Adams Country House Collections 10th October 2017

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Auction Tuesday 11th
October 2016
Est1887
Country House Collec tions
Auction Tuesday 10th
October 2017 at 11.ooam
At Townley Hall, Drogheda, Co.Louth
Live Auc tion

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COUNTRY HOUSE COLLECTIONS AT TOWNLEY HALL
Tuesday 10th
October 2017 at 11:00am

AUCTION
Tuesday 10th
October 2017 at 11:00am
Live auction lots 1 - 718
VENUE
Townley Hall, Slane Road, Drogheda, Co Louth, Ireland A92 R6WE
SALE CODE
This sale may be referred to as 9052 in all correspondence
COLLECTIONS
All lots must be paid for and collected before 12.00 noon on Thursday 12th at the purchaser’s risk
and expense, after which time items will be removed to commercial storage also at the purchaser’s
risk and expense and additional carriage and storage fees will apply.
VIEWING
Saturday 7th October 11:00am - 5:00pm
Sunday 8th October 11:00am - 5:00pm
Monday 9th October 10:00am - 5:00pm
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin 2 D02 X665
Tel +353 1 676 0261
info@adams.ie
www.adams.ie
CONTACT
During Viewing, Auction and Collection Days.
Phone: +353 (0)1 676 7922 Fax: +353 (0)1 662 4725
CATALOGUE
€20.00 (Plus postage & packaging)
Admission strictly by catalogue only - One catalogue admits two.

CONTACTS AT ADAM’S FOR THIS AUCTION
Brian Coyle FSCSI FRICS
CHAIRMAN
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
Ronan Flanagan
FINE ART DEPARTMENT
ronan@adams.ie
David Britton BBS ACA
DIRECTOR
d.britton@adams.ie
Adam Pearson BA
FINE ART DEPARTMENT
adam@adams.ie
Amy McNamara BA
FINE ART DEPARTMENT
amymcnamara@adams.ie
Katie McGale BComm Intl. MPhil
FINE ART DEPARTMENT
katie@adams.ie
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Niamh Corcoran BA
ADMINISTRATOR
niamh@adams.ie
Helena Carlyle BA
ADMINISTRATOR
helena@adams.ie

COUNTRY HOUSE COLLECTIONS AT TOWNLEY HALL 2017
As the year swings around again to this annual event thoughts turn to barrels, or more precisely the scraping of the
bottoms of same. Surely there is no more left down there to put together a credible sale of the works of art and ar-
tefacts that were in Irish country houses? However the immutability of matter and the transience of life give a fluidity
to the process. Collections form, are dispersed and houses are sold, collectors pursue objects that have lost their
context and reinstate them. The Madden armorial side table has been brought home (maybe to shoot off again?), the
long case clock from Ross House - that distillation of atmosphere of a rollicking, happy, sporting Ireland bottled by
Somerville & Ross, has been discovered. There is gleaming 18th century silver mostly Irish, that recalls companionable
dining rooms with Regency tables and brass bound buckets. The salver presented by the Corporation of Drogheda
to Montgomery Lyons. Was he a pleasant or pompous man? Likely the former as he turns up as a member of Lord
Mornington’s Glee Club and who is to say that the uisce beatha or the French wine did not make the meetings merrier
or the singing lustier. Did they play on a Southwell instrument, one of the most sophisticated in Europe?
The Preston ladies, deprived of their noble positions in Palladian Bellinter House, are available for re-housing, suitably,
in preference. Then the enigmatic architect from Rathescar, the hunting lodge of the Fosters; it became the fashion-
able Regency ‘seat’ for the speaker’s younger son but he overspent and it was taken on by a cadet branch of the Henry
family. Records were not kept and identities have been lost but these pictures and portraits were there for a reason;
probably diligent research will resolve some of this. In the interim, bloodstock and hunting had been the raison d’ être
as it had been for Eileen Mount Charles in her beautiful house designed by Francis Johnson and which reproduces in
miniature much of the architecture of Townley Hall and Slane Castle. Here are horses and dogs and the comfortable
furnishings of a hospitable house.
The landscape school of the 18th century is considered the high point of Irish Art of the period. The George Barret is a
tour de force of the genre. Why, looking out their windows and inevitably at the most wonderful views, did the gentry
have such a hankering for idealised southern landscapes? Classicism, the memories of formative trips to Italy, per-
haps not accepting the reality of their own intrusion into an older prospect? Escapism into a distant vista, as described
by Nicola Figgis in her piece on the wonderful Solomon Delane Roman landscape ‘silhouetted sensitively against the
cloud-filled sky’, could make the rain, trouble with the tenantry, demands of mortgagors, snubs from the Vice-Regal
toffs more bearable. This landscape tradition lingered on with John Henry Campbell until romanticism descended into
kitsch.
There is much of interest herein, mostly ephemeral; old warts-and-all who fastened these islands together in a sinister
embrace that has been a long time undoing, maybe Brexit will conclude the business? The treasonable vellum bestow-
ing a ‘union’ title, the faces of generations recorded in miniature of a once powerful family, the pretty Langham daugh-
ters who couldn’t find husbands (perhaps they had not wanted them)but if they had been brought to Ireland sooner,
chances are they would have (if, needless to say, that’s what they wanted) lots of mirrors to check the beauty spots,
lots of card tables to lose the demesne (it was going anyway,) books, maps and prints to study in front of the roaring
library fire. Nostalgia need not intervene here – where these items are classic in the true sense of the word, they are
timeless and as such, judiciously mixed with contemporary design, they will continue as worthy witnesses to whatever
you’re having and beyond.
N.N

