Country House ColleCtions Live Auction

1Auction tuesdAy 11th october 2016

Est 1887

Co un t r y Ho use Co l l eC t i o ns

Auction Tuesday 10th October 2017 at 11.ooam

At Townley Hall , Drogheda, Co.Louth

Li v e Au c t i o n

3

COUNTRY HOUSE COLLECTIONS AT TOWNLEY HALL

tuesday 10tH oCtober 2017 at 11:00am

COUNTRY HOUSE COLLECTIONS AT TOWNLEY HALLAUCTION

Tuesday 10th October 2017 at 11:00amLive auction lots 1 - 718

VENUE

Townley Hall, Slane Road, Drogheda, Co Louth, Ireland A92 R6WE

SALE CODE

This sale may be referred to as 9052 in all correspondence

COLLECTIONS

All lots must be paid for and collected before 12.00 noon on Thursday 12th at the purchaser’s risk and expense, after which time items will be removed to commercial storage also at the purchaser’s risk and expense and additional carriage and storage fees will apply.

VIEWING

Saturday 7th October 11:00am - 5:00pmSunday 8th October 11:00am - 5:00pmMonday 9th October 10:00am - 5:00pm

ADAM’S

Est.1887

26 St. Stephen’s Green

Dublin 2 D02 X665

Tel +353 1 676 0261

[email protected]

www.adams.ie

CONTACT

During Viewing, Auction and Collection Days.Phone: +353 (0)1 676 7922 Fax: +353 (0)1 662 4725

CATALOGUE

€20.00 (Plus postage & packaging)Admission strictly by catalogue only - One catalogue admits two.

mailto:[email protected]

http://www.adams.ie/

+353 (0)1 676 7922

+353 (0)1 662 4725

CONTACTS AT ADAM’S FOR THIS AUCTION

Brian Coyle FSCSI FRICS

CHAIRMAN

Nick Nicholson

[email protected]

James O’Halloran BA FSCSI FRICS

MANAGING [email protected]

Stuart Cole MSCSI MRICS

[email protected]

Ronan Flanagan

FINE ART [email protected]

David Britton BBS ACA

[email protected]

Adam Pearson BA


Amy McNamara BA


Katie McGale BComm Intl. MPhil


Eamon O’Connor BA

[email protected]

Niamh Corcoran BA

[email protected]

Helena Carlyle BA

[email protected]












COUNTRY HOUSE COLLECTIONS AT TOWNLEY HALL 2017

As the year swings around again to this annual event thoughts turn to barrels, or more precisely the scraping of the bottoms of same. Surely there is no more left down there to put together a credible sale of the works of art and ar-tefacts that were in Irish country houses? However the immutability of matter and the transience of life give a fluidity to the process. Collections form, are dispersed and houses are sold, collectors pursue objects that have lost their context and reinstate them. The Madden armorial side table has been brought home (maybe to shoot off again?), the long case clock from Ross House - that distillation of atmosphere of a rollicking, happy, sporting Ireland bottled by Somerville & Ross, has been discovered. There is gleaming 18th century silver mostly Irish, that recalls companionable dining rooms with Regency tables and brass bound buckets. The salver presented by the Corporation of Drogheda to Montgomery Lyons. Was he a pleasant or pompous man? Likely the former as he turns up as a member of Lord Mornington’s Glee Club and who is to say that the uisce beatha or the French wine did not make the meetings merrier or the singing lustier. Did they play on a Southwell instrument, one of the most sophisticated in Europe?

The Preston ladies, deprived of their noble positions in Palladian Bellinter House, are available for re-housing, suitably, in preference. Then the enigmatic architect from Rathescar, the hunting lodge of the Fosters; it became the fashion-able Regency ‘seat’ for the speaker’s younger son but he overspent and it was taken on by a cadet branch of the Henry family. Records were not kept and identities have been lost but these pictures and portraits were there for a reason; probably diligent research will resolve some of this. In the interim, bloodstock and hunting had been the raison d’ être as it had been for Eileen Mount Charles in her beautiful house designed by Francis Johnson and which reproduces in miniature much of the architecture of Townley Hall and Slane Castle. Here are horses and dogs and the comfortable furnishings of a hospitable house.

The landscape school of the 18th century is considered the high point of Irish Art of the period. The George Barret is a tour de force of the genre. Why, looking out their windows and inevitably at the most wonderful views, did the gentry have such a hankering for idealised southern landscapes? Classicism, the memories of formative trips to Italy, per-haps not accepting the reality of their own intrusion into an older prospect? Escapism into a distant vista, as described by Nicola Figgis in her piece on the wonderful Solomon Delane Roman landscape ‘silhouetted sensitively against the cloud-filled sky’, could make the rain, trouble with the tenantry, demands of mortgagors, snubs from the Vice-Regal toffs more bearable. This landscape tradition lingered on with John Henry Campbell until romanticism descended into kitsch.

There is much of interest herein, mostly ephemeral; old warts-and-all who fastened these islands together in a sinister embrace that has been a long time undoing, maybe Brexit will conclude the business? The treasonable vellum bestow-ing a ‘union’ title, the faces of generations recorded in miniature of a once powerful family, the pretty Langham daugh-ters who couldn’t find husbands (perhaps they had not wanted them)but if they had been brought to Ireland sooner, chances are they would have (if, needless to say, that’s what they wanted) lots of mirrors to check the beauty spots, lots of card tables to lose the demesne (it was going anyway,) books, maps and prints to study in front of the roaring library fire. Nostalgia need not intervene here – where these items are classic in the true sense of the word, they are timeless and as such, judiciously mixed with contemporary design, they will continue as worthy witnesses to whatever you’re having and beyond.

N.N

Register for a My Adam’s Account

From Dublin: Follow the M1 going North. After the toll station, continue on the M1 until you cross the Boyne suspension bridge. Immediately North of the bridge, take exit 10 signposted N51 - Navan - Drogheda North. At the roundabout over the motorway take the Slane exit. After about 1.5 miles, look for railings and gates on the right hand side then follow the avenue through the woods. Travelling time from Dublin airport: about 35mins.

From the North: Follow the M1 as far as the exit 10 turn-off just before the suspension bridge, signpost-ed as N51 - Navan - Drogheda North. Cross over the motorway and take the Slane exit. After about 1.5 miles, look for railings and gates on the right hand side then follow the avenue through the woods. Trav-elling time from Dundalk: about 30mins.

DIRECTIONS TO TOWNLEY HALL

IMPORTANT INFORMATION FOR PURCHASERS

ESTIMATES AND RESERVESThese are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchasers. They are approximate prices which are expected, are not de-finitive and are subject to revision. Reserves, if any, will not be any higher than the lower estimate.

PADDLE BIDDINGAll intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recommended to register on viewing days.

PAYMENT, DELIVERY AND PURCHASER’S PREMIUMWednesday 11th October 2017, 10.00am - 5pm. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases must be paid for and removed from the premises not later than 12 noon on Thursday 12th October 2017 at the purchaser’s risk and expense. After this time all uncollected lots will be removed to commercial storage and additional charges will apply.

Auctioneer’s commission on purchases is charged at the rate of 20% (exclusive of VAT). Terms: Strictly cash, bankers draft or cheque drawn on an Irish bank. Cheques will take a minimum of five workings days to clear the bank, unless they have been vouched to our satisfaction prior to the sale, or you have a previous cheque payment history with Adam’s. Purchasers wishing to pay by credit card (Visa & MasterCard) may do so, however, it should be noted that such payments will be subject to an administrative fee of 2% on the invoice total. American Express is subject to a charge of 3.65% on the invoice total. Debit cards including laser card payments are not subject to a surcharge, there are however daily limits on Laser card payments. Bank Transfer details on request. Please ensure all bank charges are paid in addition to the invoice total, in order to avoid delays in the release of items. Goods will only be released upon clearance through the bank of all monies due. Artists Resale Rights (Droit de Suite) is NOT payable by purchasers.

VAT REGULATIONSAll lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is inclusive of VAT. This is not recoverable by any VAT registered buyer.

CONDITION REPORTS Please ensure that condition report requests are submitted before 12 noon on Monday 9th October as we cannot guarantee that they will be dealt with after this time.

It is up to the bidder to satisfy themselves prior to buying as to the con-dition of a lot. Whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact.

ABSENTEE BIDSWe are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by tele-phone. However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements for absentee and telephone bidding must be made before 5pm on the day prior to sale. Cancellation of bids must be confirmed before this time and cannot be guaranteed after the auction as commenced.Bidding by telephone may be booked on lots with a minimum estimate of €500. Early booking is advisable as availability of lines cannot be guaranteed.

All lots are being sold under the Conditions of Sale as printed in this catalogue and on display in the salerooms

LOTS MADE OF / CONTAINING IVORY Bidders should be advised that the importation regulations of several countries, including the US, prohibits the importation of ivory, or any goods containing ivory. Therefore Adam’s advises prospective purchas-ers who intend to ship such lots to another country to familiarise them-selves with the relevant importation regulations prior to bidding. Adam’s will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest. Items containing ivory are marked with the following symbol: (*) E&OE

LOTS MADE OF / CONTAINING CORAL Bidders should be advised that any lots containing or made of coral are subject to USA Fish and Wildlife regulations if they are to be imported into the USA. Therefore Adam’s advises prospective purchasers who intend to ship such lots to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adam’s will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest. Items containing coral are marked with the following symbol: (**) E&OE

ALL LOTS ARE BEING SOLD UNDER THECONDITIONS OF SALE AS PRINTED IN THIS CATALOGUE AND ON DISPLAY IN OUR SALEROOMS.

11

Lot 92

The opening of a drawer and finding a makers stamp or looking under a table or behind a mirror and coming across a trade label injects an extra frisson of excitement to the collector. This is not just merely because it becomes possible to put a name to the piece in question but the added possibilities of discovering further knowledge of the cabinet-makers style, workmanship and history. This knowledge allows us to connect directly to the world this cabi-net-makers worked and lived in over 100/200 years ago. Cabinetmakers were well educated, managing their craft and business though economic ups and downs as well as adapting to changes of taste and style. The Dublin street directo-ries contain the names of many cabinet makers. These names represent the masters, who were employers, property owners and the managers of the workshop and retail outlet. Cabinetmakers were adept at promotion, advertising frequently and often illustrating trade cards with illustrations of the products for sale. Gillington’s, advertising the acquisition of new designs, assured prospective clients that they ‘execute in style not inferior to any London house and referred to the ‘superior quality of their own manufacture’. In this sale there are several pieces giving this insight and connection to the makers involved. In 1812 Eggleso and Power, when promoting their ware-rooms referred to ‘The numbers of artists and mechanics, as well as the large capital necessarily employed in their concern, together with the exten-sive stock kept’. A cabinetmaker needed to be able ‘to write a good hand, understand arithmetic and have some notion of drawing and designing’. In Dublin, many cabinetmakers attended the Dublin Society drawing schools, in particular the school of landscape and ornament drawing.The apprenticeship system controlled entry into the trade and the apprentice, who began to train when about fourteen years old, was bound to his master for a period of seven years. Visitors to Ireland in the early nineteenth century continuously referred to the level of munificence in Irish houses. As Prince von Puckler –Muskau noted ‘the stranger in Ireland soon notices the hospitality’. The dining room underwent a change in interior style in the early nineteenth century with a taste for larger tables, ordered ensuite with sideboard, serving table and wine cooler. Sideboards served a utilitarian purpose as well as providing an area for the display of candelabra, china and silver which sparkled in candlelight. The cupboards were fitted to hold bottles of wine or shelves for glasses and drawers for cutlery. The hour for dinner became later in London before it was delayed in the country. When Maria Edgeworth visited Deepdene, the country house of the banker and furniture designer, Thomas Hope, she was late for dinner as she had taken it for granted that ‘the Hopes dine at the same time in Town and Country’. As the hour for serving dinner became established at a later hour it was eaten by candlelight allowing the use of dark-er colours and the ability to create drama with the use of larger mirrors. The dining room served an important role in a family’s social life and by the 1820s it had once again become an area for mixed-gender entertainment and family sociability. When Margaret Harvey, visiting from Philadelphia in 1809, attended a dinner party at a relative’s house, she was impressed and ‘astonished to see such style, such order and elegance in one family’ and at another evening

12

she described the dining room having ‘one large table in the middle and two side tables laid. The furniture in the room and the superb manner the tables were decorated exceeds anything I ever saw’. It is easy to imagine this monumental sideboard (Lot 220) laden with serving dishes and silver candelabra. Wine coolers were another important element of dining room furnishings. The very fine example here is stamped Mack, Williams & Gibton, Dublin. This partnership was one of the most successful of the second and third decades of the nineteenth century, although they were individually established as early as 1784. The firm supplied furnishings to Dublin Castle and the Vice Regal Lodge (now Aras an Uach-terain) as well as many country houses being built or rebuilt, including Annesbrook, County Meath, Borris House, County Carlow and Lissadell, County Sligo. Mack, Williams & Gibton also redecorated the rococo drawing room at Newbridge House, County Dublin supplying elaborate curtain poles, heavy crimson curtains and heavily carved mahogany and rosewood sofas and tables. The sofas in this sale are by Williams and Gibton, dating from circa 1835, of mahogany with organic foliate carving. The furniture produced by Mack, Williams & Gibton for Dublin Castle in the early nineteenth century was in the Greek revival style, who worked closely with the architect Francis Johnston. This wine cooler (Lot no. ) is a sarcophagus shape with a domed hinged lid and bears the best elements of the firms work using the finest mahogany and wonderful carving of vine leaves and grapes on the front and in the lion’s paw feet. Wine coolers were lead lined and filled with crushed ice to keep wine cold and day to day were placed under the sideboard. Designs and practicalities were discussed by the cabi-netmaker with the client and the relationship between the customer, the seller and the manufacturer was of great im-portance. As Gillington’s explained in an advertisement ‘Having engaged a person of great experience and superior abilities to conduct the Manufacturing Department, they will be enabled to pay such personal attention to the needs of their customers, that the minutest as well as the most extensive Orders shall be executed with a promptitude and care that will, they trust, ensure general approbation.’

As the century progressed taste changed and the Victorian era ushered in a more eclectic taste with a revival of many earlier styles. A resurgence of craftsmanship accompanied the great exhibitions of the mid-nineteenth century. The desk in this sale (Lot 94) bears the label of Arthur Jones, Stephens Green. The term Carlton House derived from a desk commissioned the the Prince of Wales, later George IV, in the 1790s for Carlton House, his London residence. The form is a ‘bureau a gardin’ with a superstructure of drawers. Drawings of this desk’s design were included by Hepplewhite in his design book and also published by Thomas Sheraton in The Cabinet-Maker and Upholsterer’s Drawing Book, issued between 1891-4, popularizing the ‘Adam’ style. Sheraton’s designs promoted the fashionable Neo-classical taste, elegant with an emphasis on the use of inlaid and painted satinwood. When this style was revived in the late Victorian/Edward-ian era the use of painted decoration was favoured. The design remained popular though the nineteenth century and this piece is decorated with rather charming characterful paintings. Arthur Jones is well known fro the elaborate pieces he supplied for the Great Exhibition in 1851 in London followed by Dublin in 1853.The firm according to Arthur Jones was established in 1765. As with other Dublin firms their history and the furniture they produced is not identifiable until the early 19th century, when firms began in a more regular fashion to label or stamp their production. Arthur Jones published a catalogue of the pieces made by the firm for the exhibition, Description of a Suite of Sculptured Decorative Furniture, Dublin 1853. The firm moved from South King Street to 134 Stephen’s Green in 1835 and Arthur took over the firm in 1840. A chair in the National Museum of Ireland has a back formed with a round tower and a harp and the arms terminate in wolfhound heads (illustrated in his 1853 catalogue). A carved bog yew teapoy was sold by this auction house in 2015. The Jones firm promoted their stock claiming to always have ‘a very fine collection of Chippendale, Sheraton, Hepplewhite, Adams, &c. Furniture’ and they were prepared to produce furniture in the aforementioned styles or in the ‘modern styles’. Of course there is a connection to the present firm as James Adam came from Scotland to train as an apprentice with Arthur Jones in the 1860s at 135, St. Stephens Green. Those who entered the cabinetmaking trade had to be adaptable, open to new ideas and change in taste and often willing to travel. By the late 19th century the Machine Age had arrived and the skill of these craftsmen was no longer required. Thus pieces which survive, labelled or stamped, bring to our attention the characteristics of Irish furniture and the skill of the craftsmen who made it and underlines how extensive the furniture trade was in Ireland.

Dr. Angela Alexander September 2017

Tuesday 10th October

13

COUNTRY HOUSE COLLECTIONS AT TOWNLEY HALL

1 A VICTORIAN TALL STAINED WOOD CLUB POST BOX, from the Albany Club in London, decorated with moulded fielded panels, with letterbox above a single panel door with applied brass plaque, inscribed ‘The Albany Club’ with hours of posting. 52cm wide x 158cm tall

Provenance: ex Collection of Dr T Ryan

€ 3,000 - 5,000

https://www.adams.ie/index.php?option=com_auction&keyword=&excl_keyword=&auction_no=9052&low_estimate=50&high_estimate=400000&sort_by=lot_no&gridtype=listview&ipp=All&page_no=1&view=lot_detail&lot_id=79608


14

2 A LARGE IRISH REGENCY CURTAIN RAIL,with eagle head terminals, part of the furnishings at Bellinter House, Co. Meath

€ 300 - 500

3 A GEORGIAN MAHOGANY AND BRASS MOUNTED RECTANGULAR DOOR LOCK

with scroll decoration and key. 36 x 24cm

€ 1,500 - 2,500

4 A GEORGIAN MAHOGANY AND BRASS MOUNTED RECTANGULAR DOOR LOCK with key. 36 x 25cm

Provenance: Formerly from The Munster & Leinster Bank, Portlaoise

€ 2,500 - 3,500






15


5 AN IRISH GEORGIAN GILT BRONZE LION HEAD DOOR KNOCKER, retaining its original stop plate. 24cm high

€ 300 - 500

6 A SET OF THREE EARLY 19TH CENTURY CAST BRONZE CURTAIN TIES, in the form of acanthus leaves, two single, one double tie

€ 600 - 1,000





16

7 A VICTORIAN MAHOGANY BOOT RACK, late 19th century, the top rail fitted to each side with six turned hooks above a boot tier and platform. 101cm high, 82cm wide

€ 300 - 500

8 A WALL THERMOMETER, 19th century, the engraved back plate signed ‘Davies, Dublin’, in a mahogany case crossbanded in rosewood with boxwood trim. 42cm tall

€ 300 - 500

9 A PARTIAL ANTLER FROM A GREAT IRISH DEER. 106cm wide

€ 300 - 500

10 A VICTORIAN OAK FRAME GOTHIC DINNER GONG, with hanging brass gong and turned wood stretcher, the frame pierced with quatrefoils. 94cm tall

€ 800 - 1,000








17

11 A PAIR OF 19TH CENTURY JAPANNED METAL TEA BINS, with mahogany hinged lids above black and gilt Japanned bodies, with chinoiserie decoration. 56 x 52 x 77cm tall

Now that tea is readily available, the need to store large quantities has lapsed. Picking ready measured sachets out of a box, whilst it may not come with its own authentic feel, definitely has its benefits. For this reason, tea bins that once brimmed with fragrant leaves can now be seen proudly retaining the household’s fuel. In the 21st century, tea is something over which the excitement of our lives can be discussed with friends, but rewind 200 years and the tea itself provided the excitement. During the 18th and 19th centuries, the British monopolised the tea trade, importing the leaves from China. However, in the 1830s, the Navigation Acts that previously banned goods brought in by foreign ships from entering Britain were repealed. This led to a surge in competition and, consequently, a need for faster ships. Each ship now com-peted against the other to be the first to land in London with the new crop’s harvest, the fastest ships receiving more payment for their trouble. Swift, yacht-like vessels called clippers were brought in that, with the wind in their sales, could almost skim the surface of the sea. These clippers were in a conscious race with each other, the crews finding new ways to load the tea just so as they could be the first to leave the harbour. Within a few years, the newspapers had caught a hold of this and whisked it up into a frothy cream of daring, perseverance and seamanship. The climax of this reporting occurred with the Great Tea Race of 1866 when five ships left China for London, carrying over £5 million pounds of tea between them. Despite the 99 day long crossing, the first and second ships were a mere 40 minutes apart, a gap so small that the owners decided to split the prize money in good faith.

€ 2,500 - 3,500

12 AFTER THE ANTIQUE, A BUST OF AN EMPEROR ON SOCLE bronzed plaster with black painted head. 90cm high

€ 300 - 500




18

16 AN EDWARDIAN MAHOGANY FOLDING BOOTRACK

€100 - 150

15 A SHAPED RECTANGULAR BRASS JARDINIÈRE, DUTCH 19TH CENTURY,with embossed swag decoration and twin lion mask and ring handles.

€400 - 500

13 A FINE 19TH CENTURY BRASS TUBULAR FENDER /FIRE SURROUND, with adjustable trivets, with pierced decoration. 102 x 46cm

€ 1,000 - 1,500

14 A 19TH CENTURY MARBLEISED PLAIN COLUMN, on stepped spreading foot. 115cm tall

€ 1000 - 1500










19

18 A NATURAL HISTORY DISPLAY BY H.WARD, 19th Century, of pheasants, partridge and exotic birds, in mahogany case, 110cm wide x 107cm high. (with ticket of H.Ward 2 Vere St, Oxford St, London)

Provenance: Cabra Castle, Co. Cavan

Sold by order of the Executors of Eileen, Countess of Mount Charles

€ 500 - 1,000

17 A PAIR OF EARLY STONE CARVED FRAG-MENTS OF LIONS DEVOURING THEIR PRAY,probably Indian. C 110cm wide

€ 1500 - 2000






20

19 A CARVED TIMBER ROCKING HORSE, with painted and silvered decoration. 160cm long

€ 600 - 800

20 A LATE VICTORIAN MAHOGANY FOUR FOLD SCREEN, with Gothic style arched tops above clear glass panels. 178cm x 65cm each panel

Provenance: Captain HCP Hamilton, Moyne, Durrow, Co Laois thence by descent

€ 600 - 1,000




21


21 A LARGE PAIR OF VICTORIAN CAST IRON URNS, of circular urn form, the wide flared rims with scalloped borders above bodies decorated with cast continuous leaf banding, on spreading feet. 100cm diameter x 100cm high

€ 5,000 - 7,000



22

22 A SET OF FOUR VICTORIAN CAST IRON CHAIRS, POSSIBLY COALBROOKDALE

with circular seats and raised on splayed legs.

€ 800 - 1200

23 A VICTORIAN CAST IRON FOUNTAIN CENTREPIECE

with graduated basins, the concave platform base with swans and raised on a shaped triangular platform base. 104cm x 68cm

€1500 - 2000





23


25 A PAIR OF 19TH CENTURY HERALDIC CAST IRON FIGURES of winged Griffins, painted green, raised on rectangular stepped platform bases. 110cm high, 49cm wide, 61cm deep

€ 4,000 - 6,000

24 STYLE OF ANTONIO CANOVA, 19TH CENTURY

A kneeling figure of cupid with bow, his hand extended to pick Psyches blossom, on an oval baseMarble, 57cm tall

€ 2,500 - 3, 500





24

26 A PAIR OF 19TH CENTURY WHITE PAINTED CAST IRON GARDEN BENCHES, with gothic tracery backs and honeycomb seats. Each 100cm wide

€ 1,000 - 1,500

27 A 19TH CENTURY WHITE PAINTED CAST IRON CONSERVATORY TABLE, with rectangular marble top. 95cm wide

€ 300 - 500

28 VICTORIAN GARDEN CHAIR, OPEN ARMSwith pierced lattice work seat, on interlinked scroll legs

€ 400 - 500

29 A VICTORIAN CAST IRON BIRD BATH on triform base

€ 300 - 400








25

30 A PAIR OF LIFE-SIZE BRONZE MODELS OF WHIPPETS one standing, one sitting on painted timber pedestal. Each 76cm x 87cm

€ 2,000 - 3,000

31 A PAIR OF VICTORIAN CAST IRON GARDEN URNSwhite painted, with scrolled leaf decoration and handles, the spreading feet on square plinth bases.

€ 3,000 - 4,000




26

33 A SET OF FOUR VICTORIAN CAST IRON TERRACE URNSwith circular fluted bodies, on square spread-ing feet and raised on square tapering pedes-tals 118cm x 74cm

€ 3,000 - 5,000

32 A CAST IRON PAIR OF WHITE PAINTED URNSwith leaf decoration, on spiral-fluted cylindrical stands 124cm x 44cm

€ 1,500 - 2,000





27


34 A LARGE PAIR OF CAST IRON CAM-PAGNA SHAPED URNSwith foliate banded bodies and twin handles 140cm x 57cm

€ 6,000 - 8,000

35 A PAIR OF CAST IRON CAMPAGNA SHAPED URNSwith lobed rims, foliate banded bodies, twin han-dles and raised on circular socles 59cm x 46cm

€ 700 - 1,000





28

39 A LARGE VICTORIAN CAST IRON GARDEN URN, of lotus design the broad top with everted rim above a waisted and fluted circular foot on a large stepped pedestal base. 70cm diameter x 115cm high

€ 800 - 1,200

38 A LARGE CAST IRON CAMPAGNE SHAPED URNnow white painted, with foliate banded body and twin handles, raised on square base 76cm x 57cm wide

€ 800 - 1,000

36 AN EDWARDIAN BLACK PAINTED IRON STICK STANDof lobed quatrefoil design

€ 200 - 300

37 A 19TH CENTURY PAINTED CAST IRON UMBRELLA STAND After Coalbrookedale, moulded as a chihuahua dog begging on its hide legs with a whip in its mouth, the drip pan in the form of lily pads. 57cm high

€ 400 - 600










29

41 A VICTORIAN CAST IRON GARDEN BENCH, WHITE PAINTEDwith pierced naturalistic leafy frame, slatted seat, on end supports84cm x 130cm wide

€ 1,000 - 1,500

40 A VICTORIAN GOTHIC CAST IRON GARDEN BENCHwith tracery back and honeycomb seat 90cm x 99cm wide

€ 500 - 800





30

42 A LATE 19TH CENTURY CAST IRON FLOOR SCALES BY W&T AVERY OF BIRMINGHAM,measuring height and weight. 116cm high (not including measur-ing stick), 78cm deep, 57cm wide

€ 200 - 400

43 A PAIR OF GEORGIAN CARVED STRIPPED-PINE NEO-CLASSICAL URNSwith fluted bodies and raised on circular bases and square plinths

€ 300 - 500

44 AN EDWARDIAN PAINTED METAL DAIRY CARRIAGEon iron wheels, with plaque CLUETTS ROYAL DAIRY WORK TARPORLEY

€ 1,500 - 2,000

45 A LATE 19TH CENTURY CONTINENTAL WROUGHT IRON WINE RACK, with eleven open bays on plain slat-work frame. 65cm wide x 132cm tall stamped to the side with a date.

€ 600 - 800










31

46 A LARGE IRISH VICTORIAN MAHOGANY CASE containing a stuffed trout and twin kingfishers, the case bearing the label ‘This trout was caught/on the lakes of Killarney/on Friday 23rd March/1863 by one of the most/accomplished/fishermen/in England/W.P./Sailsbury Lodge/Clifton’, William Philips. 102cm wide x 22cm deep

€ 800 - 1,200

47 A LARGE GEORGE III BRASS FRAMED OCTAGONAL HALL LANTERN, with frosted glass panels and scroll arm supports, with urn finial. 110cm tall

€ 3,000 - 4,000

LOT 43




32

50 A SMALL VICTORIAN CAST IRON GARDEN BENCH, SCOTTISH with pierced naturalistic leaf frame and grill seat 84cm x 110cm wide

€ 1,000 - 1,500

48 A PAIR OF CAST IRON TERRACE TWO SMALL URNS ON STANDS WITH HAN-DLESwith twin scroll handles and raised on square tapering pedestals 79cm x 89cm wide

€ 1,500 - 2,000

49 A PAIR OF CAST IRON TERRACE TWO SMALL URNS ON STANDS WITH HAN-DLESwith twin scroll handles and raised on square ta-pering pedestals, with foliate panel in high relief89cm x 74cm wide

€ 1,500 - 2,000











33

52 A CARVED WHITE STATUARY MARBLE FIGURE OF A FISHER-BOY, standing with his hands clasped on a rocky base

€ 2,000 - 3,000

51 SIR JOHN ROBERT STEELL (1804-1891)Portrait of a BoyMarble, 38cm tall

€ 1,000 - 1,500

Sir John Steell was born in Aberdeen on 18th September 1804, but his family moved to Edinburgh around one year after his birth. He is best known for a number of sculptures displayed in Edinburgh, including the statue of Sir Walter Scott at the Scott Monument. His portrait was painted by Robert Scott Lauder.Steell was born in Aberdeen, one of the eleven children of John Steell Senior, an Edinburgh carver and guilder, and Margaret Gour-lay, the daughter of William Gourlay, a Dundee shipbuilder. Steell initially followed his father, training to be a carver himself. He showed artistic talent and so studied art at the Trustees Academy in Edinburgh and then studied sculpture in Rome. On his return, he opened Scotland’s first foundry dedicated to sculptures and was commissioned for numerous works, particularly statues and monuments in Edinburgh. The first work to attract major attention was ‘Alexander Taming Bucephalus’ carved in 1832/3 (cast in bronze in 1883, and now standing in the quadrangle of Edinburgh City Chambers). Around 1862, he was appointed as Sculptor to Her Majesty the Queen, a post which was later recognised as a part of the Royal Household in Scotland. He exhibited at the Royal Scottish Academy and was knighted in 1876 following the unveiling, by Queen Victoria, of his statue ‘The Prince Consort’, which stands in Charlotte Square in Edinburgh.Sir John Steell’s brother Gourlay Steell was himself a noted animal painter. He was Queen Victoria’s animal painter, taking over from Sir Edwin Landseer. Many of Gourlay Steell’s paintings remain in the private collection of Queen Elizabeth II.John Steell died on 15th September 1891 and is buried in an un-marked grave in Edinburgh’s Old Calton Cemetery. This grave was purchased by his father John Steell Senior and many members of the Steell and Gourlay families are also interred here.




34

55 A LARGE VICTORIAN OAK AND ELECTRO-PLATED BEER JUG, porcelain interior, the lid with a finial of a medieval knight, the sides with appliqués of knightly battles, on a spreading foot, the shield engraved ‘J. J. C. P (for John Julius Preston of Bellinter House). 45cm high

€ 400 - 800

53 A RENAISSANCE STYLE BRONZED TABLE LAMP STAND in the form of a naturalistic cast leaf column with stylised dolphin support, on a triangular black marble base. 62cm high, with elec-tric fitting (now fitted for electricity)

€ 400 - 600

54 AN OAK JOINT STOOL, BASICALLY 17TH CENTURY,

the rectangular top, on splayed turned and blocked legs joined by stretchers

€ 600 - 800







35


56 JACOBUS HOUBRAKEN (1698-1780)The Heads of Illustrious Persons of Great BritainA set of twelve engravings, in ebonised and parcel-gilt frames

€ 1,000 - 1,500

57 AN OAK COURT CUPBOARD, BASICALLY 17TH CENTURY,

of rectangular form, in two sections with carved frieze and recessed carved panel door, on turned baluster supports over twin fielded cupboard doors on square feet. 166cm wide, 54cm deep, 166cm high

€ 1,000 - 2,000




36

58 COPY AFTER VAN DYCK (19TH CENTURY)George Villiers, 2nd Duke of Buckingham (1628-87), and Lord Francis Villiers (1629-48), Half LengthWearing Silk Jackets and Lace CollarsOil on canvas, 70 x 88cm

Provenance: Rathescar House, Co. Louth

Original portrait in the Royal Collection Trust

€ 500 - 1,000

59 ENGLISH SCHOOL (LATE 17TH CENTURY)Portrait of a Lady, half-length, in Blue DressOil on canvas, 75 x 61cm


€ 1,000 - 1,500



37


60 DUTCH SCHOOL, CIRCLE OF PETER NASON (17TH CENTURY)Portrait of a Cleric, half-length, in a Black gown, the background a View in AmsterdamOil on canvas, 65 x 53cm

Provenance: Captain HCP Hamilton, Moyne, Durrow, Co. Laois, thence by descent

€ 3,000 - 5,000



38

61 ENGLISH SCHOOL, 17TH CENTURY King Charles II, half-length, within a feigned ovalOil on oak panel, 22 x 19cm

Provenance: Bellinter House, Co. Meath

€ 300 - 500

62 A GEORGE II WALNUT FRAMED WING ARMCHAIRnow covered in a crewel-pattern tapestry on lappeted cabriole legs, with pad feet.

€ 2,000 - 3,000





39

64 A WILLIAM AND MARY INLAID WALNUT AND OYSTER VENEERED CHEST, comprising two short and three long drawers, fitted with brass tear drop handles, the entire decorated with boxwood stringing, raised on bun feet. 84 x 92cm

€ 6,000 - 8,000

63 A CHARLES XII STYLE ENGRAVED GLASS AND GILT-METAL MIRROR, SWEDISH attributed to Gustav Precht, with a basket of flowers cresting. 133 x 76cm

For an almost identical mirror see G. Child, World Mirrors, Lon-don 1990, illustrated no.678

€ 2,000 - 3,000





40

67 A DUTCH BRASS CIRCULAR JARDINIERE, with lion mask and ring handles, the body engraved with a tableau of figures in an interior, raised on paw feet. 40cm diameter

€ 500 - 700

65 AN OAK GATE-LEG TABLE, BASICALLY 17TH CENTURY

with single drawer and raised on turned and blocked legs

€ 400 - 500

66 A SET OF FOUR GEORGE II STYLE MAHOGANY FRAMED ELBOW CHAIRS with tapestry upholstered backs, outswept arm supports and cabriole legs with ‘x’ stretchers

€ 1,500 - 2,500







41

68 ENGLISH SCHOOL (LATE 17TH CENTURY)Portrait of a Lady, Three Quarter Length, Seated in a Garden, in a grey silk dress holding FlowersOil on canvas, 128 x 94cm


€ 6,000 - 10,000


42

69 A PAIR OF GEORGE II GILTWOOD FRAMED MIRRORS ATTRIBUTED TO BENJAMIN GOODISON, C.1740, the acanthus wrapped scroll tops interrupted by shells, the sanded frames with Vitruvian scroll borders and with outset husk pendants, the lugged aprons centred by shells and flanked by sconce plates (lacking arms). 87 x 57cm

Mirrors of this smaller type became popular in Georgian England as the taste for ‘private’ draw-ing-rooms grew and were something of a speciality of Goodison, who supplied the leading nobility and royal family. Mirrors of this exact model are illustrated by Country Life (1927) in Buckingham Palace and another pair was offered by Ronald Phillips as no. 24 in his 2012 catalogue. The cele-brated pair supplied by Goodison to the Prince of Wales 1732 is illustrated in Ralph Edwards’ ‘The Dictionary of English Furniture’ Vol. II p.333 where the overall design follows the present lot.

