1887 Day I 14 th October Online 3pm
Auction 14th & 15th October 2024
Viewing at Townley Hall, Drogheda, Co. Louth, Ireland
Auction at 26 St Stephen’s Green, Dublin.
Monday 14th (Timed Online) & Tuesday 15th (Live) October 2024
Viewing at Townley Hall, Drogheda
ONLINE-ONLY AUCTION (LOTs 1 - 247)
Bidding opens 23rd September
Auction begins to close Monday 14th Oct from 3pm
WWW.ADAMS.IE
No Collections on this Day
LIVE AUCTION (LOTs 301 - 755)
Tuesday 15th October at 11am
At 26 St Stephen’s Green, Dublin 2
No Collections on this Day
OCTOBER 12 TH - OCTOBER 14 TH
Saturday 12th October 11.00am - 5.00pm
Sunday 13th October 11.00am - 5.00pm
Monday 14th October 10.00am - 5:00pm
Wednesday 16th October 10.00am - 5.00pm Thursday 17th October 10.00am - 5.00pm
After this time, uncollected items will be brought to a commercial storage unit and carriage and storage charges will apply.
EMAIL info@adams.ie
TELEPHONE + 353 (0)1 676 0261 FOR
James O’Halloran BA FSCSI FRICS DIRECTOR j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS MANAGING DIRECTOR s.cole@adams.ie
Nathaniel Nicholson BBS ASSOCIATE DIRECTOR HEAD OF VALUATIONS n.nicholson@adams.ie
Amy McNamara BA MA ASSOCIATE DIRECTOR amymcnamara@adams.ie
Weronika Kocurkiewicz BA MA FINE ART ADMINISTRATOR weronika@adams.ie
Accounts
Eamon O’Connor BA FINANCIAL DIRECTOR e.oconnor@adams.ie
Conor Barry BA FINE ART DEPARTMENT conor@adams.ie
Stephanie Brennan BA MPhil FINE ART ADMINISTRATOR stephanie@adams.ie
Niamh Corcoran BA FINE ART DEPARTMENT niamh@adams.ie
Adam Pearson BA SALEROOM CURATOR adam.pearson@adams.ie
Ronan Flanagan HDip WAREHOUSE MANAGER r.flanagan@adams.ie
adams.auctioneers
Adam’s Auctioneers @Adams1887 Adams Auctioneers
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.
Follow the M1 as far as the exit 10 turn-off just before the suspension bridge, signposted as N51 - NavanDrogheda 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. Travelling time from Dundalk: about 30mins. DIRECTIONS
Sourcing different pieces from all over the world is an important part of Interior Designer Suzie McAdam’s design practice, and buying at auction has become a part of this process in recent years. The harmonious marrying of the old and new in Suzie’s work is something we at Adam’s are very interested in. We sat down with Suzie to discuss this theme in her work and how this cohesion can be best achieved.
What draws you to design that reaches across different periods, and what role do you think antiques can play in a modern home?
I love to explore different eras. One design project might lean more toward the Regency period, another might centre more around the Mid-Century period, which is often client led. For me, the most interesting interior designs always have contrast and tension. When working in a contemporary architectural setting or modern home, of course you can go for the formative approach and keep everything modern, but I think including older pieces, whether it is an 18th century side table or an antique rug, can bring a lovely richness and texture to a space.
Growing up, my mom was really interested in antiques and we would spend our weekends going to antique auctions or country house sales in Limerick and Tipperary. My great grandmother lived in a really lovely old Georgian house in County Louth, it was very run down, but I absolutely loved that smell of old furniture, so I think there has always been a love there. I studied architecture in college, so my taste moved in a more modern direction for a few years. Now, what I think has made my practice quite unique is the marrying of those two knowledges.
Do you find people are hesitant to buy antiques when decorating their homes for fear of it looking ‘outdated’ or ‘old fashioned’? How do you advise them?
I think people are sometimes afraid of “brown furniture”. Perhaps their granny or someone they knew had a lot of old historical pieces and it felt too heavy to them or just not to their taste, but antiques don’t have to dominate an entire room. You can choose one or two select pieces - it could be a compact chest of drawers in a corner or a side table. For me, the colouration in antique wood is so appealing and can add such elegance to a room. Colour is so important, it is what really makes a room sing. So many spaces are white and bright, which is great, but in my view the best design spaces always have balance, so if they are very bright and open, you need richer warmer elements to create that kind of synergy within the room - antiques bring that warmth.
“I go to auctions with clients a lot, but I always have an eye out for pieces for my own home...”
“Seeing pieces in reality is so helpful, particularly if you have issues visualising and understanding how it could work in a space...”
How have you incorporated antiques into your own home?
Actually, one of the first pieces I bought for a home that I acquired about 10 years ago was a bowfront chest from Adam’s. I think it was about €200 at the time, and I was so thrilled. That really started my love and excitement for auctions.
I go to auctions with clients a lot, but I always have an eye out for pieces for my own home as well. The set of Regency chairs around my kitchen table were purchased at Adam’s Country House Collections auction last year. I really love the reeded detail on the frames, and they don’t feel too formal because you know, it’s a kitchen space for a family. I wanted it to feel inviting. We were going for a pastel palette in the kitchen and the original upholstery wasn’t suitable, so we found a chinoiserie fabric and reupholstered the chairs which really elevated them. Upholstery is a great way to rejuvenate antique furniture. I think some people can be a little put off by deep velvet or sateen fabrics that can sometimes make furniture feel a little heavier than you might like, so looking at bright and fresh fabrics and textiles can really help freshen up a piece.
What has been interesting in going through the process of moving house and designing my own new home, has been how I have been able to reuse the pieces I absolutely adore and was really drawn to years ago when I purchased them. I have found that most of these pieces can work in most spaces, so a lot of the pieces in my new house were actually in my old house.
What do recommend for those interested in buying antiques or buying at auction in general?
If you are starting to consider finding pieces, definitely look online first and familiarize yourself with different styles. Finding an interior design project that you love can be a great place to start, as you can draw inspiration from it and it can help you identify pieces you like in certain spaces. Once you’ve found those hero pieces to start with, they can act as stepping stones to building a collection.
I would also really recommend going to view pieces in person. There are so many incredible online tools now and I do use some of them, but often a photo can’t really do a piece justice. I have found that when I actually go to an auction viewing in a beautiful setting like Townley Hall, there will inevitably be a piece that didn’t really come to life in the catalogue or I didn’t notice that jumps out at me. I think seeing pieces in reality is so helpful, particularly if you have issues with visualizing and understanding how it could work in a space.
Adam’s have lots of different auctions and they create that kind of edit within them which is really interesting. Often, I find myself going back through historical catalogues, even just to remind myself of different pieces and to inform my choices when I’m hunting.
It’s all about understanding what you like, viewing pieces, and then going for it once you’ve found something you love. I think if you can find something that is special and more unique than what you would typically find in a shop, that can be a great motivator to jump into the world of collecting and to start discovering.
“ Including older pieces, whether it is an 18th century side table or an antique rug, can bring a lovely richness and texture to a room.”
Hover over the blue dots for more information, click on the black box to be brought through to the lot page on our website where you can see the full details of the lot, more images & options to request a condition report, add to wishlist and to bid.
AT WWW.ADAMS.IE
available Saturday 12th & Sunday 13th October
These images are from previous sales for illustrative purposes only (illustrated lots not in current auction)
Adam’s 3D virtual view allows you to see the lots, in situ, without stepping outside your door. Simply go to www. adams.ie, find the upcoming sale and click into the virtual viewing portal, ‘Explore 3D Space’. You will then find yourself at Townley Hall, surrounded by a sale of the finest antiques. To move around, just position your cursor to where you wish to go and click. You will be transported through the room in this manner, moving each time to the closest stand point, indicated by a translucent grey circle.
If you see something that piques your interest and want to know more, click on the blue and white circle that hovers next to it. This will open up the lot’s description and estimate but, if you’re still not satisfied, click on the writing and you will be brought through to the full listing on our website, complete with additional images. If you have a My Adam’s account, you can even leave a bid or request a condition report directly from this page.
As you 'walk' around, feel free to zoom in on the objects, as you would on any other screen page, either by rolling the mouse button or pinching the screen. This will allow you to really appreciated the finer details of each lot.
Find yourself admiring a picture but want to know its dimensions including the frame? No problem, with the 3-D view, you can gather an approximate measurement yourself. Just click on the ruler icon to the bottom of the viewing screen. Place the cursor over where you want to start your measurement, click and then drag the mouse to the end point before clicking again. The computer will then let you know the distance in between each point. When finished, press the escape button.
The bottom menu bar also lets you easily jump between floors and change rooms by selecting where you want to go. There is even an option to link up a VR headset, so as you can really experience Townley Hall as it is intended.
Brian Coyle FSCSI FRICS CHAIRMAN
James O’Halloran BA FSCSI FRICS DIRECTOR
IRISH ART SPECIALIST j.ohalloran@adams.ie
Nicholas Gore Grimes DIRECTOR HEAD OF MID-CENTURY DESIGN nicholas@adams.ie
Claire-Laurence Mestrallet BA, G.G DIRECTOR HEAD OF JEWELLERY & WATCHES claire@adams.ie
Amy McNamara BA MA
ASSOCIATE DIRECTOR
FINE ART DEPT MANAGER amymcnamara@adams.ie
Dr Wei Wang BA MA HEAD OF ASIAN ART wei.wang@adams.ie
Stuart Cole MSCSI MRICS MANAGING DIRECTOR
FINE ART SPECIALIST s.cole@adams.ie
Eamon O’Connor BA FINANCIAL DIRECTOR e.oconnor@adams.ie
Nathaniel Nicholson BBS ASSOCIATE DIRECTOR HEAD OF VALUATIONS n.nicholson@adams.ie
Ken Israel HEAD OF WATCHES ken@adams.ie
Adam Pearson BA SALEROOM CO-ORDINATOR
ONLINE PICTURE SALE a.pearson@adams.ie
Niamh Corcoran BA FINE ART DEPARTMENT
IRISH ART niamh@adams.ie
Weronika Kocurkiewicz FINE ART ADMINISTRATOR weronika@adams.ie
Aoife Doyle JEWELLERY DEPARTMENT aoife@adams.ie
Brendan Lingwood BA MA
SALEROOM PORTER brendan@adams.ie
Conor Barry FINE ART DEPARTMENT
WINE & SPIRITS conor@adams.ie
Stephanie Brennan FINE ART ADMINISTRATOR stephanie@adams.ie
Johanna Gallgher G.G. JEWELLERY SPECIALIST johanna@adams.ie
Ronan Flanagan HDip WAREHOUSE MANAGER r.flanagan@adams.ie
HITESH KHATRI ACCOUNTS DEPARTMENT hitesh@adams.ie
These 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 definitive and are subject to revision. Reserves, if any, will not be any higher than the lower estimate.
Wednesday 16th & Thursday 17th October 2024 from Townley Hall. 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 no later than Thursday 17th October 2024 at the purchaser’s risk and expense. After this time all uncollected lots will be removed to commercial storage and additional charges will apply.
Auctioneers commission on purchases is charged at the rate of 25% (inclusive of VAT). Terms: Strictly cash, card, bankers draft or cheque drawn on an Irish bank. Cheques will take a minimum of eight 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. We also accept payment by all major credit and debit cards. Please note a surcharge will apply of 2% of the invoice total for non-EU card types. For payments by bank transfer 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.
All lots are sold within the auctioneers VAT margin scheme. Revenue regulations require that the buyer’s premium must be invoiced at a rate which is inclusive of VAT. This is not recoverable by any VAT registered buyer.
It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, 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. 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. Please ensure that condition report requests are submitted before 12 noon on Sunday 13th October as we cannot guarantee that they will be dealt with after this time.
We are happy to execute absentee or written bids for bidders who are unable to attend or bid online themselves and can also arrange for bidding to be conducted by telephone. 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. Bidding by telephone may be booked on all lots. Early booking is advisable as availability of lines cannot be guaranteed.
Bidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory and that of coral, or any goods containing same. Therefore Adams advises prospective purchasers who intend to ship lots containing either ivory or coral to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest. LOTS MADE OF / CONTAINING ANTIQUE IVORY AND CORAL ARE INDICATED BY THE FOLLOWING SYMBOLS ‘*’&’**’
7.
ELECTRICAL GOODS - CHANDELIERS, LAMPS, CEILING LIGHTS ETC.
These are sold as ‘antiques’ only and if bought for use, buyers must have them checked over for compliance with safety regulations by a qualified electrician before you use them. Adam’s does not take responsibility for non-functioning electrical goods as most second-hand electrical items sold at auction require re-wiring even if functioning at the time of the auction viewing. ELECTRICAL GOOD IN NEED OF REWIRING ARE INDICATED BY THE SYMBOL **‘(E)’**
8.
ACKNOWLEDGMENTS
We would like to acknowledge, with thanks, the assistance of Suzie Mc Adam, Jane Fenlon, Nathaniel Nicholson, Stephanie Brennan, Weronika Kocurkiewicz, Conor Barry Niamh Corcoran and Maria Wyzykowska in the preparation of this catalogue.
9.
ALL LOTS ARE BEING SOLD UNDER THE CONDITIONS OF SALE AS PRINTED IN THIS CATALOGUE AND ON DISPLAY ON OUR WEBSITE.
LOTs 1 - 247
BIDDINg sTArTs TO CLOsE
MONDAY 14Th OCTOBEr
frOM 3pM
1 AN OAK DOCUMENT BOX 18TH CENTURY, the rectangular hinged cover carved in shallow relief with a laurel wreath, cast iron side handles and lock plate. 15cm high, 55cm wide, 39cm deep
€200 – 300
2 A BROWN PAINTED TIMBER DUCK DECOY,
21cm high, 20cm wide, 44cm long
€ 200 - 300
3 A WIREWORK NURSERY FENDER 19TH CENTURY, with mesh grill panels, angled sides and zinc base plate. 83cm high, 128cm wide, 40cm deep
€ 400 - 600
5 A VICTORIAN WHITE PAINTED CAST-IRON STICK STAND IN THE FORM OF A SEATED HOUND
on a base fitted with removable scallop shell drip pans. 76cm high, 65cm wide
€ 300 - 500
6
FRENCH SCHOOL, 20TH CENTURY
Walking bull
Bronze, 22cm high, 32cm wide
€ 300 - 400
7 A PAIR OF CONTINENTAL STAINED GLASS PANELS EARLY 20TH CENTURY,
depicting the arrival of Christopher Columbus, each within arched reserves and fashioned in tones of blue, yellow and indigo with overlaid divisions, framed. 121cm high, 75cm wide
€ 1,000 - 1,500
8 A GILT-METAL ARMORIAL PANEL FOR BRADFORD CITY TRAMWAYS,
mounted on mahogany panel with Latin motto 'Labor . Omnia . Vincit' (Labour Conquers All), 33 x 31cm
€ 200 - 400
A CONTINENTAL OAK REFECTORY TABLE 17TH CENTURY,
the rectangular two-plank top, raised on trestle-end supports and sleigh feet. 76cm high, 249cm wide, 80cm deep,
€ 1,500 - 2,500
10
A GEORGE III STYLE ‘KENTIAN’ MAHOGANY HALL BENCH LATE 19TH CENTURY,
the solid panel seat above a fluted and carved rosette frieze on reeded cabriole legs with block feet. 48cm high, 153cm wide, 45cm deep
€ 400 - 600
11
A CARVED STONE ALLEGORICAL FIGURE FROM THE FOUR SEASONS REPRESENTING AUTUMN
depicted holding a bowl of fruit, raised on circular plinth. 114cm high
€ 300 - 500
Since Classical Antiquity, humans have endeavoured to impress the inevitability of death and therefore the importance of living. The Latin trope ‘Memento Mori’ (Remember That You Must Die) is expressed through the world’s art, funerary architecture, and jewellery. Motifs such as the skull, the skeleton, the rat, the coffin and the earthworm have been employed throughout Classical history and later to impart a universal understanding of the term. Mourning Jewellery deviates from the former in that it commemorates the death of a specific person, usually by marking their death dates or even utilising their hair, skin or teeth in the fabrication of the piece.
The execution of King Charles I in 1649 was arguably the first example of popular ‘Mourning Jewellery.’ Despite the grievances aired during his reign, culminating in the Second English Civil War and the dissolution of the Monarchy, Charles I had many sympathisers to the Royalist cause. After his execution, many of his supporters commissioned jewellery bearing his image and dates secretly engraved on the inside of the ring band or behind a concealed locket. This implied that these nobles had remained faithful to the Royals even during the period of the Commonwealth (16491653) and later the Protectorate (1653-1659) up until the Monarchy’s restoration in 1660, whereupon the wearer would hope to be rewarded for their loyalty to the Crown.
Later in the 19th century, the untimely death of Prince Albert (1819–1861) provoked the reigning monarch, Queen Victoria into a lifelong state of mourning. The remaining forty years of her reign saw the macabre motifs associated with mourning jewellery evolve into decidedly more romantic imagery of roses, doves, angels, willows and urns. Typically, the piece was set with enamels and other complementary precious stones and ornamentation such as pearls, to symbolise tears, and jet for grief.
The blackened wood of the bog oak became an excellent Irish alternative to the more widely recognised Jet used in Victorian jewellery. As a result,
with carved lyre and floral swag appliqué, with engraved dove motif to interior and containing a lock of blonde hair and a photograph of a young Victorian gentleman; together with a profusely carved brooch encompassing the heraldic emblems of Shamrock, Rose and Thistle; together with a throat ornament mount featuring the same carved emblems with recumbent Irish wolfhound to centre; together with two carved Latin crucifix pendants (one damaged); together with 57 spherical beads ; and a Victorian photograph of the owner Mrs Giffney wearing the items above.
Presented with typed correspondence on the subject dating to 1951 from Mr Anthony T. Lucas (1911-1986), former President of The Royal Irish Society of Antiquaries and Director of the National Museum of Ireland.
€ 200 - 300
the bog oak ornaments, became the ideal transfer for the nationalistic motifs of a country on the precipice of independence. Imagery was favoured which further promoted the national identity of Ireland as an established state with its own identifiable customs and symbols. The most common motifs include round towers, shamrocks, abbeys, Irish wolfhounds and harps, all which serve to perpetuate a national identity for Ireland’s fledgling tourist industry.
The use of Bog Oak for decorative purposes was not a novel concept as it had been chosen as the primary material for the Downhill Harp, crafted by Cormac O’Kelly in 1702. However, Mr Patrick McGuirk is generally credited with escalating the demand from what had previously been considered a cottage industry craft. Supposedly, in 1821 McGuirk presented King George IV and The Duchess of Richmond with a carved cane on their visit to Dublin. The Duchess commented that it would be preferable to carve in the native wood of the country. Taking this to heart, McGuirk attempted to carve on bog oak he acquired and finding it quite suitable, he commenced what would become a robust trade nationwide for the next 100 years or so. Joseph Johnson of 22. Suffolk Street, Dublin is credited with patenting a high-pressure moulding mechanism for high relief detail using heat and steel dies. This enabled the production of ornaments to increase, and it became a highly profitable business on a larger industrial scale. Other important names in the trade include John Neate (1796-1838) of Kerry, Cornelius McGoggin (fl.1850-1914) of Kerry and Dublin and William Gibson of Belfast and many more otherwise.
Stephanie Brennan August 2024
13
A VICTORIAN BLACK PAINTED CAST IRON STICK STAND,
in the form of an upright hound, holding a riding crop in its mouth over a shell-cast drip pan. 61cm high, 61cm wide.
€ 300 - 500
15 A CAST IRON RECTANGULAR DEED STRONG BOX EARLY 19TH CENTURY,
the lid with cast crowned 'R' and upright arrow, fitted twin side carrying handles, 45cm x 32cm x 21cm
€ 200 - 300
14
A PAIR OF SUTTON & SONS FRAMED DISPLAYS OF GRASSES,
'Grasses Useless in Agriculture and Found in Bad Hay and Pastures' and 'Analyses of Natural Grasses (by Dr. J. Augustus Voelcker), extracted from Mr M.J. Sutton's work on 'Permanent and Temporary Pastures'', 40 x 67cm
€ 200 - 300
16
AN AMERICAN WAX FRUIT STILL LIFE DIORAMA 19TH CENTURY,
contained within an oval giltwood frame. 70cm high, 58cm wide, 12cm deep
€ 1,000 - 1,500
17
A COLLECTION OF THREE TAXIDERMY BIRDS, comprising of two ducks and a cockrel, the tallest being 48cm high
€ 600 - 800
18
A TAXIDERMY STAGS TROPHY HEAD,
with ten point antlers, mounted on a timber shield. 99cm high
€ 400 - 600
19 TAXIDERMY
AN INDIAN LEOPARD SKIN RUG LATE 19TH/EARLY 20TH CENTURY
Panthera Pardus Fusca. 177cm long
€ 500 - 800
20 TAXIDERMY
A PAIR OF LARGE OSTRICH EGGS 19TH CENTURY,
each pierced and fitted with suspension cords, 15.5cm high
€ 200 - 300
21 TAXIDERMY TWO PERCH
‘Preserved by J. Copper & Sons, 28 Radnor Street, St. Luke’s London E.C.’ contained within a bowfront glass display case, with gilt edge borders, interior of case with label ‘Caught by N. Nichols 1913, 11 Pounds, 9 ozs.’. 36.5cm high, 72cm wide, 17cm deep
€ 400 - 600
22 TAXIDERMY A RUDD
moounted within display case, with label ‘Caught by W. Clist, 1894, 116.10¼ozs.’. 30cm high, 48cm wide, 13cm deep
€ 300 - 500
23 TAXIDERMY A RUDD
contained in a bowed display case and with label ‘Caught by J. Jordan 1898, 1162ozs.’ 48cm high, 31cm wide, 15cm deep
€ 300 - 500
24 TAXIDERMY A DISPLAY OF FOUR BIRDS
contained within a domed case, one parrakeet with spread wings, on wooden base. 55cm high, 50cm wide
€ 600 - 800
25 TAXIDERMY AN ERMINE
contained in a glass display case with rocky naturalistic setting, with label, ‘Maker: Charles Yeoman 1898 Furrier & Skin Dresser Southhampton’ (label on rear of case). 19cm high, 35.5cm wide, 11cm deep
€ 200 - 300
26 TAXIDERMY A HARE
contained within a display case in a winter white coat. 44cm high, 62cm wide, 21.5cm deep
€ 400 - 600
27 TAXIDERMY A PARRAKEET
contained in a glass dome on timber base, perched on a branch above rockwork. 48cm high
€ 200 - 400
28 TAXIDERMY A HAWK
contained within glass dome, perched on a rock, with wooden base. 50cm high
€ 200 - 400
29 TAXIDERMY AN OTTER
the head mounted on a on timber shield with metal plaque inscribed ‘Davidstown Pool, Slaney, Augst 26th 1901’, with label on the back: ‘James Tank, Bird and Animal Preserver, 9 Crampton Court (Opposite Lower Castle Yard), Dame Street Dublin’. 25cm high, 17cm wide
€ 200 - 400
30 TAXIDERMY A SPRINGBOK SKULL
mounted on timber shield with metal plaque inscribed (1904), with label on the back ‘J. Gardner, Naturalist by Appointment to the Queen, 29, Late 426, Oxford Street, London’. 27m high, 15cm wide, 25cm deep
€ 200 - 400
32 TAXIDERMY AN IBEX
the trophy mounted on a timber shield. 27cm high, 20cm wide, 30cm deep
€ 300 - 500
31
TAXIDERMY A PAIR OF AFRICAN DEER HEADS
mounted on timber shields, with label ‘Williams Natural History Studio, Dublin’. Each 40cm high, 25cm wide, 25cm deep
€ 300 - 500
33
TAXIDERMY A BLACK BUCK TROPHY HEAD,
mounted on a timber shield. 70cm high, 45cm wide, 25cm deep
€ 400 - 600
34 TAXIDERMY A PAIR OF IBEX TROPHIES
mounted on timber shields, with label to back 'William A Kearney, Dublin'
€ 200 - 300
36 TAXIDERMY A WOODCOCK
modelled standing on a grass mound and contained in a glass dome on timber base. 35cm high
€ 200 - 300
37 A VICTORIAN BRASS UMBRELLA/STICK STAND,
with loop handle above an elaborate snake aperture, supported on cast column and lobed drip pan. 55cm high
€ 150 - 250
35 TAXIDERMY A FOX
within a glazed timber display case. 57cm high, 80cm wide, 25cm deep
€ 400 - 600
38 TAXIDERMY A PARROT
perched upon a small tree stump, within a natural setting, cotained with a glazed display case. 36cm high
€ 600 - 800
39
A GEORGE III OVAL GILTWOOD GIRANDOLE WALL MIRROR, the beaded frame with outer foliate banding and fitted with three candle sconces. 97cm high, 59cm wide
€ 600 - 900
40 A PAIR OF GEORGE IV MAHOGANY DINING ROOM PEDESTALS CIRCA 1820
each of upright rectangular form, with single deep drawer above a shelved cupboard section, on carved lion paw feet. 120cm high, 55cm wide, 46cm deep
€ 1,000 - 2,000
41 AN IRISH GEORGE III MAHOGANY CASED LONG CASE CLOCK BY JOHN LYDON,
the simple architectural hood, containing a brass dial and chapter ring, signed 'J Lydon', above waisted trunked and base with boxwood stringing decoration, on short bracket feet. 222cm high
€ 1,000 - 1,500
43
A WALNUT INLAID DAVENPORT,
surmounted with stationary compartment, above hinged writing slope on four side drawers, decorated with boxwood and ebon stringing. 85cm high, 54cm wide
€ 500 - 700
44
A VICTORIAN MAHOGANY FRAMED CLOSE NAILED STOOL,
of rectangular form, the padded top covered in black hide, raised on turned baluster legs. 46cm high, 93cm wide, 50cm deep
€ 300 - 500
the top section with moulded cornice above three shelves, the bottom section with three drawers, above arched panelled cupboards. 213cm high, 182cm wide
€ 1,000 - 1,500
45 JOSEPH THORS (1835 - 1920)
Woodland Scene
Signed Oil on canvas, 60 x 43.5cm
€ 300 - 500
47
JOHN SMART RSA RSW (1838-1879)
The Old Lodge, Castle Menzies
Signed and dated 1879
Watercolour, 42.5 x 65cm
€ 400 - 600
46
K. UGARD (20TH CENTURY)
In Full Cry - A Hunting Scene
Signed and dated 1996 Oil on canvas, 49.5 x 75cm
€ 500 - 800
48
SAMUEL HENRY BAKER (1824 - 1909)
Farm House, Herefordshire Oil on board, 19.5 x 30cm
€ 200 - 400
49
J. K. MAKIN (FL. 1882 - 1906)
Where’s The Wind? (Mending The Bellows)
Oil on board, 24 x 16cm
€ 500 - 800
50
ERNEST MOLL (1878 - 1955)
Wharfside Buildings
Signed Oil on canvas, 16 x 24cm
€ 300 - 400
51
THOMAS BARBER (ENGLISH 1771–1843)
River Landscape
Signed Oil on canvas, 29 x 60cm
€ 500 - 800
52
WILLIAM FREDERICK HULK (BRITISH 1852 - 1922)
Cattle in Landscape
Signed Oil on canvas, 50 x 39cm
€ 200 - 400
53 A SET OF TWELVE MAHOGANY FRAMED DINING CHAIRS BY BUTLER OF DUBLIN, 19TH CENTURY
following a design adapted from Thomas Chippendale, the serpentine carved crest rails, carved with leaves above pierced vase shape splats, drop-in upholstered seats, the seat rails centred by scallop shells raised on cabriole legs with leaf carved knees on claw and ball feet, ten single chairs and two carvers, with scroll bird head armrests. (12)
54 AN IRISH GEORGE IV MAHOGANY EXTENDING DINING TABLE,
with two additional leaves, raised on lotus collar turned legs and brass castors. 76cm high, 224cm long, 130cm wide
€ 1,000 - 1,500
55 A FRENCH AUBUSSON STYLE TAPESTRY WALL HANGING,
Depicting a noble Hunt. 220 x 305cm
€ 1,000 - 1,500
57
A CARVED MAHOGANY CARD TABLE, 19TH CENTURY,
56
A FINE PAINTED SATINWOOD AND ROSEWOOD BANDED WRITING TABLE ATTRIBUTED TO GILLOWS OF LANCASTER CIRCA 1800
the removable three drawer superstructure with arched carrying handle, painted with ‘Kaufman’ scenes of Diana and Cupid, the base with secretaire drawer fitted with ratchet action adjustable writing panel, ink slots and pen compartments, on squared tapering legs. 114cm high, 41cm deep, 55cm wide
The present example closely relates to a design of a Vide poche or cheveret, commisioned by Sir Shaw Stewart of Andgowan, from Gillows of Lancaster in 1801 and illustrated in S. Stuart, Gillow of Lancaster and London, 1730-1840, 2008, p. 298, pl. 296. A similar example to this lot sold in Christies, London 20 September 2001 for £6,815.
€ 800 - 1,000
of Adam’s design, the hinged rectangular top with canted corners opening to reveal and green baise lined interior, above fluted frieze with carved swag decoration, raised on tapered panelled legs with trailing floral decoration, on spade feet. 74cm high, 91cm wide, 45.5cm deep (90cm deep when open) €
58 A PAIR OF FRENCH MAHOGANY AND GILT BRASS
MOUNTED EMPIRE SINGLE BEDS,
the head boards with raised arched panel and acorn finials, above fielded panel section, with brass edge, and outer fluted columns, the foot boards of conforming design, with brass rosette caps.
Headboard: 143cm high, 213cm long, 116cm wide
€ 1,000 - 1,500
60 A GILT METAL MOUNTED MAHOGANY SIDE CABINET, LATE 19TH/EARLY 20TH CENTURY,
the shaped grey marble top above two drawers and glazed cupboard doors and sides enclosing a glass shelf on ringturned tapering legs. 89cm high, 109cm wide, 44cm deep
€ 1,200 - 1,800
59
MICHAEL AYRTON (1921 - 1975)
Portrait of Peter Usinov
Inscribed and dated ‘Peter, August 27- 66’ Pencil, 31.5 x 22cm
€ 800 - 1,200
61 A VICTORIAN PUGIN STYLE PINE SIDE TABLE,
the rectangular top with thumb moulded rim and twin frieze drawers raised on turned trestle suppots joined by stretcher. 72cm high, 98 cm wide, 72cm deep
€ 500 - 700
62
WILLIAM CALLOW (1812 - 1908)
Market Place
Watercolour, 19.5 x 24.5cm
€ 1,000 - 1,500
64
THOMAS SEWELL ROBINS (1800-1880)
A Coastal Scene
Signed and dated 1859
Oil on canvas, 43.5 x 64cm
Provenance: Sotheby’s Olympia, 1 October 2003, Lot 151
€ 700 - 1,000
63
JOHN SELL COTMAN R.A (1782 - 1842)
Ships off the Coast of Brittany
Signed and dated ‘John Sell Cotman 1824’ (lower right)
Oil on canvas, 41 x 52cm
€ 800 - 1,200
65
WILLIAM CALLOW (1812 - 1908)
Okehampton Bridge
Inscribed and dated ‘Okehampton Bridge - Feb/89’ (lower left)
Watercolour, 22 x 34.5cm
Provenance: Sotheby’s London, 1 October 2003, Lot 4
€ 600 - 1,000
66
SIR MUIRHEAD BONE (1876 - 1953)
Sunday at Saltsjöbaden
Signed ‘Muirhead Bone’ (lower right); also signed and inscribed verso
Watercolour, 15.5 x 24cm
€ 600 - 1,000
68
EDGAR WEST (FL.1857 - 1892)
Unloading the Day’s Catch
Signed and inscribed ‘E. F. West Chiswick’ (lower left)
Watercolour and bodycolour, 55 x 75cm
Provenance: The Marine Sale, Sotheby’s London, 2 December 2003, lot 37
€ 400 - 600
67
FREDERICK JAMES ALDRIDGE (1850 - 1933)
A Rowing Boat at Sea
Signed ‘F. J. Aldridge’ (lower right)
Watercolour, 13 x 20.5cm
€ 400 - 600
69
COPLEY FIELDING (1787 - 1855)
Harlech Castle, Wales
Watercolour, 17 x 25.5cm
Provenance: Sotheby’s, 24 July 1980, United Finance Ltd, Lot 249
€ 200 - 300
70
A WILLIAM IV MAHOGANY RADIALLY VENEERED BREAKFAST TABLE,
the circular top, raised on octagonal centre pillar and circular base with carved paw feet. 73cm high, 127cm diameter
€ 1,000 - 1,500
71
A BRASS BOUND MAHOGANY LARGE TEN-SPOKE SHIP’S WHEEL, 212cm diameter, 10cm deep
€ 4,000 - 6,000
72
AN UPHOLSTERY AND MAHOGANY FRAME TWO SEATER SETTEE 19TH CENTURY,
fited with two loose cushions, upholstered in yellow fabric. 80cm high, 150cm wide, 85cm deep
€ 1,000 -1,500
AN IRISH MAHOGANY MAP OR PRINT CHEST EARLY 19TH CENTURY,
the rectangular top with moulded rim, above an arrangement of thirteen slender drawers with twin button handles. 116cm high, 129cm wide, 80cm deep
€ 800 - 1,200
75
A PAIR OF BLACK PAINTED CAST IRON BOOT SCRAPERS,
in the form of urns flanked by eagles, in shaped rectangular trays with canted corners. 35.5cm long, 28.5cm wide
Provenance: By repute Longueville house
€ 500 - 800
AN EAST INDIA COMPANY PATTERN
PERCUSSION ACTION ENFIELD MUSKET MID19TH CENTURY,
with infantry marking on the lock plate, mahogany stock, mounted with steel barrel, with ram rod, 139cm long
Provenance: Hamilton Osborne King, Knockabbey Castle, Co. Louth, 14 July 1998, lot 361.