Register for a My Adam’s Account

From Dublin: Follow the M1 going North. After the toll
station, continue on the M1 until you cross the Boyne
suspension bridge. Immediately North of the bridge, take
exit 10 signposted N51 - Navan - Drogheda North. At the
roundabout over the motorway take the Slane exit. After
about 1.5 miles, look for railings and gates on the right
hand side then follow the avenue through the woods.
Travelling time from Dublin airport: about 35mins.
From the North: Follow the M1 as far as the exit 10
turn-off just before the suspension bridge, signpost-
ed as N51 - Navan - Drogheda North. Cross over the
motorway and take the Slane exit. After about 1.5
miles, look for railings and gates on the right hand
side then follow the avenue through the woods. Trav-
elling time from Dundalk: about 30mins.
DIRECTIONS TO TOWNLEY HALL

IMPORTANT INFORMATION FOR PURCHASERS
ESTIMATES AND RESERVES
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 de-
finitive and are subject to revision. Reserves, if any, will not be any higher
than the lower estimate.
PADDLE BIDDING
All intending purchasers must register for a paddle number before the
auction. Please allow time for registration. Potential purchasers are
recommended to register on viewing days.
PAYMENT, DELIVERY AND PURCHASER’S PREMIUM
Wednesday 11th October 2017, 10.00am - 5pm. Under no circumstances
will delivery of purchases be given whilst the auction is in progress. All
purchases must be paid for and removed from the premises not later
than 12 noon on Thursday 12th October 2017 at the purchaser’s risk and
expense. After this time all uncollected lots will be removed to commercial
storage and additional charges will apply.
Auctioneer’s commission on purchases is charged at the rate of 20%
(exclusive of VAT). Terms: Strictly cash, bankers draft or cheque drawn
on an Irish bank. Cheques will take a minimum of five workings days to
clear the bank, unless they have been vouched to our satisfaction prior
to the sale, or you have a previous cheque payment history with Adam’s.
Purchasers wishing to pay by credit card (Visa & MasterCard) may do so,
however, it should be noted that such payments will be subject to an
administrative fee of 2% on the invoice total. American Express is subject
to a charge of 3.65% on the invoice total. Debit cards including laser card
payments are not subject to a surcharge, there are however daily limits
on Laser card payments. Bank Transfer details on request. Please ensure
all bank charges are paid in addition to the invoice total, in order to avoid
delays in the release of items.
Goods will only be released upon clearance through the bank of all
monies
due. Artists Resale Rights (Droit de Suite) is NOT payable by purchasers.
VAT REGULATIONS
All lots are sold within the auctioneers VAT margin scheme. Revenue
Regulations require that the buyers premium must be invoiced at a rate
which is inclusive of VAT. This is not recoverable by any VAT registered
buyer.
CONDITION REPORTS
Please ensure that condition report requests are submitted before 12
noon on Monday 9th October as we cannot guarantee that they will be
dealt with after this time.
It is up to the bidder to satisfy themselves prior to buying as to the con-
dition of a lot. Whilst we make certain observations on the lot, which are
intended to be as helpful as possible, references in the condition report
to damage or restoration are for guidance only and should be evaluated
by personal inspection by the bidder or a knowledgeable representative.
The absence of such a reference does not imply that an item is free from
defects or restoration, nor does a reference to particular defects imply the
absence of any others. The condition report is an expression of opinion
only and must not be treated as a statement of fact.
ABSENTEE BIDS
We are happy to execute absentee or written bids for bidders who are
unable to attend and can arrange for bidding to be conducted by tele-
phone. However, these services are subject to special conditions (see
conditions of sale in this catalogue). All arrangements for absentee and
telephone bidding must be made before 5pm on the day prior to sale.
Cancellation of bids must be confirmed before this time and cannot be
guaranteed after the auction as commenced.
Bidding by telephone may be booked on lots with a minimum estimate
of €500. Early booking is advisable as availability of lines cannot be
guaranteed.
All lots are being sold under the Conditions of Sale as printed in this
catalogue and on display in the salerooms
LOTS MADE OF / CONTAINING IVORY
Bidders should be advised that the importation regulations of several
countries, including the US, prohibits the importation of ivory, or any
goods containing ivory. Therefore Adam’s advises prospective purchas-
ers who intend to ship such lots to another country to familiarise them-
selves with the relevant importation regulations prior to bidding. Adam’s
will not be responsible for shipping items herein and the onus will be
on the buyer to organise shipping at their own behest. Items containing
ivory are marked with the following symbol: (*) E&OE
LOTS MADE OF / CONTAINING CORAL
Bidders should be advised that any lots containing or made of coral are
subject to USA Fish and Wildlife regulations if they are to be imported
into the USA. Therefore Adam’s advises prospective purchasers who
intend to ship such lots to another country to familiarise themselves with
the relevant importation regulations prior to bidding. Adam’s will not be
responsible for shipping items herein and the onus will be on the buyer
to organise shipping at their own behest. Items containing coral are
marked with the following symbol: (**) E&OE
ALL LOTS ARE BEING SOLD UNDER THE
CONDITIONS OF SALE AS PRINTED IN THIS
CATALOGUE AND ON DISPLAY IN OUR SALEROOMS.