€ 6,000 - 10,000

One of a pair of similar mirrors, at Buckingham Palace



43


44

70 VICTOR VERVLOET (BELGIAN, 1829-1904)The Chapel of the Madonna, San Carlo, RomeOil on canvas, 44 x 36cmSigned and dated

€ 4,000 - 6,000

71 AN IRISH LARGE FRUITWOOD AND PAINTED LINEN PRESS, 18TH CENTURYwith panelled doors and drawers flanked by outset columns. 202cm high, 150cm wide

Makers of Vernacular Furniture intended for large farmhouses in Southern Ireland during the 19th century, often vied with each other to produce the most decorative and innovative pieces. This cupboard represents the zenith of that inspirational tradition, and displays a fusion of architectural features, which include multiple raised fielded panels to the doors, which probably reflects the strong relationship which Ireland had with its ally Spain. The finely reeded columns each side of the doors are surmounted with original paint work schemes, including lozenges across the frieze, chequer–work detail, and dappled paint work in the interior. Internally, a pierced frieze borders the shelves to create a decorative surround or theatre for pottery to be displayed in. This piece is rare in having its original painted finish and intact woodwork, in such varied forms, and as such it represents an extremely rare survival of imaginative and ebullient Irish decorative furniture”.

DR D.B. COTTON

€ 2,000 - 3,000




45


72 A LARGE AUBUSSON VERDURE TAPESTRY, 18TH CENTURY, a wooded pastoral landscape with domestic fowl, buildings, stream and trees, contained within foliate border. 272cm high, 325cm wide


€ 3,000 - 5,000


46

73 MICHAEL DAHL (1659-1743)A portrait of Elizabeth Langham, as a young girl, half-length in a low blue dress and holding flowers, in a feigned ovalOil on canvas, 74 x 61cmWith label verso, Elizabeth, 2nd daughter of Sir James Langham, died unmarried

Provenance: Cottesbrooke Hall, Tempo Manor, Sold HOK at Slane Castle, The Langham Collections, 2004

€ 2,000 - 4,000

75 MICHAEL DAHL (1659-1743)Portrait of Frances Langham, as a young girl, half-length wearing a low brown dress, in a feigned ovalOil on canvas, 75 x 62cm With label verso, Frances eldest daughter of Sir John Langham, by Elizabeth eldest daughter of Sir Thomas Samwell bart, died unmarried


€ 2,000 - 4,000

74 MICHAEL DAHL (1659-1743)Portrait of Mary Langham, as a young girl, standing three-quarter length, wearing a red dress, holding a garland of flowers, with flow-ers in her hair, in a feigned ovalOil on canvas, 74 x 62cm With label verso, Mary 3rd daughter of Sir John Langham by Elizabeth his wife, died unmarried


€ 2,000 - 4,000

76 MICHAEL DAHL (1659-1743)Portrait of Martha Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned ovalOil on canvas, 74 x 62cm With label verso, Martha 4th daughter of Sir John Langham baronet by Elizabeth his wife, died unmarried


€ 2,000 - 4,000





47


77 MICHAEL DAHL (1659-1743)A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyondOil on canvas, 126 x 104cm In a carved giltwood frame with acorns and oak leavesIt is thought that the landscape element represents the new landscaping at Cottesbrooke.


€ 5,000 - 8,000


48

78 A PAIR OF SMALL ITALIAN CARVED GILTWOOD MIRRORS, 19th century, with arched tops and pierced crestings. Each 48cm high


€ 200 - 400

79 AN IRISH MAHOGANY BRASS BOUND BUCKET, EARLY 19TH CENTURY, with swing handle. 40cm high


€ 1,000 - 1,500






49

81 JAN LOOTEN (1618-1681)Wooded Landscape with Figures, a village by a lake in the backgroundOil on canvas, 120 x 94cmUnframed, originally set into an overmantle

Provenance: Sir John Langham, 1st bart, acquired from the artist in London. Cottesbooke Hall, the 1775 Inventory; by which time it had been moved to the chintz bedroom. Later at Tempo Manor, Co. Fermanagh, and sold HOK Fine Art, The Langham Collection at Slane Castle 2004

€ 10,000 - 15,000


50

82 A SKULL AND ANTLERS OF THE GREAT IRISH DEER (MEGALOCERUS GIGANTEUS) 191cm wide

€ 10,000 - 15,000

“As I emerged from the cluster of trees, cradling my kill, I stopped short. He stood in front of me, elegant and proud, his colossal figure looming high above the grassland. I took a step back, a twig snapped. The deer’s head darted upwards, his immense antlers slicing through the air. His powerful jaw clenched with apprehension, a shimmer of fear flickered in his eyes - and then he was gone”.

Thirteen thousand years ago, Ireland was gripped by the formidable paws of the Pleistocene epoch, an era which saw Homo Sapiens mixing with creatures the size of which we can only gawk at today. The Great Irish Deer was among these beasts. Standing up to two metres tall at the shoulder, with an antler span that could reach three metres, the Great Irish Deer would have been a sobering sight.

Ever since the discovery of their fossils in the 1600s, the Deer has sparked debate and fueled the research of many an academic. Despite their name, the species was not limited to Ireland but instead was spread out across Europe, Northern Asia and Northern Africa. The Irish attribution was a result of the hundreds of remains found buried in the marl underlying the Irish bogland. The high calcium carbonate content of the marl aided the preservation of bones and antlers, providing the rich supply that now festers in museum cupboards and richly adorns the great banqueting halls of Europe. But why is it that such an impressive animal has come to such an end? The strongest theory is that the climate change that occurred with the start of the Holocene led to a decrease in the Deer’s food source. With the annual renewal of its antlers, the Irish Deer required immense mineral amounts to fuel their bodies. With the slow decrease of this, it is thought that their bodies could not adjust to the reduced quantities quick enough and the rate of antler growth to other bodily requirements was simply not sustainable. Whilst the Deer did in fact survive the Ice Age that marked the switch in climates, is it notable that they died out in Ireland much sooner than in other parts of the world, the youngest known remains being found in Siberia and dating to c.6000 BC. This could be explained by the fact that in Ireland, unlike on the Continent, the deer could not move on to better grazing lands once their old food source had been exhausted.

Although it is unlikely that humans were the single cause of their final extinction, it is interesting to observe the depiction of Great Irish Deer among the cave paintings discovered in France. These images would suggest that the animals were hunted, their meat being a valuable addition to hungry stomachs seated around a fire, with the possibility of their great antlers being held in an even higher regard.

While these animals have been wiped from our world, their extinction itself has proved to be of merit. In the early 1800s, a French scientist by the name of Georges Cuvier used the Great Irish Deer to help him prove that extinc-tion was, in fact, a real occurrence. Before this, god-fearing people believed that no creature brought on to Earth would be destroyed and claimed that any animal who had not been seen simply lay hidden in a remote part of the globe, yet unvisited by man. Cuvier successfully argued that the Deer anatomy was too different from any other living species and, like the mammoth and the sabre tooth cat, it had been eliminated. As a result, remains such as these are all that we have to serve as a memory of a world that once was.

Helena Carlyle


51


52

83 A GEORGE I INLAID FRUITWOOD LOWBOY, the top with thumb moulded rim and decorated with a cross inlaid diamond field, above a single drawer, raised on plain slender cabri-ole legs with pad feet. 71cm wide x 46cm deep x 70cm tall

€ 2,000 - 3,000

84 A GEORGE III INLAID MAHOGANY AND MARQUETRY BRASS BOUND OVAL OPEN WINE COOLER, of coopered construction, with zinc lined interior, the body with in-laid foliage and ribbon tied swags, on a separate base with splayed tapering legs and castors. 81 x 60cm

€ 2,000 - 3,000

85 AN IRISH GEORGE III MAHOGANY BRASS BOUND BUCKET, of coopered construction, with brass swing handle. 39cm tall

€ 1,000 - 1,500







53

87 A PAIR OF EARLY 19TH CENTURY MAHOGANY HALL CHAIRS, IN THE MANNER OF GILLOWS,with carved scallop shell backs on ‘C’ scroll supports, centred by a painted crest, and plain panel seats, raised on reeded sabre legs

€ 2,000 - 3,000

86 AN IRISH MAHOGANY LONGCASE CLOCK, C.1750the brass dial signed “Tho. Sanderson, Dublin”, with subsidiary sec-onds dial and calendar, the hood with swan neck rosette broken pediment, filled with a palmette, above a carved frieze centred by a lion mask, flanked by columns, the trunk with quarter engaged fluted columns, on moulded plinth with bracket feet. 220cm high

€ 1,500 - 2,000





54

88 A BRUSSELS STYLE TAPESTRY WALL HANGING, 17TH/18TH CENTURY, The rectangular centre depicting the Baptism of Clovis by Saint Remigius in the Abbey of Saint-Remi, Reims, con-tained within a broad border of interwoven rosettes, picked out in deep blue and earthen tones. 293 x 309cm

€ 10,000 – 15,000

Clovis I (466 - 511AD) was the first King of the Franks to unite all the Frankish tribes under one ruler by transform-ing the original mode of governance from tribal chieftaincy to a hereditary monarchy. His father, Childeric I had founded the Merovingian Dynasty in c.457 but it was his son who succeeded in creating of a stable and in turn sustainable dynasty which would rule for a further three hundred years.

Clovis is also renowned for his important relationship to Christianity and is often referred to as the first Christian king of France. A pagan at birth, Clovis converted to Christianity, mostly on the bequest of his wife Clotilde, in 496. His conversion is significant in its rejection of Arian Christianity, the prevailing faith of most other Germanic tribes of the period. The conversion is widely reflected upon in literary and decorative works such as this present ex-ample. Gregory of Tours, a Gallo-Roman historian was the first to produce a written record of the event, in which he describes the baptism taking place on Christmas Day 508AD following Clovis’ defeat of the Alamanni in the Battle of Tolbiac. In a small church, which would subsequently become the Abbey of Saint-Remi in Reims, Clovis is baptized by Saint Remigius (c.437 - 533 AD); a statue commemorating the occasion can still be seen today in the cloister of the church.

The inspiration for such tapestries often came from existing engravings or manuscript illustrations. The linear quality of engravings is reflected in the woven pattern of the tapestries in which a sense of depth or texture is ex-pressed through line. A close point of reference for the compositional arrangement of this tapestry is a print con-tained in Right Rev. Richard Gilmour’s Bible History: Containing the Most Remarkable Events of the Old and New Testaments. Similar examples of tapestries can be found in the ‘Salle du Conseil Communal’ in the Hotel de Ville in Brussels. The town hall, a gothic building constructed in the 15th century is home to wonderful 17th and 18th century verdure wall tapestries. Belgium was an important center of production for verdure tapestries from the medieval period onwards producing pictorially sophisticated works in which numerous individuals were involved in the process from the original design, to preparatory charcoal cartoon and the final woven product.

The representation of Clovis varies, from a Christ-like figure, nude but for swaddling in the baptismal font, or as in this present example, dressed in heraldry and armour - following his victorious battle- as a solider of Christ, kneel-ing before Remigius and attendants. The history of rulers converting to the Christian faith before or subsequent to a battle is not unique to Clovis, as Constantine had done a century earlier after the Battle of Milvian Bridge. These representations reflect the broad appeal for the tradition of public acts of piety, termed religion royale, in which the ruler is presented as a Christ-like figure enacting divine rituals. Such iconography reinforced the royal claim to a divinely sanctioned authority to rule.


55


56

89A A MAHOGANY BRASS-BANDED BUCKET OF COOPERED CONSTRUCTION,

Irish c.1800, with large brass drop-handles. 49cm high, 45cm wide


€ 2,000 - 4,000

89 A GEORGE II STYLE MAGOGANY AND PARCEL GILT MIRROR,The frame carved with scrolls, and surmounted by a gilt urn, and flanking scrolls.

€ 800 -1,000





57

91 AN IRISH GEORGE III MAHOGANY SHAPED RECTANGULAR FOLDING TOP CARD TABLE, C.1750 the baize lined interior with carved counter wells and candle stands, the frieze centred by a carved scallop shell and flanked by twin rosettes, raised on cabriole legs with acanthus carved knees and paw feet. 93 x 47cm

€4,000 - 6,000

For a table of this design with these distinctive rosettes see Peill & Glin Irish Furniture (2007) no. 130

90 A FINE GEORGE III RECTANGULAR READING STAND, the hinged adjustable top with pop out candle stands, decorated with a carved edge of rosettes and ribbon banding, raised on a fluted turned centrepillar and tripod base with carved acanthus carved knees and paw feet. 93cm tall 47cm wide

€ 1,500 - 2,000







58

92 WILLIAM SADLER II (C.1782-1839)The Mouth of The Liffey with the Poolbeg Lighthouse and ShippingOil on panel, 34.5 x 54.5cms

€ 8,000 - 10,000

Known particularly for his competent, atmospheric and topographically interesting views of the countryside around Dublin, Sadler remains an enigma in the history of 19th century Irish art. This is partially because his father, William (fl.1768-1788) and his own son, also William (b.1808) painted somewhat similar scenes in a vaguely similar style and can be confused. William Sadler II, however, stands out as being a better painter than either his father or his son. He is also credited as having taught painting and counted James Arthur O’Connor as one of his pupils. He is recorded as exhibiting, between 1808 and 1821, many paintings on his trademark mahogany panels. The Royal Hibernian Academy records four paintings by Sadler exhibited at the 1828, 1833 and 1836 annual exhibitions, giving his address as Buckingham Street and later at Merrion Avenue. In his 1913 Dictionary of Irish Artists, Walter Strickland notes however that he finally settled in Manders’ Building in Ranelagh where he died in December 1839. Sadler was greatly influenced by and did many copies of the Old Masters, particularly Dutch painters and this influence is seen in his landscape compositions with small figural groups. He also incorporated their technique of painting bright highlights to accentuate the almost three dimensional effect of his figures.

The present work is a wonderful atmospheric panorama ranging from the north of Dublin city on the right with it’s church spires over to south county Dublin on the extreme left, with views of Killiney and Dalkey and the Sugarloaf Mountain beyond. The main concentration however is on the myriad of ships that are heading into or exiting Dublin port. Sadler conveys the busyness of the channel leading into the city and the River Liffey, with an anchored coastal trader in the foreground and nearby a British naval frigate heading into port. Numerous other large sailing ships are evident further into the port area. The lively winds are expressed by the rough green seas with it’s highlighted surf and in the somewhat stormy skies. Typical of Sadler, these con-ditions convey a sense of drama in what is essentially a non-dramatic scenario. The architectural landmarks are accurate, as you’d expect with the artist, whose skill in describing the topography of the city is well regard-ed. The Poolbeg Lighthouse is prominent, not surprisingly, standing as it does at the end of the four kilometer long Great South Wall. Also visible is the Pigeon House Fort, built around the time of the 1798 Rebellion and which housed an armory, magazine, stores, a hospital and quarters for officers and men. A little further in several domes are visible, perhaps amongst them, the Custom’s House on the Liffey quays. While views of this scene are not uncommon in the artist’s oeuvre it is the scale and grandness of the view that sets the present apart from many others.


59


60

The son of an Englishman who settled in Dublin, John Henry attended the Dublin Society’s Schools before estab-lishing himself as a landscape painter in Dublin. Walter Strickland notes that he sent a drawing, ‘Moonlight’ to an exhibition held at Allen’s on Dame Street. The following year he exhibited two works at Parliament House, followed by four landscapes in 1802, two in 1804 and further oils and watercolours between 1809 and 1819. He contributed to the opening exhibition at the Royal Hibernian Academy in 1826 and again in 1828.

Strickland observed “amongst his water-colours are a “View of Dublin, Howth, etc., from Huband Bridge,” exhibited in 1809 and now in the National Museum, Kildare Street; a “View near Rostrevor” in the National Gallery of Ireland; and a “Bridge over the Dodder, Upper Rathmines,” in the possession of Mr. J. C. Nairn, 13 Westland Row. In the British Museum are two drawings by him: “The Little Sugar-Loaf,” dated 1806, and “Rathgar Castle,” dated 1807. A “View of Dunleary Pier and part of the Town,” drawn by him in 1789, was etched by J. Wright, who published it at 34 Mary’s Abbey. In Ferrar’s “View of Ancient and Modern Dublin,” 1796, is an engraving of “Sarah Bridge” by Clayton, after a drawing by Campbell. A large aquatint by A. Courcell, of “Powerscourt Waterfall,” with a picnic party, was done from a drawing by him. Two landscapes in oil: “View on Lough Erne, with Devenish Island and Round Tower,” and “Fassaroe Bridge”— the latter painted in 1821—belong to Mr. J. C. Nairn. A “View of Killarney, with Torc Moun-tain,” and a “Banditti with Prisoners,” the landscape after Both, the figures by G. Nairn (q.v.), belong to the Rev. F. Sadleir, 9 Gardiner’s Place”. Campbell maintained a well regarded position among his peers and still ranks highly for his watercolour works in particular. His daughter, Cecilia Margaret was also a noted painter in oils and watercolours and married the artist George Nairn ARHA.

The present work, ‘A View of Shanganagh Castle, with Killiney Beyond’ is a typically reliable topographical view by Campbell of an area south of Dublin on the Wicklow coast, and looking northwards. Peter Pearson in his book ‘Be-tween the Mountains and the Sea’ writes – ‘ Shanganagh Castle, now in ruins, occupies one of the oldest inhabited sites in the area. In 1654 it was described as having two orchards, a garden, a grove of ash trees set for ornament and a mill’. Pearson illustrates a watercolour by William Westall from 1810 ‘showing the intact ruin of Shanganagh Castle with Killiney, as yet developed, in the background’. The present view by Campbell appears to be observed from a similar position, even if the perspective of Westall’s is not as accurate. Campbell imbues his idyllic scene with figures and livestock, including a goat, in the shaded fore-ground, flanked by languid and willowy trees. Below in the sunlight is the castle surrounded by verdant trees and a field occupied by sheep. The view extends for many miles northwards and the sun-speckled Killiney Bay is dotted with pleasure yachts including two making their way through Dalkey Sound. The artist has created a very attractive image of semi rural life, pleasure boating and all in an area well known and easily recognizable by many.

93 JOHN HENRY CAMPBELL (1757-1828)

A View of Shanganagh Castle, with Killiney beyondOil on canvas, 50 x 60cm

€ 10,000 - 15,000


61


62

94 A FINE IRISH VICTORIAN INLAID AND PAINTED SATINWOOD CARLTON HOUSE DESK,

by Arthur Jones & Co., 135 St. Stephen’s Green, Dublin, the top section of concave form, fitted central cupboard and flanking pairs of three short drawers and concave cupboards with incurved panels and end drawers, on a desk base with adjustable writing slide, and central frieze drawer, flanked by pairs of drawers, on square taper-ing legs, the entire decorated with rosewood banding and painted ribbon tied bows and floral sprays, each cupboard door painted with portraits, the back continuously decorated with satyr mask and floral swags above a vignette of a river landscape with windmill, affixed with label. 138cm wide, 67cm deep

€ 10,000 - 15,000




63

64

95 AN IRISH GEORGE III INLAID MAHOGANY AND SATINWOOD SQUARE PIANO, the case decorated with checkered stringing and opening to reveal a hand painted panel above the keyboard decorated with a central cartouche containing the maker’s name ‘’Southwell, Dublin and London’’ flanked by floral swags, raised on a rectangular base and turned legs with brass castors. 86.5cm high, 176cm wide, 60.5cm deep

‘’It is a little appreciated fact that Ireland made a considerable contribution to the development of that most universal of musical instruments, the Pianoforte. The ingenuity of Dublin’s principal pianoforte builder at the close of the eighteenth century, William Southwell, was to exert an increasing influence on manufacturers on both sides of the Irish Sea and eventually across the whole of Europe. In fact few histories of the pianoforte omit his name. Instruments by William Southwell in the 1790’s are rare, this being the decade in which he took out a patent on an outstanding innovation in the square piano, which would prove to be of immense commercial significance. Throughout most of the Eighteenth Century the standard compass (number of notes) of harpsichords and pianofortes was five octaves, until the 1790’s when fashion and musical compositions began to demand instruments with ‘the additional notes’. To increase the compass of a grand pianoforte is a simple technical matter, but in the square piano how-ever, it becomes a problem of some complexity, for the ranges of the strings and the keyboard must expand in two different directions. This causes difficulties in string scaling and gives rise to an untenable reduction in the size of the soundboard. William Southwell solved the problem brilliantly by running the extra half octave under the soundboard, with the hammers emerging through an aperture to strike the strings. This system was eventually adopted by all makers of square pianos and Southwell patented it in Dublin and London in 1794”

Taken from ‘’Beethoven, Hayden, and the Irish Genius: William Southwell of Dublin’’ by Alec Cobbe in ‘ The Irish Arts Review Yearbook 1997, Volume 13’.

€ 5,000 - 8,000


65


96 A GEORGE I LONGCASE CLOCK, with movement by Daniel Quare, London (1647/49-1724), contained in a mahogany (later) inlaid case, the arched hood sur-mounted by brass globes above flanking fluted columns, the brass face with steel chapter ring date aperture second hand, decorated with applied pierced spandrels, the movement with eight striking bells, the case inlaid with trailing bellflowers, urns and leaf sprays with ribbon tied swags, and with quarter engaged fluted pilasters, raised on braket feet. 240cm high

€ 5,000 - 8,000


66

97 A PAIR OF GEORGE III STYLE PAINTED SATINWOOD DEMI-LUNE COMMODES, the tops decorated with painted floral festoons and oval vignettes, above frieze drawers and central cupboard doors decorated with pearl banded medallions of muses, en grisaille to the sides and with central floral bouquet within an interlaced circle, raised on square tapering legs 92cm tall x 131cm wide x 50cm deep

€ 10,000 - 15,000



67

68

98 A PAIR OF GEORGE III STYLE PAINTED AND PARCEL-GILT SATINWOOD TALL COMPACT DISPLAY CABINETS,

the moulded cornices above arcaded friezes and arched single glazed panel doors flanked by gilt pilasters above cupboard bases, decorated with painted oval vignettes of vases of flowers, each raised on bracket feet. 203cm tall 64cm wide 30cm deep

€ 8,000 - 12,000




69


99 A FINE LATE 19TH CENTURY INLAID AND PAINTED SATIN-WOOD BOOKCASE, The arched cornice above twin arched glazed panel doors, the bow front twin panel door cupboard base flanked by turned baluster pilasters, the entire decorated with painted foliate and scroll banding and painted vignettes in the manner of George Morland, of children and their parents in winter landscapes236cm tall x 117cm wide

5,000-8,000




70

100 A GEORGE II CARVED GILT WOOD PIER MIRROR, C.1730 fitted with mercury backed plate, surrounded by a narrow leaf carved border, surmounted by a swan neck broken pediment with feather plum cresting over a blind carved apron. 118cm high, 54cm wide

€ 1,500 - 2,000



71


101 A GEORGE II IRISH FLAT CARVED GILTWOOD PIER MIRROR, C.1730,

fitted with rectangular bevelled plate below a swan neck broken pediment and central cartouche with foliate border and shell carved apron. 111cm high, 59cm wide

€ 2,000 - 3,000



72

102 CONTINENTAL SCHOOL (MID 19TH CENTURY)The Defeat, a Battle SceneOil on canvas, 100 x 126cm

€ 1,000 - 1,500

103 A 19TH CENTURY CONTINENTAL GILTWOOD CONSOLE TABLE, with white statuary marble top, with moulded rim and raised above pierced foliate scroll apron supported by two legs in the form of putti, terminating in scroll feet. 152cm wide x 52cm deep

€ 1,500 - 2,000




73


104 A PAIR OF EBONISED, PAINTED AND GILDED BLACKAMOOR TORCHERES, the standing figures, raised on pedestal bases with rockwork tops, holding aloft torches with seven scroll lamps, adapted for electricity. 196cm high

From the 12th century, the city state of Venice acted as one of the controlling parties of the Eastern Mediterranean. For this reason, items of high commercial value passed through its ports, one of these products being human beings. Whilst many, at the mention of the slave trade, instantly recall the struggles faced by black repression, the market that passed through Italy bears a different tale. The Italians, it would appear were slaves themselves, viciously serving wealth, and the demands that it made. Until the fall of Constantinople in 1453, many of the people passing, shackled, through Venice were fellow white Europeans. It was only with the demise of the Islamic kingdoms that the market changed and, dutifully, the Italians altered the colour of the commodities with which they dealt. In 17th century Venice, the dark skinned Moor became synonymous with luxury. These Africans, beautiful in their differences, became a thing of fashion, with many white nobles engaging them in servitude to act as more of an accessory than anything else. This fascination soon became the subject of art, giving rise to the creation of the Blackamoor figure. These figures, of-ten shown holding torcheres or trays, stood in the place of the real person, allowing for a hint of glamour to be brought into a room otherwise lacking. For this reason, whilst the depiction of such menial subjugation can nowadays be questioned, it is hard not to admire the artwork behind the pieces. Yes, they reveal an insight into the inappropriate relationships present in Italy at the time, but they also unveil an appreciation for the human form, and the delightful differences that it can produce.

€ 4,000 - 6,000




74

105 SAMUEL SPODE (FL.1825-1858)Ivanhoe: A bay hunter in a stable, his rug and bucket with the initials C.AOil on canvas, 50 x 60cmsSigned and inscribed with title

€ 3,000 - 5,000


75


106 AFTER GEORGE STUBBS (C.1800)Molly LonglegsOil on canvas, 79 x 118cms

The original painting by Stubbs is part of the collection at the National Museum of Liver-pool. ‘Molly Longlegs’, a bay mare, brought much success to her owner Lord Boling-broke (1678 -1751) by winning on two occasions at the Newmarket races. Bolingbroke was presumably the commissioner of the original portrait.

€ 5,000 - 8,000


76

107 SAMUEL SPODE (FL.1825-1858)A Chestnut Hunter, and A Bay Hunter in their stables, the horses, buckets and rugs with the initials E.C; a pairOil on canvas, both 49 x 60cmsEach signed (2)

€ 6,000 - 10,000


77


78

108 A GEORGE III INLAID SATINWOOD OVAL DOUBLE DROP LEAF PEMBROKE TABLE, C.1800decorated with ebon stringing and satinwood banding, with single end drawer, and raised on square tapering legs with brass castors. 43 x 75cm

€ 500 - 800

109 A GEORGE III MAHOGANY BUTTERFLY SHAPED DOUBLE DROP LEAF PEMBROKE TABLE, C.1780with single end drawer on square tapering legs and plinth feet. 71 x 46cm

€ 500 - 800






79

110 A PAIR OF GEORGE IV INLAID MAHOGANY FOLDING TOP TEA TABLES, each on four baluster turned columns on a platform with four splayed legs, with brass paw castors

€ 3,000 - 5,000




80

111 GIUSEPPE VASI (1710-1782)Prospetto dell’Alma Citta di Roma Visto dal Monte GianicoloSet of 12 etchingsThe Complete Monumental Panorama of the City of Rome circa 1750. framing label verso of Cornelius Callaghan.

Provenance: Powerscourt House, auction 1984

€ 3,000 - 5,000

112 A FIGURAL MAHOGANY AND INLAID MARBLE TOP CIRCULAR CENTRE TABLE,

MID-19TH CNETURYthe top radially set with specimen marbles on a green ground, the plain frieze raised on a mahogany tapered triangular base on scroll lappet feet. 106cm diameter x 77.4cm high

€ 3,000 - 5,000





81


113 A FINE PAIR OF 17TH/18TH CENTURY CONTINENTAL CAST BRONZE FIGURES, of Bellona and Venus, raised on mannerist open scroll pediments centred by amorial shields. 105cm tall

€ 15,000 - 20,000



82

114 AN IRISH GEORGE III SILVER PIERCED OVAL SWING HANDLED FRUIT BASKET, DUBLIN C.1780, mark of John Lloyd, the handle with bellflower swags, the body with raised beaded border and decorated in the neo-classical taste, the plain central reserve engraved with the arms of Plunket, raised on pierced oval foot, (c.964g). 37cm wide

€ 1,500 - 2,500

115 AN IRISH REGENCY SILVER OVAL HELMET SHAPED SUGAR BOWL OF PANELLED FORM, DUBLIN 1819, mark of James Scott, with shaped carrying handle and wavy rim, the body with bright cut neo-classical decoration, on corresponding shaped base, (c.295g). 17.5cm wide

€ 600 - 1,000







83

116 AN IRISH GOLD AND CORAL BABY’S RATTLE, DUBLIN C.1770, makers mark ST, hung with bells, the whistle with neo-classical decoration with a crested medallion suspended from swagged husks draped from paterae, with coral ** teething piece and a loop for a ribbon. 14cm

The crest is that of ‘Fitzgerald’ and the query is who of this name could indulge in the ostentatious luxury of a gold baby’s toy? A like-ly candidate is the notorious George Robert Fitzgerald of Co. Mayo. He was a nephew of the Earl/Bishop of Derry and married in 1770 to Jane, née Connolly, of the Castletown family, one of the richest in Ireland. Much was expected of George Robert as the Fitzgerald family conversation piece by Zoffany (1733 - 1810) in the National Gallery illustrates. He cut a dashing figure at the Court of Versailles where he acquired a taste for luxurious bijoux, and dressed in a magnificent uniform as head of the Earl/Bishop volunteer corps. His operatic end by hanging in Castlebar in 1786 is well document-ed. He was survived by his daughter the presumed recipient of this incredibly rare object

€ 3,000 - 5,000



84

117 A GEORGE I SILVER ALMS DISH, LONDON 1721, maker’s mark rubbed, with everted rim, the plain centre engraved with a coat of arms, (c.295.5g). 21.5cm diameter

€ 400 - 600

118 A SET OF FOUR IRISH GEORGIAN SILVER CANDLESTICKS AND SCONCES, DUBLIN C.1770, the knopped stems with starburst shaped sockets and conforming shaped bases, (c.2674.9g all in). Each 27cm high. (4)

€ 2,000 - 3,000

119 A PAIR OF GEORGE III SILVER CHAMBER CANDLESTICKS AND SNUFFERS, LONDON 1794/96, mark of John Emes, of plain oval design, with ‘C’ scroll handles and with contemporary crests, (c.653 g). Each 11cm high, 16cm wide. (2)

€ 500 - 800










85

120 AN IRISH GEORGE III SILVER FREEDOM BOX OF RECTANGULAR FORM, DUBLIN 1808, the hinged lid engraved with the City of Cork coat of arms, surmounted by inscription Statio Bene Fida Carinis, and contained within a border of chased and engraved foliate and shamrock decoration, the base inscribed “With this Box the Freedom of the City of Cork in Ireland was unanimous-ly given to Capt. Robt. Hall for his Gallant conduct in His Majesty’s Navy the 22nd day of August 1809”, (c.77.75g). 5.25 x 7.75cm

Merchants of Cork and Dublin were keen to acknowledge the efforts of the British navy blockading Continental Europe. These actions both protected and expanded the trade with North America, Portugal and other neutral countries and the Far East, mainly India. Freedoms of cities in gold or silver boxes with appropriate inscriptions were favoured.

Robert Hall, a Tipperary man born in 1778, whose mother was Mary Roche (nee Verling) of County Cork, commanded the ‘Lucifer’, a gun-ship designed to engage on-shore positions. In 1808, he took the ship inshore to bombard gun batteries in the Gulf of Rosas, Spain. and, in spite of heavy counter-fire, maintained his position until damage forced him to retire after two days of engagement.