€ 200 - 300
76
AN IRISH MAHOGANY CASED STICK BAROMETER BY MASON ESSEX BRIDGE DUBLIN, 19TH CENTURY,
the oval dial housing engraved bone registers for weather and temperature, centred with a vertical mercury tube, the base carved with an oval patera. 101cm high
€ 250 - 350
77
A COMPOSED CARVED MAHOGANY D-SHAPED SIDE TABLE 18TH CENTURY,
with solid panel top above a masked frieze, on cabriole legs and claw and ball feet. 74cm high, 91cm wide, 44cm deep
€ 500 - 800
78
A COLLECTION OF FOUR FABRIC FLOWER ARRANGEMENTS
each fitted within glass domes on timber bases, in three different sizes. The largest 60cm high
€ 150 - 250
79 A MAHOGANY FRAMED CANTERBURY CIRCA 1900, of rectangular shape with dipped rails and slated divisions above a frieze drawer and castors. 54cm high, 55.5cm wide, 35cm deep
€ 300 - 400
80
A PAIR OF EBONISED ANGLO-INDIAN OCTAGONAL OCCASIONAL TABLES 19TH CENTURY,
the crossbanded panel top on a carved centre pillar and tripod base with paw feet. 70cm high, 50 cm wide, 50cm deep
€ 600 - 1,000
81
A PAIR OF GEORGE III MAHOGANY SIDE CHAIRS,
each with scroll crest rail and pierced vase shaped splats, the padded seats covered in black hide, raised on square block legs and H-shaped cross stretcher
€ 200 - 300
82
AN OAK JOINT STOOL 17TH CENTURY,
the two board seat panel supported on turned splayed columns joined by stretcher on block feet. 52cm high, 57cm wide, 52cm deep
€ 300 - 500
83
AN IRISH GEORGE II STYLE MAHOGANY FRAMED ELBOW CHAIR 19TH CENTURY,
the shaped top rail centred with a carved mask in relief above a vase shaped splat and stuffed red leather seat and upholstered armrests, on scroll legs headed by lion masks.
€ 400 - 600
83A
A PAIR OF CHINESE STAINED WOOD AND BRASS BOUND CIRCULAR BASINS,
76cm diameter
€ 400 - 600
84
A REGENCY MAHOGANY FRAMED LIBRARY ARMCHAIR,
with lyre shape out-scrolling arms, upholstered in a green geometric fabric, on fluted tapering legs and brass castors
€ 1,000 - 1,500
85
A VICTORIAN WROUGHT IRON CLUB FENDER,
upholstered in burgundy leather, with roundel corners and dipped centre, on upright supports with oval spiral ornament. 61cm high, 206cm wide, 65cm deep.
€ 1,000 - 1,500
86
DUTCH SCHOOL 17TH CENTURY
A portrait of a nobleman wearing a white ruff collar
Half-length, oil on canvas, 77 x 63.5cm
€ 800 - 1,200
87
A SET OF FOUR IRISH GEORGIAN MAHOGANY SIDE CHAIRS MID 18TH CENTURY,
each shaped back with double-arch top rail and scalloped corners, pierced vase shaped splat, upholstered seat, on cabochon capped cabriole legs and hairy paw feet
€ 1,000 - 1,500
A MAHOGANY AND MARQUETRY INLAID UPHOLSTERED WINDOW SEAT LATE 19TH CENTURY,
with twin scroll ends, covered in a teal blue damask on leaf capped legs, 77cm high, 117cm long, 37cm deep
€ 600 - 1,000
89
A SET OF EIGHT ELM AND WILLOW WINDSOR ARMCHAIRS 19TH CENTURY,
each with arched openwork back with centre with pierced centre-splat and spindle supports, solid panel seat, ring turned legs joined by stretcher
€1,000 – 1,500
90
A FRENCH BRASS AND COPPER FENDER LATE 19TH CENTURY, with pierced trellis panel frieze and central cabouchon on paw feet. 155cm exterior and 141cm inside
€ 500 - 800
91
A GEORGE III MAHOGANY SLOPEFRONT BUREAU,
the fall front enclosing an interior fitted with central cupboard and pigeonholes, above four long graduated drawers, raised on bracket feet. 94cm high, 84cm wide, 49cm deep
€ 500 - 800
91A
A REGENCY BRASS MOUNTED MAHOGANY BOWFRONT SIDE CABINET, the twin glazed cupboard doors and opening to a shelved interior, flanked by ropetwist pilasters with applied gilt metal flowerheads and raised on a brass lion paw feet. 86.5cm high, 121cm wide, 38cm deep
€ 700 - 1,000
View of the Parliament House, College Green Aquatint, 31 x 42cm
Published 1st August 1790, No. 6 Conduit Street
This is the earlier state in which different figures appear. In the foreground to the left a man is driving two pigs which in a later edition are erased and a different man and dog are inserted. Two ladies to the left of the man with pigs again do not appear in later states.
€ 400 - 600
View of Custom House Dublin Aquatint, 25 x 36cm
€ 200 - 400
94
JOSEPH DENOVAN ADAM RSA RSW (SCOTTISH 18421896)
Still Life Study of Fruit Signed Oil on board, 49 x 75cm
€ 600 - 800
95
J. EDWARD HOMERVILLE HAGUE (BRITISH 18561939)
An Orchard near Cookham on Thames Signed and dated 1885 indistinctly Oil on canvas, 24 x 39.5cm
€ 400 - 600
96
C.J. TODD CIRCA 1898
Still Life Study of Roses
Signed Oil on board, 45 x 60cm
€ 400 - 600
98
ENGLISH SCHOOL, 19TH CENTURY
Sailing Vessels in Stormy Waters
Gouache, laid on canvas, 48 x 71cm
€ 600 - 800
97
HORACE MANN LIVENS (BRITISH 1862 - 1936)
Still Life Study with Fruits and Berries
Signed Oil on canvas, 50 x 60cm
€ 1,500 - 2,000
99
ALEXANDER CARSE (SCOTTISH CIRCA 1770 - 1843)
Figures in a Courtyard
Signed and dated 1818; with wax collection mark verso Oil on oak panel, 31 x 41.5cm
€ 1,000 - 1,500
Portrait of Mrs Langford Kil
Signed with initials
Watercolour, 7cm high
Inscribed paper labels
€ 600 - 1,000
‘Lady Mary Keith’
Painted silhouette portrait, 24.5 x 21cm
Inscribed verso;
together with another cut and painted silhouette depicting Rev. R. Butler, mid 19th Century, inscribed to lower margin, 11 x 7cm;
and a collection of four further examples (6)
€ 500 - 700
102
AN IRISH GEORGE III MAHOGANY RECTANGULAR SIDE TABLE, with single frieze drawer on cabriole legs on trifid feet. 70cm high, 80cm wide, 56cm deep
€ 2,000 - 3,000
103
IRISH SCHOOL (19TH CENTURY)
Portrait of a Gentleman Oil on canvas, 90cm x 75cm
Provenance: Marlay Grange House, Rathfarnham
€ 700 - 1,000
104
WILLIAM JOHN HENNESSY
(IRISH-AMERICAN 1839 - 1917)
Kathleen Hennessy, Peeping Through The Curtains Oil on canvas, 107 x 68cm
Labelled verso
€ 3,000 - 5,000
104A
AN IRISH GEORGE IV MAHOGANY SIDEBOARD CIRCA 1825, shaped moulded top, the reeded structure with two short drawers above a central frieze drawer flanked by a cupboard and cellarette, with rope twist columns, on paw feet. 105cm high, 225cm wide, 80cm deep
€ 2,000 - 3,000
the bowed top above three short drawers and three long drawers, with shaped apron on splayed bracket feet. 38cm wide, 34cm high, 20.5cm deep
€ 500 - 800
107 AN EARLY VICTORIAN MAHOGANY LAZY SUSAN
the revolving dished top on waisted central column and moulded circular foot. 13.5cm high, 41cm diameter
€ 300 - 500
106
A LARGE WILLIAM IV MAHOGANY BREAKFAST
TABLE,
the circular tilt-action top on a heavy turned centre pillar and channelled downswept legs, ending with brass caps and castors, 75cm high, 167cm diameter
€ 2,000 - 3,000
108
A REGENCY ROSEWOOD OCTAGONAL TEA CADDY,
the domed hinged top opening to a red felt lined compartmented base, with four hinged top rosewood tea canisters and central glass mixing bowl, with twin hoop handles, raised on pierced bracket feet. 24cm high, 36cm diameter
€ 300 - 500
A VICTORIAN MAHOGANY FRAME CHEVAL MIRROR
arched top above plain adjustable plate supported on fluted upright columns and trestle feet. 190cm high, 95cm wide, 55cm deep
€ 400 - 600
110
FRENCH 19TH CENTURY WALL TAPESTRY
of rectangular form, the centre field woven with a depiction of a figure in 18th century dress, stand ing playing a lute within a wooded landscape. 150 x 93cm
€ 400 - 600
A VICTORIAN POLISHED STEEL AND LEATHER MOUNTED CLUB FENDER, the stuffed brown hide seat on tubular supports, with dipped centre arch. 56cm high, 180cm wide, 58cm deep
€ 2,000 - 3,000
112
A MAHOGANY BOW FRONT CHEST OF DRAWERS 19TH CENTURY,
113
A MAHOGANY BOW FRONT CHEST OF DRAWERS 19TH CENTURY,
the top with moulded edge, above two short and three long cock beaded drawers, raised on splayed bracket feet. 95cm high, 104cm wide, 61cm deep
€ 300 - 500
the top with moulded edge, above two short and three long cock beaded drawers, raised on splayed bracket feet. 95cm high, 104cm wide, 61cm deep
€ 300 - 500
114
AN IRISH INLAID MAHOGANY TALLBOY CHEST BY JAMES HICKS CIRCA 1930,
fitted with two short drawers and six long drawers, brass angular handles, canted corners raised on a stand, stamped “J. Hicks Pembroke St.” 156cm high, 62cm wide, 44cm deep
€ 1,000 - 1,500
117
A GEORGE III MAHOGANY COMPACT SECRETAIRE BOOKCASE,
early 19th century, the moulded Greek key cornice above astragal glazed doors enclosing three adjustable shelves, the pull-out hinged drawer enclosing a fitted interior above cupboard doors and bracket feet, 200cm high, 70cm wide, 51cm deep
€ 1,000 - 1,500
115
A CONTINENTAL EBONISED AND GILTWOOD OVAL MIRROR,
the frame carved with foliage, C-scrolls and flower-heads. 86cm high, 75.5cm wide
€ 200 - 300
116
A REGENCY MAHOGANY SOFA-TABLE CIRCA 1810,
with two frieze drawers and two opposing false drawers on outswept supports on brass caps and castors, 72cm high, 144cm wide, 63cm deep.
€ 800 - 1,200
118
AN IRISH MAHOGANY COFFER ON STAND 18TH CENTURY,
in a classic design of the mid 18th century incorporating some of the most desirable Irish design features such as the carved frieze centred on a shell with trifid feet, 113cm high, 122cm wide
Provenance: Glanmore Castle, Ashford Co. Wicklow, Family home of John Millington Synge.
€ 800 - 1,200
120
A GEORGIAN MAHOGANY TEA TABLE,
the shaped rectangular folding top opening to a plain interior with corner candle-stands, the plain frieze with single small drawer, raised on acanthus carved cabriole legs and trifid feet. 72cm high, 87cm wide
€ 1,000 - 1,500
119
A ROSEWOOD LADY’S TAPESTRY STRETCHER,
with articulated and adjustable frame and threaded timer uprights on waisted oblong base and flat bun feet. 127cm high, 97cm wide
€ 300 - 500
121
AN IRISH CARVED MAHOGANY FRAMED TWO-SEATER SETTEE 19TH CENTURY, with two loose cushions, the back seat and armrests upholstered in gold damask fabric, above carved frieze and short cabriole legs. 100cm high, 140cm wide, 80cm deep
€ 1,500 - 2,000
122
AN OLD CHINESE PEKING CARPET 527 X 279CM
of oval shape, the heavy pile of cream ground woven with peonies and auspicious motifs, enclosed by an interlinked lotus border and bats.
€ 600 - 800
123
A TURKISH BROWN GROUND WOOL RUG, 230 X 177CM
124
A MODERN CREAM GROUND HEAVY WOOL RUG. 205 X 125CM
woven to a geometric design in peach and terracotta tones, within brown entwined border.
€ 500 - 800
the rectangular centre field with an oval medallion within a cartouche shaped reserve, and enclosed within multiple geometric borders, fringed ends
€ 400 - 600
126
A PAIR OF GREEN PAINTED SHIPS'ANCHOR' NAVIGATION LAMPS,
49cm high (excluding handle)
€ 400 - 600
A PAIR OF PAINTED COPPER SHIPS PORT AND STARBOARD LANTERNS,
One painted red, the other green. 40cm high, 34cm deep
127
A PAIR OF WROUGHT IRON CIRCULAR CEILING LIGHTS,
each fitted with five light sockets within a pierced scrollwork frieze, on central shaft, head by a pierced quatrefoil, with suspension chain and domed fixture. 51cm diameter (E)
€ 500 - 800
128
A PAIR OF BRASS AND WIREWORK FENDERS, Each 31cm high, 92cm wide, 26cm deep
€ 600 - 800
130
A MAHOGANY BOOT / TACK STAND 19TH CENTURY,
with hanging rail and double sided six-notch rack. 97cm high, 79cm wide, 30cm deep
€ 400 - 600
STRAPWORK
opening to two sections, one for hanging, the other fitted with four graduated compartments. 53cm high, 103cm wide, 53cm deep
€ 300 - 500
131
A VICTORIAN BRASS AND WIREWORK NURSERY FENDER,
with rounded corners and mesh frieze. 72cm high, 100cm wide
€ 600 - 800
132
A FRENCH CARVED WALNUT ARMOIRE LATE 18TH/EARLY 19TH CENTURY, surmounted with a foliate carved arches cornice, above twin fielded panel doors and single long drawer to base, supported on scrollwork cabriole legs. c. 262cm high, 147cm wide
€ 1,000 - 1,500
A GEORGE IV MAHOGANY FOUR-DOOR WARDROBE, of breakfront design, with simple moulded cornice above fielded panel doors, enclosing hanging rails, linen shelves and long drawers, on plinth base, 173cm high, 237cm wide
€ 600 - 1,000
135
A VICTORIAN WALNUT WARDROBE, the domed top with moulded cornice, above central mirrors section, flanked by panelled doors, raised on platform base.
220cm high, 195cm wide, 70cm deep
€ 400 - 600
A CONTINENTAL BRASS STANDARD LAMP, the fluted column centered with a circular rouge marble platform, on a circular spreading base, and shell feet. 145cm high, 36cm diameter
€ 300 - 500
135A
A MEISSEN POLYCHROME GAME DISH AND COVER CIRCA 1880
of oval form, modelled as a boar hunt in two parts with two dogs attacking a wild boar on a natural setting with cross sword factory mark now sitting upon later carved bog oak stand. 49cm high, 45cm wide, 35cm deep.
A closely related game dish to this lot is in the collection of the Albeniz Palace, Barcelona.
Provenance: Major Henry de Courcy Wheeler (1872-1956) hence by descent
€ 2,000 - 3,000
136
A GEORGE III MAHOGANY AND BRASS MOUNTED CHEST OF DRAWERS,
possibly by Gillows, the rectangular top, with reeded edge and rounded outset corners above four long graduated drawers, flanked by reeded pilasters, on bun feet. 103cm high, 117cm wide, 59cm deep
€ 600 - 800
137
AFTER HANS HOLBEIN THE YOUNGER
Portrait of Sir Thomas More Oil on canvas, 37 x 29cm
€ 600 - 1,000
138 A REGENCY GILT-METAL MOUNTED ROSEWOOD CHIFFONIER CIRCA 1815,
the two-tier superstructure, with pierced brass gallery, supported by reeded columns, above two cupboard doors inset with pleated yellow silk, enclosing two adjustable shelves, on tapering square feet and brass caps and castors. 143cm high, 92 wide, 32cm deep
€ 700 - 1,000
139
GEORGE GOODWIN KILBURNE (1839 - 1924)
A Rough Morning
Watercolour, 37 x 53cm
Signed
€ 800 - 1,200
140
EDWARD CHENEY (1803-1884)
Carrick from the Inn
Watercolour, 13.4 x 23.5cm
€ 300 - 500
141
ALAN TYRELL (BRITISH, 19TH CENTURY)
From Anstruther Looking East
Signed and dated 1868
Watercolour, 14 x 26cm
€ 300 - 500
142
19TH CENTURY SCHOOL
Windmill by the shoreline
Watercolour, 14 x 24cm
€ 200 - 300
Lakeside landscape
Signed and inscribed indistinctly on Dublin Sketching Club label verso
Watercolour, 13 x 19cm
€ 200 - 300
Denbigh Asylum, North Wales
Straw and watercolour, 46 x 59cm
Inscribed
The Denbigh Asylum, also known as the North Wales Hospital was designed by Architect Thomas Fulljames FRIBA (1808-1874) and the building was completed in 1848. Its history as a treatment centre for patients with psychiatric illnesses has been divisive at best, given that its foundation was heralded by the passing of the 1845 Lunacy Act only three years previously. Therefore, treatments were rarely standardised and often archaic in nature. The hospital did later encourage its patients to partake in recreational activities such as sports, concerts and crafts, of which straw art was likely included. This skill was popularised in the 1880s in Wales and is generally used to depict architectural monuments such as bridges, institutions and so on as the rigidity of the straw lends itself well to these man-named forms.
€ 600 - 800
Priory Kells
Signed, inscribed and dated 'June 22 1837' Pencil and ink, 13.5 x 21cm
€ 100 - 200
A Kircardineshire River
Signed and dated 'Sam Bough 1896' (lower left) Watercolour, 36.5 x 56cm (66 x 88cm framed)
€ 500 - 800
147 A CARVED ‘BLACK FOREST’ LINDEN WOOD CUCKOO CLOCK, EARLY 20TH CENTURY
in the form of a bird house covered in oak leaves with birds perched upon each side, the chapter ring with gilt Roman numerals. 81cm high
€ 250 - 350
148 A CONTINENTAL MAHOGANY PARQUETRY AND SPECIMEN WOOD TABLE 19TH CENTURY
the octaganal top with a geometric arrangement of exotic veneers on a turned centre column and arched triform base. 74cm high, 60cm diameter
€ 600 - 800
149
A PAIR OF 20TH CENTURY BRASS ADJUSTABLE DESK LAMPS WITH GREEN GLASS SHADES,
each with over hanging arm supporting a bellflower glass shade, with adjustable mechanism, on circular spreading base. 52.5cm high (E)
€ 300 - 500
150 A PAIR OF OTTOMAN OLIVEWOOD BONE AND MOTHER OF PEARL INLAID HEXAGONAL TABLES 19TH/20TH CENTURY,
the dished tops with a geometric arrangement of bone segments on panelled base with mihrab arched angled legs, 41cm high, 34cm wide
€ 400 - 600
151
AN IVORY STATIONARY BOX 20TH CENTURY, the lid with engraved initials ‘E.H.L’ enclosing an interior with fitted divisions with label inscribed ‘A. BARRETT & SONS 63 & 64 PICCA DILLY, LONDON’, 3.5cm high, 18cm wide, 10cm deep
Provenance: With Anthony Outred, London, where acquired.
€ 500 - 800
152
A GROUP OF FIVE CARVED IVORY AND BONE STANDING FIGURES, JAPAN, MEIJI PERIOD 1868-1912 19TH CENTURY with wooden stands 7.5-9cm high (without base) *
Provenance: Leonard and Maud Messel, 104 Lancaster Gate, London, United Kingdom, until 1953; by descent to Anne Messel, later Countess of Rosse (1902-1992), Birr Castle, Co. Offaly, thence by descent.
€ 300 - 500
153
A GROUP OF SIX CARVED IVORY AND BONE STANDING FIGURES 17TH/18TH CENTURY, three with painted decoration and three without, with bases 9.5-17cm high (excluding base) *
Provenance: Leonard and Maud Messel, 104 Lancaster Gate, London, United Kingdom, until 1953; by descent to Anne Messel, later Countess of Rosse (1902-1992), Birr Castle, Co. Offaly, thence by descent
€ 500 - 700
154
A GROUP OF EIGHT CARVED BONE STANDING FIGURES 20TH CENTURY, modelled as the eight Chinese immortals, 15cm high (including base) *
Provenance: Leonard and Maud Messel, 104 Lancaster Gate, London, United Kingdom, until 1953; by descent to Anne Messel, later Countess of Rosse (1902-1992), Birr Castle, Co. Offaly, thence by descent to the current owner.
€ 400 - 600
155
THREE JAPANESE IVORY AND BONE FIGURES LATE 19TH/ EARLY 20TH CENTURY, depicting tradesmen and street vendors, the tallest being 19cm high. *
€ 800 - 1,000
156
A VICTORIAN OAK CASED ‘DROP’DIAL’ WALL CLOCK
(DISTRESSED) the circular enamel dial painted with Roman numerals. 61.5cm high, 44cm wide
€ 50 - 100
157 A SPELTER CLASSICAL FEMALE FIGURAL OIL LAMP WITH RUBY GLASS BOWL,
of circular form, embossed with spiral lobed bands and inverted finial, hung with six chained globular fruits, approximately 85cm diameter (E)
€ 400 - 600
modelled as a female figure holding a classical vase and supporting a ruby glass reservoir and shade. 100cm with shade (E)
€ 400 - 600
158
A VICTORIAN OAK GOTHIC RECTANGULAR CONSOLE TABLE,
arched crest rail, pierced gothic splat upholstered drop in seat on cabriole legs and pad feet. 70cm high, 80cm wide, 52.5cm deep
€ 300 - 500
in the manner of Augustus Pugin, open frame raised on square chamfered legs. 84cm high, 152cm wide, 62cm deep
€ 400 - 600
ENGLISH SCHOOL, CIRCA 1800,
Portrait of Ms Louisa Clarke
Pastel on paper, oval, 64 x 53cm
Label verso
€ 300 - 500
160
CONTINENTAL SCHOOL, 18TH CENTURY
Portrait of a Rustic Gentleman Oil on canvas, 42 x 28 cm
€ 400 - 600
162
161
ENGLISH SCHOOL, 19TH CENTURY
Portrait of a Lady, half length, seated, holding a basket of flowers, Oil on canvas, 91 x 69cm
€ 700 - 1,000
ENGLISH SCHOOL, MID-19TH CENTURY
Portrait of Miss Elizabeth Goodwin of Yorkshire, dressed in a veil and white high collared shirt
Half-length, oil on canvas, 75 x 62cm
Inscribed verso: 'Elizabeth Goodwin daughter of Richard Goodwin D.D. Rector of Tankersley in Yorkshire_Married to John Clayton Esqr youngest Son of Rch of Adlington in Lancashire and MArtha daughter of Joshua Horton Esqr. of Chaderton / They had four sons Richard, Robert, William, John'
€ 400 - 600
164
FRANCIS E. JAMIESON (1895 - 1950)
Lake and Mountain Landscape with Castle Oil on canvas, 50 x 75cm
Signed
€ 500 - 800
165
AFTER WILLIAM HOGARTH (1697 - 1764)
Marriage A - la Mode
Plates I - VI
Coloured engravings, 26 x 37cm
Framed (6)
€ 300 - 500
166
AFTER JOHN COLLET (CIRCA 1725 - 1780)
'The Unfortunate Discovery', Hand-coloured engraving, 37 x 26.5cm
Printed & Sold by Carrington Bowels at his Map & Print Warehouse, No. 69 of St Paul's Church Yard, London, 24th July 1777
€ 120 - 180
167 A VICTORIAN STUD HORSE EQUESTRIAN POSTER OF WESTMEATH INTEREST,
Season 1876, Bumper will stand at Riverstown, printed at the Irish Sportsman Office, Upper Sackville St, Dublin. 44 x 31cm
€ 100 - 150
The Prince and Princess of Wales at Punchestown Races 1868
Printed for J.Chancellor, Dublin Engraving, 70 x 111cm
John Fergus O’Hea (c.1838-1922) had studied at the Cork School of Design. He was an illustrator and political cartoonist and was known to have published under the pseudonym ‘Spex’. The Punchestown race meeting of 1868 was a famous occasion as it was attended by the Prince and Princess of Wales. Photographic technologies were advancing and the Dublin photographer John Chancellor recorded the first known images of the festival. Chancellor commissioned O’Hea to paint the commemorative depiction of the Prince of Wale’s visit to Ireland’s national racing fixture. O’Hea then produced souvenir prints of Chancellor’s photograph under his direction.
€ 500 - 800
170 AFTER MICHELANGELO MAESTRI
Muses of Literature Gouache, 39.5 x 29.5cm
€ 500 - 800
A View of Strangford Lough from Newtownards
Signed 'Alfred Withers' (lower left)
Oil on canvas, 31 x 61cm
€ 500 - 800
A TIMBER AND BRASS FOLDING PLATE CAMERA EARLY 20TH CENTURY,
A COLLECTION OF VINTAGE CAMERAS EARLY 20TH CENTURY, INCLUDING:
a ICA Polyscop 628/6, a Kodak Six-20 Junior, a Soho Myna All Distance, a Tella Camera Co box camera, a Kodak Brownie Model I, a Kodak No.2 Folding Brownie.
retailed by J Robinson & Son’s 66 Grafton St Dublin, together with an early Royal Mail copying camera and an early hand turned film projector.
€ 200 - 400
173 A TONIC DICTIONARY OF THE CHINESE LANGUAGE IN THE CANTON DIALECT BY SAMUEL WELLS WILLIAMS (18121884)
First Edition, Printed at the office of the Chinese Repository 1856 (Rebound)
€ 1,000 - 1,500
174 LLOYD'S REGISTER OF YACHTS
Published by Lloyds's Register of Shipping, London, 1906, 1907, 1908, 1909, 1911, 1932, 1952, 1979 (8)
Yacht architecture: A Treatise on the laws which govern the resistance of bodies moving in water, propulsion by steam and sail; yacht designing; and yacht building, London, 1891, Horace Cox ‘The Field Office’. Second Edition
€ 200 - 300
177
GEORGE STRONG (1831 - 1915)
Seamanship: including names of principal parts of a ship, Portsmouth, 1897, Griffin & Co., 2, The Hard
€ 300 - 500
178
A FRAMED 19TH CENTURY SILK AND THREAD EMBROIDERED PANEL
depicting a Parrot and Flowers. 52 x 52cm
€ 300 - 500
KEMP, DIXON (1839 - 1899)
Yacht Designing: A Treatise on the Practical application of the Scientific Principles upon which his based The Art of Designing Yachts, London, 1876 Horace Cox ‘The Field Office’.
€ 300 - 500
179 TAXIDERMY
A CASED NATURAL HISTORY DISPLAY,
with an arrangement of parrots and other bird specimens perched on a tree. 80cm wide, 108cm high, 40cm deep
€ 600 - 800
180
A VICTORIAN SILVER MOUNTED EBON WALKING STICK WITH HIDDEN VILE,
the resin handle with inset British half crown, twisting off to reveal a glass vile with cork, the ebon stick with silver collar and terminating in brass tip. 89cm long
€ 400 - 600
181
A BRASS HANDLE WALKING STICK WITH CONCEALED TELESCOPE,
the top twisting off to reveal a hidden internal leather telescope, with simulated rosewood stick. 93cm long
€ 400 - 600
182
A VICTORIAN UMBRELLA WITH SILVER MOUNTED WALNUT HANDLE AND HIDDEN PENCIL
92cm long
€ 400 - 600
183 A ‘HANDS MEASURE’ WALKING STICK,
the angled handle twisting off to reveal internal measuring rod with horizontal arm, used to measure horses height in hands. 98cm long
€ 400 - 600
184 AN EARTHENWARE POTTERY MERCHANTS DISPLAY BUTTER STAND EARLY 20TH CENTURY,
of dished square design, painted inscription to front ‘Pure Butter’, The Dairy Engineering Co., Dublin. 35 x 35 x 6.5cm (H); Together with An earthenware pottery merchants display Cheese Stand of dished and square design, painted to the front ‘Cheese’, G. Rushbrooke, Dublin. 33 x 33 x 7cm high (2)
€ 600 - 800
185
A PINE PIGEON LOFT 19TH CENTURY,
of architectural form, the panelled roof housing five arched pigeon holes, on a rectangular boarded base. 70cm high, 124cm wide, 39cm deep
€ 1,000 - 1,500
186
A RED LACQUER AND GILT-DECORATED RECTANGULAR TABLE 19TH CENTURY,
the moulded top decorated with floral groups and leafy roundels, above a frieze drawer and acanthus capped legs and cabriole hoof feet. 77cm high, 82cm wide, 63cm deep
€ 700 - 1,000
187
WYCLIFFE EGGINGTON (1875 - 1951)
Dartmoor Landscape
Signed
Watercolour, 25 x 35cm
€ 1,000 - 1,500
188
TREVOR CHAMBERLAIN, RSMA, ROI (B.1933)
Greenwich Reach
Signed and dated ‘T Chamberlain 1974’ (lower left)
Watercolour, 21.5 x 31.5cm
Exhibited: The Wapping Group of Artists
€ 400 - 600
190
DAVID COX SR (1783 - 1859)
Cattle Watering
Signed and dated ‘D Cox ‘41’ (lower left)
Watercolour, 15 x 20cm
€ 200 - 300
189
A WHITE-PAINTED BREAKFRONT SECRETAIRE BOOKCASE EARLY 19TH CENTURY, the moulded cornice above plain frieze single glazed door flanked by twin narrow glazed doors separated by trailing bell flowers each opening to a shelved interior above twin cupboard doors flanked by twin cupboards with faux short drawers decorated with bell flower swags each cupboard with oval vignettes containing classical lyres and urns with brass paterae hoop handles the base with fall front secretaire section raised on outset plinth base. 252cm high, 172cm wide, 43cm deep
€ 3,000 - 5,000
191
A PROVINCIAL PALE OAK SIDETABLE, IN THE 17TH CENTURY STYLE, the three plank rectangular top, above a single long drawer above an arcaded front, on bobbin-turned legs joined by a central stretcher. 75cm high, 105cm wide, 54cm deep
€ 600 - 1,000
192
A PAIR OF VICTORIAN GREY PAINTED CAST IRON GARDEN BENCHES, each with arched foliate top rail above openwork back, and pierced seat, scrolling side supports and downswept legs. 110cm wide, 45cm deep, 85cm high
€ 2,000 - 3,000
193
A LONG STRAPWORK GARDEN BENCH 19TH CENTURY, with downswept scroll arms, painted petrol green. 80cm high, 214cm long, 70cm deep
€ 1,500 - 2,000
194
A PAIR OF VICTORIAN CAST IRON TWO SEAT GARDEN BENCHES, of naturalistic design with wooden slatted seat panels and cast iron sides formed knarled wood, painted in dark bluish green. Each 95cm high, 122cm wide, 60cm deep
€ 1,000 - 1,500
195
A FRENCH ORMOLU BRONZE THREE-PIECE CLOCK GARNITURE, 19TH CENTURY, the clock cast with opposing cherubs either side of a fruit fountain, over a circular enamel dial inked with Roman numerals, on a scroll work plinth base, 37cm high x 43cm wide, the assorted two-branch candlesticks with musical cherubs, on black plinth bases, each 26cm high
199 AN IRISH SATINWOOD AND INLAID TABLE BY JAMES HICKS
the serpentine top above a frieze with crossbanded border, centred with inlaid rectangular tablet, raised on square tapering legs with raised banding, stamped ‘J. Hicks’. 82cm high, 117cm wide
€ 800 - 1,200
196
A SILVER PLATED OVAL TWO-HANDLE SERVING TRAY, C. 1940, engraved with presentation to Rev. John Russell 1889-1939, with various signatures verso. 56 x 40cm
€ 200 - 300
197
A FRENCH MAHOGANY AND BRASS MOUNTED THREE-TIER ÉTAGERE, of compact size with figured timber panels and pierced galleries, on turned tapering supports, 72cm high, 36cm wide
€ 400 - 500
198
A FRENCH BURR WALNUT AND GILT-METAL MOUNTED OCCASIONAL TABLE 19TH CENTURY, the circular top with ebonised banding and beaded rim, on fluted tapering centre column arched triform base, 69cm high, 41cm diameter
€ 400 - 600
200
A LOUIS XV STYLE GILT-METAL MOUNTED KINGWOOD AND PARQUETRY BUREAU PLAT LATE 19TH CENTURY, the shaped rectangular top with inset brown felt writing surface and brass mounted rim, above three frieze drawers and opposing false on cabriole legs and sabots. 77cm high, 100cm wide, 60cm deep
€ 1,500 - 2,000
201
River Landscape with Trees
Signed Watercolour, 70 x 95cm
€ 1,000 - 1,500
202
ITALIAN SCHOOL 18TH CENTURY
Sheep and Figures in Wooded Landscape Oil on canvas, 102 x 135cm
€ 1,000 - 1,500
the raised back, seat and out-scrolling arms covered in a soft green damask over a gilt and green painted frieze panel, decorated with flower groups and C-scrolls, on short square legs, 223cm wide
€ 1,000 - 1,500
204
A REGENCY ROSEWOOD AND BRASS INLAID DRUM TABLE,
the circular top with tooled brown leather inset and cast brass rim, fitted with four frieze drawers and four faux drawers, on lotus carved centre column and concave platform base, paw feet. 124cm diameter
€2,500 – 3,500
205 A VICTORIAN WALNUT FRAMED HUMP BACK THREE-SEATER SETTEE, the button back and padded seat upholstered in close nailed tan leather, raised on carved scroll supports and brass castors. Approx. 96cm high, 170cm wide
€ 800 - 1,200
206 AN EDWARDIAN MAHOGANY FRAMED CORNER CHAIR, with single pierced vase shaped splat, raised on slender legs.
€ 100 - 200
207
A PAIR OF STAINED OAK PANEL BACK HALL SETTLES, with angled back and solid panel seat, scrolled arm rests, 96cm high, 92cm wide
€ 200 - 400
208
SPANISH SCHOOL 16TH/17TH CENTURY
The presentation of Jesus to Saint Anna, Saint Joachim and Saint Rose of Lima Oil on canvas, 51 x 81cm
€ 800 - 1,200
209
ITALIAN SCHOOL, 19TH CENTURY
Charting the Route (Christopher Columbus with King Ferdinand and Queen Isabella) Oil on panel, 38 x 57cm
€ 400 - 600
210
A MONUMENTAL IRISH MAHOGANY SERVING TABLE CIRCA 1850, with plain galleried top, the tapering block legs surmounted by acanthus and rosette carvings on robust paw feet 134cm high, 290cm wide, 88cms deep
Provenance: Dowth Hall, Co. Meath
211
DUTCH SCHOOL (19TH CENTURY)
Figures Skating on a Frozen River Watercolour, 18 x 28cm
212
ATTRIBUTED TO WILLEM MARIS (19TH CENTURY)
River Scene
Signed with initials ‘WM’
213
214
A SET OF EIGHT GEORGIAN MAHOGANY FRAMED SHERATON DINING CHAIRS, each with shield backs, above serpentine front seats, raised on square tapering legs and H-stretchers
A LARGE MAHOGANY HUNT TABLE 19TH CENTURY, extending to oval form, raised on reeded block legs. 78cm high, 300cm long
€ 2,000 - 3,000
215
A VICTORIAN INLAID WALNUT WORK TABLE / LADY’S WRITING DESK,
the shaped rectangular hinged top opening to an adjustable gilt tolled green leather scriver with rachet action, fitted with pen and ink wells, above a single frieze drawer, opening to a fitted compartment, above a pull-out work basket, raised on carved trestle supports and turned cross stretcher. 73cm high, 58cm wide, 41.5cm deep
€ 600 - 1,000
A VICTORIAN WALNUT SHAPED OVAL CENTRE TABLE,
the shaped frieze with pierced carved acanthus leaf decoration to either side of each leg, raised on double scroll legs joining to an undertier, on porcelain castors. 70.5cm high, 150cm wide, 116cm deep
€ 1,500 - 2,000
218
216
A WILLIAM IV CARVED GILTWOOD OVERMANTLE MIRROR, of rectangular form, with outset corners over leaf wrapped lateral column, fitted with bevelled glass plate, within reeded ebon slip, flanked by Egyptian caryatides. 120cm high, 150cm wide
€ 1,000 - 1,500
A WILLIAM & MARY WALNUT CHEST ON STAND CIRCA 1700,
the rectangular upper section with moulded cornice above two short and three long graduated drawers, the base fitted with three further drawers, on cupped baluster supports, platform base and bun feet. 150cm high, 100cm wide, 53cm deep
€ 800 - 1,200
219
A SET OF THREE VICTORIAN PELMETS CIRCA 1880, each centred with an oval paterae below foliate scrolling cresting, extending to each side with leaf and dentil moulding, with Greek key end terminals, (x2), 321cm wide and 231cm wide respectively
€ 500 - 800
220
A LATE GEORGE IV ROSEWOOD OCCASIONAL TABLE BY WILLIAMS & GIBTON CIRCA 1830 the circular top above a ring turned column with carved acanthus, on a tripod base and lion’s paw feet with recessed castors, stamped ‘WILLIAMS & GIBTON’, 75 cm high, 60.5 cm diameter
€ 800 - 1,200
221 A PAIR OF POLYCHROME-DECORATED BEDSIDE CABINETS,
MODERN, each with four graduated drawers on bracket feet, 76cm high, 61cm wide, 56cm deep
€ 300 - 500
223
A VICTORIAN MAHOGANY FRAMED CHEVAL MIRROR, fitted with adjustable rectangular plate, on ring turned supports and splayed trestle legs, with brass toe caps and castors. 175cm high, 80cm wide, 80 cm deep
€ 1,000 - 1,500
225
A VICTORIAN BRASS AND WIREWORK NURSERY FENDER, of typical bowfront form, the wirework body with simple swag decoration to top. 138cm wide, 30cm deep, 70cm high
€ 500 - 700
226
224
A REGENCY MAHOGANY ROSEWOOD AND PARCEL GILT CIRCULAR BREAKFAST TABLE, the tilt action top with ebon stringing on a spiral turned central pillar and concave platform base and gilded paw feet. 75cm high, 137cm diameter.