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Lot 92
The opening of a drawer and finding a makers stamp or looking under a table or behind a mirror and coming
across a trade label injects an extra frisson of excitement to the collector. This is not just merely because it becomes
possible to put a name to the piece in question but the added possibilities of discovering further knowledge of the
cabinet-makers style, workmanship and history. This knowledge allows us to connect directly to the world this cabi-
net-makers worked and lived in over 100/200 years ago. Cabinetmakers were well educated, managing their craft and
business though economic ups and downs as well as adapting to changes of taste and style. The Dublin street directo-
ries contain the names of many cabinet makers. These names represent the masters, who were employers, property
owners and the managers of the workshop and retail outlet. Cabinetmakers were adept at promotion, advertising
frequently and often illustrating trade cards with illustrations of the products for sale. Gillington’s, advertising the
acquisition of new designs, assured prospective clients that they ‘execute in style not inferior to any London house and
referred to the ‘superior quality of their own manufacture’. In this sale there are several pieces giving this insight and
connection to the makers involved. In 1812 Eggleso and Power, when promoting their ware-rooms referred to ‘The
numbers of artists and mechanics, as well as the large capital necessarily employed in their concern, together with the exten-
sive stock kept’. A cabinetmaker needed to be able ‘to write a good hand, understand arithmetic and have some notion
of drawing and designing’. In Dublin, many cabinetmakers attended the Dublin Society drawing schools, in particular
the school of landscape and ornament drawing.The apprenticeship system controlled entry into the trade and the
apprentice, who began to train when about fourteen years old, was bound to his master for a period of seven years.
Visitors to Ireland in the early nineteenth century continuously referred to the level of munificence in Irish houses. As
Prince von Puckler –Muskau noted ‘the stranger in Ireland soon notices the hospitality’. The dining room underwent a
change in interior style in the early nineteenth century with a taste for larger tables, ordered ensuite with sideboard,
serving table and wine cooler. Sideboards served a utilitarian purpose as well as providing an area for the display
of candelabra, china and silver which sparkled in candlelight. The cupboards were fitted to hold bottles of wine or
shelves for glasses and drawers for cutlery. The hour for dinner became later in London before it was delayed in the
country. When Maria Edgeworth visited Deepdene, the country house of the banker and furniture designer, Thomas
Hope, she was late for dinner as she had taken it for granted that ‘the Hopes dine at the same time in Town and Country’.
As the hour for serving dinner became established at a later hour it was eaten by candlelight allowing the use of dark-
er colours and the ability to create drama with the use of larger mirrors. The dining room served an important role in
a family’s social life and by the 1820s it had once again become an area for mixed-gender entertainment and family
sociability. When Margaret Harvey, visiting from Philadelphia in 1809, attended a dinner party at a relative’s house,
she was impressed and ‘astonished to see such style, such order and elegance in one family’ and at another evening