€ 4,000 - 6,000


86

121 AN IRISH GEORGE III SILVER BRANDY PAN, DUBLIN 1798, mark probably that of Robert Wyke, of plain baluster form with lipped moulded rim and right-angled turned wooden ebon handle, the body crested, (c.388.7g all in). 26cm wide over handle

€ 500 - 800

122 AN IRISH GEORGE III SILVER OVAL DISH FRAME, DUBLIN C.1780, with beaded rim, the pierced gallery body with bands of leaves and gadrooning, the flanged handles pierced with acanthus flanked anthemion, and with a heavy clear glass liner with star cut base, (the frame c.560g). 9cm high, 32.5cm wide

€ 1,000 - 1,500

123 AN IRISH WILLIAM IV SILVER WINE FUNNEL STAND, DUBLIN C.1830, mark of William Nolan with gadrooned rim, the plain convex re-serve crested. 11cm diameter; together with An Associated funnel, Dublin 1835, maker’s mark rubbed, crested, (c.140g all in). (2)

€ 200 - 300








87

124 A PAIR OF GEORGE III TWO BRANCH SILVER GILT FIGURAL CANDELABRA, LONDON 1811, mark probably that of Edward Capper, each in the form of a clas-sical female torch carrier, the sockets formed as flower heads with leafy drip pans, with central pineapple finial, the figures raised on spreading circular neo-classical engraved bases, (c.2954.8g all in). Each 44cm high, 26cm wide. (2)

€ 3,000 - 5,000



88

125 A HANDSOME IRISH GEORGE III SILVER PRESENTATION SALVER, DUBLIN 1776, mark of John Lloyd, the shaped gadrooned rim to a central reserve finely engraved with the arms and motto of Drogheda and inscribed ‘The Gift of The Corporation of Drogheda to Hugh Montgomery Lyons Esqr., one of Sheriffs of said Town in testimony of Their regard to Him for his spirited and proper conduct in that office AD 1776’, and raised on four pad feet, (c.2301.66g), scratch weight 75 ounces and 5 penny weights. 47.5cm diameter

€ 4,000 - 6,000



89

90

126 A PAIR OF IRISH SILVER TABLE ORNAMENTS IN THE FORM OF COCK PHEASANTS, DUBLIN 1975, mark of Irish Silver Ltd, (c.1804g all in). Each 35cm. (2)

€ 800 - 1,200

127 A PAIR OF SILVER TABLE FLASKS IN THE FORM OF A COCK PHEASANT AND A GROUSE, SHEFFIELD 1899, finely modelled and with removable heads, (c.373g all in), the pheasant 25cm

€ 800 - 1,400

128 MINIATURE SILVER FOR A BABY HOUSE, A set of six bright cut table spoons, London c.1780, mark of George Smith. 6.5cm € 150 -250

129 A GEORGE III IRISH SILVER WINE FUNNEL, DUBLIN C.1770, maker’s mark of James Warren, of plain form. 10cm long

€ 250 - 350







https://www.adams.ie/79762/A-GEORGE-III-IRISH-SILVER-WINE-FUNNEL-Dublin-c-1770-maker-s-mark-of-James-Warren-of-plain-form-10cm-long-79762?Itemid=&high_estimate=400000&ipp=All&keyword=&low_estimate=50&sort_by=lot_no&view=lot_detail

https://www.adams.ie/79762/A-GEORGE-III-IRISH-SILVER-WINE-FUNNEL-Dublin-c-1770-maker-s-mark-of-James-Warren-of-plain-form-10cm-long-79762?Itemid=&high_estimate=400000&ipp=All&keyword=&low_estimate=50&sort_by=lot_no&view=lot_detail


91

130 A PAIR OF IRISH SILVER TABLE ORNAMENTS IN THE FORM OF A COCK AND A HEN PHEASANT, DUBLIN 1980, mark of Irish Silver Ltd, (c.1493g all in). The cock 35cm

€ 1,000 - 1,500




92

131 MINIATURE SILVER FOR A BABY HOUSE, A RARE CRUET STAND,

London c.1720, mark of David Clayton, the five-ring compartments on a stepped frame with three graduated baluster shaped castors and cov-ers, and two original glass flasks and covers, stamped with lion passant and makers mark seven times. 10cm wide

€ 600 - 1,000

The 18th century marked an era of retail where children themselves were seen as valuable consumers and the idea of being born with a silver spoon in one’s mouth appeared as a genuine possibility. The concept of dollhouses, which originated in Germany and Holland, took hold of Britain and skilled silversmiths created charming accessories for these miniature homes. Most English silver toys were made in Lon-don, but shops also imported items from Holland, a country that still maintains an expert level of craftsmanship in this delicate work.Although these houses offered entertainment for both children and la-dies alike, they also played an important role in the education of young girls. They provided a visual display of how a lavish house should be kept, its accessories denoting the styles of the period and what was considered fashionable. This can be clearly seen in the differences between Georgian and Victorian silver toys. Whilst the first boasts a re-fined elegance through relatively plain designs, the fussy decoration of the latter indicates a stark change in taste. Unlike today’s toys that are often beaten and bruised with affection, the care of these silver items mirrored that taken over the real thing. For this reason the silver toys that we find now, whilst quite rare, are often in excellent condition, despite being nearly three hundred years old.

Helena carlyle

132 MINIATURE SILVER FOR A BABY HOUSE, A PLAIN TANKARD, London c.1720, mark of David Clayton. 3.5cm; together with a kettle

and cover, c.1700, apparently unmarked, contemporary initials ‘C.M’. 6cm

€ 400 - 600

133 MINIATURE SILVER FOR A BABY HOUSE, A FLUTED PATEN,

Exeter c.1690 and a fluted chalice, apparently unmarked. 4cm high

€ 100 - 200

134 MINIATURE SILVER FOR A BABY HOUSE, A RARE TRIPOD DINNER PLATE STAND WITH A SET OF

30 PLATES, London c.1720, mark of David Clayton. 8.5cm high, the plates 3cm diameter

€ 600 - 1, 000











93

135 MINIATURE SILVER FOR A BABY HOUSE, A TEAPOT AND COVER,

London c.1720, mark of David Clayton, with scroll handle and straight spout. 5cm wide over spout

€ 400 - 600

137 A PAIR OF GEORGIAN STYLE SILVER HELMET SHAPED SAUCE BOATS, BIRMINGHAM 1911, each with reeded rim above a plain body engraved to one side with monogram and crested to the opposing side, with acanthus wrapped ‘c’ scroll handle and raised on three shell capped hoof feet, Engraved with the arms of the Marquess of Waterford, Nihilo nisi cruce (c.622g all in). Each 20.5cm wide over handle and spout. (2)

€ 1,000 - 1,500

136 A GEORGE I SILVER DRAM CUP IN THE FORM OF A PORRINGER, LONDON 1725, mark of Louis Laroche, of demi-fluted baluster form with a band of scallop shell punched decoration and twin handles. 8cm over handles; together with a toy monteith, London, 1707, Britannia standard, with sim-ilar demi-fluted decoration and a band of punched trefoil decoration. 5cm diameter. (2)

€ 800 - 1,200








94

138 A GEORGE III OVAL TWO HANDLED TRAY, LONDON 1807, mark of William Bennett, with gadrooned rim, the centre with a baron’s coronet, (c.1586g). 58cm wide over handles

€ 1,000 - 2,000

139 A GEORGE III SHAPED CIRCULAR SALVER, LONDON 1767, mark of Richard Rugg I, with gadrooned border, the centre engraved with a coat of arms and raised on four hoof feet, (c.1586g), scratch weight 57 ounces and 8 penny weights. 41cm diameter

€ 1,500 - 2,000






95

140 A GEORGE III PEAR SHAPED COFFEE JUG, LONDON 1761, mark of Thomas Whipham and Charles Wright, the lid with acorn finial, delightfully embossed with architectur-al fantasies, palm trees and ho-ho birds, on skirted foot, inscribed ‘A Gift of Geo. Knox Esqr. to Eliz. Knox’, (c.575.5g). 26cm high

€ 1,000 - 1,500

141 A PAIR OF SILVER TWO-HANDLED CUPS, DUBLIN C.1770, mark of Matthew West, with acanthus wrapped handles, to the central girdled body, with later repoussé regency decoration and with car-touches containing the crest of Preston, Lord Tara, raised on engraved spreading circular feet, (c.839.79g all in). Each 13.5cm high. (2)

€ 800 - 1,400




96

142 A RARE GEORGE III IRISH SILVER PASTRY SERVER, DUBLIN 1801, maker’s mark of Joseph Jackson, of shaped triangular form, with scissors action handle, the upper server with pierced, chased and engraved central star dec-oration and engraved border, threaded point handle (c.217.7g). 32.5cm long

€ 1,600 - 2,000

143 A GEORGE II IRISH SILVER SUGAR BOWL, DUBLIN C.1750, makers mark of James Warren, with shaped turnover rim, the body decorated with contemporary repousse work depicting a bird in flight carrying a snake in its beak, and a putti laden down with grapes, raised on human masks and shell feet (c. 279.9g). 14cm diameter

€ 1,800 - 2,200






97

144 A RARE IRISH GEORGE I SILVER STRAWBERRY DISH, DUBLIN 1715, mark of Anthony Stanley, twenty-four panel, the plain centre engraved with a contemporary armorial, (c.419.89g). 22.5cm diameter

€ 7,000 - 10,000



98

145 A LARGE AND HEAVY PROVINCIAL SILVER SAUCEBOAT, CORK C.1770, mark of John Nicolson, struck ‘STERLING’ to the underside, of helmet form, with gadrooned rim, with acanthus wrapped applied cast handle, raised on shell capped legs and feet (c. 498g) 20.8cm over handle.

€ 3,000 - 5,000

146 AN IRISH QUEEN ANNE SILVER STRAWBERRY DISH, DUBLIN 1710, maker’s mark indistinct, with sixteen fluted panels and engraved with later crests, (c.326.5g), scratch weight 11 ounces, 14 penny weights. 21.5cm diameter

€ 2,000 - 3,000






99

147 A PAIR OF LARGE IRISH GEORGE III SILVER SAUCE BOATS, DUBLIN 1798, mark of Robert Breading, each of helmet form, with flared rim and acanthus wrapped scroll handles, the plain bodies crested and each raised on three shell capped hoof feet, (c.917.5g all in). Each 24cm wide

€ 4,000 - 6,000



100

148 A PROVINCIAL SILVER BASTING SPOON, CORK C.1770, maker’s mark of John & Samuel Nicolson, of plain form, with taper-ing handle terminating in crest (c.93.3g). 32cm long

€ 500 - 800

149 A FINE PAIR OF GEORGE III IRISH BRIGHT CUT SILVER SERVING SPOONS, DUBLIN 1789, maker’s mark of John Sheils, having plain bowls, the tapered point handles with star terminals and engraved ovals with eagle crest (c.208.4g). 31.5cm long (2)

Provenance: Formerly in the collection of Dudley Westropp.

€ 1,800 - 2,200

150 A PAIR OF GEORGE II IRISH SILVER HOOK HANDLE BASTING SPOONS, DUBLIN 1758, maker’s mark of Thomas Walker, the tapered handles terminating in engraved crests (c.218g). 29cm long

€ 1,000 - 1,200

151 AN IRISH PROVINCIAL BRIGHT-CUT SILVER SERVING SPOON, CORK C.1805, maker’s mark of John & Nicholas Nicolson (c.108.6g). 32cm long

€ 1,200 - 1,500










101

152 A GEORGE II IRISH SILVER CIRCULAR BOWL, DUBLIN 1735, mark of Charles Lemaitre, of plain design, with everted rim, the body crested and raised on a spreading circular foot, (c.544g). 18.5cm diameter

€ 3,000 - 5,000



102

153 A PAIR OF PROVINCIAL IRISH SILVER HOOK HANDLE BASTING SPOONS, LIMERICK C.1780, maker’s mark of Philip Walsh, the tapered feather edged handles terminating in engraved initials (c.218g)

Literature: Douglas Bennett, ‘Collecting Irish Silver’, 1984, where illustrated, page 113, fig. 115.

€ 2,000 - 3,000

154 AN IRISH SILVER WINE FUNNEL DRIP-TRAY, DUBLIN 1761,

maker’s mark of William Bond, of circular for with beaded rim, the centre engraved with initials. 8.5cm diameter

€ 250 - 400

155 TWO SIMILAR SILVER TAPER STICKS, LONDON 1729 AND 1746, the latter with maker’s mark IB, with knopped stems and shaped square bases, one engraved with initial, (c.202g all in). 11cm high and 10.5cm high (2)

€ 300 - 500

156 A GEORGE III IRISH BRIGHT-CUT SILVER LADLE, DUBLIN 1780, mark of MS, with pointed star terminal and the handle also with a monogram, and with shell bowl, (c.140g). 36cm long

€ 400 - 600










103

157 A GEORGE II SILVER COFFEE POT, LONDON 1747, mark of George Sleath, of tapering form with tucked base on skirt foot, the domed hinged lid with acorn finial, the body engraved to one side with contempo-rary crest and to the other with a cartouche enclosing arms, the body with later all over chased and em-bossed scrolling foliate and leafy decoration and with ebon handle, (c.808.69g all in). 25cm high

€ 1,500 - 2,000

158 A GEORGE III IRISH SILVER DISH RING, DUBLIN C.1775, mark of Ambrose Boxwell, of circular waisted form, the pierced trellis work body decorated in the neo-classical taste with swags and paterae, and with central medal-lion containing contemporary crest, (c.264g). 10.5cm high, 19.5cm diameter

€ 1,000 - 1,500





104

159 A GEORGE III IRISH BRIGHT-CUT SILVER SOUP LADLE, DUBLIN 1780, mark of Michael Keating, engraved with a crest contained within a medallion, and with shell bowl, (c.155.5g). 32cm long

€ 400 - 600

161 A SMALL SILVER URN-SHAPED VASE, LONDON 1834, mark of Charles Thomas Fox, with raised foliate decoration, engraved with a cow and inscribed ‘Drogheda, Meath, Louth Farming Society’. 9cm (lacks base); together with a reduction of the Tara Brooch by Johnson, Dublin, with crown cresting and inscribed ‘Royal Meath’. 5.5cm

€ 200 - 300






105

163 A SET OF SIX PROVINCIAL OLD ENGLISH PATTERN SILVER TABLE SPOONS, LIMERICK C.1780, mark of Philip Walsh, the terminals crested, (c.420g all in). (6)

€ 3,000 - 5,000

164 ‘THE POWER’S GOLD CUP’ An Irish Celtic Revival silver gilt tri-handled presentation cup of tapering panelled form, Dublin 1979, mark of E.M, the rim with a band of embossed Celtic decoration, the corner angles applied with outset handles, the plain body engraved with a ‘P’, supported on a conforming timber base with inscription plaque ‘The Power Gold Cup, Fairyhouse 1979, Won by PERSIAN WANDERER’. The cup 35cm high, the entire 42.5cm high

€ 2,500 - 3,500




106

166 A GEORGE III MAHOGANY RECTANGULAR LINEN PRESS, the dentil cornice above twin doors with oval panels enclos-ing 4 sliding shelves supported on a base with two short and two long drawers supported on bracket feet

€ 2,000 - 3,000

167 AN IRISH GEORGE III CHIPPENDALE MAHOGANY RECTANGULAR TALL BOY CHEST

ON CHEST the moulded fret cornice above two short and six long drawers, flanked by canted fret corners, supported on shaped carved bracket feet, with original brass swan neck handles and locks. . 45 inches wide x 24 inches deep x 73.5 inches high (187 x 108 cm)

This double chest-of-drawers called a ‘Tallboy’ in Messrs A. Hepplewhite and co. “The Cabinet-maker and Upholsters Guide” London 1788, is embellished with fretted-ribbon bands in the Chinese /Gothic fashion popularized by Thomas Chippendale’s “The Gentleman and Cabinet-Makers Director “ London .1754 and these bracket feet fellow the design in the Directory.

€ 1,500 - 2,000







107

168 A FINE IRISH MAHOGANY OVAL DOUBLE DROP LEAF DINING TABLE, C.1740, on cabriole gate-leg supports, the acanthus wrapped legs with rosette brackets on outsized paw feet. 163cm long x 185cm wide (open)

€ 10,000 - 15,000



108

171 A GEORGE III MAHOGANY KNEEHOLE BREAKFRONT SECRETAIRE BOOKCASE, the central mirror door cupboard surmounted by a carved and pierced neck pediment with scrolls and foliage, flanked by stepped single door cupboards with applied cast ribbon tied fruiting swags, set on three concave drawers, raised on a desk base with single long drawer and kneehole cupboard, flanked by pairs of three graduated drawers on bracket feet. 226cm tall x 126cm wide x 56cm deep

€ 8,000 - 12,000

169 AN IRISH FLAT CARVED GILTWOOD MIRROR, EARLY 18TH CENTURY, with a scroll broken pediment, set with rosettes and filled with an escutcheon, the later bevelled plate within a shaped moulded border with beaded and leaf carved rim. 122cm high x 72cm wide

€ 1,000 - 2,000

170 AN IRISH MAHOGANY RECTANGULAR SIDE TABLE, C.1760the top with moulded rim above a shaped apron centred by a carved scallop shell, raised on slender cabriole legs with shell carved knees and feathered hocks on paw feet. 100 x 51cm

€ 2,000 - 3,000








109


110

173 A GEORGE III MAHOGANY BRASS BOUND OVAL OPEN WINE COOLER, of coopered construction, with removable zinc liner, raised on cabriole legs, with shell carved knees, on carved claw and ball feet. 61 x 40 x 55cm tall

€ 1,000 - 1,500

172 A LARGE WILLIAM IV MAHOGANY CELLARETTE,

of sarcophagus form, the flat domed hinged lid enclosing a fitted interior, with timber side carrying handles, raised on paw feet. 93 x 58cm

€ 2,000 - 3,000






111

174 A FINE PAIR OF GEORGE III MAHOGANY RECTANGULAR FOLDING TOP CARD TABLES, C.1780the interiors baize lined and carved with rosette and dart banding, with concertina action supports, raised on reeded square legs, with moulded brackets

€ 8,000 - 12,000




112

175 AN IRISH GILTWOOD AND GESSO NEO-CLASSICAL COMPARTMENTED MIRROR, 19TH CENTURY, in the manner of George Beamish, the flat palmette enriched cornice, above “verre eglomisé” panels decorated in gold on a milk white ground, the plate divided by slender caryatid pillars, with husk pendants, the base with panels of swagged and half patterae. 191cm high x 128cm wide

€ 2,000 - 4,000




113

177 A PAIR OF GEORGE II STYLE CARVED WOOD SIDE TABLES, in the manner of William Kent, with marble tops above a fluted frieze centred by a carved scallop shell and flanking acanthus swags, raised on canted scroll legs with scaled panel sides and leaf carved liners on scroll feet. 115 x 66cm

€ 4,000 - 6,000

176 A GEORGE I STYLE GILTWOOD WALL MIRROR, the arched pediment with flanking scrolls carved in low relief with foliate swags, above a frame with bound leaf banding. 90 x 52cm

€ 800 - 1,200





114

178 A VERY FINE AND LARGE GEORGE IV IRISH WINE COOLER BY WILLIAMS & GIBTON, of sarcophagus form, thepull out interior well lined and fitted with compartments and stamped, the flat domed lid with carved gadroon banding above a tapering body, with heavily carved paw feet. 105 x 70 x 70cm tall

€ 6,000 - 8,000



115


116

179 A FINE PAIR OF WILLIAM IV IRISH ROSEWOOD FRAMED LONG SOFAS BY WILLIAMS & GIBTON, with upholstered backs and seats on a reeded frame, the armrests carved with scrolls and raised on turned fluted tapering feet, each stamped ‘Williams & Gibton, 18348’. 212cm long

Provenance: Orignally purchased in the 1930’s from Castlemorris house, Co, Kilkenny.

€ 8,000 -12,000



117


118

180 A LARGE GEORGE IV IRISH MAHOGANY CELLARETTE, OF ARCHED SARCOPHAGUS FORM, by Mack William & Gibton, the hinged lid above a tapering body, decorated with applied carved fruiting vines, raised on carved paw feet, stamped. 81cm wide x 61cm deep

€ 2,000 - 3,000

181 A GEORGE II CARVED MAHOGANY SHAPED RECTANGULAR STOOL, with padded seat, the frame carved with scallops and acanthus leaves, on cabriole legs with trefid feet. 66 x 53cm

€ 2,000 - 3,000






119


182 A GEORGE IV IRISH MAHOGANY CELLARETTE, BY MORGAN OF DUBLIN, the sarcophagus shape with flat domed hinged lid above fluted pilasters and raised on carved paw feet with

castors. 67cm wide, 68cm tall.

In an advertisement published in 1832 Anthony Morgan & Co. claimed that the business of the house con-tinues to be conducted with the diligent attention which for upwards of half a century, has received the liberal support of the Nobility and Gentry of this Kingdom. Their father, Robert Morgan is listed in the directories in the years 1782 to 89 as an upholder and cabinetmaker at 16 Henry Street and from 1790-1807 at 21 Henry Street. He was made a Freeman of the City of Dublin as a joiner by service, in 1779 and claimed he manu-factured a variety of furniture which on inspection will be found equal to any in Europe. From the 1820s, after Robert Morgans death, the business was managed by his two sons Anthony and Louis and became one of the most important firms in the trade. They promoted the firm as Morgans, Cabinetmaker and Upholder to the Right Honble & Honble the Commissioners of his Majestys Revenue, General Office, Board of Ordnance. The firm supplied furniture to Borris House, Co. Carlow, Mount Bellew, Co. Galway and Florence Court, Co. Ferman-agh. They received a very important commission to supply dining room furniture for the Provosts House, Trinity College Dublin, for the visit of Kind George IV in 1821. The firm supplied 24 very best Mahogany Parlour Chairs of an extra size with deep carved top rails and having hollowed seats upholstered and covered with satin hair-cloth finished with silk tufts and brass mouldings; £54. 12. 0. The firm also supplied the set of Trafalgar Din-ing Tables consisting of seven mahogany tops and strong frames on turned and roped legs and patent castors, the entire when opened to form a set, 10 feet 4 inches long and 5 feet 6 inches wide, finished in the best manner with brass fastenings as per agreement - £34. 2. 6. A case was also supplied to store the leaves, made of deal painted as oak lined with Cloth and slipped etc. The term Trafalgar came into use after Nelsons victories. Fi-nally to complete the suite Morgans supplied a mahogany wine cooler and a Mahy Tea Store to match - each with turned pillars, carved claws and castors. The distinctive pattern used on this wine cooler and tea store appears on this wine cooler illustrated here.

€ 2,000 - 3,000


120

184 A REGENCY ROSEWOOD RECTANGULAR CONSOLE TABLE, the white marble top above a frieze decorated with cast foliage and rosettes, on baluster turned supports, with cast gilt collars, mirrored back and white marble base. 89 x 38cm

€ 4,000 - 5,000

183 A FRENCH LOUIS XVI STYLE ORMOLU AND BRONZE MANTLE CLOCK, in the form of a putto standing on stacked books, playfully grabbing a rooster who sits atop a pedestal, with painted enamel dial and bands of Vitruvian scrolls, the rouge marble base with bun feet with beaded bands.

The depiction is an allegory which refers to study and the require-ment of a sharp and alert mind.

€ 1,500 - 2,000





121


185 A FINE EARLY 19TH CENTURY CIRCULAR OCCASIONAL TABLE, with Italian pietra dura marble top, decorated with central trophy of musical instruments within a band of specimen marbles and segmented panels, the border a frieze of shells, birds, urns, fruit and military trophies, the mahogany octag-onal centre column with applied ormolu Gothic arcading and columns and raised on a star form base with applied circular cast trophies of the arts. 67cm diameter

€ 10,000 - 15,000



122

186 A WILLIAM IV MAHOGANY FRAMED ARMCHAIR, upholstered in russet patterned fabric, with button back and loose cushion, raised on carved fluted taper-ing legs

€ 1,500 - 2,000

187 A GEORGE IV MAHOGANY FRAMED BERGERE ARMCHAIR, the reeded frame with cane back, seat and sides, with padded arm rests on ring turned supports, with taper-ing legs and brass castors

€ 800 - 1,200





123


188 ATTRIBUTED TO FRANCESCO FIERAVINO, IL MALTESE (FL. ROME 1610-1660)Still Lifes of Fruit and Flowers on Stone Ledges, part covered in carpetsA pair, oil on canvas, 70 x 120cm; 68 x 115cm

€ 5,000 - 10,000


124

190 AN EARLY 19TH CENTURY ANGLO-INDIAN CARVED HARDWOOD DAYBED, the double scroll ends in the form of leaping fish, the framed carved with rosette banding, raised on winged paw feet

€ 3,000 - 5,000

189 DUTCH SCHOOL (17TH CENTURY)portrait of Gentleman, half lenght seatedoil on canvas90cm x 62cm

€500-700




125


191 FOLLOWER OF WILLEM KALF (1619-1693) Still Life with Fruit and Birds

Oil on canvas, 108 x 99cm

Provenance: Sothebys, Old master paintings. 8th of July 1992 (lot295)

€ 8,000 - 12,000


126

192 A GEORGE III GILTWOOD OVERMANTLE MIRROR with Chinese export mirror paintings, the pierced foliate cresting flanked by Ho Ho birds above a divided frame with scrolling foliage and leafy branches170cm wide x 184cm high

€ 25,000 - 35,000


127


128

193 NATHANIEL HONE THE ELDER (1718 - 1784)Portrait of a lady holding a bookOil on canvasSigned with monogram and dated 175876 x 63.5cm

Provenance: The Britnell Family, Toronto.

€ 8,000 - 12,000

Although they later fell out dramatically - and their relationship is inevitably viewed through the events sur-rounding the exclusion of ‘The Conjuror’ from the 1775 exhibition of the Royal Academy - in the 1750s Nathan-iel Hone and Joshua Reynolds seem to have been close both personally and professionally. They were two young artists on the rise with Hone, born in 1718, the elder by five years. There seems to have been some connection between Reynolds and Hone’s brother, Samuel, when the two were in Italy together in 1752, with a sketched portrait of ‘Master Hone’ appearing in one of Reynolds’s Italian Sketchbooks in the British Museum. By the mid-1750s Hone and Reynolds were both winning distinguished patronage and were involved together in the fractious art politics of the time, but, perhaps crucially, with the latter yet to establish the total domi-nance of the London art world which he would secure in the following decade particularly after the establish-ment of the Royal Academy with the, by now, Sir Joshua in charge as President.

In the year after the present work was painted, Reynolds and Hone served on a committee of leading artists charged with organising a public exhibition to improve the standing of the profession. Several of this commit-tee, Francis Hayman, Richard Wilson, Joseph Wilton and William Chambers went on, with Hone and Reynolds, to comprise the foundation members of the Royal Academy. Hone was one of two Irish artists so honoured - with the number limited to forty in the instrument of foundation, signed by George III on 10 December 1768. George Barret was the other and both served as members of the first Council of the R.A., a position it is diffi-cult to see Hone having attained without the support of the President.

It is unsurprising then that there are telling overlaps between Hone and Reynolds’s portrait practice. The present portrait of a lady shares the central placement of the sitter, and frank gaze and amused, quizzical, or possibly flirtatious, expression with Reynolds’s Catherine, Lady Chambers (1756, Kenwood House, London) while the arrangement of the hands, held interlinked on a ledge, recalls - or anticipates - Reynolds’s Portrait of Lady Caroline Adair (1757-59, private collection) and a succession of later portraits such as Mrs Irwin and Mrs Montgomery (both 1761; Huntington Art Collection, San Marino and private collection). However, the Hone differs from all of these portraits by Reynolds, in the inclusion of a book, a motif the latter very rarely uses in his numerous portraits of female sitters. Her benign expression accords happily with the harmonious colour scheme and gently bravura treatment of the varied textures of her clothes, while she wears similar large pearl drop earrings to those sported by Hone’s wife in a 1749 miniature portrait (private collection, with Gorry Gallery, Nov 2016).

The present work will be included in the forthcoming monograph on the artist currently being compiled by the author and Dr Brendan Rooney. Anyone with information about Nathaniel Hone is invited to get in touch with the authors via the National Gallery of Ireland.

William Laffan


129


130

194 AN EARLY GEORGE III GILTWOOD PIER MIRROR, C1760 the pierced rococo frame surmounted by an eagle with outstretched wings, the scroll sides with floral pendants, the apron with leaf-filled central cartouche. 143 x 74cm

€ 3,000 -5,000


131


195 AN IRISH GILTWOOD PIER MIRROR WITH BASKET, C.1740 with pierced scroll sides, the shoulders cresting filled with a basket of flowers, the apron centred by a shell. 130 x 80cm inscribed verso.

This mirror is almost identical to another that was sold by Christie’s from Birr castle, 7th October 1981 (lot 73).These distinctive mirrors with shouldered crest-ings around curious spoked circles seem to all be from an unidentified Dublin workshop. An example is illustrated in Knight of Glin & James Peill, ‘Irish Furniture’, No. 222

€ 6,000 - 8,000


132

196 JAMES RICHARD MARQUIS, RHA (FL.1853-1885)Shipping off Howth Harbour, looking towards Ireland’s EyeOil on canvas, 61 x 92cmSigned

€ 10,000 - 15,000

Son of George Marquis, a Scottish builder, of James Street E, Dublin, and Park House, Baldoyle, James became a pupil in the Royal Dublin Society’s School in 1847, and afterwards practised as a landscape and marine painter in Dublin. He began to exhibit in the Royal Hibernian Academy in 1853; was elected an Associate in 1861, and a Member the following September. Between 1853 and 1885 he exhibited over 200 works at the RHA. He later went to London, but continued to send his pictures to the Dublin Academy until his death in 1885, and also made a few contributions to the London exhibitions. Towards the end of his life he married and lived mostly in Edinburgh. He exhibited in the Royal Scottish Acade-my from 1869 to 1873, when he was living in Edinburgh. Walter Strickland notes that ‘Marquis enjoyed some reputation in his day as a painter, but his works are now seldom met with. Several examples, one at least of considerable merit, belong to Mr. MacDougal of Drumleck, Howth’.

Marquis was equally adept at landscapes as he was at coastal and pure marine works and the range of titles of works exhibited by him reflects this. The present work depicting a fishing boat returning to Howth Harbour, to the north of Dublin is one of many paintings of scenes around Howth and Baldoyle painted by Marquis. The fishing boat is heading away from us and in choppy seas is making headway towards the harbour which can be seen on the very left of the composition. The mass of Ireland’s Eye with it’s Martello tower on one side and the Stacks on the other neatly balances the red sails of the prominent fishing boat. Behind one of the fishermen can be seen Lambay Island in the distance. A small piece of flotsam in the foreground also adds to the composition by drawing the viewer’s eye from the base of the painting upwards in a zig-zag direction and leaves you admiring the expanse of wind blown sky which is painted with great skill.


133


134

197 AN IRISH GEORGE III MAHOGANY LONGCASE CLOCK, C.1750, JOHN IRWIN OF BOYLEthe brass dial signed ‘John Irwin’ the hood with a broken swan neck pediment with rosette terminals and filled with a palmette, above a leaf carved frieze centred by a lion mask, the dial with subsidiary seconds and calendar, the tall trunk with quarter-length engaged fluted columns on a moulded plinth with raised panel, on ogee bracket feet.

€ 2,000 - 4,000

198 A REGENCY ROSEWOOD AND GILT BRASS SIDE CABINET, IN THE STYLE OF MACLEAN,with raised top section open compartment and drawers above a trellis-filled frieze drawer and twin door cupboard base, decorated gilt banding on turned toupie legs. 82cm wide

€ 5,000 - 7,000





135


136

199 AN UNUSUAL VICTORIAN CARVED GILTWOOD AND RECTANGULAR GESSO MIRROR, 19TH CENTURY, the frame surmounted by a bird with fruiting branches, flanked by fox heads, the sides of alternate decoration of carved fish opposed by hanging dead game with shells, flowers, peas, husks of wheat vines.

€ 2,000 - 4,000



137


138

200 GEORGE BARRET SNR (C.1728-1784)A Mountainous Wooded River Landscape with a Waterfall and Three FiguresOil on canvas, 96.5 x 125.7cm

Provenance: Senator Edward McGuire, Newtown Park, Blackrock, Co. Dublin; Christie’s, 21st March 1969, Lot 80.

€ 200,000 - 400,000

George Barret was a friend of Edmund Burke (1729-1797) – and their work therefore engages an Anglo-Irish perspective on landscape which requires an inherent connection between aesthetics and politics which, like other aspects of Irish history, have been underplayed in the dom-inant narratives of British art. The son of a tailor, Barret was born in Dublin. He was to become a founding member of the Royal Academy in 1768, and his work was popular in his lifetime. According to Thomas Bodkin, “George Barret, the elder, was reputed in his day, to be the greatest landscape painter whom Ireland, England, or Scotland had till then produced.” Despite this Barret experienced the vicissitudes of the eighteenth century art market and ended his life in relative obscurity and bankruptcy. Although he attained the title of Official Painter to the Chelsea Royal Hospital in 1782 thanks to Burke’s intervention, Barret died before he was able to take it up. In his stead, his son James assumed the role. As friend of Burke, with whom Barret shared an Anglo-Irish background, Bar-ret’s work explores the ideas of the Sublime, reflecting the influence of Burke’s treatise A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (1756). A panoramic view of the Lake District (c.1780) commissioned by William Locke to decorate a room at his house, Norbury Park, Surrey, is considered Barret’s masterpiece.

Despite Barret’s success as a painter, his position at the Royal Academy and the support he received from Burke, he has historically been seen as belonging to a lower tier of artistic merit than his better-known contemporaries. Contemporary painters such as Wilson themselves per-ceived this inequality, describing Barret’s paintings as depicting foliage like “spinach and eggs.” Unlike Wilson, Barret did not travel to Italy, and borrowed his classical motifs from prints or from Wilson’s paintings in order to cater to the tastes of his grand tourist patrons. Barret required to make a living from his work and many of his paintings were primarily intended for sale or as part of interior decoration commissions, for which Barret gained much contemporary commercial success – as at Norbury Park. Similarly lucrative commissions include ten views of Welbeck Abbey, Nottinghamshire, which Barret had painted in 1765–7 for William Henry Cavendish-Bentinck, 3rd Duke of Portland, and 1768 he received a similar commission from Henry Scott, 3rd Duke of Buccleuch to record the mountainous landscapes around Dalkeith Park, Lothian, as in A Rocky River Scene. These pictures were exhibited at the Royal Academy between 1769 and 1771.

Based on a stylistic analysis the present picture was painted before Barret’s move to London around 1763 and is most certainly an Irish view. The composition was influenced by Burke’s ideas on the Sublime and the Beautiful. The enhanced detail of this early painting in the style of romantic realism creates a ‘sublime’ mood. It is rumoured that Burke introduced Barret to the Dargle Valley near Powerscourt Falls during the early 1760s leading to a connection with one of Barret’s earliest patrons, Lord Powerscourt, owner of this property. Patrons such as the Taylours of Headford and the Conollys of Castletown began to commission series of topographical paintings. These landscapes demonstrated the extent of Barret’s talent and helped him establish his reputation in London. Barret soon began exhibiting views of the Dargle Valley at the Society of Artists of Great Britain. This painting has several characteristics typical of Barret’s work including the framing of the trees, diffused light and the heavy application of and the use of saturated colour. To the right of the composition, a cluster of trees and foliage almost reach the top of the canvas. In the centre there is a view of distant hills beyond a waterfall in the middle ground slightly to the right. The finely detailed figures in the foreground towards the bottom right corner catch the viewer’s eye, given the complimentary use of red to depict their clothing. One balances on a fallen tree near two anglers apparently in conversation. The distinctive brown palette is vaguely reminiscent of the Dutch artist Jacob van Ruisdael whose work Barret had studied while painting under Robert West in the Royal Dublin Society.

A considerable number of Barret’s early stylistic features are present in the painting and can be seen in other pictures executed around the same period. The repeated traits typically include a dominating tree on one side of the painting; a body of water or waterfall in the centre, or slightly placed to the right, and a distant view of mountains or hills. For example, an ex-Gorry Gallery piece, An Irish Landscape inspired by the Dargle Valley, must have been painted around the same time. The views are similar in size, composition and, colour palettes. Both paintings have anglers dressed in red and are lit by diffused light. The National Gallery of Ireland’s: An Extensive Wooded Landscape with Fishermen Hauling in their Nets in the Foreground also shares the same basic elements with the overall effect of creating the sublime grandeur, as inspired by Burke.