€ 3,000 - 4,000
AN EDWARDIAN BRASS AND LEATHER CLUB FENDER, with angled green leather seat, on tubular upright supports. 198cm wide (exterior)157cm wide (interior)
€ 1,500 - 2,000
230
TWO 19TH CENTURY LEATHER FIRE BUCKETS ONE WITH A PAINTED CREST.
The larger 39cm high, 25cm diameter The smaller 32cm high, 26cm diameter
€ 300 - 500
228
A MAHOGANY TWO DOOR BOOKCASE 19TH CENTURY, with twin brass grille doors, fitted with four shelves, on a chest base with three drawers and cupboard section, between panelled support columns, 252cm high, 134cm wide
€ 400 - 600
229
DUTCH SCHOOL (17TH CENTURY)
A Group of Flowers with a Classical Bust to the side Oil on board, 17.5 x 14cm With ‘Jan Van Kessel’ plaque
Provenance: Dr Marie Theresa Smitz, European Fine Art Gallery, Dublin.
€ 2,500 - 3,000
231
A VICTORIAN CARVED OAK JOCKEY’S SCALES, of rectangular form, with tan leather seat and brass, with six loose weights, on spiral turned legs, 95cm wide x 46cm deep.
€ 500 - 700
233
ALFRED-EMILIEN O’HARA COMTE DE NIEUWERKEEKE (1811 - 1892)
Equestrian portrait of William I, Prince of Orange Bronze, 85cm high
€3,000 – 5,000
234
A PAIR OF FEDERAL STYLE BRASS ANDIRONS, LATE 19TH / EARLY 20TH CENTURY, each with a central column surmounted by an eagle on scroll bases and two short acorn finials issuing a branch on lion’s paw feet, 79.5cm high, 30.5cm wide, 29cm deep
€ 1,200 - 1,800
A STEEL CLUB FENDER WITH FADED LEATHER SEAT. 184cm wide, 54cm high, 55cm deep
€ 1,500 - 2,500
235
AN EARLY VICTORIAN MAHOGANY CIRCULAR GAMES
TABLE,
to seat 6 players with green baze lined centre and countersunk chip wells on a solid baluster centre column and lotus carved down swept legs. 71cm high, 131 cm diameters
€ 1,000 - 1,500
236
A SHERATON STYLE DOUBLE DROP LEAF PEMBROKE TABLE, extending to an oval top with moulded rim, above single frieze drawer with boxwood strung edge, raised on square tapering legs, brass toe caps and castors. 72cm high,59cm wide,101cm long, when closed and 124cm wide when extended
€ 300 - 500
237
A FINE VICTORIAN WALNUT TULIPWOOD AND MARQUETRY INLAID CREDENZA CIRCA 1870, of serpentine outline, the figured top with gilt bronze egg and dart border, floral inlaid frieze above a pair of quarter veneered doors, the uprights with female ormolu mounts and masks, decorated with still life floral groups and enclosing a shelved interior, flanked by glazed side doors, with velvet lined shelved interior, on outset plinth base. 112cm high, 152cm wide
€ 3,000 - 5,000
238
CHARLES BRANWHITE (BRITISH 18171880)
A Summer Evening (1876)
Signed and dated lower right Watercolour, 66 x 116cm
Labelled verso ‘No.1 A Summer evening by the river side, C. Branwhite’, also with Bristol Framers label ‘F.H. Barton, 84 Whiteladies Road, Redland, Bristol’
€ 600 - 800
239
A VICTORIAN STAINED MAHOGANY LONG SERVING TABLE,
the moulded rectangular and carved egg and dart top above a scrolled acanthus frieze, raised on winged lion monopodia legs and paw feet. 98cm high, 250cm wide, 65cm deep
€ 2,000 - 3,000
240
A VICTORIAN COPPER AND LEATHER MOUNTED CLUB FENDER, with raised comer seats covered in red leather, on rail supports with pierced fluted centre panel and spreading base, 145cm wide x 52cm deep x 47cm high
€ 1,200 - 1,800
241
ATTRIBUTED TO ALFRED EDWARD CHALON RA (17801860)
Portrait of the Hon Ms Spalding (19th Century)
Watercolour heightened with white, 32.5 x 21cm (47 x 37.5cm with mount) Signed, dated 1863, and inscribed verso with ‘Portrait of the Hon: Ms. Spalding, only daughter of the Right Hon. John Henry Viscount Templetown’
€ 500 - 800
242
A PAIR OF GEORGE III STYLE MAHOGANY OVAL CENTRE TABLES,
The tray tops with leaf and scroll carved frieze on cabriole legs and claw-andball feet, 70cm high, 114cm wide, 77cm deep
€ 1,000 - 1,500
243
AN IRISH GEORGE III MAHOGANY SIDE TABLE, the frieze decorated with carved circular bosses on square tapering legs decorated in trailing bell flowers. 89cm high, 184cm wide, 65cm deep
€ 1,500 - 2,000
244
JOHN VARLEY O.W.S (1778 - 1842)
Harlech Castle and Snowdonia
Watercolour on paper layed down on card, 10.5 x 25cm
€ 1,500 - 2,500
245 A PAIR OF AFRICAN CARVED WOOD FIGURAL STOOLS, probably Cameroon, each of circular shape with dished seat supported by standing figures, 51cm high, 51cm diameter
€ 300 - 500
246
AN IRISH GEORGE II MAHOGANY SIDE TABLE,
the rectangular moulded top over a long frieze drawer fitted with brass handles and escutcheons, plain dipped apron and carved cabriole legs terminating in leafy club feet, 76cm high, 106cm wide, 59cm deep
€ 1,000 - 1,500
247
AN IRISH GEORGE III MAHOGANY SIDE TABLE, the shaped rectangular cavetto top on square chamfered legs. 72cm high, 82cm wide, 51cm deep
€ 600 - 800
Day II 15 th October Live Auction 11am
Auction 14th & 15th October 2024
Country House Collections
Viewing at Townley Hall, Drogheda, Co. Louth, Ireland Auction at 26 St Stephen’s Green, Dublin.
Monday 14th (Timed Online) & Tuesday 15th (Live) October 2024
ONLINE-ONLY AUCTION (LOTs 1 - 247)
Bidding opens 27th September
Auction begins to close Monday 14th Oct from 3.00pm WWW.ADAMS.IE
No Collections on this Day
LIVE AUCTION (LOTs 301 - 755)
Tuesday 15th October at 11am
At 26 St Stephen’s Green, Dublin 2
No Collections on this Day
OCTOBER 12 TH - OCTOBER 14 TH
Saturday 12th October 11.00am - 5.00pm
Sunday 13th October 11.00am - 5.00pm
Monday 14th October 10.00am - 5:00pm
Wednesday 16th October 10.00am - 5.00pm Thursday 17th October 10.00am - 5.00pm
After this time, uncollected items will be brought to commercial storage and carriage and storage charges will apply.
EMAIL info@adams.ie
TELEPHONE + 353 (0)1 676 0261 FOR ONLINE REGISTRATION AND BIDDING GO TO WWW.ADAMS.IE
James O’Halloran BA FSCSI FRICS DIRECTOR j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS MANAGING DIRECTOR s.cole@adams.ie
Nathaniel Nicholson BBS ASSOCIATE DIRECTOR HEAD OF VALUATIONS n.nicholson@adams.ie
Amy McNamara BA MA ASSOCIATE DIRECTOR amymcnamara@adams.ie
Weronika Kocurkiewicz BA MA FINE ART ADMINISTRATOR weronika@adams.ie
Accounts
Eamon O’Connor BA FINANCIAL DIRECTOR e.oconnor@adams.ie
adams.auctioneers
Adam’s Auctioneers @Adams1887 Adams Auctioneers
Conor Barry BA FINE ART DEPARTMENT conor@adams.ie
Stephanie Brennan BA MPhil FINE ART ADMINISTRATOR stephanie@adams.ie
Niamh Corcoran BA FINE ART DEPARTMENT niamh@adams.ie
Adam Pearson BA SALEROOM CURATOR adam.pearson@adams.ie
Ronan Flanagan HDip WAREHOUSE MANAGER r.flanagan@adams.ie Telephone
(0)1 676 0261
Go to www.adams.ie. Choose the auction you wish to view from the Auctions/Forthcoming auctions menu, and you will be offered a range of ways to view. You may choose to view a digital version of the printed catalogue in the view e catalogue option or explore the virtual 3D option which allows you explore the saleroom with easy to navigate options or view the list view which opens automatically. This last option provides additional information and photographs of each lot as you choose the View Details button. Lastly, and only during office hours, there is a live chat button onscreen. If at any time you have a question whilst you are online, you can open a live chat and one our staff can help you.
Circular navigation points allow you to walk around the viewing room
Information points provide ‘point and click‘ details on lots in view
We are delighted to advise that our own on-line bidding platform, Adam’s Live, is now fully operational for those who wish to bid online and watch the auction as it happens. On the Live platform you can arrange to bid as the auction is taking place or at any time leave comission bids and the Adam’s Live platform will bid on your behalf.
Bidding through this portal will attract no additional internet surcharge for lots purchased so in effect those bidders will pay the same as a room bidder. Online bidding through the-saleroom.com and invaluable.com remains unaffected.
Sign up today for your own My Adam’s account and start saving on your on-line purchases.
Log on to our web site www.adams.ie and create an account by signing up and registering your particulars online. The process involves supplying valid credit card information. This is a once off request for security purposes, and once the account is activated you will not be asked for this information again. The card information supplied is securely stored by Sage Pay. You can leave absentee bids online, and add, edit or amend bids accordingly as well as bidding over the internet in real time through ‘Adam’s Live’. You can also view your invoices, bid history, wish lists & other useful functions including paying your invoice and creating you very own personalised catalogue with search tags that will notify you once a catalogue is uploaded for your key word search.
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 relevant 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 Catalogue Explanation contained in condition 2.
1. In these conditions the following words and expressions shall have the following meanings:
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 authorship, 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 contribution 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 Auctioneer 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.
GENERAL CONDITIONS
Auctioneer Acting as Agent
3. The Auctioneer is selling as agent for the seller unless it is specifical-
ly stated to the contrary. 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 Buyer
4. 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 Auctions
5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admission to its premises or attendance at its auctions by any person.
Acceptance of Bids
6. 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.
Indemnities
7. Any indemnity given under these conditions shall extend to all actions, proceedings, 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 employees, servants or agents to the extent that such indemnity is expressed to be for their benefit.
Representations in Catalogues
8. 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 Law
10. These conditions shall be governed by and construed in accordance with Irish Law.
Notices
11. 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.
The Buyer
12. 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 Commission
13. The buyer shall pay the Auctioneer a commission at the rate of 20% of the Hammer Price, exclusive of VAT at the applicable rate on all individual lots.
Payment
14. 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 accept 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 Title
15. 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 Purchases
16. The buyer shall at his own expense collect the Lot purchased not later than seven (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
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 Lots
17. 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 Lots
18. 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 expenses 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 purchased 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 whether at 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 Seller
19. 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, servants 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. Forgeries
20. 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 generally 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.
Photographs
21. 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.
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.
Auctioneer’s Discretion
23. With regard to the sale of any Lot the Auctioneer shall have the following powers exercisable solely in the discretion of the Auctioneer:
(i) To decide whether to offer any Lot for sale or not;
(ii) To decide whether a particular Lot is suitable for sale by the Auctioneer and, if so, to determine which auction, the place and date of sale, the conditions of sale and the manner in which such sale should be conducted;
(iii) To determine the description of any Lot in a Catalogue.
(iv) To decide whether the views of any expert shall be obtained and to submit Lots for examination by any such experts.
(v) To determine what illustration of a Lot (if any) is to be included in the Catalogue.
Seller’s Warranty and Indemnity
24. The seller warrants to the Auctioneer and to the buyer that he is the true owner of the Lot or is legally authorised to sell the Lot on behalf of the true owner and can transfer good and marketable title to the Lot free from any third party claims. As regards Lots not held by the Auctioneer on its premises or under its control the seller warrants and undertakes to the Auctioneer and the buyer that the Lot will be available and in a deliverable state on demand by the Auctioneer or buyer. The seller shall indemnify the Auctioneer and the buyer or any of their respective employees, servants or agents against any loss or damage suffered by any of them in consequence of any breach of the above warranties or undertakings by the seller.
Reserves
25. Subject to the Auctioneer’s discretion, the seller shall be entitled prior to the auction to place a reserve on any Lot. All reserves must be agreed in advance by the Auctioneer and entered on the Sale Order Form or subsequently be confirmed in writing to the Auctioneer prior to auction. This also applies to changes in reserves. A reserve may not be placed upon any Lots under €150 in value. The reserve shall be the minimum Hammer Price at which the Lot may be sold by the Auctioneer. A reserve once in place may only be changed with the consent of the Auctioneer. A commission shall be charged on the ‘knock-down’ bid for Lots which fail to reach the reserve price. Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT payable thereon must be paid before removal of the Lot after the auction. The minimum commission hereunder shall be €50. The Auctioneer may in its sole discretion sell a Lot at a Hammer Price below the reserve thereon but in such case the Proceeds of Sale to which the seller shall be entitled shall be the same as they would have been had the sale been at the reverse. Unless a reserve has been placed on a Lot in accordance with the provisions set out above such Lot shall be put up for sale without reserve. In the event that any reserve price is not reached at auction then for so long as the Lot remains with the Auctioneer and to the extent that the Lot has not been re-entered in another auction pursuant to condition 31 the seller authorises the Auctioneer to sell the Lot by private treaty at not less than the reserve price. The Auctioneer shall ensure that in such a case those conditions herein which concern mainly the buyer shall, with any necessary modification, apply to such sale.
26. The Seller shall pay the Auctioneer commission at the rate of 10% on the Hammer Price of all Lots sold on behalf of the seller at Irish Art Sales and 17.5% on all other Sales together with VAT thereon at the applicable rate. Minimum charges are detailed below. The seller authorises the Auctioneer to deduct from the Hammer Price paid by the buyer the Auctioneer’s Commission under this condition; VAT payable at the applicable rates and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that the Auctioneer may also receive commission from the buyer pursuant to condition 13.
Minimum Charges: Each individual lot is subject to a minimum fee of €3.00 plus VAT, with a minimum charge per account of €50.00 plus VAT.
27. Unless otherwise instructed by the seller, all Lots (with the exception of motor vehicles) deposited with the Auctioneer or put under its control for sale shall automatically be insured by the Auctioneer under the Auctioneer’s own fine arts policy for such sum as the Auctioneer shall from time to time in its absolute discretion determine. The seller shall pay the Auctioneer a contribution towards such insurance at the rate of 1.5% of the Hammer Price plus VAT. If the seller instructs the Auctioneer not to insure a Lot then the Lot shall at all times remain at the risk of the seller who undertakes to indemnify the Auctioneer and hold the Auctioneer harmless against any and all claims made or proceedings brought against the Auctioneer of whatever nature and howsoever and wheresoever occurring for loss or damage to the Lot. The sum for which a Lot is covered for insurance under this condition shall not constitute and shall not be relied upon by the seller as a representation, warranty or guarantee as to the value of the Lot or that the Lot will, if sold by the Auctioneer, be sold for such amount. Such insurance shall subsist until such time as the Lot is paid for and collected by the buyer or, in the case of Lots sold which are not paid for or collected by the buyer by the due date hereunder for payment or collection such due date or, in the case of Lots which are not sold, on the expiry of seven (7) days from the date on which the Auctioneer has notified the seller to collect the Lots.
Illustration Charges:
27a. Catalogue illustrations are included at the discretion of the Auctioneer. Illustration charges will be calculated on the particular category of sale. These charges are subject to change. Irish art sale illustrations: €150.00 full page, €100.00 half page, €50 all other sizes. Fine art illustrations: Scaled fee €100.00 for lots sold for €3,000.00 hammer price & over, €50.00 for lots sold under €3000.00 hammer price. Contemporary picture illustrations: €25.00 per illustration. All lots illustrated and not sold are charged at €25.00 per illustration.
Recision of Sale
28. If before the Auctioneer has paid the Proceeds of Sale to the seller the buyer proves to the satisfaction of the Auctioneer that the Lot sold is a Forgery and the requirements of condition 20 are satisfied the Auctioneer shall rescind the sale and refund to the buyer any amount paid to the Auctioneer by the buyer in respect of the Lot.
Payment of Proceeds of Sale
29. The Auctioneer shall remit the Proceeds of Sale to the seller not later than thirty (30) days after the date of the auction, provided however that, if by that date, the Auctioneer has not received the Total Amount Due from the buyer then the Auctioneer shall remit the Proceeds of Sale within seven (7) working days after the date on which the Total Amount Due is received from the buyer. If credit terms have been agreed between the Auctioneer and the buyer the Auctioneer shall remit to the seller the Proceeds of Sale not later than thirty (30) days after the date of the auction unless otherwise agreed by the seller. If before the Total Amount Due is paid by the buyer the Auctioneer pays the seller an amount equal to the Proceeds of Sale then title to the Lot shall pass to the Auctioneer. If the buyer fails to pay the Auctioneer the Total Amount Due within fourteen (14) days after the date of the auction, the Auctioneer shall endeavour to notify the seller and take the seller’s instructions on the course of action to be taken and, to the extent that it is in the sole opinion of the Auctioneer feasible, shall endeavour to assist the seller to recover the Total Amount Due from the buyer provided that nothing herein shall oblige the Auctioneer to issue proceedings against the buyer in the Auctioneer’s own name. If circumstances do not permit the Auctioneer to take instructions from the seller or, if after notifying the seller, it does not receive instructions within seven (7) days, the Auctioneer reserves the right, and is hereby authorised by the seller at the seller’s expense, to agree special terms for payments of the Total Amount Due, to remove, store and insure the Lot sold, to settle claims made by or against the buyer on such terms as the Auctioneer shall in its absolute discretion think fit, to take such steps as are necessary to collect monies due by the buyer to the seller and, if necessary, to rescind the sale and refund money to the buyer.
Payment of Proceeds to Overseas Sellers
30. If the seller resides outside Ireland the Proceeds of Sale shall be paid to such seller in Euro unless it was agreed with the seller prior to the auction that the Proceeds of Sale would be paid in a currency (other than Euro) specified by the seller in which case the Proceeds of Sale shall be paid by the Auctioneer to the seller in such specified currency (provided that that currency is legally available to the Auctioneer in the amount required) calculated at the rate of exchange quoted to the Auctioneer by its bankers on the date of payment. All payment instructions must be in writing.
Charges for Withdrawn Lots
31. Once catalogued. Lots withdrawn from sale before proofing/publication of Catalogue will be subject to commission of 5% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. If Lots are withdrawn after proofing or publication of Catalogue they will be subject to a commission of 10% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. All commission hereunder must be paid for before Lots withdrawn may be removed.
LOTs 301- 755
26 sT sTEph EN’s grEEN, DUBLIN 2 TUEsDAY 15Th OCTOBEr AT 11AM
301
A PAIR OF VICTORIAN CAST IRON PLANTERS,
in the form of miniature troughs, painted light blue, raised on paw feet. 26cm high, 70cm wide, 36cm deep,
€ 400 - 700
302
A LONG STRAPWORK GARDEN BENCH BY BAYLISS JONES & BAYLISS WOLVERHAMPTON 19TH CENTURY with downswept scroll arms, painted petrol green. 80cm high, 214cm long, 70cm deep
€ 1,000 - 1,500
303
A PAIR OF LARGE VICTORIAN BLACK PAINTED STREET LAMPS,
each with heavy fluted centre column, surmounted with glass panelled lantern, on octagonal plinth base. 370cm high
€ 1,500 - 2,000
304
A PAIR OF LARGE VICTORIAN BLACK PAINTED STREET LAMPS,
each with heavy fluted centre column, surmounted with glass panelled lantern, on octagonal plinth base. 330cm high
€ 1,500 - 2,000
AN ENGLISH LIMESTONE MODEL OF A YOUNG WOMAN, 18TH/19TH CENTURY IN THE MANNER OF JOHN CHEERE
holding a pheasant over her right shoulder, on an integral rectangular base. 155cm high
€ 6,000 - 8,000
307
A VICTORIAN CAST IRON MODEL OF A WINGED LION,
32cm high
€ 300 - 500
308
A SET OF FOUR EARLY CAST IRON PLANTERS 20TH CENTURY,
each designed as small troughs, raised on spreading foot, painted green. 22cm high, 59cm wide, 32cm deep
€ 1,000 - 1,500
306
NATURAL HISTORY SPECIMEN
A small half-clam Shell (Tridacna Gigas). 41.5cm wide, 28cm deep
€ 300 - 500
309
A CAST IRON WEATHER VANE DEPICTING SILHOUETTES OF A HUNTER AND HIS HOUND IN PERSUIT OF A RABBIT.
57cm high, 80cm wide,
€ 500 - 800
the two graduated basins with outturned egg and dart rims, supported on central fluted baluster column, raised on tri-form cast dolphin base. c.230cm high, 115cm diameter
€ 5,000 - 8,000
fine natural history specimens.
One example: 35cm high, 50cm deep, 82cm wide Second example: 33cm high, 56cm deep, 85cm wide;
together with white painted pedestal bases, 62cm high, 47cm wide, 47cm deep
€ 3,000 - 4,000
312
A PAIR OF WHITE PAINTED GARDEN SEATS WITH CONVULUS FLOWER DECORATED BACKS,
with timber slatted seats. Each 88cm high, 134cm wide, 72cm deep
€ 2,000 - 3,000
314 A VICTORIAN WHITE PAINTED ‘LOVERS’ GARDEN BENCH,
with central oval back, flanked by pierced downswept backs, above grill pattern seat, raised on six legs. 82cm high, 139cm wide, 62cm deep
€ 800 - 1,200
313 A PAIR OF VICTORIAN CAST IRON GARDEN BENCHES, ATTRIBUTED TO COALBROOKEDALE
the pierced back decorated with oak and ivy leaf composition with robust armrests with animal heads, timber slatted seats and oak leaf apron and splayed legs. 95cm high, 150cm wide, 78cm deep
€ 2,000 - 3,000
315 AN IRISH VICTORIAN GREEN PAINTED CAST IRON GARDEN BENCH BY PIERCE OF WEXFORD
the open gallery back with central cartouche, with scroll armrests, slatted seats, raised on splayed legs and hoof feet. 96cm high, 119cm wide, 62cm deep
€ 1,000 - 1,500
316 A PAIR OF BLACK PAINTED CAST IRON HOUNDS,
both seated, one with game at its feet, the other with a collar, raised on oval bases. 90cm wide, 94cm high, 46cm deep
€ 3,000 - 5,000
BY FRANCIS DORRELL LONDON CIRCA 1770,
the dome-top case with brass swing handle, above an arched glazed panel door with fretwork spandrels, enclosing a gilt brass dial brass with silvered chapter ring, Arabic numerals and outer minute track, date and winding apertures, on plinth base
€ 1,500 - 2,000
318
A GEORGE III CARVED MAHOGANY GAINSBOROUGH ARMCHAIR,
with upholstered back and seat covered in a taupe fabric, on shell-capped cabriole legs and hairy paw feet, 98cm high, 85cm width.
€ 2,000 - 3,000
319
PAOLO DE MATTEIS (1662-1728)
Cain and Abel, Circa 1690 Oil on canvas, 96 x 128cm
Provenance: Earl of Erne, Crom Castle
€ 4,000 - 6,000
320 A GEORGE III MAHOGANY SERPENTINE KNEEHOLE DESK C.1760,
the shaped quarter veneer top above an arrangement of nine short drawers around a recessed cupboard, with fluted angular corners and bracket feet, 82cm high, 125cm wide, 62cm deep.
€ 4,000 - 6,000
322 AN IRISH MAHOGANY GAINSBOROUGH OPEN ARMCHAIR ATTRIBUTED TO BUTLER OF DUBLIN LATE 19TH CENTURY
the padded back, arms and seat recovered in Paisley pattern cut velvet, the carved eagle head arm terminals on conforming cabriole legs and claw-and-ball feet, 104cm high, 71cm wide, 70cm deep
€ 2,000 - 3,000
321
upholstered in tan leather, raised on turned mahogany feet and brass casters. 78cm high, 103cm deep
€ 400 - 600
323 A GEORGE III MAHOGANY GAINSBOROUGH OPEN ARMCHAIR,
the rectangular padded back, seat and armrests, covered in a moss green floral damask, with relief carved foliate arm supports and acanthus capped cabriole legs, ending with claw-and-ball feet. 100cm high, 70cm wide
€ 1,500 - 2,000
ATTRIBUTED TO THOMAS HICKEY (1741-1824)
Portrait of Mrs Moore of Barne, Lady Barne, half-length in lace collared dress, with elaborate feathered hat, before a landscape with trees
Oil on canvas, 75 x 62cm
Framed applied with plaque ‘Mrs Moore Barne - Born 1741 - Died 1783
€ 1,500 - 2,000
A group portrait of Stephen, first Earl and Helen, Countess of Mountcashel with their four children is attributed to the renowned portrait and landscape painter, Thomas Hickey. The scene is referenced and reproduced in The Painters of Ireland c. 1660-1920, a seminal illustrated history of Irish painting. An individual portrait of Henrietta Moore of Barne, cousin to the Mountcashel family, has also been attributed to Hickey. A later portrait of Henrietta painted by John Astley can be found in the same book as Hickey’s portrait of the Mountcashels, cementing this extended family’s historical role as patrons of important Irish artists. Hickey’s rendition captures Henrietta in her youth, whilst Astley’s depicts her as a grown woman. Astley also separately painted her husband’s portrait, Richard Moore of Barne. The two portraits of Henrietta draw focus to the attire of the sitter, reflecting her knowledge and pursuit of contemporary styles and trends. The reference to Astley’s portrait of Henrietta and to Hickey’s portrait of the Mountcashels in this seminal account of prolific Irish painters, together with Hickey’s earlier rendition of Henrietta’s portrait, underscores the significance of the Irish aristocracy in participating in and sustaining a web of patronage that supported and shaped the trajectory of Irish art throughout this period.
of shaped rectangular form, with canted corners, the top inset with tooled green scriber, raised on trestle supports. 66cm high, 157cm wide, 89cm deep
€ 2,000 - 3,000
327
AN IRISH GEORGE II STYLE SIDE CHAIR CRAFTED BY HICKS OF DUBLIN FOR SIR STANLEY STOKER LATE 19TH CENTURY,
the pierced vase shape splat above a drop in seat, cabriole legs and clawand-ball feet. 103cm high
€ 250 - 350
One of six copies made to expand the 18th century set in Ely House,
326
A MAHOGANY BRASS BOUND CELLARETTE ON STAND 19TH CENTURY
of hexagonal form, the hinged lid opening to a compartmented interior, with twin brass loop handles, raised on four legged stand with brass toe caps and castors. 63cm high, 49cm wide
Provenance: Lissadell House, Sligo
€ 300 - 500
328 A WILLIAM IV PALE MAHOGANY LARGE CELLARETTE CIRCA 1830,
of sarcophagus form, the hinged lid with reeded rim opening to reveal a fitted interior with brass side carrying handles raise on carved paw feet. 55cm high, 65cm wide, 52cm deep
€ 600 - 1,000
329
A GEORGE III MAHOGANY TILT TOP WINE TABLE,
the circular dished top, on bird cage action and raised on turned centre pillar with a tripod base and castors. 89cm high, 70cm diameter
€ 1,000 - 1,500
A REGENCY GILTWOOD CONVEX MIRROR,
surmounted by a carved eagle perched on a bracket supported by acanthus leaves, the convex mirror within an ebony slip with beaded border. 107cm high, 68cm wide
€ 1,000 - 1,500
331
A PAIR OF EDWARDIAN SATINWOOD SIDE CABINETS OF REGENCY STYLE,
the bowfront twin doors with cloth backed wire radial decoration, flanked by ebonised and gilded columns and quadrant ends with faux book fascia, raised on giltwood paw feet, 85cm high, 162cm wide, 33.5cm deep
€ 2,000 - 3,000
332
AN IRISH GEORGE III MAHOGANY AND MARQUETRY LONG CASE CLOCK BY WILLIAM ROSS CORK CIRCA 1770
the arched hood, swan neck pediment and brass finial over a glazed panel door, enclosing a brass and silver dial with two subsidiary dials, and roman and Arabic numerals, below a silvered roundel inscribed ‘Tempus Fugit’ over a waisted
333
A PAIR OF IRISH GEORGE IV MAHOGANY OPEN LIBRARY ARMCHAIRS CIRCA 1825 IN THE MANNER OF WILLIAMS & GIBTON
each covered in dark green hide, with angled back and downswept scrolling armrests, on arched legs and brass castors. 100cm high, 70cm wide, 76 cm deep
€ 3,000 - 5,000
334
A SET OF FOUR GEORGE III CREAM AND PARCEL GILT OPEN ARMCHAIRS CIRCA 1780,
each rectangular back and seat covered in a soft red patterned damask, the support frame decorated with harebells, rosettes and acanthus in gilt, on spiral fluted tapering legs and foliate foot, 88cm high, 63.5cm wide
€ 2,000 - 4,000
A LOUISE XVI STYLE ORMOLU FIGUREAL THREEPIECE CLOCK GARNITURE SIGNED OUDIN, MARSEILLE,
the clock in the form of a starry night globe supported by three putti on a breccia marble column base with applied ormolu swags and gilt metal feet, the three-light candlesticks formed as roses growing from a basket held up by cherubs, on conforming marble bases.
The clock 36cm high
€ 1,000 - 1,500
336
A REGENCY EBONY INLAID MAHOGANY ROSEWOOD CIRCULAR BREAKFAST TABLE,
decorated with brass scrolls on a ribbon band with triangular centre column and concave platform base. 78cm high, 140cm diameter
€1,500 – 2,000
A Celtic limestone fragment, carved on the angle, with sunken eyes, open mouth and broad nose
Provenance: Removed from a stone wall in Slane, Co. Meath and later sold at auction. 20cm high, 23cm wide
€ 600 - 800
an Irish limestone carving of a male head, bearded, with arched brows and counter sunken eyes, flattened back panel, 26cm high
Provenance: Acquired by the present owner by descent, originally discovered in a stone wall, Mohill Co. Cavan
€ 800 - 1,200
Probably a Celtic limestone head, 1st-4th century, carved with flattened profile, with protruding eyes, broad nose and downturned mouth, 17cm high, 15cm wide with attachment hole verso
Provenance: Reputedly found during the demolition of a wall outside the town of Ballyshannon, then acquired at auction in the 1960’s
€ 800 - 1,200
A Celtic carved granite head, carved in the round with arched brows, protruding eyes and cheekbones, 23cm high
Provenance: Discovered locally in Ramelton, Co. Donegal and acquired by the current owner’s family during the 1920s.