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she described the dining room having ‘one large table in the middle and two side tables laid. The furniture in the room
and the superb manner the tables were decorated exceeds anything I ever saw’. It is easy to imagine this monumental
sideboard (Lot 220) laden with serving dishes and silver candelabra. Wine coolers were another important element of
dining room furnishings. The very fine example here is stamped Mack, Williams & Gibton, Dublin. This partnership was
one of the most successful of the second and third decades of the nineteenth century, although they were individually
established as early as 1784. The firm supplied furnishings to Dublin Castle and the Vice Regal Lodge (now Aras an Uach-
terain) as well as many country houses being built or rebuilt, including Annesbrook, County Meath, Borris House, County
Carlow and Lissadell, County Sligo. Mack, Williams & Gibton also redecorated the rococo drawing room at Newbridge
House, County Dublin supplying elaborate curtain poles, heavy crimson curtains and heavily carved mahogany and
rosewood sofas and tables. The sofas in this sale are by Williams and Gibton, dating from circa 1835, of mahogany with
organic foliate carving.
The furniture produced by Mack, Williams & Gibton for Dublin Castle in the early nineteenth century was in the Greek
revival style, who worked closely with the architect Francis Johnston. This wine cooler (Lot no. ) is a sarcophagus shape
with a domed hinged lid and bears the best elements of the firms work using the finest mahogany and wonderful carving
of vine leaves and grapes on the front and in the lion’s paw feet. Wine coolers were lead lined and filled with crushed ice
to keep wine cold and day to day were placed under the sideboard. Designs and practicalities were discussed by the cabi-
netmaker with the client and the relationship between the customer, the seller and the manufacturer was of great im-
portance. As Gillington’s explained in an advertisement ‘Having engaged a person of great experience and superior abilities
to conduct the Manufacturing Department, they will be enabled to pay such personal attention to the needs of their customers,
that the minutest as well as the most extensive Orders shall be executed with a promptitude and care that will, they trust, ensure
general approbation.’
As the century progressed taste changed and the Victorian era ushered in a more eclectic taste with a revival of many
earlier styles. A resurgence of craftsmanship accompanied the great exhibitions of the mid-nineteenth century. The
desk in this sale (Lot 94) bears the label of Arthur Jones, Stephens Green. The term Carlton House derived from a desk
commissioned the the Prince of Wales, later George IV, in the 1790s for Carlton House, his London residence. The form
is a ‘bureau a gardin’ with a superstructure of drawers. Drawings of this desk’s design were included by Hepplewhite in
his design book and also published by Thomas Sheraton in The Cabinet-Maker and Upholsterer’s Drawing Book, issued
between 1891-4, popularizing the ‘Adam’ style. Sheraton’s designs promoted the fashionable Neo-classical taste, elegant
with an emphasis on the use of inlaid and painted satinwood. When this style was revived in the late Victorian/Edward-
ian era the use of painted decoration was favoured. The design remained popular though the nineteenth century and
this piece is decorated with rather charming characterful paintings. Arthur Jones is well known fro the elaborate pieces
he supplied for the Great Exhibition in 1851 in London followed by Dublin in 1853.The firm according to Arthur Jones
was established in 1765. As with other Dublin firms their history and the furniture they produced is not identifiable until
the early 19th century, when firms began in a more regular fashion to label or stamp their production. Arthur Jones
published a catalogue of the pieces made by the firm for the exhibition, Description of a Suite of Sculptured Decorative
Furniture, Dublin 1853. The firm moved from South King Street to 134 Stephen’s Green in 1835 and Arthur took over
the firm in 1840. A chair in the National Museum of Ireland has a back formed with a round tower and a harp and the
arms terminate in wolfhound heads (illustrated in his 1853 catalogue). A carved bog yew teapoy was sold by this auction
house in 2015. The Jones firm promoted their stock claiming to always have ‘a very fine collection of Chippendale, Sheraton,
Hepplewhite, Adams, &c. Furniture’ and they were prepared to produce furniture in the aforementioned styles or in the
‘modern styles’. Of course there is a connection to the present firm as James Adam came from Scotland to train as an
apprentice with Arthur Jones in the 1860s at 135, St. Stephens Green. Those who entered the cabinetmaking trade had
to be adaptable, open to new ideas and change in taste and often willing to travel. By the late 19th century the Machine
Age had arrived and the skill of these craftsmen was no longer required. Thus pieces which survive, labelled or stamped,
bring to our attention the characteristics of Irish furniture and the skill of the craftsmen who made it and underlines how
extensive the furniture trade was in Ireland.
Dr. Angela Alexander September 2017

Tuesday 10th October
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1 A VICTORIAN TALL STAINED WOOD CLUB POST
BOX,
from the Albany Club in London, decorated with moulded fielded
panels, with letterbox above a single panel door with applied brass
plaque, inscribed ‘The Albany Club’ with hours of posting. 52cm
wide x 158cm tall
Provenance: ex Collection of Dr T Ryan
€ 3,000 - 5,000

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2 A LARGE IRISH REGENCY CURTAIN RAIL,
with eagle head terminals, part of the furnishings at
Bellinter House, Co. Meath
€ 300 - 500
3 A GEORGIAN MAHOGANY AND BRASS MOUNTED
RECTANGULAR DOOR LOCK
with scroll decoration and key. 36 x 24cm
€ 1,500 - 2,500
4 A GEORGIAN MAHOGANY AND BRASS MOUNTED
RECTANGULAR DOOR LOCK
with key. 36 x 25cm
Provenance: Formerly from The Munster & Leinster Bank, Portlaoise
€ 2,500 - 3,500

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5 AN IRISH GEORGIAN GILT BRONZE LION HEAD
DOOR KNOCKER,
retaining its original stop plate. 24cm high
€ 300 - 500
6 A SET OF THREE EARLY 19TH CENTURY CAST BRONZE
CURTAIN TIES,
in the form of acanthus leaves, two single, one double tie
€ 600 - 1,000

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7 A VICTORIAN MAHOGANY BOOT RACK,
late 19th century, the top rail fitted to each side with six turned
hooks above a boot tier and platform. 101cm high, 82cm wide
€ 300 - 500
8 A WALL THERMOMETER,
19th century, the engraved back plate signed ‘Davies, Dublin’, in
a mahogany case crossbanded in rosewood with boxwood trim.
42cm tall
€ 300 - 500
9 A PARTIAL ANTLER FROM A GREAT IRISH
DEER.
106cm wide
€ 300 - 500
10 A VICTORIAN OAK FRAME GOTHIC DINNER
GONG,
with hanging brass gong and turned wood stretcher, the frame
pierced with quatrefoils. 94cm tall
€ 800 - 1,000