Logan MorseAugust 2017


139


140

201 SOLOMON DELANE (1727-1812)Wooded landscape with figure in foregroundOil on canvas, 81 x 116cmSigned and dated 1777

€ 40,000 - 50,000

Solomon Delane, son of a clergyman from Co. Tipperary, was one of several Irish land-scape painters of the mid-eighteenth century, who having trained under James Mannin at the Dublin Society School of Landscape and Ornament, went to Italy in their early careers in search of Grand Tourist patronage. Between 1755 and 1780, Delane was to spend lengthy periods in Italy, where he became well respected as an artist, his clients including John FitzPatrick, 2nd Earl of Ossory and Hugh Percy, Lord Warkworth. Showing the high regard in which he was held, on 17 July 1777, Delane was elected to membership of the Accademia del Disegno in Florence, the year in which this painting was executed.

In the eighteenth century original works by Claude Lorraine were much prized but came rarely on the market. As a result imitators like Delane were popular, especially for their topographical scenes in this manner. The composition used here reflects the work of Claude, using the device of a darkened foreground and coulisses or projections, drawing the viewer’s eye towards the distance, conveyed in the palest atmospheric tones. This work can be compared in terms of composition and tonal range to Delane’s smaller view in the National Gallery, presumed to be a scene in the Alban Hills, which was also painted in 1777. In both there is a dominant rocky outcrop in the foreground and a pathway leads off to the right hand side, adding a secondary point of focus.

The present unusually large work by Delane represents an Italian landscape, possibly Tus-cany, seen from a wooded high viewpoint, looking towards a lake and low distant hills. Ruins evoke the ancient past and the middle ground shows a red-brick Roman villa, with high walls, similar to the Villa of the Quintilii in Rome, built in the time of Emperor Hadrian (117-138 AD). Staffage in the form of a gesturing man and a melancholy woman, accom-panied by a dog and mule, adds a certain narrative interest to the painting. However, as is so apparent here, Delane is at his most skilful conveying the distant landscape, framed by trees, with the soft brushstrokes of outer foliage, silhouetted sensitively against the cloud-filled sky.

Nicola Figgis, August 2017

The loan of this picture has been requested by the Irish Georgian Society for an exhibition next summer at the City Assembly House, South William Street, the original home of the Society of Artists where Delane was one of the original exhibitors


141


142

202 A CHINESE CARVED HARDWOOD FIGURE OF AN IMMORTAL, 19TH CENTURY. 44cm tall


€ 250 - 350

204 A PAIR OF CHINESE EXPORT MANDARIN VASES of flattened oval form, the stippled green ground overlaid with shaped rectangular panels, filled with figures in a garden land-scape. 24cm high


€ 300 - 500

203 A CHINESE CANTON EXPORT PORCELAIN JARDINIERE, of tapering rectangular form, applied with stylised side han-dles, with pierced wavy rim, each side decorated with birds, insect and peonies, and oval reserves filled with courtesans, on short block feet.; together with a square section pot-pour-ri vase of slightly waisted form with pierced flat cover and gilded rope twist handles. 22cm high


€ 300 - 500

205 A CHINESE CANTON EXPORT POSY VASE AND COVER, mid 19th century, of squared tapering form, with pierced detachable cover and waisted body, painted and enam-elled with panels of court figures against famille verte ground, applied with moulded tendrils and leafy sprigs. 21cm high


€ 300 - 400









143


206 TWO JAPANESE IVORY OKIMONO, MEIJI PERIOD (1868 - 1912), one modelled as a lady standing holding a parasol above her head, dressed in decorative kimono, on oval base the undersidewith signature in red oval, 33cm high, the other modelled as a standing maiden with a hand fan by her feet, square inset signature to base. * 29.5cm high

€ 2,000 - 3,000

207 A CHINESE CARVED ROOTWOOD ‘QILIN’ GROUP AND STAND, 18TH/19TH CENTURYthe fantastic animal depicted protecting a cub, each with pro-nounced mane and curled tail, standing on a ground of breaking waves by rockwork, fitted on a shaped oval stand. 17cm long

€ 1,000 - 1,500





144

209 A CHINESE ‘SANG DE BOEUF’ PORCELAIN VASE, 18TH CENTURY, of unusual baluster shape, covered in deep red glaze, thinning towards a pale rim, the base drilled. 27.5cm high

€ 400 - 600




145

210 SCHOOL OF CANTON (19TH CENTURY)A View of ‘Dane’s Island’, the Huangpu Anchorage, over English Reach towards Whampoa Island with Fiddler’s Reach and the Whampoa (Pazhou) Pagoda, Guangzhou, China.Oil on canvas, 44.5 x 78cm


€ 2,000 - 4,000


146

211 A CHINESE CELADON JADE ‘DRAGON’ SEAL, 18TH/19TH CENTURYmodelled as a cubic block, tightly carved with a coiled dragon against a leafy ground, the seal face carved with ancient script 7.5cm high

€ 2,000 - 3,000

212 A CHINESE CELADON JADE ‘QILIN’ SEAL, 18TH/19TH CENTURY of square section, surmounted with a carved openwork Qilin in standing position, with turned head facing back, the seal face with four-character mark. 11.8cm high

€ 1,500 - 2,000






147

213 TWO CHINESE IVORY TABLETS, ‘HU’, 19TH CENTURY,

the curved rectangular panel inked and engraved with figures in Ming attire, standing in a fenced landscape, beneath a stylised sun and wispy clouds, the reverse decorated with figures on exotic and mythical animals. 51cm long, with fitted stands *

Provenance: The Sir Victor Sassoon Collection

€ 2,000 - 3,000



148

214 A PAIR OF PALE JADE ‘DRAGON’ SEALS, 19TH CEN-TURY each carved on a cylindrical section with five-clawed dragons in coiled position, the seal face with four character inscription. 6cm high

€ 1,200 - 1,800

215 A PAIR OF CHINESE BLUE AND WHITE ‘HUNTING’ DISHES, KANGXI PERIOD (1662-1722)each of shallow circular form, with barbed rim, the central reserve painted with figures on horseback in pursuit of a hare, contained within a border of interlinked flowerheads and precious objects, Chenghua mark within double lines 19.5cm diameter

€ 800 - 1,200






149

216 A FINE ‘FAMILLE-ROSE’ PINK GROUND LOTUS VASE, JIAQING MARK, (1796-1820)of compressed pear-shape form, decorated with an overall design of colourful lotus bloom and scrolling foliage, with stylised bats and central shou-characters, the broad neck headed by a row of ruyi heads, the short foot with a band of continuous foliage on rich yellow ground, the base with regin mark in iron red. 20.5cm high

€ 3,000 - 5,000


150

217 A FINE MING REVIVAL BLUE AND WHITE MOON FLASK, YONGZHENG PERIOD, (1723-1735),of flattened globular form, painted in early 15th century style in rich blue tones, each side decorated with fruiting branches of peach and narrow veined leaves, the arched handles decorated with lingzhi trails and joined to a near cylindrical neck centred with lotus blooms. 33cm high

Provenance: Collection Patrice de Vogué, Château de Vaux le Vicomte, France

€ 20,000 - 30,000




151

152

218 AN ELABORATELY CARVED ROCK CRYSTAL ‘DRAGON VASE’ AND COVER, ON STAND, 19TH CENTURY 33cm high with stand

€ 2,000 - 3,000



153


218A A PAIR OF CHINESE FAMILLE VERTE BALUSTER VASES, 19TH CENTURY, with flared rim, cyclindrical neck painted and enamelled with cartouche shaped reserves, filled withprecious and auspicious objects, the body decorated with oriental phesants, songbirds and prunus set against a floral stippled ground. 60cm high

€ 5,000 - 7,000


154

219 A PAIR OF IRISH OVAL MIRRORS, 19TH CENTURYthe metal frames set with alternate clear and blue glass facetted studs in 18th Century fashion. 79 x 54cm

Whilst there was glass manufacture in Waterford before the 18th century, the county’s production took on its infamous name with the establish-ment of the Waterford Glasshouse in 1783. The company was founded by George and William Penrose, two businessmen who wished to take advantage of Ireland’s free trade agreement with Britain. They poured £10,000 pounds into the venture and hired master craftsmen from England to produce a glass known for its absolute clarity.

Sadly, the economic benefits could not last and in 1788 an act was passed that forbade the export of glass from Ireland. However, the local Irish market was strong enough to keep the glasshouse afloat until 1851 when high tax rates on flint glass forced Waterford Glass to close, joining the many that had already folded before it. The glasshouse was offered for sale but, viewed as a hopeless investment, there were no takers.

Despite being known for its smaller tableware, Waterford Glass did flirt with the making of mirrors, cutting the glass ‘jewels’ that are seen to border 18th and 19th century pieces. This pair beautifully emulates the Waterford style, the alternating white and blue glass being a popular pattern, although variations on the colour are known. Such decoration offered an alternative to those who wished to view themselves in a slightly more elaborate setting.

Provenance: Purchased from John Farrington Antiques, Dublin by the present owners.

€ 10,000 - 15,000



155


Every grand house requires a statement piece that will echo its edi-ficial surrounds. This sideboard by Williams & Gibton, colossal in its form, does just that. Its rigid geometric build alludes to the straight and blocky designs of Georgian architecture, whilst the size itself in-vokes the Irish glamour of the 1800s. The proud hairy paw feet are a feature often favoured in Irish houses, placing this piece firmly within the Irish aesthetic.Williams & Gibton are furniture manufacturers renowned for the high standard of their pieces, choosing the best materials and crafting them with expertise. The beautiful use of mahogany in this sideboard brings a delicacy of colour to an otherwise monumental object.The general pattern fits with those manufactured by Gillows of London and Lancaster in the early years of the 1800s, in particular the sideboard made for Parlington Hall in Yorkshire. It is notable that on the inside of the left-hand door an inscription reading ‘Gillows/No 379-43/G…’ can be found, physically linking the piece to the company.A similar example that matches this piece in scale can be seen at Westport House, Co. Mayo, where the Marquesses of Sligo can retire amongst the riches of the Regency period.

220 A GEORGE IV MAHOGANY MONUMENTAL SIDEBOARD, BY WILLIAMS AND GIBTON. The raised low panel back with inset triple tablets, above a plain top, and a slim panneled frieze, raised on twin pedestal cupboards with paneled doors, flanked by deeply carved acanthus leaf canted corner volutes on massive hairy paw feet. stamped WILLIAMS & GIBTON. 274cm wide x 90cm deep

€8,000 - 10,000



156

221 CHARLES HANCOCK (1802-1877)Returning from the FairOil on canvas, 39 x 50cm

Provenance: Sotheby’s London, 1st July 2004, Lot 161.

€ 1,500 - 2,500

222 A REGENCY MAHOGANY AND BOXWOOD TRIMMED DRUM-TABLE, the cross-banded top now with old ‘american cloth’, the frieze with alternate real and dummy drawers, on central octagonal support with tripod downswept legs with square brass sides and castors. 106cm diameter, 72cm high

Provenance: Bective House, Co. Meath

€ 2,500 - 3,500







157

223 SPANISH SCHOOL (18TH CENTURY)A Still Life of Vegetables including Cabbage, Artichoke, Lemons, Carrots, Gherkins and a String of Garlic, with a Brass Basket on a Stone LedgeOil on canvas, 61 x 76cm

€ 5,000 - 10,000

224 A GEORGE II WALNUT CARD TABLE, of shaped rectangular form, the figured fold-over top with round-ed fore corners opening to a baize lined interior with sunk candle stands and counter wells, above a plain frieze and shell capped cabriole legs terminating in claw and ball feet. 73cm high x 88cm wide x 48cm deep

€ 3,000 - 4,000



158

225 A FRENCH 19TH CENTURY KINGWOOD AND MARQUETRY GUERIDON TABLE, stamped Scallier de Cristal, Paris, the kidney shaped top inlaid with a flower basket in mixed veneers, with pull out candle slide and pull out side draw-er over a conforming undertier on slender curvilinear supports. 69cm high x 44cm wide €1,200 – 1,400

226 A PAIR OF TWO-BRANCH GILT BRASS CANDLESTICKS, C.1830, probably French, with central scroll handle, on bases formed as open tempiettos, hung with chains and pendants. 34cm high


€ 500 - 800

227 A SET OF FOUR LATE 19TH CENTURY ITALIAN CARVED GILTWOOD FRAMED ARMCHAIRS, the arch panel backs and bowfront seats covered in distressed tapestry cloth, the exposed armrests with leaf carved decoration and raised on cabriole legs with X stretchers. 66cm wide (4)

Provenance: Madame Hume- Weygand, Humewood Castle, Co. Wicklow

€ 1,500 - 2,000







159


228 ATTRIBUTED TO VAN DER HAGEN (EARLY 18TH CENTURY)Figures amongst Classical RuinsOil on unlined canvas, 82 x 93cm


€ 6,000 - 10,000

229 A FINE FRENCH LOUIS SEIZE TULIP WOOD BUREAU, the quarter veneered slopefront panel enclosing a tooled leath-er scriver and an arrangement of various stationery drawers and letter compartments, on squared cabriole supports and sabot feet. 99cm high x 99cm wide x 50cm deep

€6,000 – 8,000





160

230 FRENCH SCHOOL (18TH CENTURY)Portait of a Young Girl, buts lenght, wearing a white bonnet,Oil on canvas, 46 x 38 cm


€ 800 - 1,200

231 ENGLISH SCHOOL (18TH CENTURY)Portrait of a Woman in a ribboned tied black dress, half length,Oil on canvas, oval 46 x 36cm


€ 300 - 500

232 ENGLISH SCHOOL (LATE 18TH CENTURY)Portrait of a Young Boy in a Blue Coat - ‘Lannie’ Alexander Mitchell of StowOval, pastel, 62 x 47cm


€ 600 - 1,000





161

233 ENGLISH SCHOOL (LATE 17TH CENTURY)Portrait of a Man with full wig, lace cravat and red robe, standing three-quarter length, by a column, in a landscapeOil on canvas, 124 x 100cmIn a good, carved giltwood 18th Century frame


€ 5,000 - 8,000


162

234 AFTER LAWRENCEPortrait of George IV, half-length, seatedOil on canvas, 49 x 38cm


€ 500 - 800

235 18TH CENTURY COPY AFTER LELYPortrait of a Young Woman Called Helena Percival, half-length within a feigned ovalOil on canvas, 30 x 24cm


€ 500 - 800

236 ENGLISH SCHOOL 18TH CENTURYPortrait of a Woman, three-quarter length seated in a land-scapeOil on canvas, 94 x 80cm


€ 1,000 - 1,500

234 235





163


237 CIRCLE OF ANNA DOROTHEA LISIEWSKI-THERBUSCH (18TH CENTURY)A Portrait of Frederick II Hohenzollern of Prussia (Frederick the Great), half length, seated by a desk ,with red sash, within a painted border of bound laurel leaves Oil on canvas, 87 x 73cm

The frame inscribed with ‘Presented by him to Sir Andrew Mitchell, Ambassador at his court’


€ 3,000 - 5,000

The old inscription on the frame indi-cating that this portrait was given to Sir Andrew Mitchell by the King himself is credible. Mitchell (1708-1771) came out of the Scottish Enlightenment highly educated and whilst at the University of Leyden had sought out Montesquieu. Qualified as a barrister, he became Under-Secretary of State for Scotland and M.P. for Aberdeenshire. Suffering from the stress of the early death of both his wife and daughter, he left Scotland and in 1756 became the British envoy to Frederick in Berlin. Here, he found a home in the intellectual court being formed by the King, French speaking, new science and philosophy were avidly absorbed, although the presence of Voltaire was not altogether a success. But Frederick, attempting to preserve and expand his kingdom in the unpromising sandy plains of North Germany, was fighting for his life. His stubbornness and military adroitness meant that at the end of the Seven Years War Prussia emerged as a European power, under which, even-tually, all Germany would unite. Mitchell accompanied the King as a welcome companion throughout the war, keeping the British government advised. When Pitt tried to recall Mitchell, the King demanded that he be left in post. On Mitchell’s death bed in Berlin (1771), it was observed that the King cried as the funeral procession passed the balcony of the Stadtschloss. In light of the documented friendship between Frederick and Mitchell, it seems appropriate that the King favoured Mitchell with a portrait, far removed from the state images of a great general, of himself seated in a library with a book, without any of the trimmings of power, except the earned reputation of a laurel wreath. Anna Dotothea Therbusch was one of Frederick’s favourite artists; an intimate of the court, she carried out much of the decorative work on Frederick’s palaces. She liked to portray intellectual men and women in intimate and relaxed settings.The Mackay family, the Lords Reay, were neighbours and relations of the Mitchells in Scotland and seem to have been their heirs and this presents a logic for the portrait to have come into their possession. When the senior branch of the Reays died out (the title going to kinsmen in Holland), their possessions were inherited by the Hamiltons of Moyne. This explains the re-emergence in Ireland of this charming, insightful, private study of one of Europe’s greatest leaders. It is thought that this portrait is unpublished and would therefore be a most valuable addi-tion to the understanding of Friedrich Der Grosse.




164

238 STYLE OF ALBANI (17TH CENTURY)Ceres and Persephone in a Cornfield with Cupid and Other FiguresOil on canvas, 76 x 117cm


€ 3,000 - 5,000

239 A PAIR OF EARLY GEORGE III MAHOGANY FOLDING TOP CARD TABLES,

with rosette carved rims above blind fret frieze, on chamfered square gate leg supports, with open fret brackets. 85cm wide x 42cm (closed) x 73cm high

€ 1,500 - 2,500





165

240 FOLLOWER OF NICOLAS POUSSIN (17TH/18TH CENTURY)Figures on a Path in an Extensive LandscapeOil on canvas, 98 x 135cm


€ 3,000 - 5,000

241 AN IRISH GEORGE III MAHOGANY KNEEHOLE DESK, the top with thumb moulded rim, above a long draw-er with fitted writing slide, and interior fitted with drawers and pigeon holes, above a central concealed drawer, the kneehole section fitted with three short drawers and flanked by pairs of three short drawers, raised on tall moulded bracket feet. 103 x 60cm

€ 1,500 - 2,000





166

243 ATTRIBUTED TO RICHARD BRYDGES BEECHY, 19TH CENTURYBoats in a rough sea off a rocky coast with a lighthouse in the distanceOil on board, 20 x 29cmInitialled ‘RB’ verso

€ 500 - 800

244 JOHN MAC CONNELL, (MID 19TH CENTURY)‘The Valentine’Oval, oil on panel, 57 x 48cmUnframed

€ 2,000 - 3,000

245 HENRY JONES THADDEUS (1860-1929)A Lady of FashionOil on panel, 25.5 x 18cm Signed

€ 800 - 1,200






167

246 ATTRIBUTED TO JOHN BOULTBEE, EARLY 19TH CENTURYPortrait of a saddled white hunter in a woodlandOil on canvas, 44 x 57cm

€ 500 - 800

247 SAMUEL SPODE (FL. 1825-1858)Portrait of a Chestnut Racehorse in a Stable with a TerrierOil on canvas, 43 x 56cmSigned


€ 800 - 1,200

248 F. A. OLDMEADOW (19TH CENTURY)Study of a horse beside a balustrade Oil on canvas, 44 x 60cm Signed and dated 1843

€ 300 - 500

247

248







168

249 A PAIR OF UNUSUAL GEORGE IV MAHOGANY POLE SCREENS, the shaped square mirrored screens with carved leaf corners on adjustable columns with leaf collars and square tapering supports on stepped square bases.

€ 1,000 - 1,500

250 AN IRISH MAHOGANY LONGCASE CLOCK, C.1760, the painted arched dial with armorial and motto, “sic itur ad astra” (thus the way to heaven) inscribed, ‘ensign of the name of Martin’, in a broken pediment hood, the trunk with quarter engaged fluted columns on plinth base with bracket feet. 250cm high

The arms and motto are for Martin of Ross House, Co. Galway.

€ 2,500 - 4,000






169

251 A REGENCY GILTWOOD CONVEX MIRROR, with ebony slip, moulded frame with spheres, surmounted by an eagle. 105cm high


€ 1,000 - 2,000

252 AN IRISH GEORGE III MAHOGANY FRAMED WING BACK ARMCHAIR, upholstered in buttoned green leather, with close nailed brass studding, the cabriole legs carved with lion masks on lion paw feet.

€ 3,000 - 5,000




170

253 A SET OF EIGHTEEN LATE 19TH CENTURY MAHOGANY FRAMED DINING CHAIRS, in the Georgian taste, with pierced splatbacks, channelled frames with arched crest rails, the dished padded seats close nailed in worn hide, raised on carved cabriole legs and claw feet.

€ 5,000 - 7,000



171


254 A LARGE WILLIAM IV MAHOGANY RECTANGULAR EXTENDING DINING TABLE, with thumb moulded rim and raised on twin baluster turned pillars and quadruped supports terminating in scroll feet. 152cm wide x 358cm long

€ 3,000 - 5,000



172

255 A SET OF FOURTEEN WILLIAM IV MAHOGANY FRAME RAIL BACK ELBOW DINING CHAIRS, possibly by Mack, Williams and Gibton, the arched reeded crest rails above open frames with lattice-work back rails, each with arm supports terminating in carved paw feet, the seats upholstered in red hide and raised on ring turned and spiral fluted splayed legs

€ 15,000 - 20,000




173

174

256 A GEORGE III MAHOGANY BREAKFRONT BOOKCASE, C.1790the broken triangular pediment above a carved frieze, with a pair of central frieze, with a pair of central, and side astragal glazed doors, the outset base with a pair of raised panelled cupboard doors, flanked by tiers of four short drawers on moulded plinth base. 262cm high, 235cm wide, 51cm deep

€ 15,000 - 20,000



175

176

257 A RARE IRISH GEORGE II CARVED AND GILTWOOD PICTURE FRAME, the later bevelled rectangular plate within a frame of branches, foliage, flowers and scrolls, surmount-ed by a cartouche and mirrored by a scallop shell to base, all set in low relief on a flat ground with gadrooned border, in the manner of John Kelly. 115 x 94cm

Provenance: The distinguished art dealer Hamilton Hunter

€ 2,000 - 3,000



177


258 AN IRISH MAHOGANY RECTANGULAR SIDE TABLE, C.1760the top with thumb moulded rim, above a moulded and shaped carved frieze centred by a shell with flanking leaf scrolls, the side similarly carved with scrolls and rosettes, raised on cabriole legs with shell and anthemion carved knees on square paw feet. 95 x 58cm

For a comparable table see Peill & Glin, Irish Furniture, no. 95. This table was from Beaulieu House, Co. Louth and was sold by this firm at Slane Castle Country House Collections, 2013

€ 8,000 - 12,000


178

259 ATTRIBUTED TO GIOVANNI BATTISTE RUOPPOLO (1600 - 1659)Figs, pomegranates and grapes on a stone ledgeOil on canvas laid on panel, 63.5 x 49cmIn an early 18th century carved gilt-wood frame

€ 7,000 - 10,000

260 AN IRISH GEORGE III MAHOGANY RECTANGULAR ARCHITECTS TABLE, C.1780the double hinges adjustable, raising to form a sloping drawing surface with swivel candle sconces, the pull-out front section with fitted writing interior, raised on plain square supports

€ 1,000 - 2,000







179

261 ATTRIBUTED TO GIOVANNI BATTISTE RUOPPOLO (1600 - 1659)Grapes, melon and other fruit on a stone ledgeOil on canvas, 73.5 x 61cmIn a 18th century french carved gilt-wood frame

€ 7,000 - 10,000

262 A REGENCY MAHOGANY AND BRASS INLAID SERVING TABLE, C.1820, of inverted bow front outline, with conforming gal-lery back and ribbed frieze supported on six block fluted legs, each headed with brass palmettes and ending with carved paw feet.

€ 2,000 - 3,000





180

263 A REGENCY MAHOGANY METAMORPHIC LIBRARY CHAIR / LIBRARY STEPS after a design by Morgan & Sanders, the reeded rail back on sabre legs

The present armchair is based on a design published by the firm of Morgan and Sanders in Rudolph Ackermann’s ‘Repository of Art’ in July 1811 where it is described as the ‘’best and handsomest article ever invented, where two complete pieces of furniture are combined in one- an elegant and truly comfortable armchair and a set of library steps.’’Morgan Sanders were specialists in the manufacture of ‘metamorphic’ furniture of this kind and held the patent for this particular model, which was known as ‘Patent Metamorphic Library Chair’ (cf. G. Bernard Hughes, Regency Furniture., Country Life, 2 January 1958, pp.10-12, and Brian Austen, ‘Morgan and Sanders and the Patent Furniture Makers of Catherine Street.’ Connoisseur, Vol. 187, No.753, November 1974. pp.180-191).

€ 3,000 - 5,000



181


264 AN IRISH GEORGE IV CHEVAL GLASS DRESSING MIRROR, POSSIBLY CORK. The rectangular mirror plate within a swing frame, surmounted by a carved crest rail and flanked by tapering bobbin turned supports, with outsplayed legs on castors.

€1,500 - 2,000

265 A GEORGE IV RPOSEWOOD LIBRARY TABLE with inlaid rectangular top, with rounded corners, frieze drawers, on solid shaped end supports joined by a turned and blocked stretcher, downswept legs with brass paw castors.

€1,500 - 2,000




182

266 A FINE PAIR OF IRISH GEORGE III CARVED WOOD PAINTED WALL MIRRORS, C.1760in the chinoiserie taste, the open pierced frames surmounted by pagodas and scrolls with rockwood and vines, minor variations. 135 x 66cm

€ 15,000 - 25,000

Thanks to the 19th century taste of owning fully gilded mirrors, many 18th century creations survive with their original paintwork lying hidden, pre-served beneath a layer of gold. When lucky enough to find one with the paint exposed, we are transported back to an age where elegance reigned and wealth was stored in a subtlety of design. Mirrors were bought ready painted and gilded, but, unlike their later counterparts, many did not hang as pieces resplendent in rich gold. Instead, they were accented with subdued tones that would allow them to blend in with their surroundings, the rich carving speaking for itself and perhaps emphasising the stately stucco work of the room around them.



183

184

267 JOHN ASTLEY (1724 - 1787)Portrait of a Lady, three-quarter length, seated holding a bookOil on canvas, 122 x 99cm

The presumed subject of this portrait is Mary Smith of Tinny Park Co. Wicklow. She was at the centre of the parliamentary milieu in the orbit of the speaker W. B Ponsonby. Both her husband and son (later 1st Baron Tara of Bellinter) were M.Ps ; her sister married Francis Mathew, later 1st Earl of Llandaff and through her mother’s family she was related to the Skeffingtons, Viscounts Massereene.

Astley, a friend of and influenced by Joshua Reynolds, spent three lucrative years in Ireland c. 1756-59 painting, according to Pasquin , “the beauties of lerne”, his masterpiece being the conversation piece of the Beresford family at Curraghmore. Her marriage to John Preston of Bellinter, M.P for Navan on 25th April 1758 could categorise this painting as a marriage portrait.

Provenance: Bellinter House, Co. Meath and by inheritance

€ 8,000 - 10,000



185


268 IRISH SCHOOL (C.1710)Portrait of a woman, three-quarter length, seated in a landscape with buildings in the background. Oil on canvas, 121 x 100cm

The presumed subject of this portrait is Alice Ludlow of Ardsallagh (d. 1725), wife of Stephen Ludlow (d. 1721) M.P for Dunleer, a noted sup-porter of Queen Anne and branded a ‘Tory’ on the Hanoverian succession. Her daughter married John Preston of Meath, her granddaughter married John Preston of Bellinter, Navan, M. P. The Ludlow and Preston families controlled the borough of Navan for many years; were hopelessly intermarried with much of the Ludlow estates passing to the Prestons. Alice née Lochard brought a large estate in Wales to the Ludlows which might be the source for the exten-sive buildings in the background of this portrait.

Provenance: Bellinter House, Co. Meath and by inheritance

These portraits lot 267 and lot 268 are framed as a pair in handsome gilt frames, both with the trade label of “Cornelius Callaghan, carver and gilder, Looking Glass and Picture Frame Manufacturer, No. 29 Clare St, Dublin (Bronze figures, Gold Bordering for rooms)

€ 5,000 - 8,000


186

269 AN IRISH ROCOCO CARVED GILTWOOD MIRROR, C. 1750, surmounted by armorial cresting within a shell cartouche, pierced scrolled apron centred by a shell. 126cm high x 80cm wideThe crest is a falcon for Knox, Earls of Ranfurly


€ 6,000 - 8,000



187

270 IRISH SCHOOL (EARLY 18TH CENTURY)Portrait of an Architect, standing three-quarter length wearing a red velvet coat with blue sash, with a key of office and holding an archietctural design,Oil on canvas, 110 x 75cm


The subject of this portrait has defied identification. He holds a plan of a mantelpiece which approximates to the William Kent design for one at Houghton Hall but which was adapted by Edward Lovett Pearse for Dublin Castle and Henrietta Street. Surface cleaning revealed a key and a blue sash, presumably a badge of office. The style and subject of the portrait suggests an affinity to Francis Bindon.

€ 5,000 - 10,000


188

271 A FINE GEORGE IV INLAID ROSEWOOD TEAPOY, of sarcophagus shape, the entire profusely decorated with inlaid brass scroll work, foliage and anthemion banding and corner beading, the hinged lid opening to reveal four lidded tea compartments and two cut glass mixing bowls, having turned and carved side carrying handles, raised on a slender tapering square centrepillar and a quadruped platform base. 38cm wide x 80cm tall

€ 5,000 - 7,000



189

272 A FINE GEORGE IV INLAID ROSEWOOD GRECIAN BREAKFRONT BOOKCASE, the triangular pediment with acanthus finials, above twin central, arched glazed doors with gilt fillet, flanked by single doors above a corresponding base, the entire decorated with inlaid brass leaf Vitruvi-an scrolls, raised on cast ormolu feet with acanthus leaf banding. 240 x 192 x 48cm

€ 10,000 - 15,000



190

273 A FINE REGENCY ROSEWOOD AND BRASS INLAID TILT-TOP BREAKFAST TABLE, the moulded circular top with an outer border of brass inlay, depicting alternating panels of animals, floral sprays and birds, on a panelled centre column and triangular platform base, with short acanthus capped scroll feet. 75cm high x 136cm diameter

€ 3,000 - 5,000




191

274 A SET OF SIXTEEN REGENCY MAHOGANY DINING CHAIRS BY GILLOWS OF LANCASTER.with minor variations in pattern. some stamped Gillows Lancaster (mark for 1825-35) The dished ribbed crest rails with anthemion corners, horizontal tab-let splats, upholstered seats, moulded aprons, on turned and reeded tapering front legs, composed of two sets of six each, one of four.

€ 8,000 - 12,000

A drawing from Gillows pattern Book



192

275 WILLIAM HENRY KNIGHT (1823-1863)A Game of MarblesOil on panel, 40 x 51cmSigned and dated 1863

€ 3,000 - 5,000

276 A LOUIS XV CARVED GILTWOOD DAY BED, now with buttoned grey silk upholstered on six flower-headed carbriole legs

€ 1,000 -1,500




193

277 SIR FRANCIS GRANT PRA (1803-1878)Portrait of a Lady, Full Length, Standing in a Landscape Wearing a Riding HabitOil on canvas, 223.5 x 133cm (88 x 52½’’)

€ 10,000 - 15,000

SIR FRANCIS GRANT PRA (1803-1878)

Born the fourth son of Francis Grant, Laird of Kilgraston, Perthshire in Scot-land, the young Francis was educated at Harrow. His father died when he was quite young and he inherited a large sum of money. Enjoying the sporting life, he had planned to enter the legal profession but diverted to become a painter. He was largely self-taught and spent a short time in the studio of Alexander Nasmyth.

His interest in sporting pursuits extended to his work and he gained a reputation as a fine painter of this genre, exhibiting a picture called Melton Breakfast at the 1834 Royal Academy exhibition. In 1837 he exhibited The Meeting of His Majesty’s Staghounds on Ascot Heath, painted for the Earl of Chesterfield, and in 1839 The Melton Hunt, purchased by the Duke of Wellington (both of these have been engraved, the former by F. Bromley, the latter by W. Humphreys). In 1841, he painted A Shooting Party at Rawton Abbey for the Earl of Lichfield, and in 1848 The Cottesmore Hunt for Sir Rich-ard Sutton. In 1840 Grant exhibited an equestrian group of Queen Victoria rid-ing with Lord Melbourne and others in Windsor Park, and at once became the fashionable portrait-painter of the day. His portrait of Lady Glenlyon, exhibited in 1842, increased his reputation, and for nearly forty years the most graceful and refined portraits in the Royal Academy exhibitions came from his studio.Grant was elected an associate of the Royal Academy, and in 1851 an acade-mician, later serving as it’s President. Between 1834 and 1879 he contributed no fewer than 253 works, many of which were full-length portraits, to the exhi-bitions of the Royal Academy. Among these works were equestrian portraits of Queen Victoria and the prince consort, painted for Christ’s Hospital; the Prince of Wales; an equestrian group of the Duke and Duchess of Beaufort; Sidney Herbert, afterwards Lord Herbert of Lea; Lord John Russell, afterwards Earl Rus-sell; Benjamin Disraeli, afterwards Earl of Beaconsfield amongst many others.The present work, a portrait of an un-identified lady, wearing a riding habit is a signature work by the artist and displays his considerable skills in portraying his sitters on a very grand scale. Despite the high Victorian costume, the composition of the picture, the subject’s pose and the classically inspired landscape backdrop all acknowledge the great 17th and 18th century British portraiture tradition from which the artist has come from and was inspired by.


194

278 AN IRISH REGENCY FOUR PILLAR DINING TABLE, with reeded rim, and rounded corners, each on a central turned baluster, above quad-ripartite grooved legs. with rounded brass socks and castors (with three additional later leaves). 362cm long x 152cm wide (extends further with the extra leaves by 195cm)

€ 30,000 - 40,000



195

196

279 A PAIR OF MAHOGANY GOTHICK REVIVAL LIBRARY ARMCHAIRS, early 19th Century, in the Manner of William Pordin, the bowed crest rails, centred by quatrefoils, above Gothick arches, conforming downswept channelled arms, deep caned seats, on panelled legs, with brass box castors, now with tanned leather squab seats.