€ 1,000 - 1,500
342
AN ANCIENT CELTIC BOULDER CARVING,
of irregular shape, carved in shallow relief with entwined Celtic ornament, 27cm high, 40cm wide, 45cm deep
€ 800 - 1,200
carved in relief with furrowed brow and sunken eyes, deep open mouth, flat back, 19cm high
€ 800 - 1,200
probably of late 18th/early 20th century, boldly carved with interlaced Celtic scrolls on a flattened limestone panel. 32cm high, 62cm wide
€ 400 - 600
345
A PAIR OF BRASS SIGNAL CANNONS ON TIMBER CARRIAGES,
c.65cm long; barrel 49cm long
€ 800 - 1,200
347
344
A CARVED OAK LARGE PANEL,
of rectangular outline, with moulded cornice surrounding acanthus leaves centred by a crest and painted shield with motto AUDACES FORTUNA JUUAT belonging to the Barron Family. 72cm high, 105cm wide
€ 600 - 1,000
346
AN 18TH CENTURY BRONZE MINIATURE MORTAR CANNON ON OAK CARRIAGE,
inscribed ‘VINGNES DIT TOULOUZAIN’ dated 1737, cast in two stages, the touch-hole with scallop shell wind cover arched handle and cylindrical trunnion, the bronze, 14cm long, the carriage. 24cm long, 14.5cm deep
€ 2,000 - 3,000
A BRASS MORTAR CANNON 19TH CENTURY,
the open cylindrical body surmounted with angular handle and touch-fuse supported on an oak carriage. 30cm long
€ 1,500 - 2,000
The mortar is a short gun that fires bombs, hollow spherical projectiles made of cast iron and filled with black powder. The bomb is pierced with a hole, the eye, into which a fuse is inserted which, like that of shells, communicates the fire inside the bomb to allow it to explode. Unlike cannons which fire directly at the walls, the trajectory of the bomb fired by the mortar is curved, which allows it to pass over the ramparts.
similar to 15 x 40 with no marking, raised on an adjust able tripod by Hall Bros., with a fitted case. 69.5cm long
With original authorisation from the ‘Advance Echelon Far East Air Forces’, 16 Nov 1945, permitting Major AC John J Driscoll “to retain in his possession and transport 1 Japanese Telescope”. Signed for the Assistant Chief of Staff
€ 5,000 - 7,000
349
A GEORGE II FLAT CARVED GILTWOOD MIRROR,
the shaped bevelled glass plate contained within a leaf carved frame with scrollwork pediment, 125cm high x 67cm wide
€ 2,000 - 3,000
350 A FINE IRISH GEORGE III MAHOGANY TEA TABLE,
with rectangular fold over top with rounded corners, plain interior over a masked frieze, carved in shallow relief, foliate scrolls and rosettes on leaf capped cabriole legs, claw and ball feet. 75cm high, 91cm wide, 45cm deep
€ 3,000 - 5,000
351
AN IRISH GEORGE III PAINTED SATINWOOD DEMILUNE SIDE TABLE,
the shaped top painted with a group of summer flowers within an ebonised banding decorated with chinoiseries, repeated to the frieze, on square tapering legs painted with trails of ribbon tied bellflowers, banded feed, 84cm high, 128cm wide, 52.5cm deep
€ 3,000 - 5,000
The Peasant’s Sunday Dinner; Domines Outside the Black Swan
One signed lower left and with Christie’s label (detached)
A pair, oil on canvas, each 54.5 x 46cm,
Provenance: Charles Edward Gee Boldero Barnard, Cave Castle, South Cave, York; ‘Pictures by Old Masters, the Property of Mrs Barnard, late of Cave Castle, South Cave, East Yorks’, Christies, June 12 1925, lot 111 and lot 112; Anthony Barbieri Fine Paintings, London, where purchased 1984; thence by descent
Literature: C. Reginald Grundy, James Ward R.A., 1909, p.49 (Study For the Figure in the Peasant’s Sunday Dinner, From the collection of the Honble. John Ward, M.V.)
With accompanying typed note detailing cataloguing and provenance including an entry from Mr. Boldero Barnard’s diaries, April 23rd 1845 in which he remarks on James Ward’s visit to Cave Castle to view the two pictures.
Charles Edward Gee Boldero Barnard (1822 - 1894) who was the son of Edward William Barnard and his wife Philadelphia Wrangham. The Barnard family were Hull merchants who can trace the line back to the late sixteenth century. Multiple sons along the line of descendants became, became mayors of Hull. As with other landed families, the Barnards transformed the rural landscape into which they bought. Cave Castle is a determinedly unique piece of architecture being baronial on a grand scale. Henry Boldero Barnard left his distinct mark when in the late 1790s he designed a market hall in the Market Place with a school above it. Following their systematic programme of rebuilding in one half of South Cave, it turned the village there into a mock-Tudor, almost model-village with very distinctive half-timbered houses which still exist today. (Pevsner & Neave, York and the East Riding, pp.700-1). Charles Edward Gee Boldero Barnard married Sophia Letitia Barnard, the daughter of Andrew Godfrey Stuart of Lisdhu, County Tyrone, the younger son of the Earl of Castlestuart. They had three children: Sophia Isabel who was born and died on 14 January 1867, a son who was born and died on 25 April 1868 and Ursula Mary Florence who was born on 4 July 1869. Charles Barnard died in 1894 and followed by his wife in 1910. She left her estate in the hands of trustees for her sole surviving daughter, Ursula, who lived at Cave Castle with her mother until that time. Ursula Barnard continued living at the estate before moving to Bournemouth in 1925, and tried to sell the South Cave estate at that time. It eventually sold in 1938 after her death, ending the Barnard line. The trustees sold all the art works, furniture and objets d’arts, leaving Cave Castle to transfer into new hands. It has since had several owners and is now a golf club.
€ 3,000 - 5,000
352
HENRY CHARLES WOLLETT (CIRCA 1826-1893)
Farmyard Horses with Domestic Fowl Oil on canvas, 41.5 x 59cm Signed
€ 300 - 500
353
AN 18TH CENTURY IRISH MAHOGANY SIDE
TABLE, the rectangular top with moulded rim, above plain shaped apron with central carved shell, raised on cabriole legs and paw feet. 140cm wide, 66cm deep, 70cm high
€ 4,000 - 6,000
A GEORGE III MAHOGANY BREAKFRONT BOOKCASE,
the moulded cornice surmounted by a pierced scrollwork pediment, above four cabinet astragal doors with curtains and slender horizontal brass rails, opening to reveal shelved interior, the bottom section with four panelled cupboard door, raised on platform base. 254cm high, 288cm wide, 53cm deep
€ 5,000 - 7,000
A FINE PAIR OF GEORGE III MAHOGANY CONCERTINA ACTION FOLDING TOP CARD TABLES, MID 18TH CENTURY,
each with hinged fold over top enclosing a later maroon baise lined interior above an entrelac and rosette moulding and a plain frieze with gadrooned edge on cabriole legs with carved canthus and claw and ball feet. 74cm high, 92cm wide, 44.5cm deep, 86cm open
€ 30,000 - 40,000
The design of these tables reflects the style popularised by Thomas Chippendale in The Gentleman and Cabinet-Maker’s Director, first published in 1754, as well as by other notable cabinetmakers of the period. Among them were William Bradshaw and Paul Saunders, who, from their Soho Square workshop, supplied a suite of furniture, including armchairs, settees, and card tables, for Holkham Hall, Norfolk, in 1757. It is believed they also provided furniture for Longleat, Wiltshire, around 1754, featuring prominently carved foliage and strapwork scrolls, similar in style to the tables offered here.
Comparable examples, such as those from the collection of J.S. Sykes, are documented in R.W. Symonds’ Masterpieces of English Furniture and Clocks (London, 1940, p. 31, fig. 23; and p. 43, fig. 130). One of these tables was previously owned by the renowned collector Percival Griffiths and, after being sold from the Sykes collection, passed into the hands of Christopher Joll Esq. and subsequently Simon Sainsbury. Most recently, this table was sold from the Sainsbury Collection at Christie’s, London, on 11 September 2008, lot 210, achieving a price of £67,250 (including premium).
A closely related pair to this lot sold in Christies London 19 May 2016 (price realised £116,500)
Two Views of the Barne Estate, Co. Tipperary A pair, oil on canvas, each 46 x 68.5cm
€ 10,000 - 15,000
The Barne Estate, thought to have been established between 1710 and 1750 sits proudly in the abundant countryside setting of the Golden Vale in South County Tipperary. The stately home potentially incorporates an earlier 17th century abode and further evolved in the 19th century to reflect more continental sensibilities with a French château-style pitched roof. Today, it remains a commanding presence on the gentle rolling hills between the historic towns of Clonmel and Cahir, complete with 631 acres of fertile farmland and a feature lake.
Large three storey house, early 18th century, with eleven bays, with the last two on each side projecting forwards. The centre features a front-piece of paired doric columns and entablature, surmounted by an aedicule of two engaged ionic columns and a pediment framing the central first-floor window. The roof was replaced in the 19th century with a high-pitched French chateau style roof with dormers. (Burkes’ Guide to Country Houses, p. 32)
The Barne Estate is the former residence of the Moore family, under whom it has flourished for the past three hundred years. The Moore family was established in Clonmel from the early 17th century, with Richard Moore, a former glover arriving from Barnstaple, Devon in circa 1654. Moore made his wealth as a land agent and sheep farmer when wool was an asset and from there expanded through political appointments with financial favours from the Crown. This led to him becoming a prominent local figure as the High Sheriff in Waterford in circa 1666 and Tipperary in circa 1676. The Moore family became the local political force, replacing the Dukes of Ormond who had been the established rulers in that geographical area. Richard Moore’s lineage continued through his sons Stephen, who lived at Barne Estate and Thomas who resided at nearby Chancellorstown.
The origin of Moore’s wealth as a landed sheep farmer and wool merchant can be traced to the roaring wool trade of Waterford, dating back to the Middle Ages of which Richard Moore profited. This is strongly acknowledged in this pair of 18th century landscape paintings. Both aspects of the house feature a flock of ewes peacefully residing on the lawns directly before the building. The idea of a ‘lawn’ as we understand it now with cropped grass was a relatively new concept dating to the 18th century, popularised by landscape designers such as William Kent (1685-1748) Lancelot ‘Capability’ Browne (1716-1783). Sheep were usually found past the ha-ha maintaining the sward but as the Barne estate never had such a division as a ha-ha it is likely that the flock would have been quite free to roam the immediate grounds to trim the herbage. We should note that it is likely that the artist is acknowledging the importance of the sheep as a major contributing factor to the Moore’s success by placing them prominently in the midground in both artworks. The oblique view of the
house in particular, with the gentle peak of Slievenamon rising from the trees serves to further this image of the bucolic idyll.
Landscape painting as we see it here was popularised in Ireland in the 18th century by leading figures such as Robert Crone (fl.1718-1779), John Butts (1728-1764), George Mullins (fl.17561765) and William Ashford (1746-1824). The ‘Grand Tour’ expeditions exposed Irish and British artists to the Grand Masters of the Continent, heavily influencing their approach to an Irish landscape. This swell of interest and application was further aided by the foundation of the Dublin Society in 1731 and its first school in 1746 and later the Royal Irish Academy (1755). Similarly, noted Irish philosopher Edmund Burke published his seminal treatise A Philosophical Enquiry into the Sublime and the Beautiful in 1757 which had a tremendous influence on landscape painters both in Ireland and abroad. It is quite evident that this pair of late 18th century paintings of the Barne Estate are absolutely typical of the type produced by the aforementioned leading artists of the period. They remain an important acknowledgment of Ireland’s vigorous merchant history and Tipperary’s legacy as a rich and profitable seat of note.
Given that these paintings were most certainly painted in the late 18th century, reflecting the earlier roof style and the unmistakable influence of the Landscape Garden style popular at that time, we can safely assume that the artist was commissioned to produce the pair to mark an occasion. It is likely that these pieces were produced as a sentimental wedding gift to mark the occasion of Henrietta Moore’s (1747-1831) marriage to Thomas Pepper (1733-1790) of Ballygarth Castle, Co. Meath in 1772. Henrietta being the eldest daughter of Richard Moore (Stephen Moore’s son) of the Barnes estate.
357 A REGENCY FLAME MAHOGANY TRIPLE BREAKFRONT LIBRARY BOOKCASE IN THE MANNER OF GILLOWS, CIRCA 1815,
the moulded cornice and plain frieze above six reeded gothic astragal glazed doors with carved rosettes enclosing adjustable shelves, the cupboard base with moulded doors, one with a bank of twelve drawers raised on a conforming plinth. 260cm high, 376cm wide, 50cm deep
See Susan E. Stuart, Gillows of Lancaster and London 1730 - 1840, Vol. 1, Suffolk, 2008, Antiques Collectors Club Ltd, pl. 439 and 441, pgs. 372 - 373, for similar examples of triple fronted bookcases.
€ 8,000 - 12,000
358
AFTER ALFRED DUBUCAND (FRENCH 18281894)
‘HUNTING IN THE SAHARA’
Signed ‘DUBUCAND’ to base
Tri-colour patinated bronze figural group, 45cm high, 42cm wide
On naturalistic rockwork base
Alfred Dubucand (1828–1894), a student of the renowned Animalier sculptor Antoine-Louis Barye, was celebrated for his highly realistic animal sculptures throughout his career. He made his debut at the Salon in 1867 with a wax model of a pheasant and continued to exhibit regularly until 1883, often first presenting wax models and later re-submitting them as bronze casts. His Hunting in the Sahara (1874) was exhibited at the Salon in Paris that same year, reflecting his growing interest in depicting scenes of North Africa and the Middle East.
A similar model sold, Christie’s New York 23rd October 2018, lot 67 (price realised $16,250). A larger version of this lot was sold at Christie’s New York, 25 October 2006 (price realised $90,000).
€ 6,000 - 10,000
359 AFTER AUGUSTE MOREAU (FRENCH 1834 - 1917)
A pair of gilt brass figures on marble bases, 62cm high
€ 800 - 1,200
360 A COLD-PAINTED GILT BRONZE MODEL,
depicting an elephant being attacked by a tiger, on Sienna marble base. 24cm high with base
€ 600 - 1,000
361 AFTER JEAN-ANTOINE HOUDON (1741-1828)
Bust of Louise Brongniart, aged five, daughter of M. Alexandre Théodore Brongniart, Architect of the Paris Stock Exchange. Bronze 31cm high, raised on a white marble circular socle, 43cm high overall.
€ 2,000 - 4,000
362 AFTER CLAUDE MICHEL CLODION (FRENCH 1736 - 1814)
The Three Graces Signed ‘CLODION’ to reverse Bronze, 66cm high, 26cm diameter On circular marble base with paw feet
€ 3,000 - 5,000
364
RAFAEL CONTRERAS (SPANISH 19TH CENTURY)
A polychrome and gilt decorated architectural panel (based on the Alhambra, Granada), with a band of Kufic text above windows and mihrab arches, mounted in an easel-backed frame, the panel 38 x 33cm
Rafael Contreras was the chief restorer of the Alhambra Palace in Granada during the 19th century, he produced a variety of architectural panels for the tourist market, many of which settling in museums and high-end private collections. A comparable example can be found in the Met Museum, New York.
€ 600 - 1,000
365
AN ENGLISH BRONZE ‘TUDOR ROSE’ MORTAR, MID-17TH CENTURY,
of flared circular form cast to each side with a crowned rose, 11.5cm high, 14.5cm diameter, with associated pestle. 17th/18th century
€ 300 - 400
363
TWO ANCIENT EGYPTIAN COPTIC TEXTILE FRAGMENTS, 4TH-6TH CENTURY AD,
each mounted on individual display boards, comprising a large linen and wool panel woven with intricate geometric panels and borders, 41 x 26cm ; and another vertical fragment depicting figures and animals within narrow alternating borders, 34 x 8cm
Provenance: ex Pitt Rivers Museum, Dorset, United Kingdom; Sotheby’s 24/2/1975
€ 600 - 1,000
365A
THREE HEAVY CAST BRONZE MORTARS, 17TH CENTURY,
each of flared circular form, the exteriors cast with masks and flanges, each approx. 10cm high
€ 300 - 400
367 ORDER OF SAINT PATRICK A PAIR OF GOTHIC REVIVAL OAK AND RED LEATHER SIDE CHAIRS IN THE MANNER OF PUGIN 19TH CENTURY
the squared panel back gilt stamped with an earls crest above a circlet, inscribed ‘Quis Separabit, MDCCLXXXIII’’ with motto above a stuffed button upholstered seat, on turned and panelled legs joined by H-shaped stretcher
N.B the crest motto translating to ‘Who Will Separate Us 1783’ relates to the founding date of the Institution of The Order of St. Patrick, the variation of the earl’s coronet features shamrock motifs between the points.
€ 2,000 - 3,000
These chairs possibly came from St Patrick’s Hall in Dublin Castle, where the Order’s ceremonies took place after the disestablishment of the Church of Ireland in 1869.
The Most Illustrious Order of Saint Patrick was an order of chivalry established in 1783 by King George III at the request of Lord Lieutenant of Ireland. The order was created as a means of rewarding or obtaining political support in the Irish Parliament. The last appointment of the order took place in 1936, it has remained dormant since 1974.
St Patrick is the patron of the order; the motto of the order being Quis seperabit– Latin for who will sperate (us)? which alludes to the Vulgate translation of Romans 8:55, “Who shall separate us from the love of Christ?”
The main insignia of the Order of Saint Patrick is an eight-pointed star with a trefoil in the centre. Each of its three leaves bears a crown, and behind them is a red cross on a white background. The trefoil is surrounded by the motto of the Order. The badge of the Order also features a crowned harp with the torso and head of a woman.
366 AN ITALIAN CARVED OAK FIGURE OF A CLASSICAL FEMALE, 17TH/18TH CENTURY
modelled standing and holding a bowl in her left hand, wearing loosely draped robes, on a circular marble base, 91cm high in total.
€ 1,000 - 1,500
366A A LATE 18TH / EARLY 19TH CENTURY CARVED OAK MODEL OF THE MADONNA AND CHILD,
modelled standing, in traditional drapery, her hair uncovered, the Christ child offering a sign of blessing, on cared base. 36cm high, 31cm wide
€ 3,000 - 5,000
368
A GEORGE III RECTANGULAR GILTWOOD MIRROR, C.1770,
the shaped plate surrounded by carved rockwork foliage, C-scrolls and floral garlands, surmounted by a pierced scallop shell and confirming apron, re-gilt, the plate later, 142cm high x 87cm wide.
€ 4,000 - 6,000
369
A PAIR OF GEORGE III MAHOGANY FRAMED HUMPBACK BACK SOFAS
with outscrolling arms, upholstered in mint green close nailed fabric, with cross-stretchers and square chanelled legs, 136cm wide
€ 3,000 - 5,000
370
Portrait of a Young Lady in a Blue dress, standing by a fountain three-quarter length Oil on canvas, 126 x 100cm
€ 6,000 - 8,000
19th century, the fan inlaid top with painted floral garland border, above a cupboard door and sides with painted neo-classical roundels in the manner of Angelica Kauffmann, on square tapering legs and spade feet, 93cm high, 127cm wide, 57cm deep
Provenance: With Mallett, London; Sold Christie’s, New York, 11 October 2007, lot 101 (price realised $34,600 USD); Private collection
Literature: D. Nickerson, English Furniture of the Eighteenth Century, London, 1963, p.69, fig. 71.
€ 10,000 - 15,000
Angelica Kauffman was a Swiss-born neoclassical painter who worked in Rome and London in the mid-late eighteenth century. She identified herself principally as a painter of historical scenes, though her prolific body of work also included portraits and landscapes. Kauffman married Antonio Zucchi in 1781, a Venetian artist who was often employed by Robert Adams, a renowned British architect working in the neoclassical style.
Adam’s designs were characterised by their stylistic coherency, with Neoclassical elements reproduced in flat patterns or in low relief, which translated well to the design of neoclassical furniture. There is some debate over the extent to which Kauffman and Adam worked together owing to an absence of extant correspondence or bills between them, however it is accepted that Kauffman did supply him with designs for painted roundels for other artists to follow. Beyond this collaboration, decorative painters clearly continued to integrate her style into elements of neoclassical furniture, affording pieces such as this commode the same lightness of touch and expressiveness that characterised Kauffman’s original works.
372
GASPAR DE WITTE (FLEMISH 1624-1681)
Rest on the Flight into Egypt
Signed and dated 1653 lower right Oil on canvas, 135 x 204cm
Provenance: By repute Shelton Abbey, Co. Wicklow; Private Collection, Dublin 1950’s, thence by descent
€ 10,000 - 15,000
Gaspar de Witte was a Flemish painter specialising in Italianate landscapes. Born in Antwerp, he travelled to Rome in 1646, where he joined the Bentvueghels, a society of Dutch and Flemish artists active in Rome from 1620 to 1720. ‘Rest on the Flight into Egypt’ is a poignant example of the artist’s engagement with the Italianate style characteristic of the period. Italianate landscape painting, known for its idealised and picturesque representation of natural scenery, often features expansive, atmospheric vistas, classical ruins, and serene, harmonious compositions. This style reflects the influence of Italian masters and the romanticized views of the Italian countryside.
In this piece, de Witte skilfully integrates these elements, creating a scene where nature is a dominant feature. In the background, the classical ruins capture the essence of the Italianate tradition. In the left foreground, he highlights his unique interpretative approach by integrating an idyllic peasant scene with small figures and animals, which alludes to the religious narrative.
373
AFTER FREDERICK LORD LEIGHTON
Hope
Oil on canvas, 60 x 46cm
€ 1,000 - 1,500
374
A VICTORIAN ROSEWOOD MARQUETRY
REGULATOR MERCURIAL PENDULUM LONGCASE CLOCK BY AUBERT & KLANFTENBERGER, LATE 19TH CENTURY
157 Regent Street, London, with glazed domed hood enclosing a silvered dial. 195cm high
€ 3,000 - 5,000
376 A FRENCH GILTMETAL KINGWOOD MARQUETRY AND BRASS MOUNTED BED IN THE MANNER OF LINKE FRANÇOIS 19TH CENTURY,
the domed headboard, with an architectural moulded cornice, above a central oval vignette depicting cupid with his bow and arrow drawn, enclosed within brass scrolling boarders, the bed end with corresponding decoration. The headboard 174cm high, 170cm wide
€ 3,000 - 5,000
375 A FRENCH KINGWOOD, MARQUETRY BOMBE COMMODE 19TH CENTURY,
with rouge marble top above two long drawers with gilt metal handles and mounts, on squared cabriole legs and sabots 85cm high, 111cm wide, 58cm deep
€ 1,000 - 1,500
with broken pediment and scroll rosette terminals, centred with a phoenix out of a ducal coronet and pendant acorn cornice, above twin astragal doors opening to a shelved interior, the base fitted with a fall-front secretaire drawer formed as three short cockbeaded dummy drawers with inlaid decoration, opening to a compartmented interior and baise lined writing surface, above twin cupboard drawers, raised on splayed bracket feet. 245cm high, 129cm wide, 58cm deep,
Provenance: The crest on the pediment is that of the Seymour family, Marquesses of Hertford and Dukes of Somerset. Formerly in the collection of Col. Sharman-Crawford of Crawfordsburn House, Co. Down. With New Abbey Antiques, (Anne MacHenry) Newtownabbey, Co Antrim, 1968, where acquired
€ 3,000 - 5,000
377
EUGENE VERBOCKHOVEN (17981881)
Sheep in a Landscape
Signed and dated ‘184..’
Oil on board, 27 x 20cm
€ 500 - 800
380
WILLIAM TEULON BLANDFORD FLETCHER (1858-1936)
The Village of Blewbury, Oxfordshire Signed Oil on canvas, 51 x 69cm
€ 7,000 - 10,000
381 A SHERATON STYLE INLAID MAHOGANY LARGE BOWFRONT SIDE TABLE, 19TH CENTURY,
above a frieze with inlaid fluted decoration with a series of applied brass oval paterae, raised on square legs and turned waisted feet. 91cm high, 227cm wide, 95cm deep
€ 1,000 - 2,000
382
18TH CENTURY MANNER OF ROBERT HUNTER, Portrait of James Riddell Oil on canvas, 76 x 54cm
In feigned oval
With label verso ‘ A Portrait of John Riddell of Crones, West Newcastle, Co Limerick, the property [of] Arundel Hill of Doneraile’.
The Hills (Graig), descended from a Cromwellian soldier, settled at Doneraile, county Cork. In the late 17th century William Hill married Anne daughter of Arundel Coke of Suffolk and had six sons. By the end of the 18th century the Hills were resident at Graig and through marriage with a Brown heiress acquired Mount Southwell in the late 19th century. The Hills also had connections with other county Limerick families. Other family connections in the Doneraile locality included the Crones, Norcotts and Cotters. Arundel Hill of Clogheen was the father of three daughters of whom the youngest was Margaret Anne. In June 1858 the estate of Margaret Anne Hill, comprising part of the lands of Curraghanaltig or Tullig, barony of Fermoy, was advertised for sale. The sale included the house and demesne of Landscape which was leased to Wade Foot in November 1879 by Arundel Hill.
€ 1,000 - 2,000
383 AN IRISH GEORGE III MAHOGANY TRAY TOP SILVER TABLE,
the rectangular top with raised rim and rounded corner, above a shell carved frieze, cabriole legs and trefid feet. 85cm high, 53cm wide
Provenance: Hamwood House, Dunboyne, Co. Meath
€ 3,000 - 5,000
384
A GEORGE II MAHOGANY SECRETAIRE BOOKCASE CIRCA 1750,
surmounted with an eagle and swan neck pediment, above twin mirrored door panels enclosing a shelved interior above two short drawers and a secretaire section with felt line writing slides, the knee hole surrounded by an arrangement of short drawers on bracket feet. 238cm high, 103cm wide
€ 8,000 - 12,000
386
TWO TOLEWARE MERCHANT TEA BINS 19TH CENTURY,
with hinged timber covers and gilt bands, centred with oriental characters against a gilt ground. Each 75.5cm high, 55cm wide, 49cm deep
€ 600 - 1,000
385
A GEORGE II STYLE CARVED MAHOGANY STOOL,
the rectangular top covered in a ‘gros-point’ floral tapestry, on shell capped cabriole legs and claw-and-ball feet. 47cm high, 64cm wide, 54cm deep
€ 300 - 500
387
388
A GEORGE III MAHOGANY TILT-TOP WINE TABLE,
the dished circular top on a turned central baluster column and triform downswept legs with pad feet. 68cm high, 80cm diameter
€ 500 - 700
A VICTORIAN MAHOGANY CANTERBURY,
the slatted side with turned pilasters, with single drawer, on turned legs. 62cm high, 49.5cm wide
€ 250 - 350
€ 1,000 - 1,500
390
JOHN MICHAEL WRIGHT (1617 - 1694)
Portrait of Sir Francis Wyndham, 1st Baronet of Trent Apparently signed, inscribed and dated verso ‘Collonell [sic] Francis Wyndham/ of Trent in Somersett shire’ ‘Jo: Mich Wright Lord Pinxit. 1671’ (please see restorer’s photograph below, before canvas was lined, c. early 1980s)
Oil on canvas, 126 x 105cm In a carved giltwood frame
Provenance: Possibly by descent to Thomas Wyndham (1763-1814) Clearwell Court, Gloucestershire and Dunraven Castle, Glamorganshire; to his son-in-law Windham Wyndham-Quin, 2nd Earl of Dunraven (17821850), by descent to the 7th Earl of Dunraven and Mount-Earl; Sale, Christie’s and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 87 (as ‘Colonel Clark Wyndham of Orchard Wyndham’) where purchased by the present owner; Private collection, Ireland
Literature: Guy Wilson, Greenwich Armour in the Portraits of John Michael Wright; The Connoisseur, February 1975, pp. 109-115, illus. (as Portrait of an Unidentified Gentleman, Collection of the Earl of Dunraven)
€ 20,000 - 30,000
Francis Wyndham was the son of Sir Thomas Wyndham (1570-1631) and his wife Elizabeth Coningsby. They descended from the Kentsford Wyndhams a cadet branch of the Orchard Wyndhams, who are based in Somerset. Wyndham began his early years spending time in Europe and graduating from the University of Padua in 1635. On his return to England, he was elected MP for Minehead in April 1640 for the Short Parliament. This Parliament was summoned by King Charles I for a short session of only three weeks. Wyndham became a Royalist colonel when the First English Civil War broke out. He was appointed governor of Dunster Castle, which was one of the last defences to hold out in southwest England. He had a reputation for being a good soldier and eventually surrendered on honourable terms. Shortly afterwards in 1646 he married an heiress Anne Gerard the daughter of Thomas Gerard of Trent (1593-1634). With the partition of the Gerard estates in 1651, Francis and Anne moved to Trent. The Gerard family had been recusants in a previous generation and their seat in Trent still maintained its priest-hole. It was this hiding place that enabled Wyndham to assist Charles II with his escape after the Battle of Worcester. The Wyndham family had a close connection with Charles II, therefore the future king could welcome the security for several days in Trent, Dorset. During the 1655 Penruddock uprising Wyndham was arrested in suspicion of involvement with intending to restore Charles II to the throne. He was subsequently released without charge. Wyndham was created a baronet on 18 November 1673, apparently by willing to forego a claim on the Exchequer for £10,800 granted to him by privy seal in 1670.
John Michael Wright was an English painter, although born in London he apprenticed in 1636 to the Scottish painter George Jameson in Edinburgh. He remained in Scotland for five years before travelling to Rome in the early 1640’s. In Rome he established himself as a painter, copyist and collector. On his return to England in 1656 and following the restoration of 1660, he received several Royal commissions from King Charles II and subsequently King James II. It was during this time there became a fashion for portraits in which the sitter was dressed in what was then considered to be antique armour. Wright painted many works with the sitter wearing some form of Greenwich armour. There are noticeable similarities between each of the portraits. One could assume that the use of a single Greenwich armour or indeed a quantity could have been housed in his studio. It has been noted that the long tassels on the portrait of an unidentified gentleman (believed to be Sir Francis Wyndham) also appear in other portraits. Wright seems to have had an appreciation for antiquary, which could explain the accuracy seen in the details of this portrait and that of Murrough O’Brien, 1st Earl of Inchiquin. However, Murrough O’Brien who fought for many years in Ireland and further afield would probably have never worn such an armour. He had power and a reputation to uphold and therefore his appearance in this portrait expresses status. Wright’s portrait’s showcasing Greenwich armour imply they were painted in the 1660’s and display a detailed perspective on costume from a bygone era.
Adare Manor, the magnificent architectural masterpiece that we see today within its natural setting overlooking the River Maigue became the seat of the Quin family in the 1600s. It was probably in the 1720’s when the first documented residence ‘Adare House’ was built by Valentine Quin (d.1744). Throughout the 18th century alterations and redesigning the parkland continued. It was in 1810 that Windham Henry Quin married Caroline Wyndham, the only surviving child of Thomas Wyndham MP of Clearwell Park, Gloucestershire and Dunraven Castle, Glamorganshire. It was following his death that Windam acquired by Royal license the double barrelled name of Wyndham-Quin. During this time, Windham’s father Valentine was living in England and was created Viscount Mount-Earl in 1816 and then created Viscount Adare and the 1st Earl of Dunraven in 1822. The title of Dunraven was chosen to honour his daughter-in- law, Caroline. Windham, who became the 2nd Earl and along with his wife Caroline decided to make monumental changes to Adare House. They had visited many grand houses in England and became influenced by the fashionable gothic style. Windham and Caroline developed a passion for cathedrals with their aspiring scale and magnificence. The architect brothers James and George Pain were commissioned to begin the process of redesigning the house into a manor. The Pain brothers lasting legacy at Adare is the spectacular gallery, which was considered to be the largest domestic room in Ireland. The gallery became the wonderful backdrop to display the Wyndham family portraits and exquisite old master paintings. The work on the new manor house continued for more than 30 years to complete. Adare Manor and the contents remained in the Wyndham-Quin family until the early 1980’s, when it was sold. Today, the manor and the grounds have been beautifully restored keeping intact the integral importance of an historic legacy in Ireland.
SIMON PIETERSZ VERELST (DUTCH, 1644-1721)
Portrait of Thomas Wyndham of Clearwell, three-quarter length, in a blue coat, white cravat and red cloak, his right hand resting on the head of a hound Oil on canvas, 144 x 117 cm
Provenance: Sale, Christie’s and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 102
Thomas Wyndham (c. 1686 - 1752) was the second son of Francis Wyndham of Cromer, Norfolk and Sarah Darell, daughter of Sir Thomas Darell.
€ 3,000 - 5,000
393 A PAIR OF GEORGE I STYLE WALNUT SIDE CHAIRS,
the open backs with vase shaped splats, upholstered drop-in seats, raised on carved cabriole legs and hoof feet.
€ 1,000 - 1,500
392 A GEORGE III MAHOGANY BOWFRONT CHEST ATTRIBUTED TO GILLOWS OF LANCASTER,
the shaped top above four long graduated drawers, mounted with gilt brass handles on splayed legs. 86cm high, 102cm wide, 87cm deep
€ 700 - 1,000
394 A DOUBLE WING BACK SETTEE 19TH CENTURY,
upholstered in floral damask against a gold ground, with out-scrolled arms, raised on short cabriole acanthus leaf capped legs and claw and ball feet. 150cm wide, 110cm deep, 110cm high
€ 1,000 - 1,500
AN IRISH CARVED MAHOGANY FOUR-POSTER BED 18/19TH CENTURY, the rectangular moulded cornice carved to each side with a central lion mask against pierced lattice fretwork, on four stop-fluted support columns, lion masked legs and paw feet. 206cm wide, 164cm deep
€ 5,000 - 7,000
A well documented piece of Irish furniture from the mid-18th century was a carved four-poster bed made by John Kelly for Dr Bartholomew Mosse. This bed was executed with intricate details included in the superbly carved structure. Another example of this quality can be seen in Florence Court in Co. Fermanagh. The influence of the carving is comparable to the style of the stop-fluted columns and lion masked legs seen in this bed with the addition of a central lion mask.
