilt top edge Betsy Penn library plate.Wear and chipping to the spines; internally tones. Overall good condition.
• RICHARD ADAM DABROWSKI "THISTLE
  RICHARD ADAM DABROWSKI "THISTLE VASE", CIRCA 1952Richard Adam Dabrowski (New Hampton NH 1912-2015) "Thistle Vase", circa 1952 , biscuit beige porcelaneous stoneware molded in relief with flowering thistle; pale apple green glazed interior, signed, located and dated '52 Height 6.75 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• MARY ETTA THORN (BRITISH/AMERICAN
  MARY ETTA THORN (BRITISH/AMERICAN 20TH CENTURY), VIEW OF EDINBURGH'S ROYAL MILE, WATERCOLOR ON PAPER, FRAME: 25 X 64 INMary Etta Thorn (British/American 20th Century), View of Edinburgh's Royal Mile, Watercolor on Paper, Frame: 25 x 64 in
• ENGLISH SPATTERWARE THISTLE
  ENGLISH SPATTERWARE THISTLE PLATE. Second quarter 19th century. Blue with central thistle. Edge wear. 9.5"d.
• 13 EUROPEAN ASSORTED COLORED
  13 EUROPEAN ASSORTED COLORED BOTANICAL ETCHINGS France, England,Late 19th-Early 20th CenturyIncludes one purple gentian beardtongue print, one Bravoa Geminiflora, one Rose of Sharon, one Anacardium, one Fuchsia Corymbiflora Alba, one Davallia Bullata, one Asplenium Compressum, one Davallia Trichosticha, one Platyloma Rotundifolia and P. Ternifolia print, one Roscoea purpurea, one Carduus nutanti-crispus, one Passiflora, and one Imortelle print with scythe and halo decorations.
• TWO CAITHNESS SCOTLAND GLASS
  TWO CAITHNESS SCOTLAND GLASS PAPERWEIGHTScomprising: "Festive Bouquet" and "White Friars Scots Thistle" each signed and numbered underside: 57-250 and 114/150 2 1/4 inches high and 2 inches high Condition:
• WILLIAM STEWART, OIL ON BOARD,
  WILLIAM STEWART, OIL ON BOARD, EDINBURGHWilliam Stewart (British, 1823-1906) Oil on Windsor and Newton panel. Landscape of Edinburgh, Scotland. Identified on label verso. Board measures 18†x 12â€, framed to 26†x 20â€. Very good condition with minor wear. shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
• A Scottish ram's horn snuff mull,
  A Scottish ram's horn snuff mull, the cover with white metal thistle decoration, the collar engraved Peter Turner 1835, 9cm long
• Six prints of botanicals, Edwards
  Six prints of botanicals, Edwards (Sydenham Teak Edwards, 1769-1819; continued by John Lindley, 1799-1865, London), day lily and ginger lily, Bromeliad, Astromeria lily and others, hand colored engraving, 18-11/16 x 15-11/16 in.; matching modern gilt wood frames. Not examined out of frames, toning, foxing, handling grime, tear, crease.
• An Irish silver beaker, Edward
  An Irish silver beaker, Edward Twycross, Dublin 1829, of thistle shape, profusely embossed with flowers and scrolls, monogrammed CMB, 10.5cm high, approximately 144gm
• 1799 Scottish sampler, eight
  1799 Scottish sampler, eight lines of letters and numbers over flowerpots, plants and castle with tower, double flower vine border, stitched bottom line, most unreadable except "Aged 14 1799 Margaret INDE"(?), wool on linen, probably Scottish, late 18th century, 16-1/2 x 14 in. (sight); later wood frame. Browning to linen, losses to wool thread, fading.
• 4 ROYAL DOULTON SMALL FLORAL
  4 ROYAL DOULTON SMALL FLORAL PLATES, GLAMIS THISTLEDesigned with purple thistle, green leaves, gold trim. Artist signature P. CURNOCK. Bottom marked GLAMIS THISTLE FOUND NEAR GLAMIS CASTLE HOME OF QUEEN ELIZABETH H. 4601, R.1938. Royal Doulton backstamp. Issued: 20th c. Dimensions: 6.25"D Manufacturer: Royal Doulton Country of Origin: England Condition: Overall good
• STEUBEN CRYSTAL THISTLE
  STEUBEN CRYSTAL THISTLE SCULPTUREsigned to underside, with 18 karat gold vermeil thistle Condition: good; no chips, cracks or scratches. With original red fitted case. 7 3/4 inches high Condition:
• A Collection of Four Silver Goblets
  A Collection of Four Silver Goblets of various origins forms and sizes comprising an example by Aitchison Edinburgh 1907 in the form of a thistle an example with maker's mark J.M Chester post 1925 having a stylized foliate standard an example with Dublin hallmarks to bowl and various hallmarks to foot an example with various hallmarks including a fish 13 1/3 L and O.O with engraved foliate decoration together with an associated silverplate example; approximate total weighable 12.11 ozt. Height of tallest 6 inches.
• TWO SCOTTISH NEEDLEWORK SAMPLERS
  TWO SCOTTISH NEEDLEWORK SAMPLERS LATE 18TH AND EARLY 19TH CENTURY silk on linen, one worked by Margret Miller, Strathmiglo, dated 1816, depicting a central building with three pointed roofs, possible the Temple of Solomon with a person at the door, on a field with birds, flowerpots, and a reserve with a thistle and motto 'I HAVE POUER TO DEFEND MYSELF AND OFEND OTHERS [sic]' within a strawberry border, framed; the other by Helen Johnstone, Newbattle School, dated May 23rd 1843, with three alphabets, family initials, a house, and motto 'I love the Sacred book of God/ No other can its place supply/ it points me to the saint's abode/ It gives me wings and bids me fly', within a wide meandering flowering vine border, framed(2)33 x 32cm wide; and 43 x 30.5cm excluding frames
• After Walter Inglis Anderson
  After Walter Inglis Anderson (American/Mississippi, 1903-1965) \"Thistle\", woodblock print, 19-1/2\" x 10-1/2\". Glazed, matted and framed.
• AFTER SYDENHAM TEAST EDWARDS
  AFTER SYDENHAM TEAST EDWARDS (BRITISH 1768-1819) BOTANICAS, SET OF THREE COLOR ENGRAVINGS, FRAMED: 20 1/8 X 16 1/4 IN. (51.12 X 41.28 CM.)After Sydenham Teast Edwards (British 1768-1819) Botanicas, Set of Three Color Engravings,, Dimensions: Framed: 20 1/8 x 16 1/4 in. (51.12 x 41.28 cm.)
• ELIZABETH BLACKWELL (SCOTTISH,
  ELIZABETH BLACKWELL (SCOTTISH, 1707-1758), SIX ANTIQUE BOTANICAL ENGRAVINGS Hand-colored engravings, 18th century, on laid paper, each depicting hemlock (cicuta), taxus (yews), and cascarilla, framed as three pairs.
• CHARLES RENNIE MACKINTOSH (SCOTTISH
  CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) IVY SEED, WALBERSWICK pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMM25.5cm x 18.2cmProvenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald's legal firm and an executor of Margaret Macdonald Mackintosh's estateThe Fine Art Society, LondonPrivate Collection (1977-present)Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, pp.194-198 and 211-219 Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139Note: By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross-sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off-centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension, and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.