€ 10,000 - 15,000



197

280 AN GEORGE II IRISH FLAT CARVED GILTWOOD MIRROR C.1740, with shaped moulded frame and with in-scrolled pierced cartouche cresting, with opposing ho-ho birds, scrolled sides, the apron with central shell, flanked by acanthus and with canted shell corners. 127cm high, 70cm wide

€ 3,000 - 5,000


198

281 AN IRISH ARMORIAL MAHOGANY SIDE TABLE C.1750, with moulded rectangular top, above a deep shaped apron centred by a crest and flanked by acanthus, the sides centred by shells flanked by pendant husks, on moulded leaf capped cabriole legs with square hocked paw feet. 140cm wide x 74cm deep x 78cm high

The crest is “A falcon with wings expanded, holding a cross bottonée, on a ducal coronet” for Madden

The Maddens came to glory through the Church and Heiresses. The consolidator of this rising family was the Rev. Samuel Madden (1686 - 1765) of Maddenton (now called Hilton Park) and Manor Waterhouse. He was known as “Premium Madden” for his encour-agement of Arts and Industry by instigating prizes, starting in 1731. He left a collection of Old Master paintings to Trinity College. This table would appear to fit exactly (including date wise) the aspirations of “Premium” combining family pride with creative industry.The contents of Manor Waterhouse (including landscapes by Thomas Roberts) were sold off in the early 20th Century and Hilton Park suffered severe fire damage in the early 19th Century. It is believed that much of its contents ‘disappeared’ before the fire.These circumstantial facts associate this lot with ‘Premium’ Madden (d.1765) and its re-emergence and identification is most gratify-ing.

€ 20,000 - 30,000



199


200

282 A FINE IRISH GEORGE III GILTWOOD PIER MIRROR, BY JOHN & FRANCIS BOOKER, ESSEX BRIDGE, DUBLIN, the frame of typical architectural form with triangular pediment, centred by an urn with lion mask and trailing swags, the rectangular plate with applied chain link banding flanked by fluted Corinthian columns above a lower panel centred by a carved head of Venus with flanking leaf corbels, the reverse with a partial label for (John & Francis) Booker, Essex Bridge, DUBLIN. 197cm high, 124cm wide

€ 50,000 - 80,000

The existence of a group of dignified architectural gilt-wood mirrors of the mid-18th century had been noted by furniture historians of the post-war period. However, nobody commented on the fact that they all seemed to be or had been in Irish houses. In 1971 The Knight of Glin published his seminal essay, A Family of Looking Glass Merchants and brought to light the productions of the Booker firm at Essex Bridge in Dublin. He quickly established and published a corpus of their known work but even he would have been surprised as to the extent.

Through the survival of complete and partial trade labels, he unravelled the story of a merchant dynasty that created these mirrors and dealt in grinding, polishing and cutting mirror glass, the most expensive of the luxury items in an 18th century house. Whether the Bookers carved the frames themselves of contracted this work out is still unresolved. This classical design so suitable for an 18th century entrance hall or state room comes from the tombs of antiquity and was adapted in renaissance Italy especially by figures such as the architect and sculptor Giuliano da Sangallo. The Knight identified the publica-tion of William Jones, The Gentleman’s or Builders Companion which was for sale in Dublin in 1739, as the source of the Booker design, in which the renaissance monumental scale was tamed to suit pier glasses or tabernacle frames. Although the Bookers altered the details and, indeed, the later ones adopted Adam’s neoclassic motifs, the general shape stayed, with broken - either straight or swan neck -pediments raised on hollowed-out fluted Corinthian columns.

In this example the urn that fills the pediment is carved with the nemean lion mask of Hercules signifying prowess and swagged with Roman acanthus leafs denoting order. This motif was used on the entablature of the St George -Smith mirror which also carried a Booker label. The Venus mask (denoted by her pearls) on the apron suggests either the presence of or desire, for, a female welcome to visitors. This can be compared with the Booker mirror now in the collection at Malahide Castle. Either displayed singly or in pairs, the presence of these mirrors indicated that the visitor had entered a civilised and ordered environment.




201


202

283 A GEORGE III INLAID PALE MAHOGANY SECRETAIRE BOOKCASE, after a design by Thomas Chippendale, the flat cornice with urn cresting above a central mirror cupboard, with parcel gilt carved tracery flanked by inlaid panels, the pull out fall-front secretaire drawer fitted with draw-ers and pigeon holes, above a twin door cupboard enclosing two short and two long drawers, on plain base. 127 x 56 x 250cm tall

€ 12,000 - 16,000




203

204

284 CHARLES (VALLENCEY) PRATT (1789-1865)Kilmacduagh, Co. Galway, a pattern taking place in the distanceWatercolour, 33 x 44cmSigned with a monogram and inscribed by the artist verso, “Round Tower (leaning) remains of church at Kilmacduagh, Co. Galway from sketch no.55”


Pratt’s watercolours and drawings are hard to distinguish from those of his mentor George Petrie, whom he accom-panied on various trips and many of whose drawings he copied.

€ 500 - 800

285 CHARLES VALLENCEY PRATT (1789-1865)Views at Sandymount with BathersA pair, watercolour, each 24 x 42cmEach signed with monogram and inscribed by the artist, “Beach of Sandymount Co. Dublin original sketch Sept 5th 1823” and “View from the beach Sandymount Co. Dublin original sketch Sept 6th 1823”

€ 1,000 - 1,500






205

286 CHARLES VALLENCEY PRATT (1789-1865)The Bray River and Martello TowerWatercolour, 24 x 39cmSigned verso with initials and inscribed by the artist, “Near the mouth of the Bray River, Co. Wicklow, original sketch April 1819”

€ 500 - 800

287 CHARLES VALLENCY PRATT (1789 - 1865) Glendalough Watercolour, 29.5 x 43cm Signed verso with initials and inscribed by the artist, “Round Tower and church, at Glendalough, Co. Wicklow, sketch 133”

€ 500 - 800




206

288 SCOTTISH SCHOOL (19TH CENTURY)Portrait of an 18th century Lady in a Blue Dress Seated in Interior, called “Miss Innes”Oil on canvas, oval slip, 75 x 51cm

Provenance: Capt. HCP Hamilton, Moyne, Durrow, Co Laois thence by descent

€ 800 - 1,000

289 HUGH DOUGLAS HAMILTON (1739-1808) Portrait of a man, half length with white ruff and blue coatPastel, 24 x 19.5cm, ovalSigned with initials and inscribed ‘ROMA’Inscribed verso “Painted by Hamilton Rome 1789, altered and repainted by C Skripmsher London 1816”In contemporary George III giltwood frame

€ 800 - 1,400

Provenance: Lieutenant Colonel George William Panter and by descent to present owner. (Panter formed the outstanding pre-war collection of Irish silver, glass, militaria, pastels and architectural drawings in Dublin, much of which was sold through Sotheby’s in the 1930s.)

The face of this young man is obviously by Hamilton and there is no reason to doubt the monogram etc, so it would appear that the sitters’ Roman casu-al clothing was altered to formal and fashionable regency style in 1816.

290 COPY AFTER RUSSEL, EARLY 19TH CENTURY The embrace at parting Pastel, 75 x 99cm Incribed by the artist Provenance: Rathnescar House, Co. Louth € 500 - 1,000






207

291 ATTRIBUTED TO FILIPPO LAURI (LATE 17TH CENTURY)A Bacchanal, Revellers with Satyrs and Goat in a Land-scape beneath a Classical UrnOil on canvas, 40 x 50cmBearing the Trade Label of B. Doig, Wilson and Wheatly, 90 Georges Street, Edinburgh.

Provenance: Capt. HCP Hamilton, Moyne, Durrow, Co Laois thence by descent

€ 5,000 - 8,000

292 A MAHOGANY OVAL HUNT TABLE, IRISH C.1800, on gate-leg support. 198cm long x 124cm wide


€ 3,000 - 5,000

Filippo Lauri (1623 - 1694) was an Italian painter of the Baroque period and was active mainly in Rome where he was born. His father Balthasar Lauwers was a Flemish landscape painter originally from Antwerp, and himself a pu-pil of Paul Bril. He Italianised his surname as Lauri when he settled in Italy.Filippo first studied with his father and then with his elder brother, Frances-co Lauri. Afterwards, he worked under his brother-in-law, Angelo Caroselli. In 1654 Lauri became a member of the Accademia di San Luca in Rome, and later became the Principe or director of the academy. He painted, along with Filippo Gagliardi, a depiction of the Celebrations for Christine of Sweden at Palazzo Barberini (now at Palazzo Braschi), which demonstrates the exubertant pagentry common at the time. He is perhaps best known for his mythological subjects and Bacchanalian scenes like the present one, have continued to be popular. Numerous religious subjects are also recorded and many engravings were produced under his direction.




208

294 COPY AFTER ROMNEYPortrait of Juliana Langham, eldest daughter of Sir James Langham, died 1782Oil on canvas, 29 x 24cmIn a carved giltwood frame with the label of, Sanders carver; gilder; picture frame maker, no 10 Great Castle Street Cavendish Square

Provenance: Cottesbrooke Hall, Tempo Manor

€ 600 - 1,000

295 ENGLISH SCHOOL, C.1830 Portrait of a Gentleman, half length, wearing a black coat and white waistcoat Oil on canvas 75 x 114cm


€ 300 - 500

293 STYLE OF MONNOYER, 19TH CENTURYRoses in a Sculpted VaseOil on canvas, oval, 65 x 78cmIn a good oak leaf carved frame


€ 1,000 - 2,000





209

296 IRISH SCHOOL, LATE 18TH CENTURY

A pair of Still Lifes of Fruit on Ledges, with basket and birdsOils on canvas, each 62 x 47cmIn elaborate gilt gesso frames by Del Vecchio, inscribed “Manufac-tured by Jas . Del Vecchio Junr Carver & Gilder, 1832 15 Lower Abbey Street’”on trade label verso From an old Irish collection in Dublin made frames, this pair of dec-orative, if somewhat naive still-lives owe much to the Dublin Society Schools with artists like Gustavus Hamilton, the Dixon embossed prints. Comparison can be made with early attempts by Ashford in this genre.


€ 6,000 - 10,000

297 A LARGE IRISH MAHOGANY GADROONED SERVING TABLE, C.1825, in the style of Williams & Gibton, three quarter gallery, the frieze centred by cornucopia, the acanthus wrapped swept legs headed by lion masks and on paw feet. 230cm wide


€ 6,000 - 10,000





210

298 CORNELIUS BISCHOP, 17TH/18TH CENTURYPortrait of Oliver Cromwell, head and shoulders, wearing armour with companion portrait of John Turton (Cromwell’s)Oils on copper panel, 21 x 17cmIn early 18th Century carved giltwood and sanded lugged frames

Provenance: Barmeath (label verso)

€ 2,000 - 3,000

300 A FRAMED LETTER FROM CROMWELL

€ 500 - 800




211

301 IRISH SCHOOL (18TH CENTURY)Portrait of Oliver Cromwell, half length, in armourOil on canvas, 70 x 56cms

€ 800 - 1,200

302 ATTRIBUTED TO GARRETT MORPHYPortrait of a Man in Armour, half length wearing a blue sashOil on canvas, 59 x 45cmInscribed verso ‘James the 1st pretender, 1715’

Provenance: Col. Birch R.A. (inscription verso); Rathescar House, Co. Louth

€ 1,000 - 2,000



212

303 A FINE 19TH CENTURY POLLARD OAK METAMORPHIC COMPACT DESK,

by Maple & Co. Tottenham Court Road, London (pat no. 1531.5466.13609), the squared twin panelled top enclosing a ‘pop-up’ superstructure with tooled leather scriver, ink wells, pen trays and stationary compartments over knee hole space and six Corinthian column supports, fitted with cupboard doors to either side, inset with makers label. 75cm x 77cm x 78cm

€ 2,500 - 3,500

304 A LARGE SWISS ROSEWOOD AND MARQUETRY INLAID MUSIC BOX ON STAND, ATTRIBUTED TO NICOLE FRERES,19th century, the moulded inlaid top with ebonised edge, king-wood banding and decorated with musical instruments, masks and flowers contained within a central medallion, and opening to reveal the cylindrical percussion movement below a glass top, the stand with moulded rim above a frieze drawer, and raised on four turned legs. 60cm high x 78cm wide

€ 1,000 - 1,500







213


305 CAPTAIN RICHARD BRYDGES BEECHEY RHA (1808-1895)Irish River Landscape with Waterfall, Possibly Co. Kerry Oil on canvas, 60 x 91cmSigned and dated 1888

€ 6,000 - 10,000

Born in 1808 in London, the son of Sir William Beechey RA, Richard entered the Navy in 1822, retired as a Captain in 1864 and became a Vice-Admiral in 1879. Throughout his naval career he painted many accomplished marine works and exhibited numerous paintings at the Royal Academy, the British Institution and at the Society of British Artists. Strickland notes that Beechey was employed on the survey work at the mouth of the Shannon and the west coast of Ireland, during which time he sent works to the Royal Hibernian Academy, becoming an honorary member in 1868. After his retirement from the Navy in 1864 he settled in Ireland, living for many years at Monkstown, and later in Pembroke Road, Dublin.The present work is of an, as yet, unidentified view, quite possibly in Kerry where the artist holidayed and painted, submitting a num-ber of Kerry views such as Upper Lake, Killarney (1873), Magillicuddy’s Reeks (1876), The Great Skellig (1883) for exhibition at the Royal Hibernian Academy in Dublin. The artist’s depiction of such a beauty spot in Ireland is treated in a typical fashion for the mid-19th cen-tury, with the contrasting uses of the lake being observed – on the left is a group of women and children washing clothes, while to the right of the composition is a small group of gentlemen fishermen in a rowing boat, with another fisherman beyond on the lake’s shore. The lake is seen below a cascading falls from which emanates a hazy curtain of spray. The dramatic landscape is held together by the inclusion of a road bridge just above the top of the falls and a horse and cart add scale and interest. While Beechey is rightly famed for his marine pictures, it is fair to say that his handling of the landscape, the composition and atmosphere is well beyond the level usually ascribed to an ‘amateur’ artist.


214

306 A KILLARNEY ARBUTUS AND MARQUETRY FOLDING TOP CARD TABLE, MID-19TH CEN-TURY, the rectangular crossbanded top centred with a titled inlaid depiction of Muckross Abbey, enclosed within a border of acorns and leafy group, opening to reveal backgammon and chess board, on a pan-elled centre pillar and shaped platform base inlaid with shamrocks groups, on ebonised flat paw feet. 80 x 42 x 79cm

€ 3,000 - 5,000

The Killarney Woodwork Industry

By the middle of the 18th Century Killarney and its hinterland was emerging as a ‘tourist centre’. Early visitors relat-ed their experiences of awesome lakes, mountains and wildlife in guidebooks and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. Roughly 30 years before the arrival of the railroad, enter-prising men such as Jeremiah O’Connor established factories for the production of handcrafted souvenirs such as chessboards, snuffboxes, card cases - even jewellery.

The items were made from a variety of beautiful local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainsides surrounding the Lakes of Killarney. Arbutus and bog oak were used prolifically and became particular to the Killarney wares. As mementos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the Daven-port desk illustrated. The images were largely taken from a book of engravings ‘Ireland: Its Scenery, Character &c’ (1841) by Mr and Mrs S. C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer.

The depiction of wreaths, shamrock, rose and thistle together symbolised the union of Ireland with England, Scot-land and Wales. It is possible that producers obtained the notion for such souvenir articles from other tourist re-sorts such as Tunbridge Wells in Kent as there are records of similar items being manufactured earlier than those at Killarney. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, sofas and cabinets aimed at the gentry, both locally and nationally/internationally.

Good producers such as James Egan displayed wares at ex-hibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufac-ture a fine arbutus cabinet and desk as a gift for Queen Victoria and many of the manufacturers both gifted and sold pieces to members of the royal family giving further status to the wares. The decline in production of Killarney woodwork came in the late 1800s. The lack of innovation in design and competitive pricing from outside manufacturers assisted in the demise of the industry. The production of items in bog oak lasted longer than that of arbutus but by the early 1900s Killarney was better known for its lace than its woodwork. Now only woodwork museums in Kerry and the items themselves remain.





215

307 A FINE KILLARNEY ARBUTUS AND MARQUETRY DAVENPORT DESK, MID 19TH CENTURY,

the slope top with raised gallery back and hinged panel decorated with a view of The Swiss Cottage, enclosed by fern leaves and a narrow geometric border with rose, shamrock and thistle motifs, similarly decorated to the interior and fitted with an arrangement of six short drawers above a shallow frieze drawer and twin blind carved columns, with twin panel doors inlaid with alternative views of Muckross Abbey, enclosing four long drawers, on plinth base and squashed bun feet. 116cm high x 81cm wide x 65cm deep

€ 20,000 - 30,000



216

308 AN AFGHANI CARPET, EARLY 20TH CENTURY, the typical design in black, rusts and red. 282cm wide x 368cm long

€ 500 - 800

309 A LARGE ANTIQUE FERAHAN WOOL RUNNER, WEST PERSIAN C.1875, woven in red, blue and buff tones, the central field filled with repeating medallions, lozenges and curled leaves and contained within broad and narrow borders. 478 x 109cm

€ 1,800 - 2,200

310 AN ANTIQUE BALUCH WOOL RUG, EAST PERSIAN, stitched with a dated panel relating to the year 1916, woven in deep red and navy tones, the central field filled with multiple loz-enges and enclosed by a broad border of hooked medallions.

€ 1,200 - 1,500

311 A FRENCH AUBUSSON TAPESTRY CUSHION, 19TH CENTURY woven to one side with a flower piece enclosed within a scroll work cartouche with outer trim and tassel border. 53 x 53cm

€ 500 - 700









217


312 A LARGE ISFAHAN STYLE WOOL RUG, with a central foliated medallion on a red ground with all-over rosettes and foliate scrolls, within multiple borders and guard stripes. 479 x 326cm

€ 2,000 - 3,000

313 A BAHKTIARI WOOL RUG, the field composed of multiple square panels in royal blue, aquamarine, brick red and off-white multiple borders and guards stripes. 344 x 325cm

€ 1,000 - 2,000

314 A MODERN KASHAN STYLE WOOL CARPET, the off white ground delicately overlaid with pale blue foliate tracery scrollwork and flower heads, within complementary and multiple borders and guard stripes. 430 x 350cm

€ 1,500 - 2,000

315 A SAROUK STYLE WOOL RUG, the central compartmentalised medallion in rose and blues, on a brick red ground, the field with all-over stylised foliage and con-tained within multiple borders and guard stripes. 303 x 390cm

€ 1,000 - 1,500





218

316 AN INSCRIBED TIBETAN SILVER SHRINE, ‘GAU’, 19TH CENTURY, chased with an outer border of scrolling foliage enclosing a seated deity carved from turquoise and clad in jewelled ornament, the reverse engraved with vertical lines of text. 17.5cm high

€ 600 - 800

317 A LARGE JAPANESE PORCELAIN IMARI CHARGER the central reserve decorated with a still life within a panelled border, in burnt orange blue and gilt.

€ 100 -200

318 A MAHOGANY GEORGIAN GOUT STOOL,on a rachet frame

€ 400 - 600

319 A GEORGE I WALNUT AND PARCEL GILT TOILET MIRROR, on a box base with moulded drawers, ogee bracket feet

€ 400 - 600








219

320 A GEORGE III LIBRARY LONGARM, In the words of Caroline Bingley of Pride and Prejudice, “When I have a house of my own, I shall be miserable if I have not an excellent library.” And so it was among the upper classes of the Georgian era. However, whether Miss Bingley was in fact looking forward to reading her way through each papered leaf is a different matter. No, to the Georgians books signified wealth. As expensive items, the greater one’s store, the more impressive his disposable income and, in pettier circles, the more attractive his acquaintance. Although circulating libraries allowed those less fi-nancially fortunate to partake in reading, it was not until the Public Libraries Act of 1850 that local boroughs were granted the ability to establish free public libraries, bringing literature to the masses... or at least to those fortunate enough to have gained an education.

€ 600 - 800

321 A BRONZE FIGURE OF PANDORA WITH HER BOXstanding by a pillar and raised on a square base

€ 100 - 150

322 A PAIR OF GRAND TOUR BRONZES OF APOLLO AND DIANABelvedere, 19th century

€ 400 - 600






220

323 A PAIR OF SEVRES STYLE TABLE PORCELAIN TABLE LAMPS,in the form of urns with foliate decoration

€ 400 - 600

324 AN INTERESTING BRASS-MOUNTED SHAPED RELIQUARY, surmounted by a crucifix

€ 100 - 200

325 A GEORGIAN FLAME-MAHOGANY KNIFE BOX, the shaped hinged lid opening to reveal a fitted interior

€ 150 - 200

326 A GEORGE III MAHOGANY FRAMED STOOL, of rectangular form, the padded upholstered seat above a shaped apron raised on square supports and stretcher

€ 300 - 400









221

327 A REGENCY MOROCCO LEATHER AND FRUITWOOD SARCOPHAGUS SHAPED WORK BOX, with brass mounts and ring handles

€ 200 - 300

328 A GEORGIAN PLUM-PUDDING AND MAHOGANY TEA CADDY, opening to reveal a fitted interior

€ 300 - 500

329 A GEORGIAN INLAID TEA CADDY,of rectangular form, the hinger lid to reval a fitted interior

€ 250 - 300

330 A GEORGIAN OAK CASSONE SHAPED TEA CADDY,raised on ogee feet

€ 250 - 350








222

331 A PAIR OF GEORGE III MAHOGANY BEDSIDE COMMODES, C.1800, with three quarter galleried tops above doors, on slender ring turned legs. Each 28cm wide x 89cm high


€ 800 - 1,200

332 A MAHOGANY CROSSBANDED CHEST, the moulded top above two short and three long graduated draw-ers, on bracket feet, 126cm wide.


€ 300 - 500

333 A PAIR OF MAHOGANY FRAMED ‘GAINSBOROUGH’ ARMCHAIRS, mid-18th Century, on square channelled legs


€ 600 - 1,000






223

334 A PAIR OF FRENCH 19TH CENTURY BRONZE FIGURES OF MUSES BY PAUL DUBOIS (1829 - 1905)of standing female classical figures, one holding a man-dolin, the other reading a book, both resting against columns, raised on bowfront marble bases, signed. Each 51cm high

€ 2,000 - 3,000

335 A PAIR OF IRISH MAHOGANY BRASS-BOUND BUCKETS C.1800 OF COOPERED CONSTRUCTION, with brass swing handle. Each 46cm high x 39cm diameter

€ 3,000 - 5,000







224

336 JOHN EMMS (1843-1912) Portrait of a Grey Cob, outside his stable with a Dandydidmont and a Dachshund Oil on canvas, 65 x 83cm Signed lower right and dated, 1896 In a contemporary oak frame with gilt slip WIth the label J.D. Spence, picture frame maker, gilder and picture restorer, 7 Lower Sackville Street Dublin


€ 6,000 - 10,000



225

337 JOHN EMMS, (1843-1912) Portrait of a Horse, outside a stable with a Dandydidmont and Dachshunds by a water barrel Oil on canvas, 66 x 82cm Signed lower left and dated, 1896 In a contemporary oak frame with gilt slip, see note on lot 336


€ 6,000 - 10,000


226

338 JOHN EMMS (1843-1912) Portrait of a Cob, outside his stable with a Dachshund. Oil on canvas, 67 x 83cm Signed and dated, 1902 and inscribed The Horse ‘Sir John’ and the dog ‘Eile’


€ 2,000 - 3,000

339 JOHN EMMS (1843-1912) Study of a Bay Gelding, in a landscape Oil on canvas 68 x 83cm


€ 1,000 - 1,500




227

341 AN EDWARDIAN MAHOGANY, INLAID AND MARQUETRY CARLTON HOUSE DESK, C.1900, the superstructure with urn inlaid door flanked by tiers of three drawers each, and with similarly inlaid concave corner doors, the wings with paterae inlaid curved lids, the apron with central drawer flanked by short drawers, on inlaid square tapering legs with brass socks and castors, joined by a concave platform stretcher, 121cm wide x 65cm deep.


€ 1,500 - 2,500

340 A SET OF FOUR GILTWOOD WALL BRACKETS, IN LATE 18TH CENTURY STYLE, the back plates with eagles on rockwork bases and suspended from ribbon tied pendants, the sconces with tasselled and balled chains, each 48cm high.


€ 3,000 - 5,000






228

342 A FINE VICTORIAN MARINE INSPIRED OAK PEDESTAL SIDEBOARD, IN THE MANNER OF HENRY EYLES OF BATHthe raised and shaped mirror back framed by a border of rope carved moulding centred by a painted shield bear-ing the arms of the Rashleigh family of Menabilly, Cornwall, above a carved panel bearing the initials WR and CR and the date 1859, the mirror panel with entwined dolphin ends, the breakfront table base centred by a carved Neptune head and raised on flamboyant carved stylised hippocampi cresting waves. 275cm wide

‘Menabilly’ was the inspiration for ‘Manderlay’, the house in Daphne du Maurier’s classic novel Rebecca 1933

William Rashleigh was an MP from East Cornwall, born 16th April 1817, died 31st October 1871. He married Cath-erine Stuart, eldest daughter of the 11th Lord Blantyre.

Provenance: Sotheby’s Important English Furniture, July 1990, Lot 133.See Henry Eyles of Bath Great Exhibition 1851 Star of Brunswick Table, Victorian & Albert Museum, London.

€ 10,000 - 15,000




229

230

344 A FINE LARGE GEORGE IV GILTWOOD OVERMANTLE MIRROR. The rectangular frame with close guilloche banding, surmounted by a pagoda shaped crestrail centered by a scallop and scroll cartouche.242cm x 201cm Dublin label verso.

€4,000 - 5,000



231

William Froom 1825-1828, Froom & Cribb by 1829-1831, William Froom 1832-1849. At 136 Strand, London 1825-1849. Carvers and gilders, looking glass manufacturers, picture framemakers.William Froom (1791-1865) was christened in 1791 at St George the Martyr, Southwark, the son of William and Martha Froom. He first comes to notice in 1825, when he attended a meeting of more than fifty master carvers and gilders who resolved to resist the demands of journeymen for an increase in wages (The Times 30 June 1825). He followed Fentham & Co (qv) at 136 Strand, using the description, ‘Late Fentham & Co’, on his trade label for many years. By 1829 Froom had entered into a short-lived partnership with William Cribb (qv), which was dissolved in 1831 (London Gazette 3 May 1831). William Froom and his wife Elizabeth Anne had five children born between 1831 and 1840, christened at St Mary-le-Strand.William Froom was a customer of the composition ornament maker, George Jackson & Sons (qv), 1836-42 (see Jackson account book, V&A Archive of Art and Design, AAD/2012/1/2/3). In the 1839 directory Froom was listed as a looking glassmaker and in the 1841 census as a plate glass man-ufacturer. He would appear to have retired from business in 1849 from his entries in the Post Office directory. In the 1851 census he was living in Oxford Square as a landed proprietor. He died on 9 April 1865 at 71 Gloucester Terrace, Hyde Park, leaving a very considerable sum of up to £100,000 to his wife and family, but without mentioning his former business.Both William Froom’s trade label and that of Froom & Cribb, from 136 Strand, list the business as ‘Looking Glass Manufacturers, Carvers and Gild-ers, and Picture Frame Makers’, describing the premises as being near Somerset House. An example of Froom’s label, as ‘W. Froom’, can be found on a convex mirror of about 1825 (repr. Sotheby’s New York 16 April 2005 lot 46, information from Edgar Harden), while that of Froom & Cribb can be found on the frame of an impression of Henry Dawe’s mezzotint, John Philip Kemble as Hamlet, published 30 March 1827 (Christopher Lennox-Boyd collection). A slightly later label, as ‘William Froom’, from 136 Strand, describes the premises as being near Waterloo Bridge (example on James Ramsay’s Ann Hodgson, c.1830, information from Elizabeth Robertson, 1992).

345 A LARGE WILLIAM IV GILTWOOD OVERMANTLE MIRROR. The arched frame surmounted by a open scallop cartouche with cresting eagle, flanked by scrolls, 269cm x 196cm

€3,500 - 4,500


232

345A A LARGE 19TH CENTURY ITALIAN CARVED GILTWOOD WALL MIRROR IN ROCOCO TASTE, the rectangular plate surrounded by bold foliate scroll-work. 151 x 120cm

Provenance: Madame Hume-Weygand, Humewood Castle, Co. Wicklow

€ 2,000 - 3,000

346 A GEORGIAN STYLE INLAID MAHOGANY AND SATINWOOD DEMI LUNE COMMODE, the entire decorated with satinwood banding, with oval lozenge side panels of inlaid urns, having a single cen-tral cupboard and with sunburst motif, raised on square tapering legs. 124 x 51cm

€ 2,000 - 3,000








233

347 IRISH SCHOOL (19TH CENTURY)A portrait of Mr Hume, of Humewood Castle, as a boy, holding a bow and with a quiver of arrowsOil on canvas, 77 x 63cm

Provenance: Madame Hume-Weygand, Humewood Castle, Co. Wicklow

€ 3,000 - 4,000

348 AN EXCEPTIONALLY LARGE GEORGE II MAHOGANY CIRCULAR DOUBLE DROP LEAF DINING TABLE, C.1740the plain top with moulded rim, raised on cabriole gate legs with panelled decoration and hoof feet. 200cm diameter

€ 4,000 - 6,000





234

349 CHARLES ZACHARIAH LANDELLE (1812-1908)L’OrientaleOil on canvas, 44 x 29cmSigned

€ 3,000 - 5,000

350 A MAHOGANY COMPACT SIDE TABLE BY WILLIAMS & GIBTON, C.1830, the rectangular top with moulded edge above a single cedar lined frieze drawer and opposing dummy drawer, on squared trestle end supports joined by a turned column and ending on brass castors, stamped ‘Williams’. 102 wide x 56 deep x 74cm high

Provenance: Hugh 5th Earl Annesley, Castlewellan and by descent until gifted to the present vendor in 2012.

€ 2,000 - 3,000







235

352 A MAHOGANY AND ROSEWOOD LIBRARY JARDINIÈRE TABLE, C.1835 BY WILLIAMS & GIBTON, the rectangular top with reeded edge and flat oval inset cover, concealing a zinc lined jardinière above two open book shelves with central division, turned column gallery supports ending on short baluster turned legs with brass castors, stamped Williams & Gibton 14262. 66 wide x 39 deep x 79cm high

Provenance: Perceval-Maxwell Family, Co. DownFor an identical example stamped Williams & Gibton 18379, see Christie’s and HOK Fine Art Lissadell Country House Auction, November 25, 2003, lot 224, illustrated in the catalogue.

€ 2,000 - 3,000

351 STYLE OF GEORGE MORLAND (19TH CENTURY SCHOOL)A set of four oval panels depicting rural lifeOil on board, each 64 x 45cms(4)

€ 2,000 - 3,000






236

353 A FRAMED PATENT OF NOBILITY, 4th July 1800, on vellum, creating John Preston of Bellinter to be Lord Baron of Tara, the initial incor-porating a profile portrait of George III, the border with the arms of the Kingdom of Ireland, other arms including Preston and the Rose and Thistle of the pre-union Kingdom, the seal destroyed. 85 x 80cm

John Preston 1764 - 1821Preston came from a politically influential family that partly controlled the borough of Navan. The Pres-tons’ built themselves large houses at Bellinter and Swainston and maintained a grand residence on St Stephen’s Green. They tended towards the Ponsonby faction in the Dublin parliament and initially opposed the Union. However, they had over extended themselves financially and succumbed to the to the bribery on offer to illegally extinguish the Irish par-liament and Preston was able to salve his conscience by donning the robes of an Irish Peer. However his matrimonial arrangements were awkward and the ‘Union’ title lapsed on his death.

€ 3,000 - 5,000

354 A 19TH CENTURY MAHOGANY FRAME DOUBLE SCROLL END SETTEE, the back rail centred by an angel, the frame decorated with carved trailing oak leaves, the arm supports framed by stylised long neck birds, raised on claw and ball feet. 172cm wide

€ 1,500 - 2,000




237

355 A CARVED GILTWOOD SHIELD OF THE IMPERIAL NAPOLEONIC ARMS, 19TH CENTURY, the back with iron attachments. 85cm high x 77cm wide

This elaborate depiction of the Imperial regalia proclaimed by Napoleon in 1804 is of a scale to be displayed on a state carriage or building. At centre is the Roman eagle of victory bordered by the collar and chain of the legion d’Honneur set against a mantle of imperial ermine and crossed by the ancient symbols of sovereignty, the sceptre and the hand of justice.


€ 4,000 - 8,000


238

356 A VICTORIAN OAK SPECIMEN CABINET, set with twin doors enclosing slender specimen drawers with bone handles. 51 x 33 x 80cm high

€ 800 - 1,000

357 A GEORGE III MAHOGANY RECTANGULAR BEDSIDE LOCKER, with pierced gallery rail above a single fitted panel door cupboard and raised on plain square supports. 39 x 32 x 76cm tall

€ 500 - 800

358 A GEORGE IV MAHOGANY RECTANGULAR WHAT- -NOT, in the manner of Gillows, the raised shelf top above a single draw-er and single door cupboard base. 55 x 36 x 108cm tall

€ 600 - 1,000

359 A 19TH CENTURY FRENCH CARVED FRUITWOOD URN STAND, of circular form, the deep frieze well carved with car-touches and scrolls, raised on cabriole legs. 45cm diameter x 46cm tall

€ 600 - 1,000






https://www.adams.ie/79148/A-GEORGE-IV-MAHOGANY-RECTANGULAR-WHAT-NOT-in-the-manner-of-Gillows-the-raised-shelf-top-above-a-single-drawer-and-single-door-cupboard-base-55-x-36-x-108cm-tall-79148?Itemid=&high_estimate=400000&ipp=All&keyword=&low_estimate=50&sort_by=lot_no&view=lot_detail

https://www.adams.ie/79148/A-GEORGE-IV-MAHOGANY-RECTANGULAR-WHAT-NOT-in-the-manner-of-Gillows-the-raised-shelf-top-above-a-single-drawer-and-single-door-cupboard-base-55-x-36-x-108cm-tall-79148?Itemid=&high_estimate=400000&ipp=All&keyword=&low_estimate=50&sort_by=lot_no&view=lot_detail


239

361 AN EARLY 19TH CENTURY ROSEWOOD CANTERBURY, the open slat construction raised above a single drawer with turned wooden handles, raised on baluster turned legs with castors. 49 x 30cm

€ 500 - 700

362 A VICTORIAN BRASS CURB FENDER, the pierced foliate banding with gadroon cast borders, raised on cast paw feet. 123cm wide

€ 300 - 500

360 A GEORGE III MAHOGANY RECTANGULAR SIDE TABLE, with veined red marble top, having a concave frieze centred by a carved cartouche, raised on slender cabriole legs, with leaf capped knees and pad feet. 113 x 65cm

€ 2,000 - 3,000





240

363 A 19TH CENTURY FRENCH INLAID KINGWOOD VITRINE BUREAU DU DAME, the staged domed top above a single glazed panel door, above a deep fall front, decorated with inlaid basket of flowers, on a dia-mond marquetry ground, enclosing a fitted interior with drawers, the entire decorated with cast mounts with foliage and scrolls and rams’ heads, on slender splayed legs with cast hoof sabots. 175cm tall x 85cm wide

€ 6,000 - 8,000

364 A LARGE FRENCH BOULLE WORK BRACKET CLOCK, 19TH CENTURY, surmounted with an ormolu model of Poseidon over a tortoise-shell cut brass body, enclosing an enamel dial with Roman and Arabic numerals, surrounded by pierced foliate border and splay shell cast feet and a conforming bracket stand. The clock, 92cm high, the entire 128cm high.