395A
A PAIR OF 17TH CENTURY STYLE CARVED STAINED WOOD SIDE TABLES,
the rectangular tops with moulded rims, above single frieze drawer, raised on s-scroll carved legs. 78cm high, 98cm wide, 50cm deep
€ 3,000 - 5,000
396
A PAIR OF GEORGE III RED WALNUT DROPLEAF TABLES MID 18TH CENTURY,
each extending to oval shape, with twin drop leaf sides and deep frieze drawer on cabriole legs and hoof feet. 74cm high, 103cm wide, 90cm deep
€ 4,000 - 6,000
396A
A SET OF SIX GEORGE I MAHOGANY DINING CHAIRS POSSIBLY IRISH,
the slightly swept backs with curved scroll crest rails carved with acanthus leaves above pierced vase shape splats, with drop-in seats, with bowed fronts and shaped backs, the rails carved with central scallops and flanking acanthus leaves, raised on cabriole legs finely carved with leaves and scrolls, the claw and balls feet unusually pierced to emphasise the claw grip.
€ 6,000 - 8,000
398 AN IRISH WILLIAM IV SILVER BRANDY SAUCEPAN,
Dublin 1831, maker’s mark of Richard Sawyer, with hinged lid, and baluster body, with timber finial and turned handle (c.14.5 troy ozs). 12.5cm high, 22.5cm wide
€ 1,500 - 1,800
397
A NEAR PAIR OF GEORGE III IRISH SILVER CHAMBER STICKS,
one example Dublin 1786 & 1788, maker’s mark of Dennis Fray and Richard Williams, each with an urn sconce and circular base with beaded rim and conical snuffer, each engraved with initials (c.19.5 troy ozs in total). Each 9.5cm high, 14cm diameter
€ 2,000 - 3,000
399 A GEORGE III IRISH SILVER DISH RING,
in the rococo taste, Dublin c.1760, lacking maker’s mark, of circular waisted form, the pierced body decorated with rocaille scrollwork, animals and flowers, with a central cartouche containing a two headed eagle (c.7.6 troy ozs). 18cm diameter
€ 2,500 - 3,500
400 A PAIR OF GEORGE III IRISH SILVER CIRCULAR SALVERS,
Dublin c.1785, mark of John Lloyd, with raised beaded border, crested reserve, on three pad feet, (16.84 ozt). 18.7cm diameter
€ 2,000 - 3,000
By John Samuel Hunt, London, 1845, inscribed ‘Hunt & Roskell’, late ‘Storr & Mortimer’, the hinged top fruit filled basket pannier fitted with glass ink pots on a well modelled donkey and naturalistic pose, bearing the title ‘’Gee up Neddy’’ from the popular nursery rhyme, (22.8 troy ozs excluding glass bottles). 13cm high, 15cm long, 12cm wide
€ 8,000 - 12,000
The inscription on this ink stand, “Gee Up Neddy” refers to the nursery rhyme “Gee Up Neddy To The Fair: What shall we get when we get there, A penny apple or a penny pear, What shall we get when we get there!”.
Hunt & Roskell, a prominent firm of jewellers and silversmiths based on Bond Street, London, is well-represented in the Victoria and Albert Museum, which holds 25 of their works. The firm’s origins trace back to the celebrated silversmith Paul Storr who, after departing Rundell, Bridge & Rundell, established his own workshop on Harrison Street near Clerkenwell in 1819.
In 1820, Storr formed a partnership with John Mortimer, creating Storr & Mortimer and trading from 13 New Bond Street. The firm gained further
strength in 1826 with the addition of John Samuel Hunt, whose £5,000 investment facilitated its growth. By 1838, the firm had moved to 156 New Bond Street, and with Storr’s retirement at the end of that year, the name was changed to Mortimer & Hunt. This name persisted until 1843, when John Mortimer retired, and the firm was renamed Hunt & Roskell.
Hunt & Roskell garnered acclaim at the Great Exhibition of 1851, held at the Crystal Palace in London, where their display, valued at approximately £100,000, was noted for its opulence. The firm continued to exhibit its work internationally, including at events in New York in 1853 and Paris in 1867. By the 1860s, Hunt & Roskell employed around 35 people at their Bond Street shop and an additional 80-100 at their Harrison Street workshop.
403
A VERY LARGE SILVER PRESENTATION SALVER,
London 1895, maker’s mark of Thomas Bradbury & Sons, of circular form with raised piecrust rim, the central reserve engraved with the Pepper Family Crest and inscribed
‘Royal Dublin Society Winter Shows 1903-1904 / 4 First Prizes Group Classes / 3 First Prizes Out fed Classes / Won by Colonel Charles Pepper’ (c.155 troy ozs). 59cm diameter
€ 2,500 - 3,500
402 A GEORGE III IRISH SILVER OVAL SAUCE BOAT,
Dublin c.1780, mark of Matthew Walsh, with fine beaded rim, leaf capped ‘S’ scroll handle, and raised on shell and stepped pad feet, crested, (7 ozt)
€ 800 - 1,200
405
A PAIR OF LARGE IRISH GEORGE III SILVER SAUCE BOATS
Dublin, c. 1798, mark of Robert Breading, each of helmet form, with wavy rim, s-scroll handles, the plain bodies crested, on three shell capped hoof feet, (29.6 troy ozs all in). 24cm wide, 12cm high
€ 4,000 - 6,000
404 A SET OF FOUR IRISH GEORGE I SILVER TRENCHER SALTS
Dublin c.1719, makers mark of Henry Daniell, each of dodecagon panelled circular form, with inset bowl, crested, (6.7 troy ozs all in). 6.5cm outer diameter, bowl 4.5cm diameter
€ 1,000 - 2,000
COLONEL CHARLES PEPPER OF BALLYGARTH CASTLE CO. MEATH
A MONUMENTAL SILVER TWIN HANDLE PRESENTATION CUP AND COVER, London 1900, maker’s mark of James Wakely & Frank Clarke Wheeler, the domed lid with rams head and acanthus leaf cast finial, above floral and scrollwork decoration and a reeded rim, the body with central girdle bearing the Family Crest of the Pepper Family and motto ‘Semper Erectus’ and inscribed: ‘PRESENTED TO COLONEL CHARLES PEPPER OF BALLYGARTH ON HIS RETIREMENT FROM THE COMMAND OF THE ROYAL METH REGT. / BY THE OFFICERS WHO SERVED UNDER HIM DURING HIS FIVE YEARS COMMAND 28 OCT. 1896 TO 1.NOV.1901.’ and further inscribed with the names of the Officers, the lower section of the body decorated with alternating human masks and ribbon tied hanging flowers, raised on circular spreading foot, with cast c-scroll twin handles (c.181 troy ozs). 49cm high, 44cm wide over handles
€ 5,000 - 8,000
408
A SET OF TWELVE IRISH SILVER WHITE WINE GOBLETS,
Dublin 1975, maker’s mark of the Royal Irish Silver Co., each with plain flared cups and gilded interior, raised on baluster stems and spreading circular foot (c.78.5 troy ozs in all). Each 15.5cm high
€ 1,800 - 2,200
410
AN IRISH GEORGE III SILVER BUTTER DISH,
Dublin c.1800, maker’s mark of Joseph Jackson, of oval form, with raised loop side handles, pierced cover surmounted by a recumbent cow, with blue glass liner, pierced fluted body with swags and foliate decoration, crested and initialled, (12.1 troy ozs excluding liner), 15.5cm wide across handles, 10cm high
€ 3,000 - 5,000
407
AN IRISH QUEEN ANNE SILVER CIRCULAR PLAIN BOWL,
Dublin c.1712, maker’s mark of William Archball, with banded rim on stepped circular foot, (c.8.8 troy ozs) 12.5 diameter x 8cm high
€ 2,000 - 3,000
Sheffield c.1974, maker’s mark of Royal Irish Silver Co.; Dublin c.1977 maker’s mark of J.P.C., each with trumpet shaped cups, one terminating in a hound’s head, the other in a fox’s head (c.21.4 troy ozs). 11.5cm high; 11cm high
€ 600 - 800
Cork c.1770, maker’s mark of John Nicholson, the hinged dome lid with pineapple finial, the body with vacant cartouches to either side within and surrounded by embossed and chased decoration, featuring a squirrel, birds and scrollwork, raised on a circular spreading foot, with c-scroll timber handle (c.33 troy ozs including handle). 29cm high
€ 6,000 - 8,000
413
Dublin, c.1904, mark of West & Son, the body pierced, chased and engraved with a blank cartouche, two putti and a windmill, inset with turned timber base, 12.5cm length x 7cm height.
€ 350 - 500
412
A SCOTTISH SILVER TEA-SERVICE,
Edinburgh circa 1820, comprising a teapot, cream jug and bowl, each embossed with roses and foliage, with later cast of a hand holding a dagger and motto ‘MERITO’ (of clan Dunlop) (3)
€ 1,500 - 2,000
415
London c.1795, maker’s mark of Peter & Ann Bateman, of oval form, the hinged domed lid with figural finial, the body later engraved with a continuous Chinese scene of figures on the banks of a river with a pagoda, one side with cartouche containing a thistle (c.13 troy ozs). c.17cm high
€ 2,500 - 3,500
414
A PAIR OF LIMERICK SILVER CARD TRAYS, C.1750,
each struck twice with maker’s mark of Joseph Johns and with ‘STERLING’, of circular form with pie crust rim, the central reserves engraved with crest of a knight on horseback, raised on three short supports and hoof feet (c.11.6 troy ozs) 15.5 cm diameter
€ 4,000 - 6,000
Cork c.1750, maker’s mark of George Hodder, of circular form with detachable lid, the lid decorated with the arms of Cork City within a rocaille border (c.3.5 troy ozs). 8cm diameter
€ 4,000 - 6,000
The practice of presenting Freedom boxes to individuals was popular in the 18th Century, particularly in Ireland, in which visiting dignitaries were bestowed with the Honorary Freedom of the City. They were engraved with the city’s coat of arms as in this example with the motto of, Statio Benefida Carinis, Safe Harbour for Ships.
Usually a Freedom scroll was enclosed within the engraved box, although with the circular shape of this present example it is possible that no such item was included. Livery companies and guilds also followed the practice gifting the
417
Dublin c.1737, maker’s mark of Robert Calderwood, each of shaped circular form, the raised lobed sides enclosing a plain circular reserve, having gadrooned rims and bearing the armorial of the Earls of Drogheda (c. 206 troy ozs in all). Each 24cm diameter
Drogheda House was built by Henry Moore, 3rd Viscount Moore and 1st Earl of Drogheda on Sackville Street, which was renamed O’Connell Street in 1924 as a tribute to Daniel O’Connell. Moore came into possession of lands around what is now known as the Spire in 1661 following the restoration of the monarchy and built Drogheda House after finalising the layout of the streets around the area in 1728.
Robert Calderwood was one of the celebrated silversmiths of his day working from 1727 to 1766, becoming a freeman of the Worshipful Company of Goldsmiths in 1727. He was elected warden in 1733-36 and master in 1737, and also served on the Common Council of the city of Dublin from 1742.
€ 15,000 - 20,000
418
AN IRISH GEORGE III GILTWOOD FLAT CARVED MIRROR,
the rectangular plate enclosed within a foliate scrollwork border, pediment surmounted by an eagle. 120 x 75cm
€ 1,500 - 2,000
418A
A GILTWOOD AND VERRE EGLOMISÉ COMPARTMENTED PIER MIRROR, 19TH CENTURY, of upright rectangular form, with beaded outset cornice above a row of upright acanthus leaves, fitted with plain glass plates, within gilded glass borders painted with vines and Corinthian columns, 149cm high, 87cm wide
€ 2,000 - 4,000
419
A GEORGE III MAHOGANY RECTANGULAR SIDE TABLE,
the top with thumb moulded rim, above a continuous frieze with a central basket of flowers, flanked by scrolls, foliage and bird heads, raised on cabriole legs, with hairy paw feet. 69.5cm high, 105cm wide, 65cm deep
€ 6,000 - 10,000
420
AN IRISH GEORGE III GILTWOOD FLAT CARVED PIER MIRROR CIRCA 1740,
the rectangular plate enclosed within pierced scrollwork and foliate frame, surmounted by a swan neck pediment with flowerhead terminals, centred by an eagle with outstretched wings, the apron carved with scallop shell, flanked by carved acanthus leaves to either side. 128cm high, 71cm wide
Note: Glin & Peill, Irish Furniture, London 2007, cat no,222 for a similar example.
€ 3,000 - 5,000
421
A RARE IRISH CARVED WALNUT ARMORIAL BENCH, 19TH CENTURY,
the pierced back carved in the form of two dragons, above a solid rectangular bench seat with carved edge and frieze, raised on short turned cup and cover supports. 115cm high, 220cm wide, 55cm deep,
€ 2,000 - 3,000
Portrait of Queen Mary, half length
Oil on canvas, 127 x 103cm
With label verso bearing inscription: ‘1st Portrait of Queen Mary, Consort of William 3rd, By Sir Godfrey Kneller / Large half length, carved gilt frame in high presentation, and a fine / specimen of the Master.’
With additional label: Albert Amor, 31 St, James’ Street, St James, S.W.
Sir Godfrey Kneller was a German-born painter and a leading portrait artist in the late seventeenth and early eighteenth centuries. He moved to England around 1676, having studied first in Amsterdam under a pupil of Rembrandt, and then in Rome and Venice. He became the court and society painter following his introduction to the Duke of Monmouth, through whom he received sittings from the king. He continued to work as a court painter and in 1688 was appointed principal painter to William and Mary. In 1692 he was knighted, and became governor of the Royal Academy in 1711, the year of its establishment.
€ 8,000 - 12,000
424 A SET OF VICTORIAN OAK AND MAHOGANY METAMORPHIC LIBRARY STEPS,
formed as a rectangular stool, the padded close-nailed faded leather seat folding out to angled steps and fitted with detachable hand rail. 55cm high, 62cm wide, 47cm deep
€ 600 - 1,000
423 AN ITALIAN ENGRAVED IVORY AND EBONISED TABLE CABINET 17TH CENTURY,
with nine small drawers centred around a central door, with pictorial scenes, on bun feet, 38.5cm high, 52cm wide, 23cm deep *
€ 2,000 - 3,000
424A A GEORGE IV POLLARD OAK DAVENPORT DESK IN THE MANNER OF GILLOWS,
the hinged top with shallow brass gallery and slope-front leather writing panel, enclosing various stationary drawers and storage space, above four long side drawers on carved bun feet with recessed casters. 89cm high, 51cm wide, 63cm deep
€ 1,500 - 2,000
426 AN ANGLO-INDIAN EBONY AND WALNUT LARGE CIRCULAR CENTRE TABLE,
the moulded top, centred by a star motif and encircled by ten lobed segments within a moulded outer border supported on a heavy turned centre column and reeded downswept legs, ending in brass paw feet with castors. c.78cm high, 176cm diameter
€ 10,000 - 15,000
425 CHINESE SCHOOL, 19TH CENTURY
An Interior Scene with Ladies Taking Tea Oil on canvas, 45 x 60cm In a carved giltwood frame
€ 3,000 - 5,000
427
A BRONZE SIZE BUST OF MARCUS AURELIUS,
modelled forward facing and wearing a paludamentum, fastened to one shoulder, 56cm high
€ 1,000 - 1,500
428
AN ITALIAN WHITE MARBLE STATUE OF SOPHOCLES,
early 19th century, a rectangular base, with a later giltwood and ebonised plinth, 91cm high, 33cm wide, 22cm deep
Statue: With Anthony Outred, London, where acquired
€ 5,000 - 8,000
429
A SCOTTISH VICTORIAN PAINTED TERRACOTTA RECUMBANT LION BY FERGUSLIE BROWN & SON,
inset with stamp ‘FERGUSLIE BROWN & SON, PAISLEY’, raised on rectangular plinth base. 104cm long, 40cm wide, 75cm high
€ 800 - 1,000
430 A SET OF COMPOSITE GREAT IRISH DEER ANTLERS,
20th century, with skull, 315cm wide
€ 4,000 - 6,000
431 A PAIR OF LIFE SIZE POLYCHROME PAINTED TIMBER FAIRGOUND PEACOCKS,
in seated position, painted in fanciful plumage. 74cm high, 90cm long
€ 500 - 800
433
A JAPANESE PORCELAIN CIRCULAR CHARGER IN BLUE ON WHITE 19TH CENTURY,
of circular form with scallop shaped edge, painted with a bridge and peonies and chrysanthemums. 46.5cm diameter
€ 500 - 800
432
A PAIR OF COLEPORT BLUE AND GILT DECORATED URNS AND COVERS LATE 19TH CENTURY
each of classical oval form, domed lids and acorn finial, the body with ram mask handles, painted with still lives and signed ‘Chivers’ on waisted pedestal foot, factory mark to base. 41cm high
€ 1,000 - 1,500
434
A MARBLE RELIEF PANEL OF DEMETER GODDESS OF HARVEST EARLY 19TH CENTURY,
the rectangular plaque depicting Demeter seated and accompanied by a lion, holding aloft a cornucopia with sheaf of wheat at her feet. 19cm high, 43.5cm
€ 1,000 - 1,500
comprising:
1 tureen and cover
26 plates
9 soup bowls (two broken)
2 deep plates
8 oblong dishes of graduated sizes two tea bowls etc.
€ 1,000 - 1,500
437 A REGENCY EBONISED AND GILTWOOD COMPARTMENTED OVERMANTLE MIRROR, C.1815,
with a Classical frieze above three glass plates flanked by columns, 86cm high, 125cm wide
€ 800 - 1,200
438 AN IRISH MAHOGANY SIDE TABLE LATE 19TH CENTURY,
the green breccia marble top above a plain frieze and foliate carved apron centred by a scallop shell on cabriole legs and lion paw feet, 79.5cm high, 131cm wide, 66cm deep
€ 4,000 - 6,000
439
AN ART UNION PAPIER MÂCHÉ PICTURE FRAME 19TH CENTURY,
the interior rectangular frame surrounded by pierced frame and carved with cornucopia and foliate scrollwork. 96cm high, 68cm wide
€ 600 - 1,000
440 AN ADAM’S REVIVAL PINE FIRE SURROUND 19TH CENTURY,
the plain top with cavetto edge, and frieze decorated in relief with classical urns, ribbon tied floral swags, the upright supports, carved with an interlinked, string of flower heads, on block feet. 140cm high, 148cm wide
Provenance: By repute Tulfarris House, Co. Wicklow
€ 1,000 - 1,500
441 AN IRISH 18TH CENTURY PLASTER COLUMN,
the circular top inscribed ‘V.Moschini, Wellington, Dublin’, above bands of anthemion and fluted column, on a square base. 94cm high, 48.5cm diameter
€ 600 - 1,000
442
A LARGE PERSIAN RED GROUND RUG, 510CM LONG, 345CM WIDE
the central reserve woven with oval medallion in cream, blue, pink and green tones, enclosed by a broad dark blue border with trailing floral pattern and guard stripes.
€ 2,000 - 4,000
443
A PERSIAN RED GROUND WOOL RUG, MID 20TH CENTURY 209 X 130CM
the rectangular centre field covered in an all over floral design, enclosed within a broad border of feathering leaf scrolls and palmets
€ 600 - 800
444
TWO VICTORIAN GILT-METAL MOUNTED EBONISED BOULLE WORK WRITING SLOPE
the slopefront opening to a felt writing section with ink and pen compartment; the other Boulle example of rectangular form with heavy cast brass handle, twin glass ink pots and deep pen holders, to either side, above single frieze drawer, raised on compressed bun feet. 16.5cm high, 32cm wide, 23cm deep
€ 300 - 500
445
AN ANTIQUE TABRIZ WOOL CARPET NORTH WEST PERSIA,
with a central foliated medallion within a field of slender branches and twigs on a pale ground within multiple borders and guard stripes. 464 x 328cm
Provenance: With Jorgensen Fine Art; sold these rooms, 20 October 2020, lot 35.
€ 2,000 - 3,000
445A
A REGENCY BRASS INLAID ROSEWOOD BREAKFRONT BOOKCASE, the shaped rectangular top above a frieze with four rosette medallion above a central glazed door, flanked by open bookshelves on gilt paw feet. 92cm high, 153cm wide, 35.5cm deep
€ 3,000 - 5,000
449
A LARGE DONEGAL CARPET ATTRIBUTED TO GAVIN MORTON & G.K. ROBERTSON, 600 X 417CM
the central reserve woven with stylised polychrome flower heads against a red ground, contained within a broad blue ground and guard stripes.
€ 3,000 - 5,000
446
A PERSIAN PEACH GROUND WOOL RUG. 290 X 196CM
the large centre field woven with medallion, lotus flowers and arabesques contained within a broad conforming borders and narrow stripes
€ 600 - 800
448
A NORTH INDIAN SILK PHULKARI BAGH, PUNJAB 19TH CENTURY
of rectangular form, embroidered in diamond patterns with black silk chevrons to either end, with attached hooks to the reverse. 276 x 140cm
€ 300 - 500
450 A GEORGE IV MAHOGANY FOUR DOOR BREAKFRONT BOOKCASE BY JAMES WINTER, the upper section with moulded cornice above arched
451 A PAIR OF GEORGE IV OAK LONG BENCHES, of oblong shape on square tapering legs with block feet
453
A FINE PAIR OF SILVER PLATED WINE COOLERS WITH RAM’S HEAD TWIN HANDLES, of campagna form, each with detachable vine leaf cast rim mounts, the body with broad flutes, engraved with armorials within elaborate cartouche, raised on circular spreading foot. 28cm high, 24cm wide
€ 2,000 - 3,000
454
A LARGE VENISON DISH AND COVER 19TH CENTURY, THE OVAL SILVER ‘WELL AND TREE’ MEAT DISH,
London 1810, with mark of William Bennett, having gadrooned rim and engraved with crest and motto ‘Auxillium ab alto’ (Aid from above), raised on four tapered supports; together with fitted silver plated warming dish having twin bone handles and raised on bone bun feet; and a silver plated domed cover, with naturalist cast loop handle, the plain body with corresponding crest and gadrooned rims.
The silver dish: c.103 troy ozs, 56 x 41.5cm
The plated warming dish: 61cm wide over handles, The Silver plate cover 34cm high, 51.5cm wide, 39cm deep
€ 5,000 - 8,000
456
A SET OF EIGHT GEORGE III IRISH SILVER PLAIN TAPER HANDLE TABLE SPOONS,
Dublin 1796, mark of James Keating, crested, (17.36 ozt)
€ 500 - 700
458
A MATCHED SET OF SIX GEORGE III SILVER PLAIN TAPER HANDLE TABLE SPOONS,
455
A GEORGE III IRISH PROVINCIAL SILVER PLAIN HOOK HANDLE SERVING SPOON,
Cork c.1765, mark of Carden Terry, (3.05 ozt). 26.5cm long
€ 1,000 - 1,500
457
A SET OF GEORGE III IRISH PLAIN SILVER FIDDLE PATTERN TABLE SPOONS LATE 18TH CENTURY,
Dublin, marks rubbed; together with three George IV/William IV silver fiddle pattern spoons, London 1820, 1830 & 1834, (9.95 ozt). (5)
€ 150 - 250
London c.1760 (4) & 1803 (2), mark of Eley & Fearn, crested with initial ‘B’ under a coronet, (11.37 ozt)
€ 300 - 400
459
A COMPOSED SUITE OF 19TH CENTURY SILVER KINGS PATTERN FLATWARE
various dates and makers, mostly London, Victorian, engraved with crests
comprising:
- 13 dinner spoons
- 16 dessert spoons
- 11 coffee spoons
- 9 tea spoons
- 4 sauce ladles
- 4 condiment spoons
- 30 dinner forks
- 11 smaller table forks
- 6 pastry forks
- 1 sugar tongs
- 1 sugar sifter
- 2 fish knives (108 pieces) (258 troy ozs all in)
€ 4,000 - 6,000
460 AN OAK CASED CANTEEN OF SILVER FLATWARE
London, 1911/1932, mark of William Hutton & Sons Ltd., each crested, comprising:
- 12 dinner forks
- 11 smaller table forks
- 12 teaspoons
- 12 soup spoons
- 12 dessert spoons
- 2 sauce ladles
- 1 soup ladle (London c.1911)
- 1 serving spoon (London c.1911)
- 1 sugar tongs
64 pieces (132.5 troy ozs all in)
€ 2,500 - 3,500
461
A MATCHED SET OF GEORGE III SILVER PLAIN TAPER HANDLE TABLE SPOONS,
London 1809, mark of Peter & William Bateman (4) and London 1810 and London 1791, mark of Peter & Ann Bateman, initialled with the letter ‘K’, (12.78 ozt). (6)
€ 300 - 400
462
A SET OF SIX GEORGE III IRISH SILVER BRIGHT CUT POINT TAPER HANDLE TEASPOONS,
Dublin c.1800 (no date letter), mark of John Pittar, (2.68 ozt)
€ 200 - 300
464
A PAIR OF GEORGE III CARVED MAHOGANY SIDE CHAIRS,
each with pierced interlaced splat, covered in a ruby floral damask, on square blind fretwork legs. 95cm high, 60cm wide, 50cm deep (45cm seat height)
€ 400 - 600
463
A SET OF FOUR GEORGE III CARVED MAHOGANY SIDE CHAIRS,
each with shaped top rail above an openwork vase shaped splat with acanthus and rocaille carving, dropin upholstered seat on cabriole legs headed by tiger masks, on claw and ball feet
€ 1,000 - 1,500
465
A PAIR OF IRISH GEORGE II MAHOGANY SIDE CHAIRS CIRCA 1750,
the waved crest rails accentuated with shell corners, centred with a prominent scallop shell, against a pounced ground, the open splats gathered by rosettes, drop-in seat on moulded frame, on acanthus carved cabriole legs on square paw feet, joined by a shaped and carved flat stretcher. 103cm high, 55cm wide, 44cm deep
Provenance: Hon. Garech Browne, Luggala, Co. Wicklow, sold Mealy’s, 2 May 2006, lot 347
€ 3,000 - 5,000
466
A SET OF EIGHT GEORGE III MAHOGANY DINING CHAIRS 19TH CENTURY,
each with hump back and pierced splat above a shaped seat covered with burgundy velvet on acanthus carved cabriole legs and paw feet, five chairs numbered ‘7575’, and including two open armchairs, 94cm high, 50cm wide, 54cm deep
€ 2,000 - 3,000
467
AN UNUSUAL REGENCY ROSEWOOD CONCERTINA ACTION EXTENDING DINING TABLE,
of rectangular shape with rounded corners over a brass mounted frieze, fluted tapering legs, 75cm high, 137cm wide, 250cm extended
€ 3,000 - 5,000
469
A PAIR OF GEORGE III INLAID MAHOGANY TOILET COMMODES/ NIGHT STANDS,
each with three-quarter gallery with incised handles, above single cupboard door with ebon stringing above pull-out drawer base, raised on square block legs. 76cm high, 46cm wide, 46cm deep
€ 2,000 - 4,000
471
AN IRISH GEORGE III MAHOGANY AND BRASS MOUNTED BLANKET CHEST ON STAND,
the hinged solid panel top with moulded edge above a broad frieze drawer with brass handles, lock plates and escutcheons fitted to a base with chip-carved foliate apron, on cabriole legs and paw feet. 105cm high, 128cm wide, 65cm deep
€ 1,500 - 2,500
468
A GEORGE IV INLAID MAHOGANY BOWFRONT CHEST,
with four graduated drawers, oval brass handles and raised on outward splayed bracket feet. 90cm high, 90cm wide, 52cm deep
€ 800 - 1,200
470
AN IRISH WILLIAM IV MAHOGANY AND CROSS BANDED CIRCULAR DRUM TABLE,
the moulded top with gadrooned edge, fitted with five frieze drawers, separated by pseudo drawer fronts, applied with rosette handles, on triform centre pillar and concave platform base, with leaf carved scroll supports and paw feet. 137cm diameter
€ 1,500 - 2,000
472
STYLE OF CHARLES COLLINS
Still Life With Game Oil on canvas, 90 x 114cm
€ 3,000 - 5,000
473
A PAIR OF GEORGE III STYLE PAINTED SATINWOOD DEMI-LUNE CUPBOARDS
the figured mahogany top painted with figures in open landscape within veneered segments over a cut out cupboard door and slim frieze drawer, conforming in decoration on square tapering legs and spade feet. 93cm high, 93cm wide, 43cm deep
€ 5,000 - 8,000
Cardinal Wolsey Leaving London after his Disgrace
Signed ‘S. West’ Oil on canvas, 102 x 140cm
Exhibited: Royal Academy 1841; British Institution 1842; Cork Art Union Exhibition, 1843.
Literature: W.G. Strickland, A Dictionary of Irish Artists, Pg. 518
€ 20,000 - 30,000
Samuel West was born in Cork in 1810, to a bookseller father who had moved to Cork from London. West most likely commenced his artistic training in Cork, however, he also travelled to Rome to study during his formative years. Between 1840 and 1867, West exhibited works at The Royal Academy of Arts London and The British Institution. This work was exhibited at the RA in 1841, the B.I in 1842 and the Cork Art Union Exhibition in 1843. In his later years, West turned to copying works of old masters in watercolour such as Titan’s ‘L’homme au Gant’. (A Dictionary of Irish Artists, W.G. Strickland, Pg. 517-518)
Born in 1473, Thomas Wolsey was an English statesman and a Catholic cardinal. His rise in status coincided with the accession of Henry
VIII. As King of England, he appointed Wolsey as his almoner and gave him a seat on his privy council. By 1514, he became the controlling figure in virtually all matters of the state, reaching the position of the Lord Chancellor, which he held from 1515 until 1529. He was appointed Cardinal Archbishop of York in 1514 by Pope Leo X.
Wolsey fell out of favour after failing to negotiate an annulment of Henry’s marriage to Catherine of Aragon and was thus stripped of his government titles. He retreated to York to fulfil his ecclesiastical duties as an archbishop but was called to London to answer the charges of treason, charges commonly used by Henry VIII against those who fell out of his favour. Wolsey died of natural causes following an accident boarding a royal barge at Cawood, before he could reach London.
This impressive painting presents the moment Cardinal Wolsey was expelled from his London residence, The Palace of Whitehall, to board a royal barge to York after the loss of his government position. Whitehall was subsequently taken over by Henry VIII as his principal residence in the capital after the apartments of Westminster were destroyed by fire. Whitehall served as the seat for English Monarchs from 1530 until its destruction also by fire in 1698. It was an incredibly impressive complex of buildings and at one time the largest palace in Europe. In this work, West depicts the east side of the palace which faces onto the banks of the river Thames. A large crowd has gathered to witness the Cardinal departing, most of the faces seem forlorn, mourning his expulsion from the city. He is escorted by four
armed guards, their halberds raised in the air above the crowd. Despite his loss of title, he is still treated with great respect by his attendants and household. Courtiers lift the train on his robe, a tapestry carpet has been laid along the steps, and he is helped into the boat by a gentleman dressed in furs, holding in his hand the letter which sealed the Cardinal’s fate.
To the right of the composition is a figural group of a woman and two children, set slightly apart from the larger crowds. She looks on in distress at the Cardinal. Wolsey was in a ‘non-canonical’ marriage for a decade with Joan Larke of Yarmouth. They had two children, Thomas (born c.1510) and Dorothy (born c.1512), both were born before he was ordained bishop. While the children in this painting would be too young to be either his son or daughter, West may have used this figural group to add further sympathetic appeal towards the Cardinal.
The composition follows two diagonals, the first created by the architectural façade of Whitehall stretching along the banks of the Thames, and into the distance. The second is created by the crowd of people following the Cardinal as he descends steps. He stands at the centre of the composition, clad in bright red clerical vestments and hat. Visually he commands the attention of the crowd and us as the viewer. At this time Cardinals wore red to distinguish themselves from all other clerics, signifying the importance of their standing in the religious hierarchy. Presenting him in his vestments may have been an attempt by West to convey Wolsey’s continued sense of pride in his position even after being stripped of his government titles.
477
A NORTH ITALIAN SATINWOOD AND MARQUETRY CASKET SHAPED WRITING TABLE 18TH CENTURY,
in the manner of Giuseppe Maggiolini (1738–1814), the brass banded and kingwood crossbanded top inset with green leather enclosing a red baise lined interior, the frieze with a lock plate above a panelled side centred, by a floral monogram and flanked by fruit filled sconces, the whole within ribbon tied floral cartouches and scrolls, the sides with fruit filled urns within scrolls, on brass capped inlaid tapering supports with under-tier, on short gilt brass feet, stamped underneath, ‘FHR’. 69cm high, 50cm wide, 34cm deep
€ 4,000 - 6,000
476
A CARVED GILTWOOD PIER MIRROR OF CHIPPENDALE DESIGN, 19TH CENTURY
the asymmetrical frame decorated with leaf scrolls and rockwork, enclosing a plain glass plate 92cm high x 47cm wide
€ 2,000 - 3,000
478
DESK, with twin pedestals of four drawers with brass handles and ebony banding, 75cm high, 152cm wide, 80cm deep
€ 8,000 - 10,000
A PAIR OF GILTWOOD AND MARBLE TOP CONSOLE TABLES IN THE STYLE OF WILLIAM KENT,
the white variegated rectangular marble tops, above a frieze and opposing Vitruvian scrolls raised on acanthus capped cabriole square tapering panelled legs with plinth feet. The tops 127cm wide, 64cm deep
€ 6,000 - 10,000
480 A GEORGE III STYLE GILTWOOD PIER MIRROR,
the rectangular plate enclosed within an open scrollwork frame and trailing flowers. 135cm high, 68cm wide
€ 2,000 - 3,000
480A AN IRISH GEORGE III MAHOGANY SIDE TABLE, thumb moulded rim with shell carved frieze on cabriole legs. 77cm high, 107cm wide, 59cm deep
€ 6,000 - 10,000
481 A GEORGE IV MAHOGANY BREAKFRONT BOOKCASE, with moulded cornice and a brass Greek key banded frieze above eight lancet glazed panel doors enclosing adjustable shelving, the conforming base with rosewood banded fielded panel doors on a platform base. 160cm high, 362cm wide, 45cm deep
€ 10,000 - 15,000
482
A PAIR OF IRISH GEORGE II STYLE CARVED MAHOGANY VEINED WHITE MARBLE TOP CONSOLE TABLES,
each fitted with rectangular mottled tops above a leaf carved frieze and pierced apron, on masked scroll supports terminating in hairy paw feet on a block plinth foot. 84cm high, 62cm wide
€ 10,000 - 15,000
A SET OF EIGHT GEORGE III ‘CHINESE CHIPPENDALE’ MAHOGANY FRAMED SIDE CHAIRS CIRCA 1780,
each with arched padded back and broad seat covered in gros-point needle work upholstery on pierced fret work legs joined by H shaped stretchers.