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11 A PAIR OF 19TH CENTURY JAPANNED METAL TEA BINS,
with mahogany hinged lids above black and gilt Japanned bodies, with chinoiserie decoration. 56 x 52 x 77cm tall
Now that tea is readily available, the need to store large quantities has lapsed. Picking ready measured sachets out of a box,
whilst it may not come with its own authentic feel, definitely has its benefits. For this reason, tea bins that once brimmed
with fragrant leaves can now be seen proudly retaining the household’s fuel. In the 21st century, tea is something over which
the excitement of our lives can be discussed with friends, but rewind 200 years and the tea itself provided the excitement.
During the 18th and 19th centuries, the British monopolised the tea trade, importing the leaves from
China. However, in the 1830s, the Navigation Acts that previously banned goods brought in by foreign ships from entering
Britain were repealed. This led to a surge in competition and, consequently, a need for faster ships. Each ship now com-
peted against the other to be the first to land in London with the new crop’s harvest, the fastest ships receiving more
payment for their trouble. Swift, yacht-like vessels called clippers were brought in that, with the wind in their sales,
could almost skim the surface of the sea. These clippers were in a conscious race with each other, the crews finding
new ways to load the tea just so as they could be the first to leave the harbour. Within a few years, the newspapers
had caught a hold of this and whisked it up into a frothy cream of daring, perseverance and seamanship. The climax of
this reporting occurred with the Great Tea Race of 1866 when five ships left China for London, carrying over £5 million
pounds of tea between them. Despite the 99 day long crossing, the first and second ships were a mere 40 minutes
apart, a gap so small that the owners decided to split the prize money in good faith.
€ 2,500 - 3,500
12 AFTER THE ANTIQUE, A BUST OF AN EMPEROR ON
SOCLE
bronzed plaster with black painted head. 90cm high
€ 300 - 500

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16 AN EDWARDIAN MAHOGANY
FOLDING BOOTRACK
€100 - 150
15 A SHAPED RECTANGULAR BRASS JARDINIÈRE, DUTCH
19TH CENTURY,
with embossed swag decoration and twin lion mask and ring
handles.
€400 - 500
13 A FINE 19TH CENTURY BRASS TUBULAR FENDER /
FIRE SURROUND,
with adjustable trivets, with pierced decoration. 102 x 46cm
€ 1,000 - 1,500
14 A 19TH CENTURY MARBLEISED PLAIN
COLUMN,
on stepped spreading foot. 115cm tall
€ 1000 - 1500

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18 A NATURAL HISTORY DISPLAY BY
H.WARD,
19th Century, of pheasants, partridge and exotic
birds, in mahogany case, 110cm wide x 107cm high.
(with ticket of H.Ward 2 Vere St, Oxford St, London)
Provenance: Cabra Castle, Co. Cavan
Sold by order of the Executors of Eileen, Countess of
Mount Charles
€ 500 - 1,000
17 A PAIR OF EARLY STONE CARVED FRAG-
MENTS OF LIONS DEVOURING THEIR
PRAY,
probably Indian. C 110cm wide
€ 1500 - 2000

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19 A CARVED TIMBER ROCKING HORSE,
with painted and silvered decoration. 160cm long
€ 600 - 800
20 A LATE VICTORIAN MAHOGANY FOUR FOLD
SCREEN,
with Gothic style arched tops above clear glass panels.
178cm x 65cm each panel
Provenance: Captain HCP Hamilton, Moyne, Durrow, Co Laois
thence by descent
€ 600 - 1,000

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21 A LARGE PAIR OF VICTORIAN CAST IRON
URNS,
of circular urn form, the wide flared rims with scalloped borders
above bodies decorated with cast continuous leaf banding, on
spreading feet. 100cm diameter x 100cm high
€ 5,000 - 7,000

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22 A SET OF FOUR VICTORIAN CAST IRON
CHAIRS, POSSIBLY COALBROOKDALE
with circular seats and raised on splayed legs.
€ 800 - 1200
23 A VICTORIAN CAST IRON FOUNTAIN
CENTREPIECE
with graduated basins, the concave platform base with
swans and raised on a shaped triangular platform base.
104cm x 68cm
€1500 - 2000

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25 A PAIR OF 19TH CENTURY HERALDIC CAST IRON
FIGURES
of winged Griffins, painted green, raised on rectangular stepped
platform bases. 110cm high, 49cm wide, 61cm deep
€ 4,000 - 6,000
24 STYLE OF ANTONIO CANOVA,
19TH CENTURY
A kneeling figure of cupid with bow, his hand extended to pick
Psyches blossom, on an oval base
Marble, 57cm tall
€ 2,500 - 3, 500

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26 A PAIR OF 19TH CENTURY WHITE PAINTED CAST
IRON GARDEN BENCHES,
with gothic tracery backs and honeycomb seats.
Each 100cm wide
€ 1,000 - 1,500
27 A 19TH CENTURY WHITE PAINTED CAST IRON
CONSERVATORY TABLE,
with rectangular marble top. 95cm wide
€ 300 - 500
28 VICTORIAN GARDEN CHAIR, OPEN ARMS
with pierced lattice work seat, on interlinked scroll legs
€ 400 - 500
29 A VICTORIAN CAST IRON BIRD BATH
on triform base
€ 300 - 400