€ 4,000 - 6,000






241

365 A DUTCH FLORAL MARQUETRY CHEST, of six graduated long drawers, early 19th Century. 142cm high


€ 1,000 - 1,500

366 AN EARLY 19TH CENTURY DUTCH WALNUT AND MARQUETRY CYLINDER BUREAU, profusely decorated with inlaid flowers, birds, urns and foliage, the pull out writing slide activating the raised cylinder bureau, with fitted interior on a bombe chest of three long graduated drawers. 114 x 49cm deep

€ 3,000 - 5,000





242

367 AN IRISH GEORGE IV INLAID ROSEWOOD FOLDING TOP CARD TABLE, BY GILLINGTONS OF DUBLINdecorated with brass stringing and applied brass gadroon banding, the swivel top opening to reveal a baise lined interior above reed-ed corners, raised on four spiral turned columns and outswept quadruped legs. 92 x 45cm stamped.

€ 1,000 - 1,500

368 A 19TH CENTURY FRENCH INLAID BURR WALNUT KIDNEY SHAPED LIBRARY TABLE, decorated with satinwood banding and boxwood stringing, having single frieze drawer, with arched stretcher and vase shaped side supports, on outswept legs and castors. 124 x 72cm

€ 3,000 - 5,000







243

369 A SET OF TWELVE VICTORIAN MAHOGANY FRAMED DINING CHAIRS, the rectangular curved panel backs, above button upholstered seats covered in red hide, raised on turned tapering legs

€ 3,000 - 5,000

370 A FINE GEORGE IV MAHOGANY RECTANGULAR EXTENDING DINING TABLE, IN THE MANNER OF GILLOWSin the manner of Gillows, with thumb moulded rim, above turned and reeded tapering legs on brass carriage wheel castors. 137cm wide x 140cm/280cm (extended) 4 additional leaves

€ 10,000 - 15,000




244

371 A REGENCY GILTWOOD RECTANGULAR OVERMANTLE MIRROR, in the Egyptian taste, the cornice above a Greek key frieze and a plain rectangular mirror flanked by Egyptian themes. 150 x 67cm

€ 1,000 - 1,500

372 A NEST OF FOUR MAHOGANY 19TH CENTURY QUARTETTO TABLES, in sizes, each with an ebon bead raised on pairs of ring turned column supports and splayed legs. 45 x 30cm

€ 1,000 - 1,500

373 A GEORGE IV MAHOGANY FRAMED SINGLE SCROLL END DAY BED, the reeded frame decorated with bound acanthus carved sprays, raised on octagonal tapering legs and fluted bun feet. 210cm long

€ 1,500 - 2,000







245


374 AN IRISH GEORGE III MAHOGANY BRASS BOUND BUCKET, EARLY 19TH CENTURY, with brass swing handle, of coopered construction with ribbed body. 45cm tall

€ 2,000 - 3,000

375 A PAIR OF EARLY VICTORIAN MAHOGANY OPEN BOOKCASES, C.1840with triangular pediment tops with carved shell capitols, above four tiered open shelves with columns supports, above single drawers, on turned tapering legs. 110cm wide x 173cm tall

€ 3,000 - 4,000





246

376 A FINE GEORGE III MAHOGANY CIRCULAR TILT TOP TABLE, with pie crust rim, on turned baluster centrepillar, on tripod outswept legs with scroll feet. 50cm diameter x 66cm tall

€ 2,000 -4,000

377 A GEORGE III SMALL MAGOGANY SIDE TABLE, with later white marble top on carved cabriole legs with panelled pad feet. 59 x 41cm

€ 3,000 - 4,000






247

379 A FINE GEORGE III MAHOGANY SQUARE KETTLE STAND, C.1760the shaped square top with stepped moulded rim above a plain frieze, with single pull out cup slide, raised on slender cabriole legs with double scroll terminals and elongated scroll feet on a plinth. 31 x 31 x 63cm tall

An identical stand is illustrated in “The Dictionary of English Furniture” by Ralph Edwards C.B.E, F.S.A.see Percival Griffiths Collection

€6,000 - 8,000

378 A SET OF FOUR 19TH CENTURY CARVED AND GILTWOOD TWO LIGHT WALL SCONCES, each well carved in relief with trophies depicting pastoral and country pursuits, including wild boars’ heads, sheaves of wheat spears and farm implements against a background of foliage and rope tied swags, each with twin fluted scroll candel holders in the form of horns of plenty. Each 96cm high

€ 5,000 - 7,000





248

380 A LARGE KASHAN WOOL RUG, the rich red ground with all-over foliate decorated field within multiple borders and guard stripes in deep blue and cream. 418 x 301cm

€2,000 - 3,000

381 A LARGE ZIELGER STYLE WOOL CARPET, the pale ground with all-over foliate field and with medalllions of vari-ous designs, in pale rose and gold within in a wide border and narrow guard stripes. c.394cm wide x 660cm long

€ 3,000 - 4,000

382 A TABRIZ WOOL CARPET with large central medallion within an intricately decorated foliate field in pale browns, blues, beige and off-white, within multiple borders and guard stripes. 268cm wide x 336cm long

€ 2,000 - 3,000

383 AN ANTIQUE AGRA CARPET, C.1900-1910, woven in cream, ochre and claret tones centred with a large scrolling medallion and set to each corner with corresponding spandrels within a broad border filled with cypress trees. 347 x 263cm

Provenance: Formerly with Peter Linden Oriental Rugs

€ 2,000 - 2,500






249

384 A PERSIAN TALAGHAN WOOL RUNNER, the large central reserve woven with three hexagonal medal-lions in blue, salmon and pink tones set against a geometric burgundy ground and enclosed by broad chevron borders and guard stripes. 410 x 125cm

€ 500 - 800

385 A LARGE PERSIAN “KHAMESH” CLARET GROUND WOOL CARPET, the large central reserve woven with a geometric lozenge filled with foliate designs, with serrated edge and broad outer border contained within multiple guard stripes and surrounds.290 x 208cm

€ 300 - 500

386 A LARGE TURKISH OR PERSIAN COUNTRY HOUSE CARPET, the red ground decorated with all-over field patterns. 585 x 389cm

Provenance: Saintfield House, Co. Down

€ 2,000 - 3,000

387 A LARGE PERSIAN WOOL CARPET,the pale red ground with foliate scrolls within a wide pale yellow border and narrow guard stripes

€ 3,000 - 5,000

387







250

388 A PAIR OF FRENCH EMPIRE STYLE GILT TORCHERE STANDS, each circular top with moulded rim above a fluted band interposed with three cast gilt brass rings, the underside with pineapple motif, raised on downswept tripod supports terminating in rectangular feet with ‘Greek key’ style carving. Each 140cm high

€ 700 - 1,000

389 AN IRISH MAHOGANY CHEST, MID-18TH CENTURY with crossbanded lidded top, above two drawers with prominent brass lock-plate and carrying handles to the sides, the stand with a shaped apron centred by an inverted shell, on leaf-capped short cabriole legs with square claw and ball feet. 128 wide x 64 deep x 98cm high


€ 2,000 - 4,000






251


390 A PAIR OF 19TH CENTURY GEORGE III STYLE OVAL MIRRORS, the compartmented frames with bellflower banding surmounted by a figure of a bird, its wings outstretched, clutched in its talons a suspending ribbon tied swag flanked by scrolls and mirrored at the base, set with a portrait medallion of Dante Alighieri. Each 160 x 85cm

€ 6,000 - 8,000

391 A PAIR OF IRISH ROSEWOOD FOLDING TOP CARD TABLES, C.1840, each with figured rectangular top and thumb moulded rim enclos-ing a baise lined interior, with foliate carved frieze, turned centre pillar and downswept legs, with shell feet and brass castors. Each 74cm high x 93cm wide x 46cm deep. (2)

€ 6,000 - 8,000





252

392 A FRENCH GILTWOOD FRAMED SEVEN PIECE SALON SUITE IN THE LOUIS SEIZE TASTE, 19TH CENTURY, comprising a three seater settee canape, four fauteuils and two side chairs, each with padded rectangular backs and seats covered in nee-dlework upholstery, the gadrooned and reeded frames with spherical finials, and raised on turned fluted legs. (7)

€ 1,500 - 2,500

393 A 19TH CENTURY CONTINENTAL WALNUT AND MARQUETRY SHAPED BOW END LIBRARY TABLE, the top profusely decorated with an inlaid central urn flanked by angels, scrolls, swags etc within a continu-ous border of foliate scrolls, edged with cast bronze leaf banding above a similarly decorated frieze with drawer, raised on a shaped octagonal centre column and a star shaped quadruple base with flat bun feet (associated). 133 x 78cm

€ 1,200 - 1,800

394 A PAIR OF 19TH CENTURY MAJOLICA DOULTON LAMBETH JARDINIÈRE POTS AND STANDS, decorated in yellow, green, turquoise and brown tones, the bombé shaped jardinière pots applied with twin loop handles with scroll-ing sides and central cartouches, on scroll feet, and supported on fluted tapering pedestals and round feet, each piece with impressed factory mark. Each 122cm high. (2)

€ 1,200 - 1,800








253

395 PAUL SIEFFERT (1874-1957)

‘Reclining nude’Oil on canvas, 54 x 70cmSigned lower right

€ 6,000 - 8,000

Set against a backdrop of the Victorian era, the Aesthetic movement was a rebellion against the uniform precision and the mechanisation of production. Aesthetes strove for a freedom of creative expression, seeking to bring art into the most banal of objects through a focus on quality craftsmanship. With the use of machines allowing for elaborate and over the top decoration in furniture production, those, such as James Lamb, who worked in accordance with this movement attempted to strip the pieces back to the basics. They relied on the formation of the piece itself to be an ornament in its own right.

Lamb of Manchester created structurally bold pieces that drew on the simplicity and elegance of Japanese design and the incorporation of geometric motifs. James Lamb’s furniture was highly praised and won medals at the world fairs of both London (1862) and Paris (1867). On his death, the Journal of Decorative Art and British Decorators hailed him for his innovation, claiming that ‘His name was a synonym for the best in everything he did... His name for fifty years stood as a landmark for all that was best in both spheres of industrial art.’

396 A BURR WALNUT, EBONY AND IVORY INLAID SIDE CABINET IN THE AESTHETIC TASTE, C.1870, attributed to Lamb of Manchester, the mirrored superstructure with a fine panel of inlaid arabesques, above an arched balus-trade cresting flanked by shelves supported on ebony and ivory turned column, the top with ivory inlaid Greek Key border above glazed doors, shelved interior, the base with corresponding balustrade, above a platform stretcher with conforming inlay, on six short turned legs. 198cm wide, 41cm deep, 172cm high

€ 2,000 - 3,000





254

397 A MAHOGANY CASED GEORGE III BRACKET CLOCK, BY MCCABE OF LONDON, C.1790, the white enamel dial behind glazed door signed ‘James McCabe, Royal Exchange, London’ with Roman numeral chapter ring and subsidiary strike/silent dial, and quarter pull repeat, the domed case with brass carrying handle and fish scale grills to the sides, on short brass brack-et feet. 47cm high

Few craftsmen are lucky enough to boast George Washington and Horatio Nelson as patrons, but James McCabe was such a man. Born in 1748 into the watch-making trade in Co. Armagh, McCabe went on to become one of the finest in his field. In 1775, he moved to London where he set up his own company on Fleet Street. Six years later, he was made an honorary Freeman of the Clockmaker’s Company. Mov-ing his premises to Royal Exchange in 1802, McCabe continued to be acknowledged by his peers, his career reaching its pinnacle in 1811 when he was awarded the position of Senior Warden. Unfortunately, he died soon after this accomplishment, leaving his workshop and its good name in the hands of his son.

€ 6,000 - 8,000

398 A FINE SATINWOOD AND MARQUETRY INLAID CYLINDER TOP BUREAU, stamped ‘Edwards and Roberts, London’, the crossbanded top with brass three quarter gallery, inlaid with a classical urn and ribbon tied bows, the roll back panel similarly decorated with musical trophies enclosing a pull out writing panel, pigeon holes, short drawers and compartments above twin frieze drawers and raised on squared tapering supports and castors. 112cm high x 106cm wide x 62cm deep

€ 10,000 - 15,000





255

400 A SWISS ROSEWOOD, KINGWOOD AND MARQUETRY INLAID MUSIC BOX, LATE 19TH CENTURY,

the rectangular case centred with a group of flowers and foliage within a quarter veneered border housing a single cylinder movement, an outset base fitted with single drawer. 76cm wide, 33cm deep, 32cm high

Before recorded music, there was the music box, an instrument that has its origins in the intricate workings of clocks and pocket watches. As timepieces advanced, clockmakers sought to bring sound from larger devices into small, handheld watches. In 1796, Antoine Favre perfected this mechanism, using a small rotating disc to sound the time. This disc moved against pins which would reverberate to create the desired tone. By mimicking this design and increasing the notches on the disc, a known melody could be brought to the ears of a willing listener by a short and simple winding of a handle or knob. A long pin would create a high pitch, whilst a shorter one would allow for a lower note.In the 1820s, the disc was switched out for the revolving cylinder which allowed for several compositions to be stored on the one piece. By slightly altering the position of the cylinder, a different set of notes could be played. Music boxes soon became a great source of entertain-ment within the house, reaching the peak of their popularity in the second half of the 19th century, when most large music boxes were produced. For those who did not have the money to spare for their own music box, a single penny would suffice to enable them to play a tune from a public box, often found nestled among the crowds at railway stations and other public places.

€ 4,500 - 6,500

399 JONATHAN PRATT (1835-1911)A Shoemaker’s Shop, BrittanyOil on board, 47 x 31cmSigned and dated 1885

€ 1,500 - 2,500




256

401 IRISH SCHOOL (EARLY 18TH CENTURY)Portrait of a Lady in a Red Dress, Seated, Three-Quarter Length.Oil on canvas, 125 x 100cm

€ 8,000 - 10,000



257

402 JOHN JAMES MASQUERIER (1778-1835)A portrait of Juliana, Lady Langham, d.1810, seated by a spinning wheel, wearing a bonnet and cloakOil on canvas, 126 x 104cm

Literature: Sée, Masquerier and His Circle, London 1922

Provenance: Cottesbrooke Hall, Tempo Manor, Sold HOK, The Langham Collection at Slane Castle

€ 2,000 - 4,000

403 JOHN JAMES MASQUERIER (1778-1835)Two boys, Francis Nathaniel, b.1841 and Herbert Hay Langham, b.1840 with a pet goat in the park at CottesbrookePastel;together with;A portrait of Laura Micklethwait, wearing a white dress and standing on a terrace at CottesbrookePastel, 25 x 21cm, arched topIn an elaborate gilt plaster frameLaura Charlotte Micklethwait married Herbert Langham in 1839

Provenance: Cottesbrooke Hall, Tempo Manor, Sold HOK The Langham Collection at Slane Castle

Literature: Sée, Masquerier and His Circle, London 1922, p.210

€ 3,000 - 5,000



258

404 A 19TH CENTURY BRASS BANDED RECTANGULAR FUEL CONTAINER,of coopered construction with brass side carrying handles. 60 x 42cm

€ 500 - 800

405 A VICTORIAN EBON RECTANGULAR CONSOLE TABLE, with black marble top on scroll legs with carved acanthus knees, on paw feet and platform base. 86 x 44cm

€ 1,000 - 1,500

406 A VICTORIAN STYLE CARVED WOOD CIRCULAR CONVEX MIRROR, the frame in the form of bound oak leaf, with continuous banding and interior ebon slip. 103cm diameter

€ 800 - 1000

407 A 19TH CENTURY CHINESE STAINED WOOD RECTANGULAR ALTAR TABLE, on turned supports with scroll terminals and double stretchers. 100 x 66cm

€ 300 - 500










259

408 A LARGE 19TH CENTURY MAHOGANY LIBRARY STEPS, of triangular form with tapering pole hand supports. 176cm tall

€ 1,000 - 1,500

409 A GEORGE III GILTWOOD OVAL MIRROR, the double beaded frame with incised crosshatched border. 66 x 46cm

€ 1,000 - 1,500

410 A LARGE VICTORIAN MAHOGANY RECTANGULAR BUTLER’S TRAY, with raised side and integral handles, raised on a collapsible ‘X’ frame stand. 80 x 50cm

€ 600 - 1,000

411 A PAIR OF 19TH CENTURY STAINED WOOD DINING CHAIRS, in the Chippendale manner, with pierced splats, drop-in seats, on square tapering legs

€ 200 - 300








260

412 AN EARLY VICTORIAN MAHOGANY FRAMED TUB BACK BERGERE LOW CHAIR, with cane back, raised on turned legs

€ 500 - 800

413 A VICTORIAN MAHOGANY FRAMED TUB BACK OFFICE SWIVEL CHAIR, the padded rail back on scroll supports and a circular seat on a revolving centrepillar and outswept quadruped legs with castors

€ 800 - 1,000

414 A VICTORIAN MAHOGANY FRAMED LIBRARY CHAIR, with rail tub back and raised back rest on carved scrolls and turned fluted tapering legs with castors

€ 600 - 1,000








261

415 A 19TH CENTURY YELLOW MARBLEISED PLAIN COLUMN, on white spreading foot base. 105cm tall

€ 1,000 - 1,500

416 A LARGE REGENCY CONVEX GILTWOOD MIRROR WITH EAGLE,

of circurlar form surmounted by an eagle with out-stretched wings, the glass plate with ebon slip contained within a carved giltwood border and with a hanging laurel swag below. 153cm high x 92cm diameter

€ 4,000 - 6,000

417 A MAHOGANY RECTANGULAR STOOL, IN THE 18TH CENTURY IRISH STYLE, on six rosette headed and leaf carved cabriole legs with claw and ball feet, 52cm wide x 128cm long.


€ 800 - 1,200







262

418 CIRCLE OF ROBERT HEALY, C. 1760 A Portrait of a lady in a landscape, picking honeysuckle and a portrait of a gentlemanan, in a tail-coat and a waistcoat, standing by a mantelpiece; A Pair, Gouaches each 15 x 9cm


€ 1,000 - 2,000

419 ENGLISH SCHOOL, C.1810 A Portrait of James West of Alscot Park, Gloucestershire, the bald

gentleman seated half length, holding a letter addressed to Mr West; and the companion portrait of his wife Sarah, a daughter of Christopher Wren of Wroxhall, seated half length, by a table with a book. A Pair, Pastels, Each 26 x 22cm Sold by order of the Executors of Eileen, Countess of Mount Charles

€ 500 - 1,000

420 ENGLISH SCHOOL, C.1840 A Profile Portrait of a Gentleman sketching, half length, wearing a top hat Watercolour, 13 x 10cm In a 19th century carved giltwood pierced frame Sold by order of the Executors of Eileen, Countess of Mount Charles

€ 100 - 200

421 T. WALSH (19TH CENTURY) A Study of a Grey Charger of the Second Dragoon Guards Gouache, 35 x 44cm Signed Sold by order of the Executors of Eileen, Countess of Mount Charles

€ 300 - 500






263

422 PHILIP REINAGLE RA (1775-1862)A Hunting Dog holding a cat at bay in a woodlandOil on canvas, 150 x 120cm

€ 3,000 - 5,000

423 A PAIR OF GILTWOOD AND GESSO SIDE TABLES, 19TH CENTURY, with moulded serpentine brocatelle marble tops, the shaped friezes centred by cartouches, on cabriole legs with scroll feet. Each 143cm wide


€ 3,000 - 5,000





264

424 FLEMISH SCHOOL (17TH CENTURY)Nymphs and Bacchus FeastingOil on canvas, 65 x 94cmIn carved wood parcel gilt frame


€ 2,000 - 3,000

425 A SET OF TWELVE MAHOGANY INLAID DINING CHAIRS, IRISH, 19TH CENTURY, In Sheraton Revival Style, the rectangular backs with patera inlaid back rials, the struts inlaid with husks suspended from rosettes, hide covered seats on conforming tapering legs joined by H-shaped stretchers.

Provenance; Lot 32 24/7/1980 Christies (cancelled) house sale Coolattin, Co. Wicklow, illustrated in catalogue, acquired subse-quently by lady Mount Charles for Galtrim


€ 5,000 - 8,000





265

426 COPY AFTER GUERCINO, 19TH CENTURYThe Persian SybilOil on canvas, 112 x 74cmIn an Italian carved gilt wood frame


€ 1,500 - 2,500

427 A REGENCY MAHOGANY EXTENDING IMPERIAL RECTANGULAR DINING TABLE, EARLY 19TH CENTURY, IN THE STYLE OF GILLOWS,with grooved rim and rounded corners, the end sections with plain conforming friezes, on ten tapering turned grooved legs with brass socks and castors. 137cm wide x 480cm long (with three extra leaves)


€ 6,000 - 10,000







266

428 GERMAN SCHOOL (17TH/18TH CENTURY)Ariadne at a BacchanaliaOil on canvas, 32 x 38cm


€ 1,000 - 1,500

429 FOLLOWER OF PIETER CASTEELS III, 18TH CENTURY

Peacocks and Domestic Fowl in an Architectural LandscapeOil on canvas, 55 x 102cm


€ 2,000 - 3,000

430 FLEMISH SCHOOL (17TH CENTURY)A Fiddle Player in a TavernOil on panel, 21 x 16cm


€ 2,000 - 3,000







267

431 JOSEF VAN AKEN (1699 - 1749)Interior with FiguresA pair, oil on canvas, 42 x 58cmsigned


€ 2,000 - 3,000

432 A SMALL MAHOGANY FRAMED SERPENTINE SOFA, with close-nailed hump back, in the Hepplewhite style. 135cm wide


€ 1,000 - 2,000




268

433 A REGENCY CIRCULAR OCCASIONAL TABLE, with japanned decoration on a black ground, on concave square pillar supports; on conforming platform base on bun feet. 78cm high, 62cm diameter


€ 300 - 500

434 A GEORGE III MAHOGANY CROSSBANDED BOXWOOD TRIMMED BOW FRONT CHEST, C.1800, of two short and three long drawers, with shaped apron on splayed feet. 108cm high x 107cm wide, 54cm deep


€ 300 - 500

435 A WILLIAM IV IRISH MAHOGANY FRAMED UPHOLSTERED LIBRARY CORNER ARMCHAIR, on turned toupie legs with castors.


€ 500 - 800

436 A GEORGE IV IRISH MAHOGANY FRAMED STOOL, the top upholstered in old tapestry, tapering top to a reeded base with gadrooned apron, on bun feet. 46cm square

(See examples at Lissadell House which are stamped Williams & Gibton)


€ 500 - 800












269

437 A GEORGE IV IRISH MAHOGANY FRAMED ARMCHAIR IN THE STYLE OF WILLIAMS AND GIBTON, the upholstered spoon shaped back with outscrolled arms, the moulded frieze flanked by acanthus scrolls and lotus capped tapering legs, with gilt brass castors.


€ 600 - 800

438 A REGENCY TALL MAHOGANY CHEST OF FIVE GRADUATED LONG DRAWERS, with rope twist moulding, on turned short feet. 95cm wide x 110cm high


€ 200 - 400

439 A GEORGIAN III MAHOGANY RECTANGULAR FOLDING TOP CARD TABLE, of rectangular form, having gate leg action support, raised on slender tapering legs and pad feet. 76cm deep (open) x 84cm wide, 73cm high

€ 1,000 - 1,500

440 A PAIR OF REGENCY MAHOGANY RAIL BACK SINGLE CHAIRS, the curved tablet backs surmounted with carved scrolls, above a carved and pierced scroll back rail, with drop-in seats upholstered in striped fabric, raised on sabre legs; together with a carver of the same set. (3)

€ 300- 500









270

441 ATTRIBUTED TO WILLIAM SADLER RHA (1782-1839)A Night Scene, Figures Rowing a Boat by a Wooded MillOil on panel, 28 x 36cm (11 x 14¼’’)

€ 600 - 1,000

442 ENGLISH SCHOOL (19TH CENTURY)A Wooded Pastoral Landscape with a distant castellated house,Oil on canvas, 77 x 63.5cm

€ 1,000 - 1,500

443 ATTRIBUTED TO WILLIAM SADLER II (1782-1839)River landscape with fishermenOil on panel, 17 x 24cms

€ 600 - 800

444 DUTCH SCHOOLA Cobbler with WomanOil on panel

€ 400 - 600








271

445 WILLIAM SADLER II (1782-1839)Tintern Abbey, Co. Wexford Oil on board, 21 x 32cm

€ 2,000 - 4,000

446 WILLIAM SADLER II (1782-1839)The waterfall at Powerscourt Oil on board, 20 x 26cm

€ 2,000 - 4,000



272

448 AN IRISH REGENCY MAHOGANY AND CROSSBANDED SOFA TABLE, C.1820, the fielded panelled frieze drawers with lozenge shaped bone lock plates and brass button handles to one side, the other with conforming dummy drawers, twin ropetwist tapering end supports, on acanthus hipped downswept legs with brass claw feet, joined by a turned ropetwist, acanthus centred stretcher, 152cm wide x 82cm deep.


€ 2,000 - 3,000

447 OLIVIA MUSGRAVE (CONTEMPORARY)Europa and the BullBronze, numbered 1/9 Signed, 33cm wide On a stained wood pediment


€ 2,000 - 3,000




273

449 RAOUL HYNCKES (1893 - 1973)Game Still LifeOil on canvas, 77.5 x 95.5cm

Provenance: ex collection J.W.Van Beuningen. Zeist, Netherlands, and hence by descent.

€ 25,000 - 30,000

Raoul Hynckes (1893 - 1973) was a Dutch painter of Belgian origin. Hynckes’ style was initially impression-istic, but by the nineteen thirties he had begun to paint allegorical still-lifes in a super realist manner. In keeping with this style he executed his work in an extremely fine and meticulous fashion. He is counted among the artists loosely known as the ‘Magical Realists’.


274

451 A SET OF SIX WILLIAM IV SATINWOOD ELBOW CHAIRS, with carved rail backs and splat rails with lotus head ter-minals, the cane seats with loose squab cushions, raised on sabre legs

€ 3,000 - 4,000

450 A REGENCY GILTWOOD CONVEX MIRROR, the reeded frame with ebon slip and bound with foliate collars surmounted by a carved deer beneath a bough with flanking floral scrolls. 106 x 76cm

€ 3,000 - 4,000






275


452 A GEORGE III GILTWOOD MIRROR, the open pierced frame of naturalistic carved branches and foliage surmounted by a basket of flowers, and mirrored by an open cartouche to the back. 134cm high, 72cm wide

€ 6,000 - 8,000

453 A FINE MID 18TH CENTURY CARVED MAHOGANY FRAMED UPHOLSTERED WING ARMCHAIR, probably Irish, with beaded and scrolled apron and sides on channelled and beaded legs


€ 3,000 - 5,000





276

454 A GEORGE III MAHOGANY RECTANGULAR BLANKET CHEST, the lift top hinged lid with gadroon banding above a frieze with applied carved figures of putti holding a fabric swag between them, the base with a frieze carved with a central female mask and horns of plenty, raised on short cabriole legs with claw and ball feet, having brass carrying handles. 86cm tall x 122cm widex 61cm deep

€ 5,000 - 8,000



277


455 A PAIR OF WALNUT POLE SCREENS, C.1830, on turned carved tripod supports with scroll feet, the elaborately carved oval screens with flower and cartouche crestings and filled with contemporary heraldic embroideries. 136cm high

The armorials are for West of Alscot Park


€ 1,500 - 2,500


278

456 A BRASS FOUR POST CANOPY BED, C.1900, PROBABLY FRENCH,the brass domed canopy with finial hung with green silk, the vine scroll friezes centred by putti


€ 500 - 1,000

457 19TH CENTURY COPYISTPortrait of Sir Henry BrookeOil on canvas, 93 x 72cmWith inscription verso ‘Sir Henry Brooke Bart Son of Francis Brooke, Major of 18th ... of Hannah, Sister of 1st Lord Dunally. He married Harriott Butler, granddaughter of Earl Lainsborough. He rebuilt the House of Colebrooke in 1822. Died at Colebrooke, 24th March 1834, aged 63 years.’

Provenance: Colebrook House Sale.

€ 600 - 1,000

458 A PAIR OF GEORGE III CARVED GILTWOOD WALL BRACKETS, in the form of rococo scrolls, hung with icicles. 30cm high

€ 1,000 - 1,500







279

459 A FINE PAIR OF MASSIVE MID 19TH CENTURY ORMOLU MOUNTED SEVRES PORCELAIN VASES, Napoleon III, of circular baluster form, the remov-able necks and flared rims decorated in deep ce-rise and gilt, the polychrome painted bodies with extensive continuous classical landscapes with figures among ruins and statuary, within wooded valleys, having applied twin organic fashioned handles, raised on circular socle bases with brass shaped square platforms, stamped with marks: ‘S.63’ in a lozenge and ‘Decoré a Sevres, 67’ flanking a crowned capital ’N’. 96cm high, 54cm wide over handles; raised on associated ‘rosso antico’ pedestals, the square tops above tapering columns and platform bases. 33cm square, 108cm high

€ 7,000 - 10,000




280

460 DUTCH SCHOOL, 17TH CENTURYPortrait of a lady, three-quarter length, wearing an elaborate ruff and black dress with matching lace trim with a pearl necklaceOil on canvas, 72 x 59cm


€ 3,000 - 5,000



281

461 ENGLISH PROVINCIAL SCHOOL, LATE 17TH CENTURYA lady in a red dress, seated by a fountain, three-quarter lengthOil on canvas, 116 x 93cm


€ 3,000 - 5,000


282

463 ENGLEHARDT / IRISH SCHOOL, C.1850 Portrait of a cab driver called Larry Doolin, with top hat and whip, smoking a pipe and wearing his permit medallionGouache on grey paper, 70 x 56cm


€ 1,000 - 1,500

464 HERALDIC SCHOOL (19TH CENTURY)The Armorial Achievements of Preston Lord TaraGouache, 31 x 40cm

€ 500 - 1,000

465 FLEMISH SCHOOL (17TH CENTURY)Scene in a Tavern, Playing CardsOil on panel, 36 x 38cm


€ 500 - 1,000

462 ROMAN SCHOOL (C.1800)A Capriccio Landscape with Classical Ruins and with a Peasant in the ForegroundOil on panel, 29.5 x 35cm

€ 400 - 800






283


466 INDIAN SCHOOL (19TH CENTURY)A set of six miniatures each depicting important individual landmarks, including Sunehri Masjid (The Golden Mosque); Rumi Darwaza (The Turkish Gate); Bara Imambara (The Grand Mosque); the Tomb of Makhdum Shah Daulat; The Golden Temple Amritsar; and Jama Masjid Mosque (c.1860)Oval, gouache on ivory, glazed panel, each 2 x 2.6cm. (6)

The tradition of miniature painting in India can be dated back to the 9th century when they used palm leaves as their surface material, the space itself only allowing for small images. Miniature painting was brought into the form that we recognise now with the arrival of the Mughal Empire in 1526. These emperors brought with them their court artists from Persia who quickly spread their style throughout India, the school of painting flourishing well into the 1700s and beyond. These particular miniatures date to the 19th century and can be equated to those souvenirs that we more commonly see with the European Grand Tour. At this time, India was gripped by British power. A rebellion against the tyranny of the East India Trading Company led to the establishment of crown rule in 1858. Where once the navy held sway, India was now subjected to a flood of British nobles who looked to assert themselves overseas, often through quite questionable means. In the 1870s, the Marquess of Salisbury, the then Secretary of State for India, is recorded as stat-ing that ‘India is to be bled’ and, indeed, it quickly became Britain’s greatest source of revenue. Unfortunately, whilst these foreigners flitted from place to place, collecting their mementos and making memories for their diaries, the Indian population fell further into poverty and social division. These beautiful images thus only show one side to the Britain’s 19th century ‘Jewel in the crown’ - that of luxury, wealth and exoticism.

€ 1,500 - 2,500

467 A RARE SWISS MUSIC BOX with organ accompaniment and with 15cm cylinder, the

lid retaining its original chromlithograph coral no. 8742, inscribed “Flutinos, Double Celestial...- 6 airs”, inlaid box with musical trophies. 42cm wide x 28cm high


€ 600 - 1,000

468 A PAIR OF ENGLISH YELLOW AND TURQUOISE GLAZED JARDINIÈRE POTS, C.1900, modelled in the form of oriental toads, the base impressed with monogram and numerals “583”. 20cm wide, 16cm highFrom Chinese folklore tradition is that during the night, Liu Hai’s three-legged toad produces a pearl that, when eaten, can change a person into a Xian immortal or can restore a corpse to life.