€ 8,000 - 12,000
484
ATTRIBUTED TO THOMAS POOLEY (1646-1720)
Portrait of a young girl seated on a rustic bench, with dolphin fountain and orange tree in the background Oil on canvas, 123 x 96cm
Literature:
Jane Fenlon; ‘Old Pooley the Painter; the life and career of a seventeenth century painter in Dublin in (ed.), Nicola Figgis, Irish Architectural and Decorative Studies, The Journal of the Irish Georgian Society – Vol. vii 2004, pp12-31.
Jane Fenlon, ‘A good painter may get good bread’, Thomas Pooley and Garret Morphey, two gentlemen painters in (eds), R. Gillespie and R. F. Foster Irish Provincial Cultures in the Long Eighteenth Century, Essays for Toby Barnard. 2012.
W. G. Strickland: A Dictionary of Irish Artists, (Irish University Press, Shannon 1968), pp251-53.
€ 6,000 - 10,000
In this decorative portrait, a young girl is depicted wearing a fashionable costume ornamented with pearls and gold fringes, a style found in many other portraits of similar date 1680-’90. It also features a dolphin fountain, orange tree with a landscape detail in the background. The artist Thomas Pooley was known to have copied portraits by Sir Peter Lely, the most successful court painter during the reign of Charles II. The pose of the sitter and the accoutrements used in this portrait of a young girl, are similar to those seen in an engraving of a portrait painted by Pooley engraved by S. Leader and identified as ‘the Lady Nevell [sic], where a dolphin fountain, landscape detail and an orange tree to the side are also depicted.
Thomas Pooley was born in Suffolk, near the town of Bury St. Edmunds in Suffolk. He was the son of Thomas Pooley and Douglas [sic] Nevill, co-heir of Edward Nevill, esq. Pooley’s father had been well established in Dublin pre-1640s but had returned to Suffolk during the outbreak of hostilites in Ireland. The younger Thomas spent five years at Gray’s Inns in London 1664-c.1670, before coming to Ireland in 1676 in the train of Arthur Capel, Earl of Essex, Lord Lieutenant of Ireland. It is assumed that Pooley must have obtained his training as an artist while in London. In 1686 he married Mary Crow, a Dublin heiress who inherited extensive properties in the city, the couple had one daughter.
The artist is best known for the many portraits he painted of members of his extended family and relatives that included the Southwell, Perceval, Jervis, Swift, Dering, Molesworth and Molyneux families. Several of Pooley’s portraits were in collections, in England and Ireland. Collections of portraits by Pooley of members of the extended Southwell family were at Kings Weston House nr. Bristol, Dering family portraits were in the Lord Brabourne Collection in Kent, also several more were in the Southwell House and the Alms House, Kinsale, Co. Cork.
Before coming to Ireland, Pooley painted some fine portraits, of the young Perceval brothers, two of these, Sir Phillip and Sir John that are in the NGI. Shortly after his arrival in Dublin, the artist who was well-connected socially, began painting full-length portraits of members of the New English establishment in the city. His portraits from the period pre-1700, include one of Sir Humphrey Jervis Lord Mayor of Dublin, and he also received commissions from Dublin Corporation for portraits of Charles II, William III and Queen Mary II. At that time he was well regarded as a painter who was skilled in ‘painting faces’ and his work commanded £25 for a ¾ length portrait. A striking portrait of the young Jonathan Swift who was related by marriage, his sister had married into that family, was painted by Pooley, c. 1685/6. The early portraits of young men by Pooley are among his most appealing works. Several of the portraits hanging in the Great Hall of the Royal Hospital Kilmainham were also painted by Pooley, who, at that time had assistants working for him in his studio.
Jane Fenlon, September 2024
485
AN IRISH GEORGE II MAHOGANY SIDE TABLE CIRCA 1750,
the solid rectangular top with thumb moulded edge and foliate carved frieze, centred with scalloped shell and doves on canthus carved cabriole leg and paw feet. 79cm high, 175cm wide, 76cm deep
See Glin & Peill, Irish Furniture, Yale 2007, cat.170, pg.245 for an example of an Irish mahogany coffer-onstand, c.1750 - 60, in the which the decoration of the frieze with the scallop shell flanked by two doves is identical to the one on this table.
€ 30,000 - 40,000
Irish furniture of the mid-18th century can be identified by its specific idiosyncrasies, and in particular with tables and stands, where the frieze and aprons served as the area that furniture makers were able to show off their imagination and skill.
Scallop shells were some of the most prominent carvings used as decoration on tables from this period. It emerged as an important part of the lexicon of Irish furniture and decorative arts in the 18th century. The shells, which were used in Greek and Roman architecture, and popularised in the Renaissance period, were a sign of fertility and associated with the Aphrodite, goddess of beauty. The symmetrical and attractive form of the scallop shell suited the elegant and at times restrained order of Irish furniture. The pair of doves which also accompany the shell in the frieze of this table further expressed the symbolism of love, peace and harmony. They are position in opposing directions with wings spread, creating a wonderful balance and sense of movement to the carving. The remainder of the frieze is embellished with fleur-de-lys, foliage and rosettes. It has a gracefully waved and scrolling apron.
The example in Glin & Peill Irish Furniture, is of a mahogany coffer-on stand, which has a double scallop shell and bordered on either side by the pair of doves. It is noted on this coffer that the escutcheon on the single drawer is similar to those seen on Chinese-export coffers, further linking Irish furniture with the prevailing interest at the time in Chinese and Japanese decorative works due to the increased trade link with the Far East.
487
the broken swan neck pediment with flower head terminals central brass globe perched eagle, above carved lion mask and band of scroll work, over glazed door flanked by Corinthian columns and opening to silvered dial with Roman numerals against a gilt metal ground with day and second apertures, the trunk with solid panel door on plinth base and bracket feet. 243cm high
€ 1,000 - 1,500
488 A HOWARD STYLE ARMCHAIR,
upholstered in moss green fabric, ring tuned mahogany supports and brass castors. 90cm high
€ 2,500 - 3,000
486
A PAIR OF GEORGE IV MAHOGANY AND CANEWORK BERGÈRES WITH REEDED FRAMES,
cane back and seat on fluted tapering legs and brass castors.
€ 2,000 - 3,000
490
489
A EMPIRE STYLE ORMOLU AND PATINATED CANDELABRA IN THE MANNER OF PHILIPPE THOMIRE 19TH CENTURY,
modelled as Victory standing on a globe, with outstretched wings and raised arms supporting six naturalistic branch lights, raised on a column plinth with a series of depictions of Victory in gilt, on stepped square base. 98cm high
€ 1,000 - 1,500
A GEORGE IV MAHOGANY TWIN PEDESTAL PARTNER’S LARGE DESK,
of rectangular form with tooled brown leather insets fitted with fielded cupboard doors to either side on outset plinth base. 110cm high, 182cm wide
€ 5,000 - 8,000
491
A SET OF SIX WILLIAM IV PAINTED AND PARCEL GILT DINING CHAIRS, each with curved scroll-end tablet back, the supporting frame decorated in the form of columns, with drop-in seats, raised on turned hexagonal tapered legs and turned feet
€ 1,000 - 1,500
491A
A WILLIAM IV PAINTED AND PARCEL GILT DOUBLE SCROLL END SETTEE,
in the Empire taste, the frame with stylised leaf carving, the sides and loose squab cushion upholstered in yellow stripped damask, raised on hexagonal tapered and studded legs, with fluted cup feet and castors. 76cm high, 230cm wide, 71cm deep
€ 1,500 - 2,000
493
A 19TH CENTURY ORMOLU MANTLE CLOCK BY CHARLES TAYLOR & SON, PARIS & BRISTOL
surmounted by an urn finial with garland swags, over a circular enamel dial inked with Roman and Arabic numerals, on an breakfront plinth base decorated with scrolls, foliage and a pair of eagle heads, on short bun feet, with pendulum and key, with glass dome and fitted stand. The clock 33cm high, 20cm wide
€ 800 - 1,200
494 A LOUIS XV STYLE ORMOLU-MOUNTED KINGWOOD BUREAU PLAT 19TH CENTURY,
the shaped rectangular top with inset gilt-tooled green leather writing surface, above three frieze drawers and opposing false drawers, on masked cabriole legs and sabots. 75cm high, 175cm wide, 76cm deep
Provenance: Castlemartin, Co.Kildare.
€ 3,000 - 5,000
492
A PAIR OF LOUIS XVI ORMOLU AND MARBLE CANDELABRA,
Each with white marble urn and ram’s mask handles, surmounted with foliate two-light branches, on square grey marble bases. 41cm high
€ 400 - 600
495 AFTER CLAUDE LORRAIN
Two Capriccio views with indistinct signature ‘C.Lorrain’ (centre right)
Oil on canvas 37 x 93 cm
€ 2,000 - 3,000
496 AN IRISH REGENCY CARVED MAHOGANY SERVING TABLE CORK CIRCA 1815,
of rectangular form, the breakfront top with three-quarter raised gallery, the breakfront top with ropetwist rim above a reeded frieze with central classical urn, flanked by rosettes, raised on turned fluted legs and paw feet. 108cm high, 218cm wide, 69cm deep
€ 3,000 - 5,000
497
AFTER PIETRO TACCA BRONZE FIGURE OF HENRY IV ON HORSEBACK 19TH CENTURY,
modelled in full armour sitting atop striding charger, on plinth base. 26cm high
€ 400 - 600
498
A MAHOGANY JUPE TABLE OF CIRCULAR FORM 19TH CENTURY,
Fitted with rounded extension leaves on floral carved scroll supports and concave platform. Base/lotus wrapped feet and brass casters. 74cm high, 140cm diameter, 202cm diameter extended
The history of Jupe tables dates back to 1835, when cabinet-maker Theodore Alexander Robert Jupe invented this innovative expanding table. Jupe’s patent introduced a design that allowed the table’s sections to diverge from the centre, with the resulting gaps filled by inserting additional leaves. This mechanism utilized a Capstan Mechanism, which converts rotational motion into linear motion through a combination of a pulley and a belt. Jupe later partnered with John Johnstone, and their collaboration led to the table’s exhibition at the Great Exhibition of 1851.
€ 8,000 - 12,000
illuminated manuscript on vellum (tempera, ink and gold), Latin and Dutch; Gothic textura script, one column ruled for 19 lines; 455 pgs., 6.6cm x 11cm; Three fully illustrated pages, 6 title pages, 27 pages of illuminated borders etc.; tissue interleaves face the full page illustration; 18th century leather binding, inscribed with ‘Roomsch Getijde Boek’ to spine (Roman Book of Hours). Incomplete, pages cut out
Provenance: Private Dutch Collection
€ 6,000 - 10,000
The core text of a Book of Hours is a series of prayers, readings and psalms known as ‘The Hours of the Virgin. These prayers were to be recited daily at eight set ‘hours’ to Mary, the Mother of God, who would act as an intercessor between man and God. Such devotions were a simplified imitation of the Divine Office, said by members of the clergy and monastic orders every day in the quest for salvation.
The ‘Use of Rome’ refers to a book of hours intended for the “use” of Rome specifically, this will differ from a book of hours made for the use of Paris, or Utrecht, or Sarum (Salisbury). These differences might be reflected in the order and wording of certain prayers or the veneration of local saints or religious events. Entire cycles of prayer could also be added or excluded based on personal preference, as could a variety of additional texts. Other differences between books of hours arose from the need to accommodate the diversity of regional worship. Within the medieval church, certain aspects of the liturgy were determined, to at least some degree, by local custom, and individual books of hours were made to reflect these variations. The book opens with the twelve months of the year, divided into the specific saint days.
The first illuminated leaf features the private scene of the annunciation, as Virgin Mary is kneeling to pray in her chamber when Archangel Gabriel appears to her. He announces that she will conceive a son by the power of the Holy Spirit. Above the angles head is a white dove, the physical manifestation of the Holy Spirit, with gold rays which are pointing directly at Virgin Mary. Archangel Gabriel also points to Mary using his herald’s wand, which is terminated in a fleur-de-lys, the ancient symbol of royalty.
The frame of the scene features several flowers and insects. The blue flowers are possibly Gentian blue which are native primarily to northern temperate areas of the world, especially alpine regions. The red flower is most likely a potted Carnation. The symbolism of the carnation is identical with that of the rose, in the Netherland and Germany carnations were preferred over roses. The carnation was, therefore, seen as a flower of love and the goddess Venus, however, as adapted by Christians, the carnation was a symbol of the divine love of God. The strawberry as a symbol is not only widespread but relatively early in origin. It is seen as the perfect fruit as it has no thorns nor stone and it is sweet in taste. The white flowers are seen to represent innocence and the leaves which are of trefoil form, were seen as a symbol of perfect righteousness. The illumination also features two moths or butterflies as well as a snail. Butterflies and flies were symbols for the soul and eternal life. It was common in the Netherlands for the scene of the Annunciation to feature insects.
It is interesting to note that this illumination does not feature a white lily. Almost all scenes of the Annunciation included them, often known as the Madonna lily, as it is a symbol of her purity and perfection, both carnal and spiritual.
The second illuminated leaf is a depiction of the episode from the life of the Virgin Mary. She is presented seated, presumably holding the new testament in her lap, with the old testament lying at her feet. The scene is set within a gothic architectural courtyard. The Holy Spirit once again appears in the form of a white dove, with rays of gold radiating down on the twelve apostles and Mary.
In the Acts, it is described that after Jesus ascended to heaven, the Apostles waited in the Holy City for the sending of the promised Consoler, united around the Virgin Mary. Following the betrayal by Judas Iscariot, the decision was made to have Matthias take his place. Once the twelve apostles were complete again, they continued praying while awaiting the coming of the Holy Spirit as Jesus had promised them. Finally, on the day of Pentecost, suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit (Acts 2:2-4).
Once again, the scene is framed by botanical illuminations, this time the flax flower, and a variety of irises. The iris flower is the only symbolic rival to the white lily of the Virgin, and its first appearance as a religious symbol is in the work of the early Flemish masters. The symbolism of the iris and the lily at first appears to be identical, and the substitution of the iris for the lily seems to be the result of some confusion between ‘lys’ and ‘fleur-de-lys,’ accentuated by the likeness between the iris and the lilies of the French royal standard with which the people of the Netherlands were familiar, since they were emblazoned on the shield of the Dukes of Burgundy. In the Netherlands, in the fifteenth century, symbolism was usually very precise, and there does seem to be a slight difference in the use of the two. The lily is used exclusively as the symbol of virginal purity, more particularly in relation to the fact that the Virgin Mary was a mother, but the iris, the royal lily, appears to be the emblem or attribute of God incarnate. Interestingly, the pea is also featured which was a symbol humility as it was considered a humble plant that grew toward heaven. As it produced many fruits it represented the virtue of holy works. In direct contrast, it could also be seen as a symbol of instability and the danger of sin, because it has heavy foliage and a frail stem which often needed further support.
The illumination also features a prominent dragonfly and a peacock. Earthly life, which was full of sin, was often represented by crawling insects such as beetles, caterpillars, and locusts, whereas life in the heaven was represented by flying insects such as butterflies, moths, dragonflies, and damselflies. Dragonflies were therefore used as a religious symbol of the eternal life of the soul. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were very frequent and widespread in Christian art.
The last full-page illumination features the uncommon scene known as the Metterza. The term is derived from the medieval vernacular me is third, referring to Saint Anna, mother of the Virgin Mary, who places herself third in the hierarchy of the divine family, next to Mary and Jesus. This scene was popular in Germany since the 14th century, and later the term and its iconography spread throughout Italy and Northern Europe in the 15th century. Hence the three figures in this illustration are St Anne, the mother of Mary, Virgin Mary and baby Jesus. The figure of St Anne is seated on a large wooden throne, at her feet sits Virgin Mary with baby Jesus lying in her arms. The background also features a peacock along with a characteristic pink sandstone wall and turret.
The frame around the scene features flowers such as gentians, irises, flax and most importantly roses. The insects featured are moths and flies. As mentioned above, symbolically the rose was seen to represent the divine love of God.
500
A FRENCH AUBUSSON VERDUE TAPESTRY, 18TH CENTURY
woven with a woodland scene within an oblong field contained within a taupe and cream border. 210cm high, 89cm wide
€ 1,500 - 2,000
501
A CHINOISERIE SIX PANEL LAQUERED FOLDING SCREEN 19TH CENTURY,
one side painted with two figures amongst trees and flowers with exotic birds perched on branches and flying above, to the other side each panel painted with five gold framed vignettes containing different views, against a red ground. Approx. 226cm high, 360cm wide (each panel 58.5 wide) Provenance: Howth Castle, Dublin
€ 3,000 - 5,000
502
AN ITALIAN PAINTED AND CARVED OAK COFFER 17TH CENTURY
of rectangular shape with lift top, the front with three recessed arches painted with flower groups, applied wrought iron side handles. 50cm high, 124cm wide, 57cm deep
€ 300 - 500
503 A PAIR OF LARGE WATERFORD CUT-GLASS WALL MIRRORS LATE 19TH CENTURY,
each fitted with oval glass plates within a blue and clear glass border of facet-cut beads, copper edged rim. 103cm high, 74cm wide
€ 8,000 - 12,000
503A AN IRISH GEORGE III GILTWOOD AND GESSO MIRROR, of upright rectangular form, the plate contained within a pierced and flat-carved scrollwork frame, surmounted by a carved bird, the apron with central scallop shell. 98cm high, 60cm wide
€ 2,500 - 3,500
504
BASILIUS BESLER (GERMAN, 1561-1629)
Hortus Eystettensis (The Garden at Eichstatt): three plates
Engraving with hand colouring, 50 x 40cm (3)
€ 800 - 1,200
506
TWO ORNITHOLOGICAL FRAMED PRINTS AFTER FRANCOIS NICOLAS MARTINET,
‘Le Grebe Hupe’ and ‘Le Grand Pluvier’ Hand coloured engravings, 24 x 19cm
Framed
€ 200 - 300
505 A SET OF FIVE ORNITHOLOGICAL PRINTS BY FRANCOIS MARTINET,
Framed hand coloured engraving from Brisson’s “Ornithologia”
Each 21.5 x 24.5cm
€ 600 - 800
507
A MUSICAL AUTOMATON PICTURE OF DANCING SAILORS BY
1890
€ 2,000 - 3,000
two polychrome metal sailors with articulates knees and hips, with painted background depicting a harbour, the case with handle, housing a musical key winding movement with key and stop/start. 35cm high, 40cm wide
On May 30, 1764, in Paris, King Louis XV (1710–1774) watched as a gold-plated mechanical duck sat on a podium. The duck proceeded to stand up, flap its wings, stretch out its long neck, and peck at some grain, much to the King’s delight. For its grand finale, the duck sat down, settled itself, and then, with a loud quack, stood up once more and—miraculously—defecated onto a silver dish. Canard Digérateur automaton was a mechanical miracle.
Voltaire (1694–1778) hailed Jacques de Vaucanson (1709–1782), the inventor of the Canard Digérateur, or Digesting Duck, as the modern Prometheus. While King Solomon is said to have had a throne guarded by mechanical beasts, the origins of automata can be traced back to ancient Greece. Hero (or Heron) of Alexandria, a Greek engineer and mathematician, wrote a treatise on making automata and designed several impressive devices.
During the Middle Ages, automatons were used in clock towers to indicate the passing of time and to entertain the public. However, it was from the mid-18th century to the end of the Victorian era that the art of building automata truly flourished. These machines captivated audiences with their complexity and humour.
The tradition of automata continued into the late 19th century, especially in Paris, with the expanding market pioneered by makers such as Roullet & Decamps (established in 1886), Léopold Lambert (founded in 1866), and Gustave Vichy (established in 1862).
Gustave Vichy, born in 1839 in Paris, took over his family’s mechanical toy business after his father went bankrupt. He improved the mechanisms by using metal parts and shifted focus to musical automata. In 1864, he married Maria Teresa Burger, who designed fashionable doll clothes. Vichy innovated in automata production and achieved recognition with awards, including a gold medal at the 1880 World Fair in Melbourne. His son Henry later renamed the firm G&H and integrated phonographs into their products.
A similar example is illustrated in Jack Tar A Sailor’s Life: 17501910 Marine Art & Antiques, p.151.
€ 2,000 - 3,000
509
A GEORGE II IRISH SILVER COFFEE POT,
Dublin c.1746 (no date or makers mark), the hinged dome lid with pineapple finial, the tapered body with cartouches to either side and with embossed and chased floral and scrollwork decoration, raised on a circular spreading foot, with c-scroll timber handle (c.27.5 troy ozs including handle). 25cm high
€ 3,000 - 4,000
Dublin 1737, maker’s mark of Thomas Sutton, raised on circular foot (c.16.6 troy ozs). 18cm diameter, 10.5cm high
€ 5,000 - 8,000
Dublin c.1765, maker’s mark of Richard Williams, the fluted Corinthian columns with reeded detachable sconces, raised on downswept square bases with gadroon banding, each crested with an engraved winged lion rising from a crown (weighted). Each 38cm high
€ 15,000 - 20,000
Dublin 1715, maker’s mark of Henry Daniell, with 24 lobes, having original armorials (c.14.9 troy ozs). 23.5cm diameter
€ 7,000 - 10,000
Dublin 1727, maker’s mark of Matthew Walker, of plain baluster form with central girdle, the front engraved with elaborate armorial, with applied c-scroll handle and raised on circular spreading foot (c.33 troy ozs) 23.5cm tall, 22cm wide over handle and spout
This elegant silver jug, introduced into Ireland by the Huguenots during the first half of the eighteenth century, exemplifies the period’s preference for plain silver, focusing on refined shape and proportions over elaborate decoration. From 1700 to 1735, pieces like this were often engraved with coat of arms within a cartouche. This particular jug is adorned with the armorial of the Wilson family, set within a foliate and scroll cartouche, showcasing the craftsmanship and heraldic tradition of the time.
For comparative examples, refer to ‘Irish Silver: From the Seventeenth to the Nineteenth Century’ by the Smithsonian Institution (1982, p.19) and Douglas Bennett’s ‘Collecting Irish Silver’ (1984, p.25)
€ 15,000 - 20,000
Still life of lilies, chrysanthemums, hydrangeas, and tulips in a carved urn with cherubs in relief, beside a waterfall with ducks, snakes and lizards
Signed lower left Oil on canvas, 130 x 175cm
Nicola Cassisa was active in Campania and Naples as a painter of still life scenes, flowers and birds. He was a pupil of Andrea Belvedere. Some of Casissa’s paintings were in the 1714 inventory of Duke Nicola Coppola di Canzano. Among Casissa’s students are Leonardo Coccorante and Giorgio Garri.
€ 5,000 - 8,000
Portrait of Norah Hill (1835-1920)
Oil on canvas, oval 53 x 43.5cm
Signed, dated and inscribed on the reverse of the unlined canvas: ‘Norah M.E. Hill 1856 by J Slattery, Dublin’
Provenance: Lord George Hill (the sitter’s father); By descent through his brother’s family, the Barons Sandys at Ombersley Court, Worcestershire, until the death of Richard Hill, 7th Baron Sandy, recorded in a store room in a 1963 inventory but more recently hanging on the main stairs; Private collection Ireland
Exhibited: Loan Museum of Art Treasures, Dublin Industrial Exhibition Palace, 1873, lent by the sitter’s father, Lord George Hill, where it is catalogued under the sitter’s married name The Hon Mrs Somerset Ward, as recorded on a label on the reverse from Loan Museum of Art Treasures
Literature: Walter Strickland, A Dictionary of Irish Artists, 2 vols, (Dublin and London, 1913) vol. 2, p. 359, ‘a portrait of the “Hon Mrs Somerset Ward” was lent to the Dublin exhibition in 1873 by Lord George Hill’
William Laffan, ‘Samuel Beckett, John Joseph Slattery and Jane Austen’s Niece’, Irish Architectural and Decorative Studies, the Journal of the Irish Georgian Society, vol. xxvi (2023) pp. 90-98
€6,000 – 8,000
This portrait of Jane’s Austen’s Irish-born grandniece has recently been brought to scholarly attention in an article on its painter John Joseph Slattery. After a successful spell as a student of the Dublin Society Schools, which he entered in 1846, Slattery was by 1852 exhibiting at the Royal Hibernian Academy from an address of 10 Wicklow Street. Four years later he exhibited again having moved to St Stephen’s Green. Strickland notes that he had gained ‘a good practice’ in the years around 1850 and ‘painted several persons of distinction’. Dominating his small extant oeuvre are portraits of cultural figures of mid-century Ireland notably of the antiquarian and artist George Petrie (Royal Irish Academy), the painter Jeremiah Hodges Mulcahy (University of Limerick) and the novelist William Carleton (National Gallery of Ireland). This last portrait was acclaimed by Carleton’s early biographer as ‘the best and most life-like’ of the sitter ‘in existence’. However, despite the early success which elicited such lavish praise, Slattery’s documented career in Ireland ended abruptly and, after the 1858 exhibition at the RHA, he seems to have vanished. Strickland notes that he ‘is said to have gone to America’.
In his short biography of the artist Strickland records a portrait by the artist of Mrs Somerset Ward. Her own name obscured by her husband’s, as convention dictated, Mrs Somerset Ward was born Norah Hill (1835-1920). Her father was Lord George Hill, a younger son of Arthur Hill, Marquis of Downshire, of Hillsborough, County Down, and Mary Sandys. In October 1834 Hill, an MP and solider, married (after several years of parental opposition to the match) Cassandra Jane Knight, the daughter of Jane Austen’s brother Edward Austen Knight (1767-1852), who took her name from Austen’s beloved sister and confidant. The following year on 19 December their first child, Norah Mary Elizabeth, Slattery’s subject here, was born. Lord George and Cassandra settled in Donegal, where Hill was developing his estate at Gweedore, as a pioneering, if notably controversial landlord, but sadly Cassandra died on 14 March 1842 three days after giving birth to Norah’s sibling, another Cassandra. Her mother’s sister, Louisa Knight, again a niece (and also god-child) of Jane Austen moved to Donegal to help with the young children and 11 May 1847 married Lord George, her sister’s widower, in Denmark; British law at the time forbade the union. The extraordinary story of the relocation of members of Jane Austen’s family from Kent to Donegal has recently been recounted in rich detail by Sophia Hillen, their lives in Ireland echoing ‘to an uncanny degree’ Austen’s novels, if ‘some of what befell the Knight sisters was beyond even the realm of their aunt’s extensive imagination’ (Sophia Hillan, May, Lou & Cass, Jane Austen’s nieces in Ireland (Belfast, 2011))
Slattery’s portrait of Norah Hill was painted in Dublin in 1856 when she was twenty-one. Her looks and character a girl had been much admired –just as Jane Austen had praised her mother’s. Her cousin, another Louisa, noted in a letter of 1850 of a visit back to the Knight’s estate in Kent: ‘Uncle George Hill brought Norah over from Ireland to Godmersham…she is the prettiest as well as the nicest girl of 14 I ever saw.’ In addition to Norah girlish charm and membership of the Downshire family, her kinship with Jane Austen helped her prospects in Vice-Regal circles. Her aunt Louisa noting in the Spring of 1856, as Norah sat for her portrait, how Pamela, Lady Campbell, a friend of Lord Carlisle, the new Lord Lieutenant was ‘a most ardent admirer of Aunt Jane’s works’. Lady Campbell, herself, wrote to the Viceroy: ‘Only fancy the discovery we have made…! Lady George Hill [Louisa] is own niece to Jane Austen the authoress and she can tell us so much about her!’
On 28 April 1859 Norah married the dashing soldier Somerset Ward, of Castle Ward a happy union but also a more equal and pragmatic match than that of her parents as it linked the political interests of the Bangor and Downshire families in County Down. In 1873 the Slattery’s painting was lent by the sitter’s father, Lord George Hill, to the Loan Museum of Art Treasures, in Dublin’s Industrial Exhibition Palace but subsequently it descended through his brother’s family at Ombersley Court, Worcestershire. The picture and title passed through the family until the death of Richard Hill, 7th Baron Sandys (1931-2013) when the title was united with the Downshire marquisate. By the time of a 1963 inventory of Ombersley Court it had been relegated to the Store Rooms but more recently it was hung with other family portraits on the main stairs (see photograph).
We are grateful to William Laffan for his assistance in cataloguing this lot.
515
A MAHOGANY FRAMED BILLIARD SETTEE
19TH CENTURY,
the back, seat and arms covered in close-nailed green leather, raised on turned baluster fluted supports. 160cm long, 70cm wide, seat height 45cm
€ 1,000 - 1,500
516 A MAHOGANY SQUARE FRAMED SOFA
19TH CENTURY,
with a long loose squab cushion, upholstered in green fabric, raised on short turned legs and brass castors. 80cm high, 184cm long, 72cm deep
€ 1,000 - 1,500
517
A GEORGE II OAK AND WALNUT CHEST ON STAND EARLY 18TH CENTURY
fitted with cavetto cornice above a row of three short drawers and three long graduated drawers, with engraved brass escutcheons, handles and plates, the base with a further deep drawer on leaf capped cabriole legs, claw and ball feet. 152.5cm high, 103cm wide, 55cm deep
€ 3,000 - 5,000
518
A WALNUT VENEERED LONGCASE CLOCK,
signed ‘Jonathan Lowndes, in Pall Mall London’, the glazed square hood with spiral turned corner columns, housing a square gilt metal dial, with silver chapter ring and Roman numerals, outer minute market track, and chamfered date aperture, all above a waisted trunk section, with circular lenticle and plinth base, bun feet complete with lead weights, pendulum, case, key and winding key. 190cm high
€ 1,000 - 1,500
519
ROSA BONHEUR (FRENCH, 1822-1899)
WALKING BULL
Signed
Bronze, 30cm wide
€ 600 - 1,000
520 A FRENCH BRONZE AND GILTMETAL CLOCK IN THE FORM OF A CEREMONIAL ELEPHANT CIRCA 1900
the cylindrical clock barrel surmounted by a seated figure on top of a Howdah and on the back of an elephant, with hinged door opening to a gilt metal clock face and twelve porcelain Roman numerals, on shaped square cast scrollwork base. 56cm high, 42cm wide, 22cm deep
€ 1,000 - 1,500
521
AFTER ANDREA DEL VERROCCHIO 19TH CENTURY
‘Scipione l’Africano’, a pair of bronzed bas-relief panels of opposing figures, 50cm x 35.5cm, mounted on timber back panels
€ 1,000 - 1,500
522
CONTINENTAL SCHOOL 19TH CENTURY
A Red Ibis Standing in a Leafy Stream Oil on canvas, 75 x 49cm
€ 500 - 800
523
FRANCIS WHEATLEY RA (1747-1801)
The Reconciliation
Oil on canvas, 47 x 34cm
€ 2,000 - 4,000
524
AN IRISH MAHOGANY CASED LONGCASE CLOCK BY MARSHALL OF DUBLIN,
the arched hood with broken swan neck pediment carved with scroll decoration and central lion mask, enclosing a brass dial signed ‘Marshall Dublin’, with date aperture and subsidiary seconds dial, above a waisted trunk with single panel door on plinth base with bracket feet. 225cm high
€ 1,000 - 1,500
Portrait of a gentleman with wig and white lace jabot Oil on board, 35.5 x 24cm In giltwood frame
€ 1,000 - 1,500
526
AN IRISH WILLIAM IV MAHOGANY CORNER CABINET, PROBABLY CORK,
the scrollwork cornice carved with central scallop shell, above twin astragal doors opening to a shelved interior flanked by ropetwist pilasters, above cupboard base with twin panelled doors and platform base. 252cm high 112cm wide
Provenance: Bangor Castle, Co. Down; Private Collection, Northern Ireland
€ 3,000 – 5,000
527
ATTRIBUTED TO STEFANO USSI (ITALIAN 1822 - 1901)
The Expulsion of the Duke of Athens Oil on canvas, 111 x 164cms
*The original dated 1860 featured in the National Exhibition Florence in 1861 and again at the 1867 Paris Exhibition.
The artist painted his own image portrayed as the armiger wearing the head bandages.