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30 A PAIR OF LIFE-SIZE BRONZE MODELS OF WHIPPETS
one standing, one sitting on painted timber pedestal. Each 76cm x 87cm
€ 2,000 - 3,000
31 A PAIR OF VICTORIAN CAST IRON
GARDEN URNS
white painted, with scrolled leaf decoration
and handles, the spreading feet on square
plinth bases.
€ 3,000 - 4,000

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33 A SET OF FOUR VICTORIAN CAST
IRON TERRACE URNS
with circular fluted bodies, on square spread-
ing feet and raised on square tapering pedes-
tals 118cm x 74cm
€ 3,000 - 5,000
32 A CAST IRON PAIR OF WHITE PAINTED
URNS
with leaf decoration, on spiral-fluted cylindrical
stands 124cm x 44cm
€ 1,500 - 2,000

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34 A LARGE PAIR OF CAST IRON CAM-
PAGNA SHAPED URNS
with foliate banded bodies and twin handles
140cm x 57cm
€ 6,000 - 8,000
35 A PAIR OF CAST IRON CAMPAGNA
SHAPED URNS
with lobed rims, foliate banded bodies, twin han-
dles and raised on circular socles 59cm x 46cm
€ 700 - 1,000

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39 A LARGE VICTORIAN CAST IRON GARDEN
URN,
of lotus design the broad top with everted rim above a waisted
and fluted circular foot on a large stepped pedestal base. 70cm
diameter x 115cm high
€ 800 - 1,200
38 A LARGE CAST IRON CAMPAGNE SHAPED
URN
now white painted, with foliate banded body and twin handles,
raised on square base 76cm x 57cm wide
€ 800 - 1,000
36 AN EDWARDIAN BLACK PAINTED IRON STICK
STAND
of lobed quatrefoil design
€ 200 - 300
37 A 19TH CENTURY PAINTED CAST IRON UMBRELLA
STAND
After Coalbrookedale, moulded as a chihuahua dog begging on its
hide legs with a whip in its mouth, the drip pan in the form of lily
pads. 57cm high
€ 400 - 600

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41 A VICTORIAN CAST IRON GARDEN BENCH, WHITE
PAINTED
with pierced naturalistic leafy frame, slatted seat, on end supports
84cm x 130cm wide
€ 1,000 - 1,500
40 A VICTORIAN GOTHIC CAST IRON GARDEN
BENCH
with tracery back and honeycomb seat 90cm x 99cm wide
€ 500 - 800

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42 A LATE 19TH CENTURY CAST IRON FLOOR SCALES BY
W&T AVERY OF BIRMINGHAM,
measuring height and weight. 116cm high (not including measur-
ing stick), 78cm deep, 57cm wide
€ 200 - 400
43 A PAIR OF GEORGIAN CARVED STRIPPED-PINE
NEO-CLASSICAL URNS
with fluted bodies and raised on circular bases and square plinths
€ 300 - 500
44 AN EDWARDIAN PAINTED METAL DAIRY
CARRIAGE
on iron wheels, with plaque
CLUETTS ROYAL DAIRY WORK TARPORLEY
€ 1,500 - 2,000
45 A LATE 19TH CENTURY CONTINENTAL WROUGHT
IRON WINE RACK,
with eleven open bays on plain slat-work frame. 65cm wide x
132cm tall stamped to the side with a date.
€ 600 - 800

31
46 A LARGE IRISH VICTORIAN MAHOGANY CASE
containing a stuffed trout and twin kingfishers, the case bearing
the label ‘This trout was caught/on the lakes of Killarney/on Friday
23rd March/1863 by one of the most/accomplished/fishermen/in
England/W.P./Sailsbury Lodge/Clifton’, William Philips. 102cm wide x
22cm deep
€ 800 - 1,200
47 A LARGE GEORGE III BRASS FRAMED OCTAGONAL
HALL LANTERN,
with frosted glass panels and scroll arm supports, with urn finial.
110cm tall
€ 3,000 - 4,000
LOT 43

32
50 A SMALL VICTORIAN CAST
IRON GARDEN BENCH,
SCOTTISH
with pierced naturalistic leaf frame and grill
seat 84cm x 110cm wide
€ 1,000 - 1,500
48 A PAIR OF CAST IRON TERRACE TWO
SMALL URNS ON STANDS WITH HAN-
DLES
with twin scroll handles and raised on square
tapering pedestals 79cm x 89cm wide
€ 1,500 - 2,000
49 A PAIR OF CAST IRON TERRACE TWO
SMALL URNS ON STANDS WITH HAN-
DLES
with twin scroll handles and raised on square ta-
pering pedestals, with foliate panel in high relief
89cm x 74cm wide
€ 1,500 - 2,000