€ 200 - 300





284

469 A PAIR OF IRISH MAHOGANY FRAMED UPHOLSTERED SHIELD BACK CHAIRS, MID 18TH CENTURY; and another. (3)


€ 1,000 - 1,500

470 A REGENCY STYLE CONVEX MIRROR, the frame set with spheres and flanked by twin sconces, surmounted by an eagle, with label Bregazzi & Sons, Merrion Row, Dublin. 105cm high


€ 1,000 - 2,000

471 AN IRISH SQUARE BACK SOFA IN THE 18TH CENTURY STYLE, on carved cabriole legs, with claw and ball feet. 175cm wide


€ 1,000 - 2,000







285


472 ANTONIO JACOBSEN (1850 - 1921)The steam-assisted four mast ship ‘Egypt’ in American waters Oil on canvas, 55 x 84cm Signed and inscribed

€ 6,000 - 10,000

473 AN EBONISED AND PARCEL GILT CENTRE TABLE, 19TH CENTURY, the white marble top inlaid with central roses, guilloche banding, the frieze with a green jasper neo-classical tablet, the cross-over stretcher with an urn. 127 x 63cm


€ 6,000 - 8,000




286

474 A FINE IRISH WILLIAM IV ROSEWOOD STOOL C.1830 the square stuffed seat above a carved frieze supported on carved cabriole legs, numbered and stamped Williams and Gibton. 36 x 36cm

€ 600 - 700

475 A GEORGE IV MAHOGANY LIBRARY ARM CHAIR, C.1820, the lyre shaped carved arms above a moulded frieze sup-ported on turned fluted front legs with brass castors

€ 1,400 - 1,600

476 A PAIR OF 19TH CENTURY CAST IRON GARDEN URNS of campagna form, the bodies with continuous foliate banding and with twin handles, raised on square pedestal with applied wreaths on plinth bases.

€ 1,000 - 1,500

477 A PAIR OF 19TH CENTURY CAST IRON GARDEN URNS of compressed campagna form, the lobed bodies with applied rope twist decoration, raised on pedestal stands with applied urn and swag motifs, painted green. 90cm high, 53cm wide

€ 1,500 - 2,000










287

478 A RARE PAIR OF MASON’S IRONSTONE POT-POURRI VASES AND COVERS, 19TH CENTU-

RY, of Chinese inspiration, the pierced domed covers with knob finials, the rich blue bodies with polychrome decoration of birds and foliage flanked by gilt rams’ heads, each stamped underneath “MASON’S PATENT IRONSTONE CHINA”. Each 34cm high


€ 1,000 - 1,500

479 A SET OF FOUR ‘JACOBEAN’ CARVED BLACK STAINED OAK HIGH BACK CHAIRS, BASICALLY 17TH CENTURY


€ 400 - 800

480 AN IRISH REGENCY GILTWOOD PIER MIRROR, the blocked square and moulded cornice flanked by a rosette wrapped and reeded frame. 193cm high, 96cm wide

Provenance: Rathescar House, Co. Louth, supplied to William Foster who had inherited Rathescar from his father who and enlarged the mid-18th century hunting lodge with fashionable regency wings.

€ 1,000 - 1,500

481 A PAIR OF GEORGE IV IRISH MAHOGANY FRAMED LIBRARY ARMCHAIRS, with upholstered spoon backs, upright outscrolled arms, on beaded hexagonal legs, with brass castors.


€ 1,000 - 1,500











288

482 A CARVED GILTWOOD COMPARTMENTED OVERMANTLE, IRISH 19TH CENTURY, with scroll pilaster and rockwork frame. 155cm wide x 82cm high


€ 2,000 - 3,000

483 A GEORGE III STYLE CARVED MAHOGANY FRAMED RECTANGULAR STOOL, on cabriole legs. 38 x 52cm

€ 1,000 - 1,500





289

484 A PAIR OF VICTORIAN OAK HALL SEATS, BY JAMES SHOOLBRED, the low rail backs with brass gallery above a plain panel seat and rounded arms with brass bosses, raised on slender cabriole legs with stretchers, stamped with design registration. 54cm wide

€3,000 – 5,000

485 AN IRISH MAHOGANY DOUBLE DROP LEAF HUNT TABLE, 19TH CENTURY, on square gate leg supports. 246cm long, 138cm wide

€ 2,000 - 3,000





290

486 A VICTORIAN OAK CIRCULAR DRUM LIBRARY TABLE, the top inset with tooled leather scriver, above frieze drawers and raised on square panelled pedestal. 122cm diameter

€ 1,000 - 1,500

487 A GEORGIAN STYLE MAHOGANY RECTANGULAR CONSOLE TABLE, with moulded top above a continuous frieze of Greek key banding, concealing a central drawer, raised on scroll tapering legs with carved foliage. 114 x 53cm

€ 1,000 - 1,500

488 AN IRISH GEORGE III MAHOGANY RECTANGULAR SILVER TABLE, with raised dish top above a plain shaped apron, raised on cabriole legs with acanthus leaf carved knees, on carved paw feet with feathered hocks. 77 x 50cm

€ 2,000 - 3,000








291

489 A DUTCH LATE 17TH WALNUT AND BRASS MOUNTED CABINET, the arched top above twin panel doors enclosing shelves and three drawers, raised on a serpentine fronted chest, the cabinet profusely decorated with engraved and inked brass plaques depicting peasants in coastal landscapes in the manner of Teniers. 201cm high x 118cm wide

€ 5,000 - 8,000


292

490 A VERY FINE ENGLISH PORCELAIN TEA SET, EARLY 19TH CENTURY, probably Davenport, painted with botanical specimens on fluted salmon ground, with gilt highlights throughout and gilt medallion to the interior. Pattern No.5/4870. the 12 cups 9cm high


€ 1,000 - 1,500

491 A VICTORIAN IRONSTONE BLUE AND WHITE PRINTED FOOT BATH, flanked by handles. 50cm wide

€ 300 - 500

492 A CHINESE CARVED IVORY FAN FOR THE EUROPEAN MARKET, 19TH CENTURY, with central monogram, the sticks finely carved in imitiation of lace, decorated pagoda contained within reserves against a lotus floral ground, mounted in a glazed ebony case. 53cm wide *Provenance: Rathescar House, Co. Louth

€ 300 - 500

493 A FINE PAIR OF PORCELAIN AND ORMOLU OIL LAMPS, with cut glass bowls on top triform stems and rococo bases. 68cm high (converted to electricity)

€ 1,000 - 1,500










293

494 FOLLOWER OF WOUWERMAN, 17TH CENTURYA fashionable hunting party setting out, a Palace in the backgroundOil on panel, 25 x 32cm

€1,000 - 1,500

495 A VICTORIAN SHAPED ROSEWOOD CENTRE TABLE, with moulded rim, on twin facetted and bulbous carved supports, on lobed platform bases and tripod scrolled feet. 160 x 92cm

€ 1,000 - 1,500

496 AN IRISH MAHOGANY RECTANGULAR TEA TABLE, C.1760, the dished top above shaped apron, on moulded leaf carved cabriole legs, on square paw feet. 78 x 51 x 71cm high

€ 1,000 - 1,500







294

498 A GEORGE III MAHOGANY SHAPED RECTANGULAR FOLDING TOP CARD TABLE, the hinged top with gateleg support opening to reveal a baise lined interior with sunken counter wells and circular candle stands, the shaped apron centred by a scallop shell, raised on cabriole legs and pad feet. 89 x 49cm

€ 2,000 - 3,000

497 A GEORGE III INLAID SATINWOOD SEMI-ELLIPTICAL FOLDING TOP CARD TABLE, with baise lined interior, the top decorated with fan and radial veneers banded in bird’s eye maple, above a frieze centred by Prince of Wales feathers, on turned and fluted tapering legs with lotus gallery. 102 x 42cm

€ 4,000 - 6,000








295

499 VICTORIAN SCHOOLA LessonOil on canvas, 74 x 63cm

€ 1,500 - 2,000

500 AN IRISH GEORGE III MAHOGANY RECTANGULAR SIDE TABLE, the plain top with moulded rim above a shaped apron centred by a carved scallop shell, raised on cabriole legs with shell carved knees on panelled pad feet. 145 x 72cm

€ 8,,000 - 12,000




296

501 19TH CENTURY SCHOOLDominican Missionaries at workOil on canvas, 96 x 91cm

€ 1,000 - 1,500

502 19TH CENTURY SCHOOLPortrait of a Girl, Seated with a Spaniel in her LapOil on canvas, 92 x 71cm

€ 800 - 1,200

503 CHARLES HEATH WILSON ARSA (1809-1882)Fountain of Neptune, Piazza della Signoria, FlorenceWatercolour, 78 x 56cmSigned and dated 1876In an ornate Italian frame with cartouche

€ 1,000 - 1,500






297

504 A PAIR OF MEISSEN PORCELAIN FIGURAL CANDELABRA, 19TH CENTURY, modelled as Ganymede and Hebe, each standing against palm fronds and a gilded eagle, dressed in loose classical robes, decorated in turquoise, puce and gilt tones and stand-ing on a beaded circular base, factory cross swords mark to base, model number K49/50. Each 38cm high

€ 1,500 - 2,000

506 WILLEM RATHJENS (1842–1882)Christmas roses and other flowers in a vaseOil on canvas, 61 x 50.8cmSigned

Provenance: With Thos. Angew & Sons Manchester; Saul Baerter; Mrs. Holden, Llandudno; Jane, Lady Abdy, The Bury Street Gallery; Anon. Sale, Sotheby’s 2 June 1994, lot 347

Exhibited: Machester City Art Gallery, The Royal Jubilee Exhibition, 1887

€ 4,000 - 6,000

505 AN EXCEPTIONAL PAIR OF IRISH MAHOGANY SIDEBOARD STANDS C. 1820, in the manner of Mack Williams & Gibton with panelled strut backs, on box bases with deep panelled friezes with egg and dart border. 31 x 15 x 46cm high

€ 2,000 - 3,000






298

507 A 19TH CENTURY INLAID SPECIMEN MARBLE CIRCULAR OCCASIONAL TABLE, the top radially inlaid with coloured specimen marbles in graduat-ed bands, on an oak fluted column base. 77cm diameter

€ 1,000 - 1,500

508 A 19TH CENTURY MAHOGANY HALF CIRCULAR SIDE TABLE, with applied pierced gallery rail above a tambour front, twin cup-board above a shallow serpentine apron, raised on fluted square tapering legs. 75 x 38cm

€ 800 - 1,000

509 A VICTORIAN MAHOGANY RECTANGULAR WRITING TABLE, single frieze drawer, with turned wooden handles, on reeded side supports with clustered turned spindle splats. 76 x 43cm

€ 600 - 800

510 A REGENCY INLAID ROSEWOOD RECTANGULAR SIDE CABINET, in the Egyptian taste, the single frieze drawer with cast lion mask and ring handles above a twin door cupboard with panels flanked by ebonised pilasters with stylised Egyptian themes, the entire decorated with satinwood banding, with cast gilt lion head side carrying handles, raised on toupie feet. 92 x 42cm

€ 1,500 -2,000










299

511 A GEORGIAN MAHOGANY BEDSIDE COM-MODE,with split hinged-top opening to reveal a compartment, above twin cock beaded drawers, with brass handles and raised on square legs

€ 400 - 600

512 AN OAK CORNER UMBRELLA STAND, 19TH CENTURY,

with carved and pierced decoration and with scrollwork and rosettes on shaped base

€ 150 - 250

513 A GEORGIAN INLAID MAHOGANY HALF MOON CARD TABLE,the folding top opening to reveal a baise lined interior, the square tapering legs headed with paterae

€ 400 - 600

514 AN EARLY JAPANESE LACQUER CABINET,of plain rectangular form with twin fielded panel doors and single drawer on square legs

€ 800 - 1,200








300

515 ETIENNE MERCIER (LATE 19TH / EARLY 20TH CENTURY)A French bronze and gilt bronze group of a parrot perched on a tree stump holding a French eight day ball clock supported on a Sienna marble base. 24cm high, 22cm wide.

€ 1,800 - 2,200

517 A PAIR OF REGENCY ROSEWOOD JARDINIERE STANDS, the circular tops with fluted banded rims, raised on turned and fluted tapering columns with collars, on circular platform bases carved with acanthus leaves in low relief, with scroll feet. 36cm diameter x 91cm tall

€ 2,000 - 3,000

516 A FRENCH BRONZE GROUP OF A YOUNG GIRL with water carrier seated on a rocky mound. 24cm high, 27cm wide

€ 2,000 - 3,000








301

518 A 19TH CENTURY OAK AND BRASS MOUNTED HALL STAND BY JAMES SHOOLBRED & CO., C.1880, with raised gallery back and single frieze drawer with vacant undertier flanked by zinc lined stick stand compartments, impressed with maker’s stamp. 100cm high x 102cm wide; to-gether with a hat stand and mirror en suite, fitted with bevelled glass plate above a lift top glove compartment and with turned brass hooks and finials. 93cm high x 76cm high

€ 3,000 - 5,000

519 A 19TH CENTURY FRENCH MAHOGANY RECTANGULAR COMMODE, the white marble top with applied brass gallery above a three-drawer frieze, with brass handles flanked by fluted pilasters, raised on turned tapering legs

€ 1,500 - 2,000

520 A VICTORIAN POLISHED STEEL CLUB FENDER, the seat upholstered in green hide, raised on spiral turned supports, on platform base. 186 x 67cm

€ 1,000 - 1,500







302

521 A WILLIAM IV MAHOGANY FRAMED ARMCHAIR, upholstered in green fabric, raised on turned fluted tapering legs with castors

€ 800 - 1,200

522 A VICTORIAN WALNUT FRAMED LONG RECTANGULAR STOOL, with gros-point tapestry floral seat raised on short cabriole legs with scroll feet and castors. 98 x 55cm

€ 600 - 1,000

523 A GEORGE III WALNUT SLOPEFRONT BUREAU, the interior fitted with pigeon holes and drawers, above a chest of four long cockbeaded drawers with brass handles and decorated with herring bone banding, raised on bracket feet. 92 x 52cm

€ 1,500 - 2,000








303

524 A REGENCY GILTWOOD CONVEX MIRROR,the circular frame with ball banding and surmounted with carved scrollwork and eagle with outstreched wings145cm high x 79cm diameter

€ 4,000 - 6,000

525 A GEORGIAN MAHOGANY SIDE TABLE, with later green marble top, raised above a plain shaped frieze with wave crest apron, on clam shell carved knees and cabriole legs, with claw and ball feet. 155 x 73cm

€ 5,000 - 7,000



304

526 JOHN CALCOTT HORSLEY RA (1817-1903)A court musician hiding from ladies Oil on canvas, 82 x 63cms

€ 1,500 - 2,500

528 A SET OF EIGHT 19TH CENTURY GEORGE III STYLE MAHOGANY DINING CHAIRS, comprising six single chairs and two carvers, the flat carved crest rails above an open pierced entwined splat, raised on square legs.

€ 1,000 - 1,500

527 A 19TH CENTURY MAHOGANY LONG CASED CLOCK, BY WARREN, CANTERBURY, the shaped arched hood, the single glazed door flanked by fluted pilasters, enclosing a painted dial surmounted by demi-lune paint-ed panel of a bird perched on a branch, the waisted case raised on bracket feet.

€ 1,000 - 2,000






305


529 ATTRIBUTED TO MATTHEW WILLIAM PETERS (1742-1814)Portrait of a Girl Standing in Blue DressOval, 76 x 60cm


€ 2,000 - 3,000

530 A GEORGE IV MAHOGANY DRUM TABLE, C.1825, baize top, crossbanded, the frieze with real and alter-nate dummy drawers, on spiral fluted urn support, triform inlaid base with carved feet. 124cm diameter


€ 1,500 - 2,500





306

531 ENGLISH SCHOOL 19TH CENTURYPortrait of Samuel Boydell sitting in a library, his elbow resting on a pamphlet inscribed ‘Agriculture 1815’ & by a silver cup inscribed ‘Sir Steph. Glynn to Sam Boydell. Manor House Chester’ and with volumes of Boydell’s Shakespeare in the background, a landscape to the left.


The Boydell family acted as agents for the landed Glynn family who had grown wealthy through banking. The subjects uncle also Samuel, had gained success through the print business in London, culminating with ‘Boydell’s Shakespeare Gallery’, enormous folios with engravings after the best contemporary artists, two colour plates of which can be seen in the background of this interesting study.

€ 1,500 - 3,000

532 AN IRISH GEORGE III MAHOGANY LONG CASE CLOCK BY JOHN DALRYMPLE, the swan neck pediment with carved rosettes above a central carved lion mask surmounting the engraved brass dial, the waisted case with fluted pilasters

€ 3,500 - 4,500

533 AN IRISH REGENCY MAHOGANY WRITING CABINET C.1820, with graduated shelf superstructure, the base with fitted writing drawer above panelled doors, on tapering turned feet with brass castors. 72cm wide x 137cm high x 38cm deep

€ 1,000 - 1,500







307


534 AN IRISH REGENCY TALL COMPARTMENTED PIER GLASS, the flat moulded frieze set with spheres above a reeded panel with centred rosette, reeded columns. 80cm wide x 218cm high

Provenance: Rathescar House, Co. Louth, supplied to William Foster who had inherited Rathescar from his father and who had enlarged the mid-18th century hunting lodge with fashionable regency wings.

€ 3,000 - 5,000

535 AN IRISH CUT GLASS LANTERN BOWL, EARLY 19TH CENTURY, with gilt metal mounts. 36cm diameter


€ 1,000 - 1,500

536 A SET OF TEN IRISH PROVINCIAL MAHOGANY DINING CHAIRS, C.1760 (one converted to an open armchair), the shaped and carved crest rails above open splats gathered by rosettes, on square grooved legs, joined by stretchers, now upholstered in close nailed red hide.

€ 2,000 - 3,000







308

539 A PAIR OF GEORGE IV MAHOGANY LONG RECTANGULAR STOOLS, with loose squab cushions, on cane seats raised on turned tapering legs. 82cm

€ 4,000 - 6,000

537 A GEORGE II MAHOGANY RECTANGULAR ARCHITECT’S TABLE, the adjustable lift top with thumb moulded rim and crossbanded border, above a base with fitted end drawers and pen drawer, raised on slender leaf capped legs with pad feet. 91 x 55cm

€ 1,500 - 2,000

538 AN EARLY VICTORIAN INLAID MAHOGANY RECTANGULAR PARTNER’S DESK, the chequered marquetry top double-sided with thumb moulded rim, above twin pedestals with fitted drawers and pigeon holes. 160 x 85cm

€ 3,000 - 4,000







309


541 AN IRISH GEORGE III MAHOGANY

RECTANGULAR SILVER TABLE, the raised dished top above a plain frieze centred by a carved scallop shell, raised on cabriole legs with shell carved knees and paw feet. 81 x 52cm

€ 1,500 - 2,000

540 JAMES FRANCIS DANBY, ARA (1816-1875)Picturesque coastal landscape at twilight, with fishing boatsOil on canvas, 63 x 107cmsSigned and dated 1869

€ 2,000 - 4,000





310

542 A PAIR OF GEORGIAN STYLE OVAL STANDS, each with shallow gallery rim and supported on collapsible tapering legs . 36cm wide

€ 800 - 1,200

543 JEAN JACQUES PRADIER (FRENCH, 1790–1852)

A French bronze model of a classical lady sitting with a lyre by her side, signed. 29cm long

€ 1,200 - 1,800

544 A PAIR OF FRENCH RENAISSANCE REVIVAL CANDELABRA, each fitted with adjustable candle arm with raised loop handle above a winged figure of Fortune, sitting on a ionic capital and squared platform base. Each 27cm high

€ 1,200 - 1,800

545 A CONTINENTAL CANDLESTICK GROUP, formed as a dragon crouched amongst lotus leaves with raised candle socket styled as a flower head. 23cm wide

€ 600 - 800









311


547 A GEORGE III MAHOGANY SLOPEFRONT BUREAU BOOKCASE, 18TH CENTU-RY, the upper section with moulded cavetto cornice, above twin astragal glazed panel doors, enclosing adjustable shelves, the lower section with a fall front concealing a fitted interior, above four long graduated drawers, each fitted with oval brass bracket handles on bracket feet. 95cm wide

€ 2,000 - 3,000

549 A FINE 19TH CENTURY ROSEWOOD, BURR WALNUT AND ORMOLU MOUNTED OCCASIONAL TABLE, of octagonal form, the hinged top opening to reveal a baise lined interior, with ebon trim, on panelled centre column and base, with ebonised paw feet. 77cm high x 49.5cm diameter

€ 2,200 - 3,200

546 A CONTINENTAL BRONZE CAT AND MOUSE GROUP. 10.5cm high

€ 550 - 650









312

550 HIBERNO/BRETON SCHOOLPortrait of an Old Breton Woman, Three Quarter Length, Seated under a TreeOil on canvas, 61 x 45cm (24 x 17¾’’)

€ 800 - 1,200

551 A MAGNIFICENT SHEFFIELD PLATE FIVE LIGHT CANDELABRUM,

19TH CENTURY, with four scroll branches, on tapering acanthus wrapped stem and gadrooned circular base on square stepped pediment. 83cm high


€ 1,500 - 2,500

552 A REGENCY MAHOGANY WASH-STAND, IN THE MANNER OF GILLOWS, with shelved three-quarters high gallery, the frieze as dummy drawers, with outset fluted corners above reeded tapering legs, on brass castors. 127 wide x 64 deep x 111cm high


€ 1,000 - 1,500








313

553 A PAIR OF GEORGE IV FLAME MAHOGANY COMPACT SIDE CABINETS, of rectangular form, the plain tops with rounded corners above figured panel doors flanked by fluted pillar supports, with shelved interiors, on turned feet. each 90cm high x 61cm wide x 33cm deep. (2)

€ 3,000 - 5,000

554 A PAIR OF MEISSEN STYLE POLYCHROME PORCELAIN ALLEGORICAL FIGURES OF THE SEASONS, ‘Summer’ and ‘Autumn’, formed as seated cherubs with draped robes, one holding summer flowers, the other with a bunch of grapes. Each approx. 50cm high.

€ 3,000 - 5,000





314

555 A BLACK AND RED MARBLE PEDIMENT MANTLE CLOCK, 19TH CENTURY, with white enamel dial. 42cm high


€ 400 - 800

556 A FLORENTINE CARVED GILTWOOD FRAME, 19TH CENTURY. Outside measurements 57 x 68cm


€ 300 - 500

557 AN ANGLO-INDIAN CARVED WOOD BACKGAMMON TABLE, C.1900, on barley twist supports, the removable top revealing a cloth lined pull-out interior.


€ 500 - 800

558 A VICTORIAN MICRO-MOSAIC EASEL PHOTOGRAPH FRAME, decorated with flower heads, 26cm ; together with another.


€ 300 - 500

559 A GERMAN PORCELAIN LARGE BASKET, with ribbon tied handles and encrusted with flower heads. 48cm x 34cm high


€ 300 - 500

560 A CARVED WHITE MARBLE MODEL OF THE VENUS DE MILO, 19TH CENTURY with amorini. 58cm


€ 500 - 800

555

557

560

558559













315


561 AN IRISH MAHOGANY NIGHT TABLE, EARLY 19TH CENTURY, BY WILLIAMS & GIBTON, of rectangular form, moulded top with rounded corners above a fall front panel with opposing dummy drawers, on slender and fluted tapering legs, ending in brass castors, stamped Williams & Gibton 23414. 53 x 38 x 76cm

Provenance: Perceval-Maxwell Family, Co. Down

€ 1,000 - 1,500

562 A LARGE WILLIAM IV MAHOGANY FRAMED RECTANGULAR STOOL, the padded seat on a moulded frame and raised on turned reeded bulbous tapering legs. 168 x 65cm

€ 1,000 - 1,500

563 A WILLIAM IV IRISH MAHOGANY AND EXOTIC WOODS PARQUETRY INLAID LINEN PRESS, the top with deep cornice set with roundels below a scrolled shell cresting, above a pair of flush doors, centred with stars, the interior fitted with shelves and drawer, on a moulded outset base, with long frieze drawer, above a pair of cupboard doors, with uniform decora-tions flanked by bold corbels, with emphatic scrolled base centred by a shell and raised on outset double paw feet. 125cm wide, 66cm deep, 223cm high


€ 1,500 - 2,500

564 AN IRISH MAHOGANY WARDROBE, 18TH CENTURY, with a Greek key cornice, above a pair of panel doors, the base with twin frieze drawers, having apron with central shell, on carved acanthus scroll legs and square paw feet. 197cm high, 132cm wide, 64cm deep


€ 1,000 – 1,500

560560

561

562

563 564









316

565 A GEORGE III MAHOGANY AND BOXWOOD BANDED CELLARET, on short turned legs, with brass drop handles and on brass castors. 48cm wide x 58cm high

€ 400 - 600

566 A GEORGE III SECRETAIRE CABINET, C.1770, with cavetto moulded cornice above dentil frieze, above a pair of doors with shaped fielded panelled interior later converted to linen press, above a pull-out fitted writing drawer fitted with serpentine drawers and tray with blind fret facades, the chest base with two short and two long drawers, with outset ogee bracket feet, apparently retaining its gilt brass furniture. 205cm high x 122cm wide x 63cm deep

€ 1,000 - 2,000

567 AFTER GEORGE MORLAND, 19TH CENTURYThe Cottage Door (The Last Litter)Oil on canvas, 61 x 74cm

€ 500 - 1,000

568 A REGENCY FIGURED MAHOGANY BREAKFAST TABLE, the rectangular top with rounded corners and ebony banding, on turned centre pillar, with quadripartite hipped downswept ebony inlaid legs, on square brass castors. 94cm wide x 150cm deep

€ 500 - 1,000










317


569 A RARE VICTORIAN ROSEWOOD CASED CABINET PIANO BY THOMAS TOMKISON, LONDON, C.1830, of upright form with architectural pediment above silk pleated curtain concealing vertical strings, the roll top case enclosing ivory keys and labelled with makers mark and retail stamp ‘M. Moses, 4. Westmorland Street, Dublin’, with fluted upright sup-ports and brass castors. 125cm wide, 188cm high*

€ 800 - 1,200

570 DERMOD O’BRIEN PRHA (1865-1945)Portrait of Sir Henry Grattan BellewOil on canvas, 94.5 x 76cm

Exhibited: RHA 1912

Henry Grattan Bellew, 3rd Baronet, b.1860, married Sophia Forbes, daughter of the Earl of Granard. He represented one of the few Catholic aristocratic families who survived Cromwellian deporta-tion to Connaught. Mount Bellew was an architecturally significant house with a fine library of books; the former destroyed, the latter dispersed.

€ 800 -1000

571 AN IRISH MAHOGANY AND SATINWOOD BEDSIDE COMMODE, LATE 18TH CENTURY, in the style of William Moore, the tray top with central shell inlay, satinwood, boxwood and ebony banding, the side and drawers with similar inlay, and with tambour front (the tambour present but dismantled). 78cm high, 49cm wide, 44cm deep

€ 1,000 - 1,500

572 A WALNUT CROSS AND FEATHER BANDED SLOPE-FRONT BUREAU, EARLY 18TH CENTURY, with fitted interior, two shelves and two graduated drawers with fitted shaped apron, on bracket feet. 97cm wide

€ 600 - 1,000

569

570









318

577 A GEORGIAN STYLE STAINED WALNUT FRAMED RECTANGULAR STOOL, on cabriole legs with pointed pad feet. 50 x 40cm

€ 300 - 400

318

573 A VICTORIAN MAHOGANY RECTANGULAR BUTLER’S TRAY, with integral handles, raised on a collapsible ‘X’ frame support. 75 x 50cm

€ 400 - 500

574 A PAIR OF AESTHETIC MOVEMENT FRUITWOOD FRAMED SIDE CHAIRS, with spindle rail back, upholstered seats and ring turned tapering legs

€ 400 - 600

575 A VICTORIAN OAK LIBRARY STEPS, BY STRAHANof triangular form with raised hand rail

€ 400 - 600

576 A GEORGE IV MAHOGANY RECTANGULAR CANTERBURY, the open slats with turned and block corners above a frieze drawer, on turned tapering legs with castors. 47 x 33cm

€ 600 - 1,000

578 A BRONZE EGYPTIAN FIGURE,modelled standing holding staff, in Egyptian garb on a square plinth base.

€ 200 -300













319

579 AN IRISH MAHOGANY TALL BOY CHEST, 18TH CENTURY, with cavetto moulded corners, above seven graduated drawers, apparently retaining its original central brass handles, on moulded base with bracket feet. 165cm high, 45cm deep, 72cm wide

€ 2,000 - 3,000

580 AN ITALIANATE GILTWOOD WRITING TABLE OF SHAPED RECTANGULAR FORM, the top with inset green leather scriver raised above a frieze with carved bas relief lattice work and foliage, fitted end draw-ers and raised on cabriole legs and hoof feet. 109 x 75cm

Provenance: Humewood Castle, Co. Wicklow

€ 1,500 - 2,000

581 A CONTINENTAL GILTWOOD AND SATINWOOD SHAPED RECTANGULAR WRITING TABLE, the rim with stylized anthemion banding and raised on twin lyre style end supports and cross stretcher with scroll feet. 135 x 72cm

Provenance: Humewood Castle, Co. Wicklow

€ 1,500 - 2,000

582 A GEORGE III MAHOGANY RECTANGULAR CHEST, of four long graduated drawers, with brushing slide and fitted brass handles, raised on bracket feet. 93 x 49cm

€ 800 - 1,000










320

583 CONTINENTAL SCHOOL, C.1840Figures resting in an alpine landscape Oil on canvas, 45.5 x 61cmUnframed

€ 1,600 - 1,800

584 GEORGE FINCH MASON (1850-1915)The Derby 1898, Jeddah WinsWatercolour, 25 x 35cm Signed

€ 400 - 600

585 GEORGE FINCH MASON (1850-1915)The Two Thousand 1906 - Gorgos Wins!Watercolour, 22.5 x 31cm Signed

€ 300 - 500

586 GEORGE FINCH MASON (1850-1915)The One Thousand 1896 - Thais Wins!Watercolour, 25 x 32cm Signed

€ 300 - 500










321


587 LEO RAUTH (1884 - 1913)“Schwoof-Two Step” & “Windhund”A pair, gouache stencil, 37 x 37cmSigned, dated and inscribed, 1911

€ 800 – 1,200

588 AFTER THE ORIGINAL SWISS SCHOOL (17TH CENTURY), MODERNPortrait of Kaspar Jodock von Stockalper (a Swiss salt merchant of reknown)Oil on canvas, 235 x 177cm

€ 500 - 1,000

589 AN IRISH MAHOGANY INLAID CORNER CABINET, LATE 18TH CENTURY, with broken swan neck pediment above astragal glazed door, the cupboard base with satinwood banding and central shell medal-lion, on tall canted bracket feet. 240cm high


€ 600 – 1,000

590 AN EDWARDIAN WHITE MARBLE BUST OF A MOUSTACHIOED MAN, on socle. 80cm high


€ 600 - 1,000








322

591 A SMALL OVAL GILTWOOD MIRROR, 18TH CENTURY, in open work scroll frame. 53cm tall


€ 500 - 800

592 A LACE AND MOTHER OF PEARL FAN, in a giltwood ribbon tied case. 65cm wide


€ 200 - 400

593 IRISH SCHOOL, 19TH CENTURY River landscapeOil on canvas, 75 x 92cms

€ 200 - 300

594 VAN HIEZ, DUTCH SCHOOL 19TH CENTURY Figures in a winter landscape Oil on canvas, 61 x 93cmsSigned

€ 500 - 700

595 WILLIAM FOY (1791-1859)Portrait of Mrs James Greer in her 73rd year, 1859Oil on canvas, 76 x 62.5cmsInscribed verso

€ 300 - 500

596 VICTORIAN SCHOOLPortrait of an elderly gentleman; an allegory of ageOil on panel, 30 x 25cms

€ 200 - 400










323

597 ENGLISH SCHOOL, EARLY 19TH CENTURYA Man in Feathered Beret and Renaissance clothesOil on canvasIn a guilloche carved wood frame


€ 2,000 - 3,000

598 A FINE VICTORIAN CAST IRON GARDEN BENCH, with timber slatted seat. 130cm wide


€ 1,000 - 1,500

599 TWO CARVED MAHOGANY SIDE CHAIRS BY BUTLER OF DUBLIN, one with pierced vase shaped splat above padded upholstered seat and raised on square legs and stretcher, the other with pierced splat, raised on cabriole legs

€ 500 - 700

600 ATTRIBUTED TO JOHANN SPRINGER (19TH CENTURY)Figures on a country lane with goatOil on panel, 42 x 60cms

€ 600 - 800








324

601 A GEORGE III STYLE MAHOGANY BLANKET CHEST, with hinged lift-top, on a base fitted with twin frieze drawers, with lion mask ring handle, above a carved apron, and raised on cabriole legs, terminating in paw feet.

€ 300 - 500

602 A GEORGE III MAHOGANY BOWED CORNER WASHSTAND C.1800, with gallery back and cut-out platforms, the lower one with a drawer above a flat stretcher on splayed legs, now fitted with a later Staffordshire transfer printed toilet seat. 92cm high

€ 200 - 300

603 A SMALL OAK BRASS BOUND SPIRIT CASQUE, fitted with a spiggot (on stand), 38cm long; together with another smaller; and two WWI brass shell cases (4)

€ 100 - 200

604 A BRASS AND WOOD POCKET TELESCOPE, EARLY 19TH CENTURY. 42cm (extended); together with a brass and mahogany microscope, 19th Century, the lidded box base fitted with lenses etc. 15.5cm wide

€ 300 - 500

605 A GEORGE IV MAHOGANY CANTERBURY, the turned scroll gallery on spindle supports, with frieze drawers on turned legs with castors. 56cm wide x 57cm high

€ 500 - 800

606 A CARVED GILTWOOD FLORENTINE FRAME, with pierced scroll and shell border, the inner moulding with pendants of husks, arched top. Now as a mirror, 19th Century. 95 x 83cm

€ 600 - 1,000

601

604

603












325


607 SWISS SCHOOL, EARLY 19TH CENTURYA panorama of lake and mountains from a village with figures in the foregroundOil on canvas, 47 x 64cm

€ 600 - 1,000

608 ENGLISH SCHOOL, EARLY 19TH CENTURYA pair of pantry Still Lives of dead gameOil on panels, One 13 x 10.5cm, Other 14.5 x 12cmIn contemporary giltwood frames

€ 600 - 1,000

609 A MAHOGANY GRADUATED DUMB WAITER ATTRIBUTED TO GILLINGTONS OF DUBLIN, EARLY 19TH CENTURY, on turned rope twist columns, and legs. 107cm wide, 104cm high

€ 1,500 - 2,000

610 A GEORGE III MAHOGANY LINEN PRESS, the upper section with dentil and cavetto cornice, above twin fielded panel doors fitted with four linen shelves, over a chest of four short drawers on paw feet. 210cm high, 135cm wide

€ 1,000 - 1,500








326

611 NEAPOLITAN SCHOOL (19TH CENTURY)Vesuvius erupting, from the Bay; a day scene, a night sceneA pair, each 33 x 44cmIn maple wood frames

€ 300 - 500

612 A SET OF SEVEN 19TH CENTURY COPPER HAYSTACK MEASURES, of graduating sizes, each with beaked rim and scroll handle, struck with corresponding inspection marks, the largest 31cm high

€ 300 - 500

613 A GILT METAL BRASS MANTEL CLOCK, FRENCH, C.1900, in glazed case with engaged cornithian column corners, the enameled dial painted with floral swagging and with mercury compensated pendulum, on plinth base, 26 x 16.5cm.