The painting hangs in Palazzo Pitti, Florence
€ 3,000 - 5,000
528
A CARVED PINE WOOD AND GESSO FIRE SURROUND 18TH CENTURY,
the moulded cornice with a series of brackets above a central swag and fluted frieze, above a Kit-Kat frames surround with egg and dart border. 169cm high, 211cm wide
€ 1,500 - 2,000
529
A GEORGE III OAK CORNER CABINET,
the swan neck pediment with rosette terminals, twin fielded panel doors, with shelved interior on cupboard base, 222cm high, 120cm wide
€ 3,000 - 5,000
530
ENGLISH SCHOOL 19TH CENTURY
A Prisoner Brought Before A Magistrate Oil on canvas, 74 x 101cm
€ 1,000 - 1,500
531
A PAIR OF WILLIAM IV MAHOGANY X-FRAME WINDOW SEATS,
with inscrolled arms, with twist turned struts and cross stretchers, with brown leather horse hair padded seats, raised on scroll legs and porcelain castors. 82cm high, 108cm long, 44.5cm deep
€ 2,000 - 4,000
532
A NEAR PAIR OF GEORGE III STYLE MAHOGANY RECTANGULAR SIDE TABLES 19TH CENTURY, with fluted frieze and raised on fluted square tapering legs. 183cm wide, 65cm deep
€ 6,000 - 10,000
533
A PAIR OF 19TH CENTURY EMPIRE STYLE PARCEL GILT BRONZE FOUR-LIGHT CANDELABRAS,
Each 63cm high
€ 1,500 - 2,000
535
534 A PAIR OF 20TH CENTURY BRASS MOUNTED PAINTED COLUMN TABLE LAMPS,
each with cast Corinthian capitals, the columns decorated with craquelure effect, raised on rectangular plinth base. 70cm high excluding shade (E)
€ 400 - 600
536 A PAIR OF TALL ECCLESIASTICAL GILT METAL COLUMN CANDLESTANDS,
each with tulip shaped holders, above ropetwist columns, raised on quadripartite scroll base. 98cm high
€ 400 - 600
537
FRENCH SCHOOL 19TH CENTURY
Lovers in a formal garden with fountain and girl watering flowers
Oil on canvas, 120 x 90cm In giltwood and gesso frame
€ 2,000 - 3,000
538
AN ITALIAN GILTWOOD AND MARBLE TOP SERPENTINE CONSOLE TABLE, 18TH CENTURY,
the pink marble top with moulded rim, above carved reeded frieze, raised on turned tapered fluted column legs with short stylised capitals below a band of leaves. 88cm high, 124cm wide, 73cm deep
€ 2,000 - 3,000
539
AN IRISH REGENCY ROSEWOOD AND BRASS
INLAID CHIFFONIER, the superstructure with a pierced three-quarter gallery, the marble top with a reeded edge, fitted with three frieze drawers with open shelves below, between shaped rope-twist sides and spiral-reeded columns on bun feet, probably Cork, bearing John Dooly & Sons, Dublin trade label, 118cm high, 109.5cm wide, 38cm deep
Provenance: Christies, London, 1996 The Rex Britcher Collection, lot 675
€ 8,000 - 12,000
In the foreword to the 1996 catalogue of The Rex Britcher Collection at Christie’s, London, the late Desmond Fitzgerald, the Knight of Glin wrote a brief but fascinating note about the history of the market for Irish antiques in twentieth century Dublin.
It was a happy hunting ground for many British dealers and collectors who were attracted by the rich pickings in the Irish trade. The previous owner of this Regency chiffonier Rex Britcher, after his army career and world travels in the late 1940s, often visited Ireland in the company of his friend, George Furlong.
George Furlong was the Director of the National Gallery of Ireland from 1935 to 1950, and was known for his exceptional eye for paintings, and numerous fine acquisitions were made during his tenure in Merrion Square including Gentileschi’s David and Goliath, Castiligione’s The Finding of Cyrus, a large Crespi and the only known painting by Passeri. Notwithstanding that, the board declined some important contemporary paintings such as a Gauguin, a Monet and a Roualt much to Furlong’s chagrin. However the final straw was in 1950, when they turned down Murillo’s Christ Healing the Paralytic at the Pool of Bethesda, and which was immediately bought by the National Gallery in London, that Furlong tendered his resignation and prompted his permanent move to London. The two friends had a fine house in Thurloe Street, where their many treasures were displayed to great advantage. Amongst their many artistic and literary friends who enjoyed their company were Lady Fingall, Senator Ned Maguire, John and Putzel Hunt, Norah McGuinness, Harold Nicholson and Vita Sackville-West.
The present lot, with a Dooly of Dawson Street, Dublin trade label, and presumably purchased directly from them, sports a Connemara marble top, turned supports and brass banding of oak leaves. The Knight noted that this banding is exactly similar to the decoration on a lyre supported card table in a collection in the south-west of Ireland, and suggests that it was probably from a Cork manufactory. He opined that the inlay and a predilection for turned, and rope decorated detailing seemed to be very characteristic of Cork workshops.
the rectangular adjustable ratchet-action top inset with green leather scriber, above a faux drawer fall-front pull-out secretaire section, having baise lined writing surface sliding back to reveal a fitted interior with alphabetised compartments, above a central cupboard door flanked by six short pedestal drawers stamped ‘GILLOWS LANCASTER’. 95cm high, 130cm wide, 71cm deep
€ 8,000 - 12,000
This type of bureau writing desk, designed for both seated and standing use, was supplied by Gillows of Lancaster. They were provided for accounting firms as well as for gentleman libraries. The alphabet-inlaid drawers and fall front, supported by quadrants, reflect a style popularized by Thomas Shearer's The Cabinet Maker's London Book of Prices (1788–1803).
An early example was made by David Wright who was a journeyman, working in Gillows Lancaster, in August 1751 - now in the Victoria & Albert Museum. During the late 18th century, Gillows produced numerous variations of this desk form. A desk of this model, dated circa 1790 and with the impressed stamp: 'GILLOWS LANCASTER', is illustrated in S. Stuart, Gillows of Lancaster and London, 1730-1840, 2008, p.282, pl.296. A pattern for a very similar desk with a rising ratchet-supported top and 'turn down' front features in the firm's 1798 Estimate Sketch Book (no. 1481) preserved in the Westminster City Archives.
The present example closely relates to a design supplied to Mr. Dickinson in which was later modified by Gillows at the customer's request. In a letter from Richard Gillow dated 1766, it was suggested that the desk's appearance and structural strength would be improved by incorporating three drawers beneath the top, supported by rails, instead of the two drawers originally requested by Dickinson. While the letter also references the use of castors to allow furniture mobility within a room, Mr. Dickinson chose not to include them, resulting in a desk with an unfinished back, requiring placement against a wall. In contrast, this example lacks castors and has a fully finished back, though it retains the extra framed top, which could be raised for more comfortable standing use. A nearly identical desk was produced for Williams Hassell of Penrith in November 1774.
A closely related desk to this lot sold in Bonhams, London 12 June 2013 for £18,750 including premium.
542
A PAIR OF GEORGE IV MAHOGANY HALL CHAIRS,
with carved scallop shell backs raised on opposing scrolls, above solid seats, raised on turned fluted tapering legs
€ 1,000 - 1,500
543
A PAIR OF REGENCY STYLE MAHOGANY FRAMED BERGERE LIBRARY CHAIRS 20TH CENTURY,
each with square backs and turned column carved arms and legs, with loose green leather button back cushions. 97cm high, 68cm wide, 75cm deep
€ 800 - 1,200
541
A GEORGE III MAHOGANY AND BRASS BOUND PLATE BUCKET,
of circular tapering design with swing handle, brass banded foot and collar, fitted with detachable zinc liner. 44cm high or 60cm high with raised handle
Provenance: Fort Granite, Co. Wicklow
€ 1,200 - 1,600
544
A GEORGE III ROSEWOOD AND SATIN WOOD BANDED TILT TOP BREAKFAST TABLE,
the rectangular top with rounded corners and wavy border inlay on turned centre pillar and down swept legs, brass caps and casters. 113cm wide, 50cm deep
€ 2,000 - 4,000
CLAUDE-ANDREW CALTHORP (BRITISH 1845 - 1893)
Marie Antoinette being led to Execution Signed Oil on canvas, 125 x 83cm
€ 3,000 - 5,000
547
A MAHOGANY FRAMED UPHOLSTERED SMALL SETTEE 19TH CENTURY,
the square back, sides and squab cushion covered in green damask fabric, raised on square block legs with blind fretwork, with pierced cross stretcher.
€ 800 - 1,200
546
A GEORGIAN UPHOLSTERED MAHOGANY FRAMED WINGBACK ARMCHAIR,
covered in olive green velour, on acanthus carved cabriole legs and paw feet. 112cm high, 85cm wide, 41cm (seat height), 82cm deep
€ 1,000 - 1,500
548
A CARVED MAHOGANY EIGHT-LEG OTTOMAN 19TH CENTURY
upholstered in green Moira silk fabric, with loose squab cushion, raised on stylised shell capped legs and paw feet. 40cm high, 227cm long, 82cm wide
€ 1,000 - 1,500
with twin scroll ends, upholstered in floral fabric, raised on carved paw feet. 222cm long, 112cm wide
€ 3,000 - 5,000
549
ATTRIBUTED TO FERDINAND SCHNEIDER (1814-1897)
Interior scene with family enjoying lute music Signed lower left Oil on canvas, 93 x 126cm In heavily carved giltwood frame
With label verso inscribed, ‘The Property of Clara Emma Lady Fitzgerald, bought July 1890 to Carrigoran’
€ 4,000 - 6,000
552
A PAIR OF WUCAI ‘SCHOLARS AND LADIES’ JARS AND COVERS
China, Qing dynasty H: 46cm
€ 4,000 - 6,000
554
551
A RARE PAIR OF CHINESE LARGE BRONZE VASES QING DYNASTY (1644 - 1911)
19th century, with flared rims, applied with handles in the form of fruiting branches, the bodies decorated in high relief with Taoist gods. 90cm high; 92cm high, each 42cm diameter
€ 1,000 - 1,500
553
THREE BLUE AND WHITE RECTANGULAR PLATES WITH LANDSCAPE AND GARDEN DECORATION CHINA COMPANY DES INDES, 18TH CENTURY
Size: 25.2 x 32.5cm; 21.4 x 29cm; 29.3 x 38.2cm (3)
€ 300 - 400
TWO CHINESE BLUE AND WHITE PORCELAINS CHINA
19TH CENTURY,
consisting of a small vase with lions and a brush pot with bird and flowers. 18cm high, 11.9cm high (2)
€ 250 - 350
555 A RARE CHINESE EXPORT ‘FAMILLE-ROSE’ BOAR’S HEAD TUREEN AND COVER, CHINA, 18TH CENTURY
Modelled as the head of a wild boar looking upwards with its mouth open, revealing its teeth and tongue. The figure features pointed ears and large eyes, with the cover forming the upper part of the head. It is naturalistically enamelled with brown fur, an iron-red snout, white and gilded teeth, and a pink tongue. 27.8cm long
Boar-head tureens made in China were custom-ordered by affluent European families to captivate guests during banquets, showcasing both artistic beauty and the host’s wealth and social standing. The tureen’s nostrils allowed steam to escape from the hot food inside, enhancing the lifelike appearance.
This practice is linked to the medieval European tradition of serving meat in animal heads during certain feasts and celebrations. William Sargent suggests that these ceramic boar-head tureens originated from this tradition, noting that animal head tureens were likely first produced in Strasbourg, Alsace Lorraine, by Paul Hannong between 1748 and 1754.
€ 1,800 - 2,200
556 A GILT-BRONZE MOUNTED FAMILLE VERTE PORCELAIN PUNCH BOWL, CHINA, 18TH CENTURY
19cm high
Inner porcelain 19cm diameter
€ 1,000 - 1,500
557
CONTINENTAL SCHOOL 19TH CENTURY
A Flowerpiece
Signed with monogram
Oil on canvas, 49 x 39cm
€ 500 - 1,000
558
VICTORIAN SCHOOL
Small Still Life Studies of Fruit
Signed with monogram
A pair, oil on canvas, each 14 x 19cm
€ 400 - 600
with mahogany stop-fluted and foliate carved posts on Marlborough legs joined by stretchers, with buttoned headboard and silk hangings. 266 cm high, 184 cm wide
€ 5,000 - 8,000
560
JOHN ARNOLD WHEELER (1821 - 1903)
Horses Watering by a Pool
Signed Oil on canvas, 46 x 61cm
Provenance: Sotheby’s London, c.1978 where purchased by the present owner’s parent.
€ 3,000 - 5,000
561
A GEORGE IV ROSEWOOD CIRCULAR BREAKFAST
TABLE on plain centre column and concave platform base and scroll feet, reduced in height 130cm diameter
€ 1,000 - 1,500
562 A PAIR OF CONTINENTAL MAHOGANY CROSSBANDED RECTANGULAR COMMODES 19TH CENTURY,
The figured top above three long graduated drawers with rusticated ‘brickwork’, set with brass roundels on an outset platform base. 86cm high, 147cm wide, 55cm deep
€ 8,000 - 12,000
563
DUTCH SCHOOL 17TH CENTURY
The Deposition of Christ Oil on board, 98 x 82cm Within gilt slip frame
€ 1,000 - 1,500
564 A PAIR OF MAHOGANY FRAMED ARMCHAIRS BY HOWARD & SON
stamped ‘Howard & Son, Berners St., 6488’ covered in a beige floral damask with loose seat cushion, on square tapering legs and original stamped castors
€ 6,000 - 10,000
565
the solid panel top with moulded edge and rounded corners, supported on three heavy baluster columns with arched downswept legs, cast paw feet and brass castors, two additional leaves. 585cm long fully extended, 154cm wide
€ 15,000 - 20,000
566
IRISH SCHOOL, LATE 18TH/EARLY 19TH CENTURY
A wooded landscape with mountains and beyond a lake Oil on canvas, 50 x 76cm
€ 1,000 - 1,500
567
AN IRISH LATE REGENCY ROSEWOOD AND BRASS INLAID CHIFFONIER, the superstructure with a pierced three-quarter gallery and two drawers decorated with stylised foliate stems, the lower part with two similarly inlaid frieze drawers and a pair of recessed panel doors below, flanked by composite capital stiles, on sabre feet, bearing John Dooly & Sons, Dublin trade label, 125cm high, 89.5cm wide, 44cm deep
Provenance: Christies, London, 1996 The Rex Britcher Collection, lot 651
€ 3,000 – 5,000
568
A SET OF SIX FRENCH ORMOLU AND BLUE ENAMEL TWO-BRANCH WALLSCONCES,
c.1900, finely cast with acorn finial over a blue enamel centre column, the twin upturned branches headed by goat masks over perched birds and fitted with faux candle sleeves, 60cm high (E)
€ 7,000 - 10,000
569
A LARGE IRISH REGENCY BREAKFRONT SERVING TABLE IN THE MANNER OF GILLINGTONS DUBLIN,
the shaped top with moulded rim, the frieze centred with rectangular tablet above beaded rim, raised on turned fluted tapering legs with carved lotus collars. 93cm high, 285cm wide, 81cm deep
€ 6,000 - 8,000
571
A PAIR OF ALABASTER URNS, of amphora form, each with outturned carved leaf rims, with naturalistic handles in the form of fruiting vines, above flowers in high relief on socle foot and plinth base. 49cm high
€ 600 - 1,000
570
A CARVED PORPHRY STONE HEAD, AFTER THE ANTIQUE, depicting a Roman Emperor, on later metal stand. 46cm high
€ 4,000 - 6,000
572
A NEAR PAIR OF 19TH CENTURY CLASSICAL MARBLE URNS,
of campagna form, with out turned rims, demi-fluted, raised on socle base. 30cm high
€ 600 - 1,000
573
AN ITALIAN BRONZE FIGURE OF EMPEROR AUGUSTUS OF PRIMAPORTA, AFTER THE ANTIQUE 19TH CENTURY
standing with an oratorical gesture and raised on a square platform; on an alabaster pedestal base, 50.5cm high overall.
€ 500 - 800
574
A PAIR OF GRAND TOUR SIENNA AND CARRARA MARBLE COLUMNS, ITALIAN 19TH CENTURY,
Each 32.5cm high, 17cm squared
€ 300 - 500
575
A PAIR OF CONTINENTAL MARBLE URNS AND COVERS ON PEDESTAL BASES EARLY 20TH CENTURY,
51.5cm high
€ 600 - 1,000
577
AN IRISH GEORGE III SECRETAIRE BOOKCASE,
the rectangular two door top surmounted with a blind fretwork cornice above fielded panel doors with shelved interior, the lower section with pull-out writing panel flanked by stationary drawers over four long graduated drawers, gilt brass bracket handles on arched bracket base. 208cm high, 108cm
€ 1,000 - 1,500
576
A GEORGE III POLYCHROME DECORATED MAHOGANY CHEST ON CHEST,
the dentil cornice above two short and three long drawers, painted to each side with classical ornament, ribbon-tied garlands, urns and portrait busts, the lower section with pull-out brush slide, four further drawers and bracket feet. 189cm high, 117cm wide, 58cm deep
€ 1,500 - 2,500
578
A MAHOGANY FRAMED HUMP BACK THREE SEAT SOFA 19TH CENTURY ,
upholstered in light green damask, with out scrolling arms, on channelled legs joined with cross stretcher, with castors. 94cm high, 215cm wide, 80cm deep
€ 2,000 - 3,000
579
A MAHOGANY FRAMED HUMP BACK THREE SEAT SOFA 19TH CENTURY,
upholstered in light green fabric, with out scrolling arms, on channelled legs. 89cm high, 205cm wide, 80cm deep
€ 2,000 - 3,000
580
A PAIR OF IRISH GEORGE III GILTWOOD WALL MIRRORS OF ROCOCO STYLE,
each with rectangular plate flanked by slender columns contained within an open scroll work carved frame, with trailing flowers.
€ 5,000 - 8,000
581 A SWEDISH GUSTAVIAN GREY PAINTED THREE SEAT SETTLE,
of rectangular form, with raised classical tablet back, over a golden silk back and seat, with loose swab cushions, the side walls with pointed finials and rosettes, repeated to the lower frieze, on short leaf carved legs. 109cm high, 191cm wide, 68cm deep
€ 1,500 - 2,000
the red breccia marble tops with moulded rims, the banded frieze decorated with central carved lion masks and flanked by swags of oak leaves and crossed torches, the side similarly decorated, raised on square tapering fluted legs with plinth feet. 99cm high, 140cm wide, 65cm deep
€ 8,000 - 10,000
584
AN IRISH GEORGE III MAHOGANY AND BRASS BOUND PLATE BUCKET
of circular tapering form with arched brass handle, ribbed side wall and fitted with removable slide. 60cm high
€ 2,000 - 3,000
585
A LARGE BRASS CLUB FENDER 20TH CENTURY,
the seat upholstered in tartan fabric. 189cm wide, 58cm high, 52cm deep
€ 1,500 - 2,000
583
AN IRISH GEORGE III MAHOGANY FRAMED WINGBACK ARMCHAIR,
the padded back and seat covered in a dark floral upholstery, with angled wings and outscrolling arms, loose seat cushion on acanthus carved cabriole legs and leaf wrapped feet. 116cm high, 75cm side, 80cm deep
€ 2,000 - 3,000
586
CHARLES MOREAU (FRENCH 1830 - 1891)
Kitchen Maid
Signed lower right Oil on board, 40 x 30cm
€ 1,000 - 1,500
587
A SET OF FOUR GEORGE I MAHOGANY SIDE CHAIRS with vase shaped splats drop in tapestry seats on cabriole legs
€ 3,000 - 5,000
588
A PAIR OF IRISH GEORGE IV MAHOGANY BOWFRONT DRAWING ROOM CABINETS
ATTRIBUTED WILLIAMS AND GIBTON CIRCA 1820,
the moulded Greek key cornice above twin astragal glazed doors and flanked by glazed quadrant sides above a central writing slide and chest of four cockbeaded long drawers with ivory inlaid handles and fitted cupboards, on bracket feet. 250cm high, 205cm wide, 70cm deep *
Provenance: Possibly Vane-Tempest-Stewart Family, Mount Stewart Co. Down
€ 30,000 - 40,000
Established in Abbey Street, Dublin in 1784 by John Mack, the firm of Mack, Williams, and Gibton became one of Ireland’s most distinguished cabinet-making workshops. John Mack and Robert Gibton, originally listed individually in Dublin directories from 1784 and 1790 respectively, formalised their partnership in c.1801. Around 1810, the firm became known as Mack, Williams, and Gibton, a name under which it thrived until John Mack’s death in 1829. Thereafter, the business continued under the name Williams and Gibton until 1844. The firm is recognised for the superb timbers employed and their high quality of workmanship which is often compared to Gillows of Lancaster and London. Much of the furniture they produced was inspired by designs published by Thomas Hope and George Smith. In 1806, the firm was appointed ‘Upholsterers & Cabinet Makers to His Majesty, His Excellency the Lord Lieutenant, and His Majesty’s Board of Works,’ a prestigious Royal Warrant that enabled them to supply and restore furniture for key public buildings across Ireland, including the Four Courts, Dublin Castle, Collins Barracks, and Áras an Uachtaráin. Some of their most distinguished private commissions include Ballynegall, Co. Westmeath, Oakley Park, Co. Meath and Strokestown, Co. Roscommon.
A related single bookcase attributed to Mack, Williams, and Gibton was sold at Bonhams, London, 11 March 2009, lot 63 (price realised £18,000).
By repute, these cabinets were possibly from Mount Stewart, Co. Down, and were apparently in a private Portuguese collection during the 20th century, as evidenced by the continental style ivory and mother of pearl inlaid handles.
AN IRISH GEORGE II MAHOGANY BUREAU BOOKCASE CIRCA 1740,
the broken swan neck pediment with pierced fretwork centred by a giltwood cartouche above shaped panelled doors, the lower section with slope-front enclosing a fitted interior above four graduated drawers on ogee bracket feet, 243cm high, 113cm wide, 62cm deep.
€ 4,000 - 6,000
590 A PAIR OF GEORGE III MAHOGANY TORCHÈRE STANDS 19TH CENTURY,
the pie-crust tops above a turned baluster column support on downswept scrolled tripod legs. 89cm high, 54cm diameter
€ 1,200 - 1,800
591
RICHARD HENRY NIBBS (1816-1893)
Shipping in a Stormy Seascape
Signed Oil on canvas, 80 x 122cm
€ 1,500 - 2,000
592 A PAIR OF IRISH GEORGE III MAHOGANY FRAMED LIBRARY CHAIRS,
each with stuffed seat, back and arm rests covered in a dark red leather carved with anthemion and rosettes, ribbed handles on fluted tapering legs and brass castors, 104cm high, 71cm wide
€ 3,000 - 5,000
593
A GEORGE III SATINWOOD CYLINDER BUREAU BOOKCASE,
with arched pediment and turned finials above twin glazed panel doors, shelved interior above a roll-back cylinder section with pull out writing slide, pigeon holes and stationary drawers, on cupboard base. 250cm high x 100cm wide
€ 2,000 - 3,000
594
A GEORGE III GILTWOOD FRAMED PIER MIRROR,
with restrained scrollwork decoration, 129 x 63cm.
€ 1,000 - 1,500
595
A VICTORIAN GILTWOOD TRIPLE COMPARTMENT OVERMANTLE MIRROR,
the raised central section with oval vignette containing a Roman figure in relief, each section with carved foliate frieze, surmounted with four anthemia, each glass plate contained within elaborately carved pilasters. 150cm wide, 143cm high
€ 2,000 - 4,000
596
A SET OF FOURTEEN FRENCH EMPIRE STYLE BRASS INLAID MAHOGANY DINING CHAIRS 19TH CENTURY,
comprising two armchairs and twelve single chairs, each upholstered with back and seat covered in a pale green damask, with brass stringing on sabre legs.
€ 1,500 - 2,500
597
A SET OF FOUR GEORGE IV SILVER GILT BERRY SPOONS,
London 1827, mark possibly that of William Chawner, the taper handles chased and engraved, the embossed and chased bowls decorated with foliage and berries, initialled, (8.09 ozt)
€ 400 - 600
598
A GEORGE III SILVER PLAIN TAPER HANDLE HANGING BASTING SPOON,
Dublin 1770, mark of John Craig, with hook back, crested, (3.87 ozt). 31cm long
€ 400 - 600
599
A SET OF TWELVE GEORGE II SILVER HANOVERIAN PATTERN TABLE SPOONS,
London 1758, mark of William Turner, the plain handles with engraved crest, (25.82 ozt)
€ 1,200 - 1,600
600
A SET OF SIX GEORGE III IRISH SILVER TAPER HANDLE DESSERT SPOONS,
Dublin c.1780, mark of Michael Homer, with feather edge engraved decoration, crested and initialled, (6.82 ozt)
€ 250 - 350
600A
A SET OF SIX GEORGE III IRISH SILVER PROVINCIAL TAPER HANDLE TABLE SPOONS,
Cork c.1780, mark of Carden Terry, initialled, (11.45 ozt)
€ 800 - 1,200
602
A SET OF SIX GEORGE III IRISH SILVER BRIGHT-CUT POINT HANDLE TABLE SPOONS
Dublin 1785, mark of John Shields, crested (10.7 troy ozs)
€ 800 - 1,200
601 A SET OF TWELVE GEORGE III IRISH SILVER PLAIN TAPER HANDLE TABLE SPOONS,
Dublin 1807, mark of John Pittar, crested, (28.39 ozt)
€ 800 - 1,000
Dublin 1772, maker’s mark of Matthew West, of typical waisted form, with pierced chased and embossed decoration featuring a Chinese man with a parasol, a windmill, a bird feeding on berries and a swan (c.13 troy ozs). 20.5cm diameter
€ 5,000 - 7,000
604
A SET OF FOUR IRISH GEORGE III SILVER FRUIT/DESSERT DISHES, Dublin 1774, mark of Richard William, each of deep circular form, with wide wavy gadrooned sides and out-turned rims, the central reserve engraved Coat of Arms (c.67.5 troz ozs in total). Each 25.5cm diameter, 4.5cm deep
€12,000 – 15,000
605 A VICTORIAN INLAID MARQUETRY TOP CIRCULAR CENTRE TABLE,
the top inlaid with foliate scrolls, raised on turned centre pillar and tripod base. 75cm high, 98.5cm diameter
€2,000 – 3,000
604A
A FINE VICTORIAN SPECIMEN WOOD PARQUETRY WORK TABLE ATTRIBUTED TO RALPH TURNBULL JAMAICA 19TH CENTURY
the octagonal hinged top inlaid with cube-parquetry centre within an arrangement of exotic veneers, palm wood, green heart, orange wood, West Indian satinwood and others, enclosing a fitted interior with satin-lidded compartments on central panelled column and concave platform base, paw feet. 84cm high, 60cm wide, 60cm deep
€2,000 – 3,000
605A
A CARVED AND POLYCHROME TIMBER NAPOLEON WHIRLIGIG, 19TH
CENTURY
modelled in uniform with tricorn hat, rotating opposing arms, on square timber base. 56cm high incl. base
€3,000 – 5,000
Whirligigs, kinetic toys of carved wooden form, emerged within the traditions of folk art in North America. An early reference to one in Washington Irvine’s 1819 tale The Legend of Sleepy Hollow suggests that whirligigs were well established by this point. Whirligigs combine the features of windmills and dolls; their paddle arms, activated by wind, rotate and spin the figure around. This Napoleon whirligig is reflective of the trends in craftsmanship of North American folk art following the War of Independence, which often featured imagery associated with soldiers and the military.
606
A GEORGE III IRISH PLAIN SILVER MARROW SCOOP,
Dublin c.1770, date letter marks rubbed, crested, (1.93 ozt)
€ 120 - 180
607
A SET OF THREE GEORGE III SILVER HANOVERIAN PATTERN TABLE SPOONS,
London 1763, mark of Thomas & William Chawner, crested, (7.3 ozt)
€ 300 - 400
609
608
A PAIR OF GEORGE III BRIGHT CUT SILVER TAPER HANDLE TABLE SPOONS,
London 1784, mark of George Smith, initialled, (4.5 ozt)
€ 100 - 200
A MATCHED SET OF EIGHT GEORGE III IRISH SILVER BRIGHT CUT TAPER HANDLE TABLE SPOONS,
Dublin 1785 (6) & 1790 (2), mark of Michael Keating, the Old English pattern handles engraved with ribbon and swags, (18.88 ozt)
€ 600 - 800
611
THE WATERLOO PURSE 1926,
A silver-gilt trophy cup in the form of an 17th century porringer and cover, London 1925, by Garrard & Co. LTD., London, the flat cover chased with acanthus leaves, open leaf form knob, the body flanked by leaf scrolled handles, central laurel girdle above a frieze of acanthus, on foot, engraved with the arms and motto of Baron Ventry and inscribed ‘Waterloo Purse won by William Banks’ “Spalding Bard”, stamped underneath GARRARD & Co LTD, Albermarle St. London W., 22 cms high, 25 cm wide (over handles) (36.31 troy oz) in a bespoke mahogany box with brass drop carrying handles
€ 1,000 - 1,500
610
FOUR SIMILAR GEORGE III SILVER BRIGHT CUT TAPER HANDLE TABLE SPOONS,
Dublin 1780 (2), 1786 (1) & c.1780 (1), all mark of John Pittar, crest that of Lambart, (9.54 ozt)
€ 300 - 500
612
A SILVER PLATED OIL LAMP,
with cut glass bowl and Corinthian column stem on stepped base, 58cm high (80cm high with chimney)
€ 300 - 500
FOLLOWER OF PETRUS VON SCHENDEL, DUTCH 19TH CENTURY
The Vegetable Vendor Oil on panel, 19 x 15.5cm
Portrait of a gentleman in a black coat with lace collar Oil on copper panel, 28 x 23cm
€ 500 - 800
614
ENGLISH SCHOOL 18TH CENTURY
Portrait of an artist in olive green overcoat and holding palette with brushes, half length
Signed indistinctly 75 x 62cm
In period giltwood frame
€ 1,000 - 1,500
616
DUTCH SCHOOL, 19TH CENTURY
Villagers Dancing in a Barn Yard Oil on panel, 13 x 30cm
€ 400 - 600
Portrait of Sir William Fraser of Ledeclume and Morar, 1st Baronet, Oil on canvas, 93 x 71cm (109 x 89cm framed)
€ 2,000 - 3,000
Sir William Fraser (1737-1818) was born near Inverness in Scotland and forged an illustrious career as a sea merchant commencing with his appointment as 4th mate on the East India Trading Company ship Prince Edward in 1759. His success commandeering East India Trading Company vessels enabled him to invest heavily into the fleet and Sir William later became the principal managing owner of many of its vessels including Alfred (1790), Neptune (1796), Ocean (1800) and Perseverance (1801). Fraser was highly commended during his lifetime, becoming a Fellow of the Royal Society in 1791. Most notably, the peerage of 1st Baronet of Ledeclume and Morar was created for Fraser in 1806. He also held the position of Elder Brethren at Trinity House, a corporation and charity sanctioned by King Henry VIII in 1514 for the regulation and support of seafarers and sea merchants across Great Britain. Other figures who have held the title of Elder Brethren include Vice Admiral of England Sir Thomas Spert (1484-1541), Samuel Pepys (1633-1703), Sir Winston Churchill (1874-1965) and Lord Mountbatten (1900-1979).
the plain top with rounded corners opening to reveal a red baize lined card table, with sunken counter wells, above a single frieze drawer, on slender shell capped cabriole legs and club feet. 75cm high, 83cm wide
€1,000 - 1,500
619 A LARGE STRIDING BRONZE HORSE
68cm high, 90cm long
€ 1,000 - 1,500
621
A PAIR OF CAST BRONZE FIGURES
of Venus and Bacchus, raised on stepped black marble bases (1 damaged). 46.5cm high
€ 600 - 800
620 JEAN-JACQUES PRADIER (FRENCH 19TH CENTURY)
A bronze figure of a seated young lady Signed 23cm high
€ 1,000 - 1,500
622
AFTER AUGUSTE MOREAU (FRENCH 18341917)
Boy with flute Signed to base Bronze, 72cm high
€ 800 - 1,200
623
JEAN-JACQUES PRADIER (1790 - 1852)
Sappho
Silvered and gilt bronze, 47cm high
Signed and dated 1848
Jean-Jacques Pradier was a sculptor born in Geneva and renowned for his work in the neoclassical style. He studied at the École des Beaux-Arts and studied sculpture with François-Frédéric Lemot. He won the prestigious Prix de Rome in 1813, allowing him to reside at the Villa Medici as a pensionnaire until late 1818. Pradier’s work gained international recognition, particularly through his distribution of small-scale sculptures, which included both reductions of his large-scale works and specially designed pieces for the market, primarily cast in bronze. Several versions of his sculptures were made in silver and gilt-bronze. The sculpture of the Greek poet Sappho is based on Pradier’s larger original bronze, first exhibited at the 1848 Paris Salon. The original was acquired by Queen Victoria for Osborne House, Isle of Wright and it now forms part of the Royal Collection Trust. A second bronze version is housed at the Dahesh Museum in New York. The sculpture depicts an allegorical figure of Sappho leaning against an Ionic column inscribed ‘J. Pradier 1848’, holding a lyre in her left hand.
€ 4,000 - 6,000
624
AN ITALIAN PORPHYRY URN AND COVER,
20th century, of classical design, domed detachable top on an ovoid body on a waisted circular foot and square plinth base, 38cm high
€ 600 - 900
625
A PAIR OF GRAND TOUR
SIENNA AND CARRARA MARBLE COLUMNS, ITALIAN 19TH CENTURY,
Each 28cm high, Bases 12cm squared
€ 300 - 400
626
A PAIR OF BRONZE CAMPAGNA URNS ON SIENNA MARBLE PLINTH BASES
33cm high, 27cm wide, 20cm diameter
€ 1,500 - 2,000
628
AN IRISH GEORGE III FOLD OVER MAHOGANY TEA TABLE,
solid panel top with outset corners, with single freeze drawer on leaf capped cabriole legs and hairy paw feet. 88 x 41 x 75cm
€ 1,500 - 3,000
627 A PAIR OF VICTORIAN MAHOGANY FOLD OVER TEA TABLES,
each of rectangular form with rounded corners and figured interior on a turned centre column and reeded down swept legs, ending with brass caps and casters. 76cm high, 91.5cm wide, 45cm deep
€ 3,000 - 5,000
629 A GEORGE III MAHOGANY SERPENTINE DRESSING CHEST CIRCA 1770,
the moulded top above four graduated drawers, the first with green baise writing slide enclosing a fitted interior, the rounded canted corners with triple cluster banded columns, on moulded base with rounded bracket feet. 94cm wide, 56cm deep
Comparative Literature: Ronald Phillips Ltd., Antique English Furniture, London, 2008, no.38, p.96, illustrated.