33
52 A CARVED WHITE STATUARY MARBLE FIGURE OF A
FISHER-BOY,
standing with his hands clasped on a rocky base
€ 2,000 - 3,000
51 SIR JOHN ROBERT STEELL (1804-1891)
Portrait of a Boy
Marble, 38cm tall
€ 1,000 - 1,500
Sir John Steell was born in Aberdeen on 18th September 1804, but
his family moved to Edinburgh around one year after his birth. He
is best known for a number of sculptures displayed in Edinburgh,
including the statue of Sir Walter Scott at the Scott Monument. His
portrait was painted by Robert Scott Lauder.
Steell was born in Aberdeen, one of the eleven children of John
Steell Senior, an Edinburgh carver and guilder, and Margaret Gour-
lay, the daughter of William Gourlay, a Dundee shipbuilder. Steell
initially followed his father, training to be a carver himself. He
showed artistic talent and so studied art at the Trustees Academy
in Edinburgh and then studied sculpture in Rome. On his return,
he opened Scotland’s first foundry dedicated to sculptures and
was commissioned for numerous works, particularly statues and
monuments in Edinburgh.
The first work to attract major attention was ‘Alexander Taming
Bucephalus’ carved in 1832/3 (cast in bronze in 1883, and now
standing in the quadrangle of Edinburgh City Chambers). Around
1862, he was appointed as Sculptor to Her Majesty the Queen, a
post which was later recognised as a part of the Royal Household
in Scotland. He exhibited at the Royal Scottish Academy and was
knighted in 1876 following the unveiling, by Queen Victoria, of his
statue ‘The Prince Consort’, which stands in Charlotte Square in
Edinburgh.
Sir John Steell’s brother Gourlay Steell was himself a noted animal
painter. He was Queen Victoria’s animal painter, taking over from
Sir Edwin Landseer. Many of Gourlay Steell’s paintings remain in
the private collection of Queen Elizabeth II.
John Steell died on 15th September 1891 and is buried in an un-
marked grave in Edinburgh’s Old Calton Cemetery. This grave was
purchased by his father John Steell Senior and many members of
the Steell and Gourlay families are also interred here.

34
55 A LARGE VICTORIAN OAK AND ELECTRO-PLATED
BEER JUG,
porcelain interior, the lid with a finial of a medieval knight, the
sides with appliqués of knightly battles, on a spreading foot,
the shield engraved ‘J. J. C. P (for John Julius Preston of Bellinter
House). 45cm high
€ 400 - 800
53 A RENAISSANCE STYLE BRONZED TABLE LAMP
STAND
in the form of a naturalistic cast leaf column with stylised dolphin
support, on a triangular black marble base. 62cm high, with elec-
tric fitting (now fitted for electricity)
€ 400 - 600
54 AN OAK JOINT STOOL, BASICALLY 17TH
CENTURY,
the rectangular top, on splayed turned and blocked legs joined by
stretchers
€ 600 - 800

35
56 JACOBUS HOUBRAKEN (1698-1780)
The Heads of Illustrious Persons of Great Britain
A set of twelve engravings, in ebonised and parcel-gilt frames
€ 1,000 - 1,500
57 AN OAK COURT CUPBOARD, BASICALLY
17TH CENTURY,
of rectangular form, in two sections with carved
frieze and recessed carved panel door, on turned
baluster supports over twin fielded cupboard
doors on square feet. 166cm wide, 54cm deep,
166cm high
€ 1,000 - 2,000

36
58 COPY AFTER VAN DYCK (19TH CENTURY)
George Villiers, 2nd Duke of Buckingham (1628-87), and Lord
Francis Villiers (1629-48), Half Length
Wearing Silk Jackets and Lace Collars
Oil on canvas, 70 x 88cm
Provenance: Rathescar House, Co. Louth
Original portrait in the Royal Collection Trust
€ 500 - 1,000
59 ENGLISH SCHOOL (LATE 17TH CENTURY)
Portrait of a Lady, half-length, in Blue Dress
€ 1,000 - 1,500

37
60 DUTCH SCHOOL, CIRCLE OF PETER NASON (17TH
CENTURY)
Portrait of a Cleric, half-length, in a Black gown, the background a
View in Amsterdam
Provenance: Captain HCP Hamilton, Moyne, Durrow, Co. Laois, thence
by descent
€ 3,000 - 5,000

38
61 ENGLISH SCHOOL, 17TH CENTURY
King Charles II, half-length, within a feigned oval
Oil on oak panel, 22 x 19cm
Provenance: Bellinter House, Co. Meath
€ 300 - 500
62 A GEORGE II WALNUT FRAMED WING
ARMCHAIR
now covered in a crewel-pattern tapestry on
lappeted cabriole legs, with pad feet.
€ 2,000 - 3,000

39
64 A WILLIAM AND MARY INLAID WALNUT AND
OYSTER VENEERED CHEST,
comprising two short and three long drawers, fitted with brass
tear drop handles, the entire decorated with boxwood stringing,
raised on bun feet. 84 x 92cm
€ 6,000 - 8,000
63 A CHARLES XII STYLE ENGRAVED GLASS AND
GILT-METAL MIRROR, SWEDISH
attributed to Gustav Precht, with a basket of flowers cresting.
133 x 76cm
For an almost identical mirror see G. Child, World Mirrors, Lon-
don 1990, illustrated no.678
€ 2,000 - 3,000