€ 600 - 800

614 A BUTTON BACKED TUB ARMCHAIR, 19TH CENTURY, on short turned mahogany legs.


€ 150 - 200

615 A BRASS GALLERY FENDER, C.1800, with ropetwist rim centred by an anthemion pierced panel with conforming corners, surmounted by urns, 150cm wide, and a set of three brass fireirons, late 18th century, with knobbed finials, the shovel with engraved pierced blade.


€ 400 - 800

616 A BRASS CORINTHIAN COLUMN LAMP,

on plinth base, 52cm high.


€ 400 - 800

611

613

615

614

612

616










327


617 AN IRISH OVAL CUT GLASS TURNOVER FRUIT BOWL, EARLY 19TH CENTURY, with cut overlaid flutes and oval facets on a moulded glass spreading foot. 30cm wide x 21cm tall

€ 400 - 500

618 A GEORGE III MAHOGANY SHAPED RECTANGULAR FOLDING TOP CARD TABLE, the hinged top with gateleg support, the interior baise lined with square candle stands, raised on carved cabriole legs with leaf carved knees and rosette terminals, with claw and ball feet. 95 x 45cm

€ 1,500 - 2,000

619 A VICTORIAN MAHOGANY CIRCULAR BREAKFAST TABLE, raised on shaped square tapering centrepillar with quadruped platform base. 154cm

€ 2,000 - 3,000

620 A GEORGE III MAHOGANY RECTANGULAR FOLDING TOP CARD TABLE, the hinged top with baise lined interior, with single frieze drawer, raised on square supports carved with blind trac-ery. 82 x 45cm

€ 1,000 - 1,500

617618

620619










328

621 A MAHOGANY SLOPEFRONT BUREAU, C.1770,the slopefront revealing a fitted interior with centre pineapple carved door, flanked by canted columns, above two short and three long drawers, on ogee bracket feet, with an associated panelled cabinet top with dentil cornice, 107cm wide.


€ 500 - 1,000

622 A CARVED GILTWOOD FIRESCREEN, MID-18TH CENTURY, of rococo outline, the cresting centred by a shell on carved trestle scrolll supports, 117cm high x 85cm wide.


€ 500 - 1,000

623 A MAHOGANY SQUARE DOUBLE DROP-LEAF SUTHERLAND TABLE, 19TH CENTURY, on solid trestle end supports, 87cm wide.


€ 300 - 400

624 A BLACK MARBLE PLINTH MANTEL CLOCK, 19TH CENTURY, inlaid with pietra dura panels with birds, the black dial signed, Aird & Thompson, Glasgow. 52.5cm x 20cm high


€ 100 - 200

625 A PAIR OF SEVEN STAGE GILT-PLASTER GADROONED CORNER BRACKETS, 19TH CENTURY, suspended from ribbon tied pendants and with ribbon tied aprons. 95cm high


€ 600 - 800

626 A MAHOGANY AND STAINED WOOD BUTLERS TRAY, on trestle supports.


€ 100 - 200

621

622

623

626624














329


627 GEORGE ROMNEY(1734-1802)Figure Studies in LazarettoPencil, 11.5 x 18.5cmProvenance: Sabin GalleriesProvenance: From the collection of Anne Crookshank and thence by family descent.While at the Courtauld Institute in London, Anne Crookshank did a major study of the drawings of George Romney and wrote an article on them for The Burlington Magazine, published in February 1957, pages 42-48.

€ 1,000 - 1,500

628 GEORGE ROMNEY(1734-1802)Figure Studies in LazarettoPencil, 13 x 18cmProvenance: Sabin GalleriesProvenance: From the collection of Anne Crookshank and thence by family descent.

€ 1,000 - 1,500

629 A VICTORIAN STAINED OAK RECTANGULAR SIDE TABLE, with thumb moulded rim above twin frieze drawers, raised on pairs of column side supports, with turned stretcher and castors. 99 x 60cm

€ 800 - 1200

630 A 19TH CENTURY STAINED OAK SIDE TABLE, IN THE MANNER OF AUGUSTUS PUGIN, of rectangular form, with thumb moulded rim, on flat side supports, with stretcher and arched supports. 101 x 59cm

€ 800 - 1,200







330

631 A GILT PLASTER OVAL ROPE TIED GIRANDOLE MIRROR, 19TH CENTURY, 58cm high.


€ 200 - 400

632 A CONTINENTAL CARVED WOOD AND PLASTER GIRANDOLE DRESSING TABLE MIRROR, C.1900, in the Rococo style 72cm wide x 80cm high


€ 300 - 400

633 A WALNUT FRAMED UPHOLSTERED STOOL, 19TH CENTURY, on cabriole legs. 62cm


€ 300 - 500

634 A FRUITWOOD LOW-BOY, BASICALLY EARLY 18TH CENTURY, the moulded top fitted with one long drawer above two short drawers, with shaped apron on tapering legs with pad feet, 76cm wide.


€ 100 - 200

635 A MAHOGANY BOWED SECTION CHEST, EARLY 19TH CENTURY, of four graduated long drawers, on ring turned feet, 109cm wide.


€ 300 - 500












331


637 A PAIR OF VICTORIAN WALNUT FRAMED UPHOLSTERED AND SPRUNG RECTANGULAR STOOLS, on bobbin turned supports with ‘X’ frame stretchers. 52 x 46cm

€ 1,000 - 1,500

638 A GEORGE IV INLAID ROSEWOOD RECTANGULAR FOLDING TOP CARD TABLE, decorated with brass stringing, the swivel top with baise lined interior, raised on two scroll supports, with quadru-ped outswept legs with brass toecaps and castors. 92 x 45cm

€ 1,500 - 2,000

639 A VICTORIAN STYLE CARVED WOOD CIRCULAR CONVEX MIRROR, the frame in the form of bound oak leaf, with continuous band-ing and interior ebon slip. 88cm diameter

€ 800 -1000

640 A GEORGE IV MAHOGANY FRAMED BERGERE ARMCHAIR, the reeded frame with fluted arm supports and tapering legs, with cane back and seat

€ 300 - 400











332

641 INDIAN SCHOOL C.1870A set of six oval miniatures, each painted with various monu-mental landmarks including:(i) The Taj Mahal in Agra(ii) The Jama Masjid of Delhi(iii) View of a fort on Jodphor(iv) The Dewan Am Fort, Delhi(v) An alterior view of the Jama Mosque Delhi(vi) Entrance of the King’s Palace, Delhi;together with a small collection of Indian and Persian miniatures (21) *

€ 400 - 600

642 A VICTORIAN CAST IRON LION MASK, mid-19th Century, applied to a white painted timber panel. The mount 28cm high

€ 100 - 200

643 AN ITALIAN EBON AND PIETRA DURA TOBACCO CASKET, 19TH CENTURY, of rectangular form, the hinged cover decorated with coloured matchbox and other related items, with timber lined interior and raised on bun feet.

€ 300 - 400

644 A MAHOGANY COLLECTORS TABLE CABINET, 19TH CENTURY, with moulded drawer concealing eight drawers, on plinth base, 53cm high.


€ 100 - 200

645 ATTRIBUTED TO SAMUEL DIXON (FIRST HALF OF EIGHTEENTH CENTURY)Ornithological Study with Foliage and ButterflyBasso relievo, 30 x 40cm

€ 400 - 600

646 A LARGE TWO HANDLED SILVER PLATED TRAY, the reeded handles to a gadroon border, the plain central reserve engraved with a crest contained within a laurel wreath. 73cm wide over handles

€ 200 – 300

641

643

645

646644

642











333


647 A LARGE WILLIAM IV MAHOGANY WINE COOLER, of sarcophagus form with hinged flat dome lid opening to reveal a fitted interior, above a tapering body with cast brass ring carrying handles, raised on carved paw feet. 93 x 57cm

€ 2,000 - 3,000

648 A GEORGE III MAHOGANY RECTANGULAR CHEST, of four long graduated drawers beneath a pull out brush-ing slide, with brass handles and raised on bracket feet. 95 x 50cm

€ 600 - 1,000

649 A GEORGE III MAHOGANY RECTANGULAR CHEST, of four long graduated drawers beneath a pull out brushing slide, with brass handles and raised on ogee bracket feet. 95 x 50cm

€ 1,000 - 1,500

650 A ROSEWOOD FOLDING TOP CARD TABLE, C.1830, with rounded corners, the green baize interior with gilded greek key border, the plain frieze with central tablet, on central obelisk support, and gadrooned plinth, concave platform base on scrolled feet (the top with a spilt), 89cms wide.


€ 500 - 800









334

651 A PAIR OF BEECHWOOD LOUIS XV STYLE FAUTEUIL, upholstered in pink silk fabric

€ 300 - 500

652 AN EDWARDIAN INLAID SATINWOOD WARDROBE fitted twin panel doors above three long drawers flanked by mirror panel doors and raised on turned legs. 213cm wide, 215cm high

€ 400 - 600

654 AN IRISH FADED MAHOGANY TOILET TABLE, C.1790, with lift-up and fold-out triple top, the frieze as a dummy drawer on square tapering legs with raised banding. 85 x 51 x 78cm (lacks fittings)


€ 400 - 800

653 A FRENCH VERDURE STYLE HANGING TAPESTRY PANEL, of rectangular form, the central field woven with romantic 18th century figures in a garden setting, to a lush leafy and foliate border. 183 x 225cm

€ 750 - 1,000









335


666 A FRENCH 19TH MAHOGANY BRASS BOUND BEDROOM SUITE, in the Empire Style, comprising

€ 1,500 - 2,000

668 A MAHOGANY CLOSE STOOL, C.1840, the interior with turned lid and white pottery bowl, on baluster turned legs and castors. 49 wide x 42 deep x 45cm high; togeth-er with a mahogany frame for a foot bath and cover, c.1840 on ring-turned tapering legs. 60 x 36 x 46cm high


€ 300 - 500

669 AN EDWARDIAN MAHOGANY AND SATINWOOD BANDED FOLDING TOP BRIDGE TABLE, on splayed square tapering legs joined by stretchers. 50 x 36 x 72cm high (closed)


€ 200 - 300

670 A MAHOGANY DRESSING TABLE MIRROR, C.1840, attributed to Williams and Gibton, the arched plate within a moulded acanthus scrolled altar-shaped frame, supported on a shell, the serpentine base with central oval lidded compartment. 67cm wide, 88cm high


€ 500 - 800

671 A FLAME MAHOGANY DRESSING-TABLE MIRROR, C.1850, the arched frame on scroll supports with hinged gilt-brass candle sconces on a moulded bowed break-front platform base. 64cm wide, 80cm high


€ 300 - 500

655 AMATEUR SCHOOL (C.1832)Continental LandscapesA set of three, oil on canvas, each 13 x 17cmone inscribed verso and dated october 1832 in Contemporary gilt gesso frames

Provenance: Ballinter House, Co. Meath

€ 150 - 300

655

670 671

666












336

672 A PAIR OF GILT BRASS VANITY MIRRORS, French 19th century, the circular plates supported on amorni-ni caryatids, flanked by candle sconces, black marble bases. 45.5cm high, the plates 17cm diameter


€ 300 - 500

673 A 19TH CENTURY INLAID MAHOGANY RECTANGULAR SECRETAIRE BOOKCASE, the moulded and reeded cornice above twin astragal glazed panel doors, enclosing a shelved interior, above a fitted secre-taire drawer with applied brass ring handles and twin panel door cupboard and raised on bracket feet. 130cm high x 58cm wide

€ 600 - 800

674 A VICTORIAN MAHOGANY BREAKFRONT WARDROBE, BY J.J.BYRNE OF DUBLINwith bold moulded cornice above a central mirror, front door, flanked by slender pillar and twin arch top panel doors, on a platform base, the interior well fitted. stamped, 225cm wide x 227cm high

€ 600 - 800

675 A VICTORIAN WALNUT FRAMED DOUBLE BED, the raised headboard with green buttoned velvet, the curved footboard, with moulded crest rail and shaped oval panel on bracket feet. 157cm

€ 600 - 800

676 A PAIR OF GLASS COLUMN TABLE LAMPS, the spiral turned columns with cast oxidised collars and raised on circular platform bases with square platform feet. 48cm high

€ 200 - 400

677 VICTOR GILBERT (1847-1933)Lady with parasol, with cat by feetOil on canvas, 39 x 26.5cmSigned and dated 1893

€ 6,000 - 10,000

672 674

675676










337

Tuesday 10th OctoberTuesday 10th October

678 AN IRISH MAHOGANY INLAID FOLDING TOP HALF MOON CARD TABLE, C.1790, the fan inlaid top centred on a half patera. 85cm wide x 47cm deep


€ 800 - 1,400

679 A HEXAGONAL ARAB TABLE AND TWO OTHER EASTERN TABLES (3)


€ 150 - 250

680 A REGENCY MAHOGANY DROP LEAF TABLE, on rope twist legs; and another. (2)


€ 200 - 300

681 A PAIR OF CHIPPENDALE REVIVAL MAHOGANY SIDE CHAIRS,

Provenance: Rathescar House, Co. Louth€ 300 - 500

682 AN EBONISED SIDE CABINET 19TH CENTURY, with glazed doors, gilt metal mounts on plinth base. 107cm high, 107cm wide, 33cm deep


€ 200 - 400

683 ENGLISH SCHOOL (EARLY 19TH CENTURY)Castle on a riverside outcropOil on panel, 21 x 32cm

€ 600 - 800

681

678

679

682

683













338

684 19TH CENTURY SCHOOLStill life with fruitOil on canvas, 51 x 77cms;together with four miscellaneous oil paintings and a large print “The Huntsman’s Dream”(6)

€ 300 - 500

685 AN IRISH MAHOGANY TILT-TOP BREAKFAST TABLE, EARLY 19TH CENTURY, the plain top on turned central supports, on plain tripod splayed base, with brass castors. Stamped with serial no. 17838. 90cm diameter

€ 400 - 800

686 A MAHOGANY FOLDING TOP WRITING TABLE IN EARLY GEORGIAN STYLE, with a harlequin action writing cabinet, with deep plain frieze on tapering frieze, on tapering legs. 77cm wide (closed), 38cm deep, 17cm high

€ 600 - 1,000

687 A GEORGE III MAHOGANY, EBONY AND BONE INLAID WORK TABLE, C.1800, with outset rounded and reeded corners, the lidded top revealing a lift-up scriber, drawer with ??? to the sides, on elegant tapering ring turned legs with castors. 54 x 46 x 72cm high

€ 500 - 800

688 A LARGE SILVER PLATED DOMED MEAT-DISH COVER, with heavy beaded ring handle, and gadrooned rim, the plain body with Neo-Classical engraving, containing crest. 31cm high, 49.5cm wide; together with a large oval silver plated dish warmer, with gadrooned rim and twin carrying handles, raised on four leaf capped claw and ball feet. 66 x 45cm. (2)

€ 300 - 500

689 A LATE 18TH CENTURY CAST LEAD BEGGING BADGE, of oval form with a shield motif impressed with a flower. 11 x 8cm; together with a late 19th century photograph of Benjamin Disraeli, 1st Earl of Beaconsfield

€ 300 - 500

688

684

687689

686












339

Tuesday 10th OctoberTuesday 10th October

690 AN IRISH ELM WOOD TRIPOD TABLE, early 18th Century, altered. 69cm high, 54cm squared


€ 250 - 350

691 AN IRISH GEORGE III MAHOGANY SIDE TABLEthe shaped top above an apron centered with a shell and with rounded ends and raised on cabriole legs

€ 500 - 700

692 CONTINENTAL SCHOOL C.1900Farm horse in a stableOil on canvas, 61 x 83cmSigned with initials, A.C

€ 800 - 1,200

693 ENGLISH SCHOOL, 19TH CENTURYPortrait of John Christie, half-length, seated wearing a blue coatOil on panel, 35 x 30cmInscribed verso “John Christie was an engraver and printer, Newcastle-on-Tyne, Born in Lieith, Died at Newcastle 22 January 18”

€ 400 - 600

692A ATTRIBUTED TO BARTHOLOMEUS BREENBERGH, 17TH CENTURYFigures in an architectural capriccio landscapeOil on panel, 29 x 36cms

Provenance: With the Gorry Gallery, 1970’s

€ 400 - 600

694 A FRENCH 19TH CENTURY KINGWOOD AND ORMOLU MOUNTED TABLE CABINET, the crossbanded domed top above a glazed fall front panel with shelved interior and acanthus capped scroll supports. 71cm high x 76cm wide x 33cm deep

€ 1,400 - 1,800










340

697 FOLLOWER OF MULVANY, C.1830The Village SchoolOil on panel, 74 x 89cm

€ 300 - 500

698 A WILLIAM IV MAHOGANY FRAMED ARMCHAIR, the back seat and armrests upholstered in geometric tapestry pattern fabric on scroll arm supports and turned baluster legs with lotus carved collars and brass castors.

€ 600 - 1,000

699 A MID EASTERN TWO SEAT SETTEE, inlaid in bone. 147cm wide

€ 800 - 1,000

700 TAXIDERMYA 19TH CENTURY HAWKSBILL TURTLE. 62cm long

€ 100 - 200

701 A MAHOGANY AND MARQUETRY INLAID VITRINE TABLE, C.1900, with rectangular glazed top and velvet lined interior, on square tapering legs with crossover stretchers, 62cm wide.


€ 200 - 400

695 CONTINENTAL SCHOOL, 19TH CENTURY Doves over heather and hayfieldsOil on canvas, 61 x 92cms

€ 1,000 - 1,500

695

699

700










341


702 A ROSEWOOD STOOL, 19TH CENTURY, with shaped moulded apron, on cabriole legs with scroll feet, upholstered in old embroidery, 45cm wide; together with a Vic-torian papier-mache and mother-of-pearl inlaid chair, with open back, serpentine seat, on cabriole legs. (2)


€ 200 - 400

703 A ROSEWOOD AND PARCEL GILT CONSOLE TABLE, C.1820, with veined rectangular white marble top, on leaf capped scroll legs with claw feet and solid concvae platform base, 107cm wide x 38cm deep.


€ 600 - 1,000

706 A REGENCY MAHOGANY SIDEBOARD, C.1815, with shaped three-quarter gallery, with grooved, indented front with a long dummy drawer, flanked by deep drawers/cup-boards, divided by reeded engaged column and on ring turned legs, 224cm wide x 59cm deep


€ 400 - 600

707 A GEORGIAN MAHOGANY CROSSBANDED CHEST of two short and three long graduated drawers on bracket feet. 87cm wide


€ 200 - 300

704 A PAIR OF GILT BRONZE OXIDIZED METAL URNS AND COVERS, 19TH CENTURY, on feet, the cylindrical bodies with continuous bacchic friezes, the lids applied with putti, 35cm high;together with a pair of gilt brass andirons, 19th century, the curved galleries surmounted by flambeaux topped urns and applied with lion masks, each 36cm high; a pair of machined brass candlesticks, gilt metal centrepiece with cupid carrying a glass cornucopia. (6)


€ 200 - 400

705 AN IRISH MAHOGANY, BOXWOOD INLAID AND SATINWOOD BANDED SIDEBOARD, EARLY 19TH CENTURY, with three quarter arched galleried back, the centre fitted with a long drawer flanked by short drawers above cupboards, interspersed with shell inlays, the apron inlaid to either side, on husk inlaid tapering blocked legs, 260cm wide.


€ 1,000 - 2,000

702 703 707

705 706










342

708 A MAHOGANY WRITING TABLE, MID 19TH CENTURY, the moulded top with embossed leather inset, the frieze fitted with two drawers, on grooved twin column trestle end supports, joined by a stretcher, 106cm wide.


€ 300 - 500

709 A MAHOGANY CHAMBER TABLE, C.1800, with line inlaid frieze drawer, on ring turned slender legs with canted small brass claw feet, joined by a low H-shaped stretcher. 71cm wide


€ 200 - 400

710 A MOULDED WARDROBE, 19TH CENTURY, with rounded corners and arched doors, the interior fitted with drawers, on plinth base. 140cm wide


€ 400 - 800

711 AN IRISH MAHOGANY PRESS, MID 18TH CENTURY, with moulded corners, the fretwork apron above panelled doors, on a moulded stand fitted with two drawers, on square chamfered legs, 127cm wide.


€ 500 - 800

712 SIR KENELM DIGBY (1603-1665), AFTER SIR ANTHONY VAN DYCKPortrait of a Gentleman, three quarter lengthOil on canvas, c.74 x 62cmInscribed ‘Rt Hon Earl Dunraven’ on stretcher versoProvenance: Christie’s House Sale, Adare Manor.

€ 600 - 1,000

708

711

712 710

709








343


710


715 A WILLIAM IV OAK SERPENTINE SIDE TABLE,of rectangular form, the top having moulded rim, raised on turned baluster legs.

€ 600 - 800

716 A PAIR OF GLAZED LIBERTY POTTERY LAMPS AND SHADES on ebonised bases. 35cm high

€ 100 - 200

717 A 19TH CENTURY TAXIDERMY MODEL OF AN OTTER standing on a naturalistic and ebonised plinth. 84cm long; together with a wild boar tusk. (2)

€ 250 - 350

718 A MINK FUR HEARTH RUG WITH NAVY BAISE LINING formed as two rows of interlinked skins. 174 x 146cm

€120 – 180

714 EARLY 18TH CENTURY ITALIAN SCHOOLSt Francis XavierOil on canvas

€ 500 – 700

CONCLUSION OF LIVE AUCTION

715

716717 718

714










344 GENERAL TERMS & CONDITIONS OF BUSINESS

The Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auctioneer or set out in any rele-vant Catalogue. Conditions 12-21 relate mainly to buyers and conditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1. Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogaue Explanation contained in condition 2.

DEFINITIONS 1. In these conditions the following words and expressions shall have the following mean-ings: Auctioneer - James Adam and Sons trading as Adam’s.Auctioneer’s Commission - The commission payable to the Auctioneer by the buyer and seller as specified in conditions 13 and 25.Catalogue - Any advertisement, brochure, estimate, price or other publication.Forgery - A Lot which was made with the intention of deceiving with regard to author-ship, culture, source, origin, date, age or period and which is not shown to be such in the description therefore in the Catalogue and the market value for which at the date of the auction was substantially less than it would have been had the Lot been in accordance with the Catalogue description.Hammer Price - The price at which a Lot is knocked down by the Auctioneer to the buyer.Lot - Any item which is deposited with the Auctioneer with a view to its sale at auction and, in particular, the item or items described against any Lot number in any Catalogue.Proceeds of Sale - The net amount due to the seller being the Hammer Price of the Lot after deducting the Auctioneer’s Commission thereon under condition 25 the seller’s con-tribution towards insurance under condition 26, such VAT as is chargeable and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising.Registration Form or Register - The registration form (or, in the case of persons who have previously attended at auctions held by the Auctioneer and completed registration forms, the register maintained by the Auctioneer which is compiled from such registration forms) to be completed and signed by each prospective buyer or, where the Auctioneer has acknowledged pursuant to condition 12 that a bidder is acting as agent on behalf of a named principal, each such bidder prior to the commencement of an auction.Sale Order Form - The sale order form to be completed and signed by each seller prior to the commencement of an auction.Total Amount Due - The Hammer Price of the Lot sold, the Auctioneer’s Commission due thereon under condition 13, such VAT as is chargeable and any additional interest, expenses or charges due hereunder.V.A.T. - Value Added Tax. Cataloguing Practice & Catalogue Explanations 2. Terms used in Catalogues have the following meanings and the Cataloguing Practice is as follows: The first name or names and surname of the artist - In the opinion of the Auctioneer a work by the artist.The initials of the first name(s) and the surname of the artist - In the opinion of the Auc-tioneer a work of the period of the artist and which may be in whole or in part the work of the artist.The surname only of the artist - In the opinion of the Auctioneer a work of the school or by one of the followers of the artist or in his style.The surname of the artist preceded by ‘after’ - In the opinion of the Auctioneer a copy of the work of the artist.Signed/Dated/Inscribed - In the opinion of tile Auctioneer the work has been signed/dated/inscribed by the artist.With Signature/With date/With inscription’- In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person other than the artist.Attributed to - In the opinion of the Auctioneer, probably a work of the artist.Studio of/Workshop of - In the opinion of the Auctioneer a work executed in the studio of the artist and possibly under his supervision.Circle of - In the opinion of the Auctioneer a work of the period of the artist and showing his influence.Follower of - In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily by a pupil.Manner of - in the opinion of the Auctioneer a work executed in artist’s style but of a later date. None of the terms above are appropriate but in the Auctioneer’s opinion the work is a work by the artist named.

GENERAL CONDITIONS Auctioneer Acting as Agent3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the con-trary. The Auctioneer as agent for the seller is not responsible for any default by the seller or the buyer. The auctioneer reserves the right to bid on behalf of the seller. Auctioneer Bidding on behalf of Buyer4. It is suggested that the interests of prospective buyers are best protected and served by the buyers attending at an auction. However, the Auctioneer will, if instructed, execute bids on behalf of a prospective buyer. Neither the Auctioneer nor its employees, servants or agents shall be responsible for any neglect or default in executing bids or failing to execute bids. Admission to Auctions5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admis-sion to its premises or attendance at its auctions by any person.

Acceptance of Bids6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse any bids, advance the bidding in any manner it may decide, withdraw or divide any Lot, combine any two or more Lots and, in the case of a dispute, to put any Lot up for auction again. Indemnities7. Any indemnity given under these conditions shall extend to all actions, proceed-ings, claims, demands, costs and expenses whatever and howsoever incurred or suffered by the person entitled to the benefit of the indemnity and the Auctioneer declares itself to be a trustee of the benefit of every such indemnity for its employ-ees, servants or agents to the extent that such indemnity is expressed to be for their benefit. Representations in Catalogues8. Representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source, origin, date, age, provenance, condition or estimated selling price or value is a statement of opinion only. Neither the Auctioneer nor its employees, servants or agents shall be responsible for the accuracy of any such opinions. Every person interested in a Lot must exercise and rely on their own judgment and opinion as to such matters. 9. The headings of the conditions herein contained are inserted for convenience of reference only and are not intended to be part of, or to effect, the meaning or interpretation thereof. Governing Law10. These conditions shall be governed by and construed in accordance with Irish Law. Notices11. Any notice or other communication required to be given by the Auctioneer hereunder to a buyer or a seller shall, where required, be in writing and shall be sufficiently given if delivered by hand or sent by post to, in the case of the buyer, the address of the buyer specified in the Registration Form or Register, and in the case of the seller, the address of the seller specified in the Sale Order Form or to such other address as the buyer or seller (as appropriate) may notify the Auctioneer in writing. Every notice or communication given in accordance with this condition shall be deemed to have been received if delivered by hand on the day and time of delivery and if delivered by post three (3) business days after posting. CONDITIONS WHICH MAINLY CONCERN THE BUYER The Buyer12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the Hammer Price. Any dispute which may arise with regard to bidding or the acceptance of bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as principal unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is acting as agent on behalf of a named principal. The Commission13. The buyer shall pay the Auctioneer a commission at the rate of 20% of the Ham-mer Price, exclusive of VAT at the applicable rate on all individual lots. Payment14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a Lot shall pay to the Auctioneer within one (2) days from the date of the auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the conclusion of the auction.The Auctioneer may apply any payments received by a buyer towards any sums owing from that buyer to the Auctioneer on any account whatever regardless of any directions of the buyer or his agent in that regard whether express or implied.The Auctioneer shall only accept payment from successful bidders in cash, draft in Euro or by the bidder’s own cheque drawn on an Irish bank account vouched to the satisfaction of the Auctioneer. Cheques drawn by third parties, whether in the Auctioneer’s favour or requiring endorsement, shall not be accepted. We also ac-cept payment by credit card, Visa & Mastercard subject to a administration charge of 2% of the total amount due. American Expess 3.65% administration charge. We also accept debit card payments by way of Laser, with no surcharge, however the cardholder in person can only make the payment.

Reservation of Title15. Notwithstanding delivery or passing of risk to the buyer the ownership of a Lot shall not pass to the buyer until he has paid to the Auctioneer the Total Amount Due. Collection of Purchases16. The buyer shall at his own expense collect the Lot purchased not later than sev-en (2) days after the date of the auction but (unless credit terms have been agreed with the Auctioneer pursuant to condition 14) not before payment to the

345

Auctioneer of the Total Amount Due.The buyer shall be responsible for any removal, storage and insurance charges in respect of any Lot which is not taken away within seven (2) days after the date of the auction.The purchased Lot shall be at the buyer’s risk in all respects from the earlier of the time of collection or the expiry of (2) days from the date of the auction. Neither the Auctioneer nor its employees, servants or agents shall thereafter be liable for any loss or damage of any kind howsoever caused while a purchased Lot remains in its custody or control after such time Packaging and Handling of Purchased Lots17. Purchased Lots may be packed and handled by the Auctioneer, its employees, servants or agents. Where this is done it is undertaken solely as a courtesy to buyers and at the discretion of the Auctioneer. Under no circumstances shall the Auctioneer, its employees, servants or agents be liable for damage of any kind and howsoever caused to glass or frames nor shall the Auctioneer be liable for the errors or omissions of, or for any damage caused by, any packers or shippers which the Auctioneer has recommended. Non-Payment or Failure to Collect Purchased Lots18. If a buyer fails to pay for and/or collect any purchased Lot by the dates herein specified for payment and collection the Auctioneer shall, in its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies without further notice to the buyer: (a) To issue court proceedings for damages for breach of contract; (b) To rescind the sale of that Lot or any other Lots sold to the buyer whether at that or at any other auction; (c) To resell the Lot or cause it to be resold whether by public auction or private sale. In the event that there is a deficiency between the Total Amount Due by the buyer and the amount received by the Auctioneer on such resale after deduction of any necessary ex-penses the difference shall be paid to the Auctioneer by the buyer. Any surplus arising shall belong to the seller; (d) To store (whether at the Auctioneer’s premises or elsewhere) and insure the pur-chased Lot at the expense of the buyer; (e) To charge interest on the Total Amount Due at the rate of 2% over and above the base rate from time to time of Bank of Ireland or if there be no such rate, the nearest equivalent thereto as determined by the Auctioneer in its absolute discretion from the date on which payment is due hereunder to the date of actual payment; (f) To retain that Lot or any other Lot purchased by the buyer whetherat the same or any other auction and release same to the buyer only after payment to the Auctioneer of the Total Amount Due; (g) To apply any sums which the Auctioneer received in respect of Lots being sold by the buyer towards settlement of the Total Amount Due. (h) To exercise a lien on any property of the buyer in the possession of the Auctioneer or whatever reason. Liability of Auctioneer and Seller19. Prior to auction ample opportunity is given for the inspection of the Lots on sale and each buyer by making a bid acknowledges that he has, by exercising and relying on his own judgment, satisfied himself as to the physical condition, age and Catalogue description of each Lot (including but not restricted to whether the Lot is damaged or has been repaired or restored). All Lots are sold with all faults and imperfections and errors of description. None of the seller, the Auctioneer nor any of their employees, ser-vants or agents shall be responsible for any error of description or for the condition or authenticity of any Lot. No warranty whatsoever is given by the seller or Auctioneer or by any of their employees, servants or agents in respect of any Lot and any condition or warranty express, or implied by statute or otherwise is hereby specifically excluded. Forgeries20. Any amount paid by a buyer in respect of a Lot which, if it is proved within three (3) years of the date of the auction at which it was purchased, to have been a Forgery shall be refunded to the seller subject to the provisions hereof, provided that: (a) The Lot has been returned by the buyer to the Auctioneer within three (3) years of the date of the auction in the same condition in which it was at the time of the auction together with evidence proving that it is a Forgery, the number of the Lot and the date of the auction at which it was purchased; (b) The Auctioneer is satisfied that the Lot is a Forgery and that the buyer has and is able to transfer good and marketable title to the Lot free from any third party claims; FURTHER PROVIDED THAT the buyer shall have no rights hereunder if:(i) The description of the Lot in the Catalogue at the time of the auction was in accordance with the then generally accepted opinion of scholars or experts or fairly indicated that there was a conflict of such opinion; (ii) The only method of establishing at the time of the auction in question that the Lot was a Forgery would have been by means of scientific processes which were not gen-erally accepted for use until after the date of the auction or which were unreasonably expensive or impractical.

The buyer’s sole entitlement under this condition is to a refund of the actual amount paid by him in respect of the Lot. Under no circumstances shall the Auctioneer be liable for any damage, loss (including consequential, indirect or economic loss) or expense suffered or incurred by the buyer by reason of the Lot being a Forgery. The benefit of this condition shall be solely and exclusively for the buyer and shall not be assignable. The buyer shall for the purpose of this condition be the person to whom the original invoice in respect of the sale of the Lot is made. Photographs21. The buyer authorises the Auctioneer at any time to make use of any photographs or illustrations of the Lot purchased by the buyer for such purposes as the Auctioneer may require.

22. New VAT Regulations

22a) All lots are sold within the Auctioneer’s VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyer.

346

Timed Online Only AuctionLots 750 to 930

Please see online Catalogue Part IIFor

Start Time: Sat 7th October 2017 9:00 amFinish Time: Tues 10th October 2017 6:00 pm

https://adams.auctioneersvault.com/catalogues/9053

Country House ColleCtions Live Auction

Documents

Transcript of Country House ColleCtions Live Auction