€3,000 – 5,0000
630
AN IRISH GEORGE III MAHOGANY LONGCASE CLOCK BY EDWARD ADDAMS CIRCA 1770
the rectangular hood with moulded cornice, above single glazed door opening to gilt metal dial with Roman numerals signed ‘Edw Addams, Dublin’ with day and second apertures, the case with Greek key decoration to bottom above trunk with solid single door, raised on a panelled plinth base and bracket feet. 219cm high
€ 2,000 - 3,000
631
AN IRISH GEORGE III MAHOGANY LONG CASE CLOCK BY JOHN CRAMPTON OF DUBLIN
the rectangular hood, the broken architectural pediment, reeded pilasters, with single glazed door opening to gilt metal dial with Roman numerals signed J. Crampton, Dublin, with day and second apertures, waisted trunk with solid single door, on outset base with bracket feet. 237cm high
€ 3,000 - 5,000
632
BENJAMIN CAM. NORTON (BRITISH, 1835-1900)
Chestnut hunter in a stable
Signed and dated 1884 Oil on canvas, 62 x 75cm
€ 1,500 - 2,000
634
JOHN ALFRED WHEELER (1821 - 1903)
Huntsman on a Grey with Hounds
Signed Oil on canvas, 85 x 110cm
€ 1,000 - 2,000
633
HENRY JOHN YEEND KING (BRITISH 1855 - 1924)
Landscape with Shepherd Signed Oil on canvas, 34 x 24cm
€ 600 - 1,000
635
ENGLISH SCHOOL 19TH CENTURY
Egrey and Chestnut Horse in Stable Oil on panel, 39 x 49cm
€ 300 - 500
Solitude Oil on canvas, 101.5 x 127cm
Provenance: With Anthony Mould; Purchased by the present owner from Gorry Gallery, circa 1975
Literature: Dr Paul Spencer-Longhurst, et al. Richard Wilson: Online Catalogue Raisonné, catalogue no. P114B
€ 5,000 - 8,000
637
A GEORGE III MAHOGANY RECTANGULAR SERVING TABLE,
the crossbanded top above a fluted frieze, with corner paterae and raised on chamfered square supports and spandrels. 84cm high, 156cm wide, 71.5cm deep
638
A VICTORIAN MAHOGANY FRAMED SWIVEL ACTION LIBRARY CHAIR,
with stuffed tub shaped back and pierced vertical splat, on a red hide seat with studded trim, and arched downswept legs and brass castors
€ 300 - 500
639
A PAIR OF WILLIAM IV MAHOGANY SPOON BACK BERGERE LIBRARY ARMCHAIRS with scroll arm supports raised on turned and fluted supports and porcelain castors
€ 1,000 - 1,500
FAUTEUIL,
with oval padded back and seat covered in a light blue damask, foliate carved downswept arms and bowed seat rail, on fluted tapering legs
€ 800 - 1,000
641
A PAIR OF ANGLO INDIAN ARMCHAIRS 19TH CENTURY
scroll back reeded frame with cane back and seat leaf carved terminals fluted carved fluted carved baluster legs
€ 2,000 – 3,000
642 A PAIR OF LOUIS XV STYLE WALNUT FAUTEUILS,
each covered in studded maroon leather, on cabriole legs, padded back, arms and seats, 87cm high, 64cm wide, 57cm deep.
€ 600 - 1,000
644
AN EARLY VICTORIAN DEEP TUB BACK CHAIR,
upholstered in button back leather, supported on turned tapering legs, with brass wheel
€ 800 - 1,200
A GEORGE IV LEATHER UPHOLSTERED TUB BACK CHAIR
covered in faded tan hide with loose cushion raised on turned tapering legs.
645 A GEORGE III MAHOGANY TUB BACK UPHOLSTERED ARMCHAIR, with padded back, scroll arms and squab cushion recovered a cream floral fabric, on acanthus carved cabriole legs and claw and ball feet. 128cm high
€ 800 - 1,000
646 AFTER CARL SPITZWEG
‘The Bookworm’
Signed indistinctly lower right Oil on canvas, 35 x 24cm
€ 600 - 800
647
THOMAS CHARLES BALE (VICTORIAN SCHOOL, 19TH CENTURY)
Still Life with Fruit
Signed with monogram and indistinctly dated 1871
Oil on canvas, 50 x 40cm
€ 700 - 1,000
Still life study of fruit including pears, grapes and pineapple
Signed and dated 1904
Oil on canvas, 25.5 x 45.7cm
€ 400 - 600
648 AUGUSTUS BENTLEY (19TH CENTURY)
Strasbourg and Normandy Street Scenes
Signed; and inscribed verso A pair, oil on canvas, 100 x 75cm
€ 3,000 - 5,000
650
MANNER OF DAVID TENIERS THE YOUNGER, 17TH CENTURY
Figures Outside an Inn Oil on canvas, 53.5 x 77cm
€ 400 - 600
A FRENCH ORMOLU-MOUNTED TULIPWOOD KINGWOOD AND PARQUETRY COMMODE AFTER THE MODEL DESIGNED BY THE SLODTZ BROTHERS AND EXECUTED BY ANTOINE-ROBERT GAUDREAUX 19TH CENTURY,
the serpentine red marble top above twin cupboard doors, the doors and sides mounted with gilt metal cartouches depicting figures and animals, surrounded by elaborate swag and ribbon and medal decoration, raised on ram head capped scroll supports. 93cm high, 175cm wide, 77cm deep
€ 6,000 - 10,000
This commode is based on the commode médallier by Antoine Gaudreaux (d. 1746), so named because it housed the series of medals known as the ‘Medallic History of Louis XIV and Louis XV’. This collection included portraits of prominent European monarchs and, later, medals representing the finest buildings from the reign of Louis XV. The commode is recorded in 1761 in the collection of Monsieur de Selle, controller general of the King’s Chamber. The commode was delivered on the 10th of January 1739 for the Cabinet aux tableaux in Louis XV’s newly completed apartments at Versailles. At the time, it was described as ‘Par les Srs Gaudreaux ébéniste et Slodtz frères, sculpteurs, pour servir dans le cabinet aux tableaux avant la petite galerie à Versailles.’ In 1755, a matching pair of encoignures was produced by Gilles Joubert (d. 1775), which, along with the commode médallier, were transferred by order of Louis XVI to the Medal Department of the Royal Library. The suite returned to Versailles in 1960, where it remains on display. The commode was a popular model amongst Parisian makers during the second half of the 19th century and many variants of it were made. A Similar model after Gaudreaux made by Francois Linke is held in the Wallace collection. Antoine-Robert Gaudreaux was appointed Ébéniste de Roi was a French cabinetmaker who from 1726 became the main supplier to the Garde Meuble de la Couronne. From 1726 until his death, first as Ede la Reine and then as Ebeniste du Roi, He exercised a near monopoly over commissions intended for royal residences at the time. The bronze mounts on the original commode were modelled by the Slodtz brothers. René-Michel was considered the most prominent of the brothers. He was awarded the first prize for sculpture by the French Academy in 1726 and subsequently studied at the French Academy in Rome, a city in which he was to live and work for 20 years. During this period, he won several important commissions, including his marble sculpture of Saint Bruno in the Basilica of St Peter in the Vatican. René-Michel re-joined his brothers in France, after his time in Italy, in service of the king, designing and executing decorations and artworks for the Menus-Plaisirs du Roi. A similar model sold, Christie’s New York 27th February 2024, lot 667 price realised $17,640.
652
A VICTORIAN MAHOGANY BOWFRONT LARGE CHEST OF DRAWERS,
the plain top above two short and three long cockbeaded drawers, with brass loop handles, flanked by rope-twist pilasters, raised on stylised bracket feet. 114.5cm high, 114cm wide, 58cm deep
AN IRISH GEORGE III MAHOGANY FOLDING TOP CARD TABLE,
of rectangular shape with outset rounded corners, the top opening to reveal a red baize lined interior with candle holders and counter wells, raised on cabriole legs and pad feet. 74cm high, 87cm wide, 43cm deep
A CONTINENTAL PARCEL GILT MAHOGANY CHEST OF DRAWERS LATE 19TH CENTURY,
of rectangular form, the top with rounded corners, above two long and three short drawers, with brass drop handles and lock plates, flanked by fluted gilt ribbon tied corners, above shaped carved parcel gilt apron, raised on short cabriole legs and claw and ball feet. 109cm high, 152cm wide, 54.5cm deep
€ 1,000 - 1,500
€ 1,500 - 2,000
A GEORGE IV INLAID MAHOGANY DOUBLE DROP LEAF SOFA TABLE CIRCA 1820
the top with crossbanded border, above twin frieze drawers, raised on splayed trestle reeded supports with ring turned cross stretcher, brass toe caps and castors. 74cm high, 149cm wide, 81cm deep
€ 600 - 1,000
656
EDWARDIAN SCHOOL
Still Life with Flowers and Oriental Ornaments
A pair, oil on canvas, 60 x 39cm
€ 800 - 1,200
657
CONTINENTAL SCHOOL
Figures outside a Church (Sunday Market) Oil on canvas, 33.5 x 69cm
€ 400 - 800
658
VICTORIAN SCHOOL
River Landscape at Dusk Oil on canvas, 49 x 69.5cm
€ 300 - 500
659
E. V. HAROPE (VICTORIAN SCHOOL)
The Farmyard Congregation
Signed Oil on canvas, 27.5 x 37.5cm
€ 400 - 600
661
A GEORGE IV INLAID MAHOGANY FOLDING TOP TEA TABLE,
the cross banded top, above a frieze decorated with ebony stringing, raised on turned and ropetwist centre pillar, on concave base and four reeded downswept legs, cast brass toe caps and castors. 76cm high, 99cm wide, 49cm deep
€ 1,500 - 2,000
663
A FRENCH MAHOGANY GILTMETAL MOUNTED AND MARBLE TOP SIDE TABLE CIRCA 1900,
660
A GEORGE IV MAHOGANY CELLERETTE
of sarcophagus form, the lid surmounted with carved flower head and fluted border, the body with a panel to each side depicting different scenes including goat herders, raised on hairy paw feet. 55cm high, 70cm wide, 48.5cm deep
€ 800 - 1,200
662
A GEORGE IV INLAID MAHOGANY PEMBROKE TABLE,
the double drop leaf top with canted corners and inlaid border, above single frieze drawer with boxwood stringing and twin handles, raised on square tapering legs and brass toe caps and castors. 72.5cm high, 84cm wide, 51.5cm deep (closed), 97.5cm deep (opened)
€ 600 - 1,000
of rectangular form, the later black marble above a slim frieze draw er and concave undertier, joining squared tapering legs, with brass mounted feet. 70cm high, 67cm wide, 47cm deep
€ 800 - 1,200
664
A PAIR OF IRISH WILLIAM IV MAHOGANY WINE COOLERS,
Each of sarcophagus shaped with domed hinged cover and a lead lined interior with six bottle compartments. The body with acanthus carved angled corner and paw feet. 55cm high, 59cm wide, 42.5cm deep
€ 3,000 - 5,000
665
AN IRISH GEORGE III MAHOGANY BLANKET CHEST ON STAND,
the moulded rectangular lift-top above a long frieze drawer, applied with brass side handles and escutcheons, the base carved in shallow relief with acanthus scrolls and scallop shell, supported on cabriole legs and paw feet. 110cm high, 127cm wide, 86cm deep
€ 8,000 - 10,000
666
J. S. SANDERSON WELLS (1872-1955)
Figures in an Interior
Signed Oil on board, 20.5 x 32cm
€ 500 - 800
668
JOHN WEBSTER (BRITISH 1932 - 2020)
Robbing the Orchard Oil on canvas, 35 x 28cm
€ 500 - 800
667
ALFRED WHEELER JUNIOR (BRITISH 1851 - 1932)
The Kill
Signed and dated 1885 Oil on canvas, 70 x 90cm
€ 600 - 800
669
ATTRIBUTED TO H. J. VAN BLARENBERGHE
Wooded Landscape with Figures Oil on canvas, 40 x 30cm
€ 400 - 600
670
Miss Mowbray at the Gates of Belladrum House c.1857 Oil on canvas, 63 x 74.5cm
Miss Mowbray, celebrated for winning the 1852 Grand National, is depicted at Belladrum House, Inverness-shire, Scotland. The estate, once part of the lands owned by the Lords of Lovat, chieftains of the Clan Fraser, features in the background. The stone windmill visible in the painting was constructed in the 18th century.
James Merry (1805-1877), a Scottish ironmaster and racehorse breeder, acquired the Belladrum Estate during his tenure as MP for the Burghs of Falkirk. His notable horses included Thormanby, who won the Derby in 1860, as well as Dundee, Buckstone, and Scottish Chief. Merry also achieved Derby success with Doncaster in 1873.
€ 1,500 - 2,000
the solid panel top above a blind fret work freeze on leaf carved cabriole legs ending in shell and block feet. 72cm high, 146cm wide, 83cm deep
A PAIR OF VICTORIAN IVORY INLAID AND GILT METAL MOUNTED EBONY CONSOLE TABLES,
of upright rectangular form, each with raised gallery back decorated with a band of inlaid ivory foliate scrollwork, above an arched frieze with conforming decoration, each with mirrored backs, supported on parcel gilt Corinthian columns, and raised on plinth bases. 112cm high, 55cm wide, 47.5cm deep *
€ 3,000 - 5,000
674
A VICTORIAN EBONY INLAID WALNUT WHAT-NOT / MUSIC CANTERBURY,
the shaped rectangular adjustable tilt-top inlaid with floral border, enclosed within a brass gallery and ropetwist brass rim, raised on single frieze drawer with boxwood stringing, the bottom section with one open side fitted with three vertical divisions, supported on slender turned ebony supports, raised on splayed legs. 83cm high, 52cm wide, 38cm deep
€ 600 - 1,000
673
A LATE GEORGE IV MAHOGANY SIDE CABINET CIRCA 1825, POSSIBLY IRISH
the shaped top with gadrooned edge, above a cupboard door with oval satin cushion centre enclosing a fitted shelf, flanked by acanthus carved and fluted supports on brass lion paw and bun feet. 94cm high, 117cm wide, 44cm deep
€ 2,000 - 3,000
675
A CEYLONESE EBONY AND SPECIMEN WOOD HEXAGONAL OCCASIONAL TABLE 19TH CENTURY
the top with spiral inlaid medallion and angular segments, within herring bone borders and leaf-carved edge, on twinscroll columns and concave platform base. 75cm high, 58cm diameter
€ 1,000 - 1,500
677
A SWISS CARVED LINDEN WOOD BEAR-CUB STICK
STAND, LATE 19TH CENTURY
Black Forest, 87cm high.
Provenance: Kilternan Grange, Co. Dublin
€ 1,000 - 2,000
the rectangular top raised on turned tapering supports fitted with castors. 48cm high, 79cm wide, 37cm deep
€ 300 - 500
676
A PAIR OF RED BOULLE BRASS MOUNTED PEDESTALS 19TH CENTURY,
each of square tapered form with raised brass gallery, outset base with applied brass band of egg and dart decoration, raised on cast brass feet. 45cm high, 36cm wide, 36cm deep
€ 800 - 1,200
678
AN ANGLO INDIAN EBONISED CURIO TABLE 19TH CENTURY, of shaped rectangular form, with bevelled glass top, raised on barley twist column legs and gilded Corinthian capitals with x-framed stretcher. 83cm high, 100cm wide, 57cm deep
€ 400 - 600
680
A VIENNA PORCELAIN 18 PIECE DESSERT SERVICE, signed R. Schmeider, each dish 23cm(d)
€ 1,000 - 1,500
681
A SET OF FOUR SEVRES BISCUIT PORCELAIN RELIEFS,
depicting portrait profiles, each framed as a pair in a later ebonised frame, 9cm diameter (25.5 x 14.5cm framed)
€ 800 - 1,200
682
AN AMPHORA PORCELAIN DRAGON VASE BOHEMIA CIRCA 1900
of upright tapering form, the body encircled by a dragon in green, red and gold tones, against a cream ground, incised with makers mark ‘AMPHORA’ in a circle and numbered ‘4105’ and ‘3’, 43cm high
Literature: House of Amphora, Richard Scott, page 105, #141 and Monsters and Maidens Collectors Edition, Byron Vreeland, pages 286-291 for similar examples
Bohemian Amphora porcelain refers to a type of decorative pottery produced by Riessner, Stellmacher & Kessel factory in Turn-Teplitz region of Bohemia (now part of the Czech Republic). The Dragon Vase model was exhibited at the Exposition Universelle in Paris in 1900 and won the Gold Medal.
€ 3,000 - 5,000
683
A RARE PAIR OF BELLEEK FIRST PERIOD ‘ROUND TOWER’ VASES (1863-1891), each with open tops, intricately modelled brickwork on rocky bases, with Black Factory mark, Victorian registration mark, and impressed banner mark to underside. 20cm high
€ 800 - 1,200
684 AN ALABASTER MODEL OF THE TAJ MAHAL
on black marble slab, with fitted wooden stand and glass dome, 22cm high including tamga finial
€ 1,500 - 2,500
685
TWO ANCIENT CYPRIOT BIOCHROME POTTERY JUGS,
Iron Age, c. 1,000 - 500 BC, each of similar shape, with pinched rim, looped handle and globular bodies, decorated with concentric rings and geometric ornament in brown and red pigments, 14.5 and 10.5cm high
€ 300 - 500
686 A PERSIAN POLYCHROME LACQUER PAINTED PANEL, QAJAR PERIOD CIRCA 1870
depicting figures at a village festival, within a border of inscribed cartouche panels
Papier Mache panel, 28 x 43cm
€400 – 600
687 A PAIR OF BLACK MARBLE PEDESTALS OF NEO-CLASSICAL DESIGN SUPPORTING CONFORMING URNS, the urns carved with floral swags in relief, below a Vitruvian scroll band and socle base, the fluted columns with Carrera marble collars and mid-bands, carved with a continuous band of rosettes and floral swags, on stepped circular base. 159cm high
€ 2,000 - 3,000
688
A LARGE PERSIAN RED AND NAVY GROUND CARPET, 410 X 305CM
the rectangular field woven with a central rosette within a large cartouche shaped reserve, filled with feathery leaves, scrolls and flowerheads, contained within multiple outer borders, fringed ends
€ 1,000 - 1,500
690
A GEORGE IV MAHOGANY CENTRE TABLE CIRCA 1825, the circular top above a plain frieze and gadrooned rim on a central column support and tripod base with scroll carved paw feet, stamped in black ink ‘William Moore, Derry’. 72cm high, 127cm diameter
Provenance: Sotheby’s London, The Irish Sale, 16 May 1996, lot 31; Private collection
€ 2,000 - 3,000
689
A LARGE AUBUSSON TAPESTRY CARPET. 374 X 242CM
the cream ground field woven with central floral medallion and flower groups to each corner, with narrow café au lait borders (Distressed)
€ 400 - 600
691
AN INDIAN IVORY GROUND WOOL CARPET. 360 X 270 CM
the large rectangular centre field woven with a lozenge shaped medallion with pallette border, contained within a broad outer band of rosettes and quatrefoils.
€ 700 - 1,000
A RED GROUND TURKISH WOOL RUNNER, 600 X 78CM
the central reserve woven with geometric pattern in navy, cream and light blue tones, contained within a series of narrow borders.
€ 600 - 800
693 AN IRANIAN BEIGE GROUND WOOL RUG, 20TH CENTURY, 187 X 126CM
the large rectangular centre field woven with a large circular medallion, filled with florettes in red, green and blue tones, contained within a cartouche reserve, and set with spandrels to each corner, all within multiple broad and narrow borders, fringed ends.
€ 400 - 600
694
A TURKOMAN RED GROUND WOOL RUG. 245 X 170CM
of geometric design, woven in red, navy and cream tones, with serrated lozenges and geometric motifs to each corner, broad floral border, with side chords and fringed ends.
€ 600 - 800
695
A LARGE DONEGAL WOOL CARPET, 500 X 339CM
woven to a William Morris design, in cream, brown and green tones, the large rectangular centre field with a cellular pattern, enclosed by a broad leaf scroll border with acanthus leave corners.
€1,000 – 1,500
A VICTORIAN BRASS FRAMED AND WIREWORK NURSERY FENDER,
83cm high, 137cm wide, 40cm deep; together with irons and a pair of fire dogs
€ 500 - 700
697 A SMALL BRASS FENDER, of typical bowed form, with pierced wavy fluted decoration, raised on compressed bun feet. 77cm wide, 25cm deep, 16.5cm high
€ 300 - 500
698 A FRENCH BRASS AND POLISHED STEEL FENDER, 145CM WIDE
with central pierced section and oval cartouche, mounted with brass scroll work decoration, raised on compressed supports, 145cm wide; together with fire irons.
€ 600 - 1,000
with nine-bar platform, applied with looped side handles, on splayed feet, 27cm high, 90cm wide, 38cm deep
€ 400 - 600
700 A PAIR OF GEORGIAN REVIVAL MAHOGANY REVOLVING OCCASIONAL TABLES CIRCA 1900,
each of circular form with raised baluster gallery and tray under tier, on inverted baluster centre column and leaf-carved triform base. 82cm high
€ 1,000 - 1,500
A GEORGE III MAHOGANY WRITING TABLE MID 18TH CENTURY,
the rectangular top with leather inset on a ratchet, the rim carved with egg and dart moulded frieze with a rosette banded pricked apron, fitted with a drawer to one side, on fluted central support with acanthus capped tripod legs and pad feet, on recess barrel castors. 52cm wide, 40cm deep
€ 1,500 - 2,000
701A A PAIR OF REGENCY STYLE MAHOGANY TUB BACK LIBRARY CHAIRS 19TH CENTURY with cane backs and seat, brass mounts on sabre legs. 83cm high, 53cm wide, 57cm deep
€ 4,000 - 6,000
703
A VICTORIAN BROWN BUTTON BACK LEATHER SETTEE,
AN EDWARDIAN INLAID MAHOGANY TRIPLE-CHAIR BACK SETTEE,
the carved framed with outscrolled arms, raised on short scroll end supports. 75cm high, 225cm wide, 80cm deep
€ 600 - 800
704
A WALNUT FRAMED RECTANGULAR STOOL 19TH CENTURY
the open back with three pierced tapering splats, each with central inlaid amphora classical urn, above a padded pink floral fabric, raised on tapering square legs and spade feet. 90 x 130 x 60
€ 300 - 400
fitted with drop-in tapestry seat, on cabriole legs and pad feet. 43cm high, 53cm wide, 43cm deep
€ 200 - 400
705
A VICTORIAN MAHOGANY EXTENDING DINING TABLE,
706
A GILTWOOD AND EBONISED CIRCULAR CONVEX MIRROR, EARLY 19TH CENTURY
the glass plate surrounded by an ebonised band of laurel leaves, carved with a swan cresting and scallop shell apron. 103cm high x 65cm wide
€ 1,500 - 2,000
709
707
A MAHOGANY AND SATINWOOD BANDED SHAVING MIRROR, 19TH CENTURY
fitted with an adjustable oval plate on a turned central column and single drawer box-frieze, on reeded downswept legs and turned feet. 147cm high
€ 300 - 400
A SET OF FOUR GEORGE III MAHOGANY PANEL HALL CHAIRS,
708
A GEORGE IV MAHOGANY FRAMED ARMCHAIR,
the padded rectangular back and seat covered in a soft sage green fabric, on fluted tapering front legs and castors.
€ 800 - 1,000
two Penannular rings of circular section of solid gold with a high purity. (7.7g)
The social and legal structure of Pre-Christian society was highly regimented and followed a justice system based on reparation. This usually involved payment by the perpetrator to the victim and their family. The nature of these repayments varied with records from the period detailing the exchange of slaves or cattle as well as smaller items such as tools and ornaments. Gold ring-money would be amongst these exchanges, as items they varied in quality and standard which would suggest that they lacked a fixed denomination as expected in the monetary exchange of modern society. However, solid gold pieces such as these present examples would carry significant value.
€ 1,200 - 1,800
712
A REGENCY MAHOGANY AND BRASS MOUNTED BONHEUR DE JOUR, of bowfront rectangular shape, the raised superstructure with pierced brass gallery and twin short drawers, lion mask ring handles over long frieze drawer and squared tapering legs, 114cm high, 80cm wide
€ 800 - 1,200
each crossbanded top decorated with linked bellflower swags, above a narrow frieze on square tapering legs and block feet 85cm high, 96cm wide, 46cm deep
€ 4,000 - 6,000
714
A SET OF 12 SILVER NAPKIN RINGS AND A MATCHING SET OF 12 SILVER PLACE-NAME HOLDERS,
Dublin, c.1998/1999, mark of Alwright & Marshall, (one lacking date letter & makers mark) in the form of riding stirrups, (10.75 troy ozs), napkin ring 4.5cm high, place-holder 3cm high. (24)
€ 2,000 - 3,000
716
A SILVER-PLATED DOUBLE WINE COASTER UNIFIED BY A CARRIAGE BASE,
Sheffield, 19th century, mark of Ellis Barker, with rim chased in fruiting vines and inset turned timber bases, 44cm length x 10cm height (Interior diameter of each coaster is 11cm).
€ 400 - 600
715
A SUITE OF SIX VICTORIAN SILVER CIRCULAR TABLE SALTS, IN THE GEORGIAN STYLE
London c.1863 mark of George Fox (4); London 1860/1872, mark of Charles Thomas Fox & George Fox (one partially rubbed), each of circular form, with gilded bowls, chased and engraved with lion mask and paw feet. 6.5cm diameter; together with six associated silver salt spoons with gilded bowls, London c.1863, mark of Francis Higgins II. (25.8 troy ozs all in)
€ 1,500 - 2,500
718
A PAIR OF CONTINENTAL PURPLE AND BLUE GLASS DECANTERS IN THE FORM OF PARROTS, with silver plated hinged lids, in the form of parrot heads and silver plated feet. 28cm high
€ 1,000 - 2,000
719
A PAIR OF SEVRES STYLE PORCELAIN AND ORMOLU MOUNTED URNS, Signed A. Daret, 33cm(h)
€ 800 - 1,200
720 A FRENCH GILT METAL GROUP, C. 1900, modelled as a young boy and work horse, on arched naturalistic base and timber plinth. 38 x 27cm high (including base and plinth)
€ 250 - 300
721 GARY TRIMBLE ARHA (1929 - 1979)
Ludwig van Beethoven (Based on the 1812 death mask of the composer) Bronze, 23cm high
€ 600 - 1,000
A BRONZE HORIZONTAL SUNDIAL,
the square plate with fixed gnomon engraved ‘As Time and Hours Passeth Away, So Doth Ye Life Of Mine Decay 1669’ supported on a stone column, the bronze plate 35.5cm x 35.5cm and 97cm high.
€ 500 - 800
724
A LARGE GREEN AND GILT TOLEWARE TEA URN,
723
AN ITALIAN ‘BRECHE VIOLETTE’ MARBLE COLUMN
of fluted tapering form, with moulded circular foot, 73cm high
€ 400 - 600
now converted to a lamp, decorated with a single figure, flanked by Chinese characters. 58cm high to bulb socket. (E)
€ 400 - 600
the circular copper face, with brass hands. 90cm diameter
Provenance: Mourne Park, Newry
€ 1,000 - 1,500
727
AN EDWARDIAN PAINTED TIMBER ROCKING HORSE,
729
AN IRISH CARVED OAK SETTLE BENCH 19TH CENTURY
the hump four panelled back, the arms carved with lion masks.
181cm long, 58cm deep, 105cm high
€ 800 - 1,200
726
A VICTORIAN MAHOGANY FRAMED UPHOLSTERED DAY BED STAMPED HOWARD & SON,
of rectangular form with single raised scroll end and fitted with oblong seat cushion, on short square tapering legs and castors. 190cm long, 70cm wide, 90cm high
€ 2,500 - 3,000
A LARGE GESSO AND GOLD PAINTED WOOD PLANTER 19TH CENTURY
the front with domed centre above four floral swags, flanked by carved bulbous columns to each corner, raised on compressed bun feet. 230cm long, 50cm deep, 46.5cm high
731
A LARGE MAHOGANY HUNT TABLE 19TH CENTURY,
with moulded edge on squared gate leg action supports.
72cm high, 205cm diameter
€ 1,500 - 2,000
733
A REGENCY MAHOGANY FRAMED SOFA CIRCA 1815
upholstered in floral fabric, the reeded frame carved with gilt rosettes to the arm terminals and above each leg, raised on ring turned tapering legs and brass caps and castors. 92cm high, 190cm wide, 69cm deep
€ 1,000 - 1,500
732
A PAIR OF PAINTED DEMI-LUNE SIDE TABLES EARLY 20TH CENTURY
the tops decorated with a series of oval vignettes each containing a classical bust in a pearl border, connected by floral swags, the rim of the table with a border of interwoven foliage and ribbon, above a gold painted fluted frieze and square tapering legs carved with trailing bell flowers. 98cm wide, 46cm deep, 84cm high
€ 2,000 - 2,500
735
A PAIR OF IRISH CARVED MAHOGANY WINDOW SEATS, of curved form, each raised on six legs, the front three carved with shell capped legs and paw feet. 44cm high, 160cm long, 32cm deep
€ 1,500 - 2,000
736
A BRASS CLUB FENDER 19TH CENTURY
with padded leather seat upholstered in burgundy leather, raised on stepped base. 195cm wide, 65cm deep, 59cm high
€ 1,500 - 2,000
734
AN IRISH GEORGE III FOUR DOOR BREAKFRONT BOOKCASE, surmounted with pierced architectural pediment above astragal glazed doors, enclosing adjustable shelving, the base with fluted frieze and fall-front secretaire, on square tapering legs. 235cm high, 232cm wide, 43cm deep
€ 3,000 - 5,000
737
A PAIR OF VICTORIAN MAHOGANY WINDOW SEATS
drop in upholstered seats with twin end supports on turned tapering legs castors 71cm high, 121cm wide, 43cm deep
€ 4,000 - 6,000
738 A GEORGE IV INLAID MAHOGANY SECRETAIRE BOOKCASE,
the moulded dentil cornice above twin astragal doors, opening to a shelved interior, the outset bottom section fitted with a fall-front writing section and shelved and pigeon hole interior, above twin cupboard base, raised on bracket feet (key not present). 224cm high, 110cm wide, 63cm deep
€ 2,000 - 4,000
739
ENGLISH SCHOOL, 19TH CENTURY Temple of Tivoli
Oil on board, 34 x 45cm
€ 1,500 - 2,000
740 A REGENCY BRASS INLAID ROSEWOOD DOUBLE DROP LEAF SOFA TABLE, the crossbanded top, inset with brass inlay to the border, above twin frieze drawers to one side, and twin dummy drawers to the other, on turned centre pillar and four downswept legs with brass mounts, toe caps and castors. 72cm high, 94cm wide x 69cm deep
€ 2,000 - 4,000
JAR of circular tapering form, in the traditional palette, decorated with a vignette of a Roman solider, with inscription ‘DIA CASSIA’. 35cm high 12cm diameter
€ 200 - 300
743
742
JAMES HOLLAND R.W.S (1800 - 1870)
Oil, 18 x 25.5cm
Provenance: With The Fine Art Society Ltd, London, August 1959; Sotheby’s, London, 1 October 2003, Lot 23
€ 2,000 - 3,000
A WILLIAM IV MAHOGANY LARGE CELLARETTE CIRCA
1830, the hinged top enclosing a fitted interior raised on paw feet and porcelain castors. 69cm high, 71cm wide, 51.5cm deep
€ 1,000 - 1,500
744
A GEORGE III MAHOGANY COMPACT CHEST OF DRAWERS, the rectangular top with moulded rim, above an arrangement of four graduated cockbeaded drawers, with brass drop handles and escutcheons. 83cm high, 91cm wide, 47cm deep
€ 500 - 800
745
A MAHOGANY LARGE OVAL HUNT TABLE 20TH CENTURY, having twin drop-leaf sides, moulded and rounded edge, on squared gate-leg supports, 228cm long x 129cm wide (when extended).
€ 2,000 - 4,000
747
746
AN IRISH GEORGE IV MAHOGANY TALLBOY CHEST POSSIBLY CORK CIRCA 1820
of upright rectangular form, fitted with six long graduated drawers with brass ring handles flanked by spiral tuned outset pilasters on turned feet. 145cm high, 90cm wide, 46cm deep
Provenance: ‘Gloria, late Dowager Countess Bathurst, sold Christie’s London, 22 July 2020, Lot 203.
€ 2,000 - 3,000
A GEORGE III MAHOGANY SECRETAIRE BOOKCASE, with plain cornice above twin astragal glazed panel doors, on a base fitted fall front writing section with pigeon holes, centre compartment and drawers above an arrangement of drawers with brass oval handles and raised on bracket feet. 231cm high, 125.5cm wide, 53cm deep
€ 1,500 - 2,500
748
A GEORGE III MAHOGANY FRETWORK SIDETABLE,
of rectangular form, the solid panel top above a blind-fret interlaced frieze above six leaf-carved square tapering legs, ending with leafy block feet.
84cm high, 152cm wide, 65cm deep
€ 1,000 - 1,500
750 RUSSIAN SCHOOL
Nymphs in a Forest
Signed
Oil on canvas, 39 x 48.5cm
€ 800 - 1,200
751
TWO GEORGE III MAHOGANY BRASS BOUND BUCKETS,
one a turf bucket, the other a plate bucket, each with raised brass swing handle over a tapering body. Each 41cm high, 37.3cm wide over handles
€ 2,000 - 3,000
749
A GEORGE IV MAHOGANY SERVING TABLE CIRCA 1820
the shaped rectangular top with ropetwist moulding, above a reeded frieze, flanked by gilt metal mounts, on slender reeded sabre legs and hairy paw feet, headed by carved acanthus leaves. 99cm high, 216cm wide, 70cm deep
€ 1,000 - 1,500
752
AN IRISH GEORGE II BOOKCASE ON STAND,
of upright rectangular form, surmounted with swan neck pediment and scallop shell finial above a foliate scrollwork band and twin glazed panel doors, shelved interior, on a short rectangular stand with cabriole legs and trepid feet. 223cm high, 80cm wide
€ 2,000 - 3,000
753
A GEORGE III WHITE PAINTED MARBLE TOP SIDE TABLE, of semi-elliptical shape, fitted with Carrara marble above a broad fluted frieze, on squared channelled legs and block feet. 82cm high, 147cm wide, 62cm deep
€ 2,000 - 3,000
754
A GEORGE IV MAHOGANY SERVING TABLE CIRCA 1825, the inverted bowfront top, with three quarter gallery above two frieze drawers with ebonised moulding, on ring turned tapering legs. 107cm high, 231cm wide, 78cm deep
€ 1,000 - 1,500
755
A GEORGE III MAHOGANY AND SATIN WOOD DOUBLE DROP LEAF PEMBROOK
TABLE extending to oval form with crossbanded top and single frieze drawer on ring turned tapering legs. 73cm high, 108cm wide
€ 2,000 - 4,000