40
67 A DUTCH BRASS CIRCULAR JARDINIERE,
with lion mask and ring handles, the body engraved with a
tableau of figures in an interior, raised on paw feet. 40cm diameter
€ 500 - 700
65 AN OAK GATE-LEG TABLE, BASICALLY
17TH CENTURY
with single drawer and raised on turned and blocked legs
€ 400 - 500
66 A SET OF FOUR GEORGE II STYLE MAHOGANY
FRAMED ELBOW CHAIRS
with tapestry upholstered backs, outswept arm supports and
cabriole legs with ‘x’ stretchers
€ 1,500 - 2,500

41
68 ENGLISH SCHOOL (LATE 17TH CENTURY)
Portrait of a Lady, Three Quarter Length, Seated in a Garden, in a
grey silk dress holding Flowers
€ 6,000 - 10,000

42
69 A PAIR OF GEORGE II GILTWOOD FRAMED MIRRORS ATTRIBUTED TO
BENJAMIN GOODISON, C.1740,
the acanthus wrapped scroll tops interrupted by shells, the sanded frames with Vitruvian scroll
borders and with outset husk pendants, the lugged aprons centred by shells and flanked by
sconce plates (lacking arms). 87 x 57cm
Mirrors of this smaller type became popular in Georgian England as the taste for ‘private’ draw-
ing-rooms grew and were something of a speciality of Goodison, who supplied the leading nobility
and royal family. Mirrors of this exact model are illustrated by Country Life (1927) in Buckingham
Palace and another pair was offered by Ronald Phillips as no. 24 in his 2012 catalogue. The cele-
brated pair supplied by Goodison to the Prince of Wales 1732 is illustrated in Ralph Edwards’ ‘The
Dictionary of English Furniture’ Vol. II p.333 where the overall design follows the present lot.
€ 6,000 - 10,000
One of a pair of similar mirrors, at Buckingham Palace

44
70 VICTOR VERVLOET (BELGIAN, 1829-1904)
The Chapel of the Madonna, San Carlo, Rome
Signed and dated
€ 4,000 - 6,000
71 AN IRISH LARGE FRUITWOOD AND PAINTED
LINEN PRESS, 18TH CENTURY
with panelled doors and drawers flanked by outset
columns. 202cm high, 150cm wide
Makers of Vernacular Furniture intended for
large farmhouses in Southern Ireland during
the 19th century, often vied with each other to
produce the most decorative and innovative
pieces. This cupboard represents the zenith
of that inspirational tradition, and displays a
fusion of architectural features, which include
multiple raised fielded panels to the doors,
which probably reflects the strong relationship
which Ireland had with its ally Spain. The finely
reeded columns each side of the doors are
surmounted with original paint work schemes,
including lozenges across the frieze, chequer–
work detail, and dappled paint work in the
interior. Internally, a pierced frieze borders
the shelves to create a decorative surround or
theatre for pottery to be displayed in. This piece
is rare in having its original painted finish and
intact woodwork, in such varied forms, and as
such it represents an extremely rare survival
of imaginative and ebullient Irish decorative
furniture”.
DR D.B. COTTON
€ 2,000 - 3,000

45
72 A LARGE AUBUSSON VERDURE TAPESTRY, 18TH CENTURY,
a wooded pastoral landscape with domestic fowl, buildings, stream and trees, contained within foliate border.
272cm high, 325cm wide
Sold by order of the Executors of Eileen, Countess of Mount Charles
€ 3,000 - 5,000

46
73 MICHAEL DAHL (1659-1743)
A portrait of Elizabeth Langham, as a young girl, half-length in a
low blue dress and holding flowers, in a feigned oval
With label verso, Elizabeth, 2nd daughter of Sir James Langham, died
unmarried
Provenance: Cottesbrooke Hall, Tempo Manor, Sold HOK at Slane
Castle, The Langham Collections, 2004
€ 2,000 - 4,000
Portrait of Frances Langham, as a young girl, half-length wearing a
low brown dress, in a feigned oval
With label verso, Frances eldest daughter of Sir John Langham, by
Elizabeth eldest daughter of Sir Thomas Samwell bart, died unmarried
€ 2,000 - 4,000
Portrait of Mary Langham, as a young girl, standing three-quarter
length, wearing a red dress, holding a garland of flowers, with flow-
ers in her hair, in a feigned oval
With label verso, Mary 3rd daughter of Sir John Langham by Elizabeth
his wife, died unmarried
€ 2,000 - 4,000
Portrait of Martha Langham, as a young girl three-quarter length
wearing a blue dress with a bowl of cherries and a canary, in a
feigned oval
With label verso, Martha 4th daughter of Sir John Langham baronet
by Elizabeth his wife, died unmarried
€ 2,000 - 4,000

47
A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an
ornamental urn at her shoulder, a wooded landscape beyond
In a carved giltwood frame with acorns and oak leaves
It is thought that the landscape element represents the new landscaping at Cottesbrooke.
Provenance: Cottesbrooke Hall, Tempo Manor, Sold HOK at Slane Castle, The Langham Collections, 2004
€ 5,000 - 8,000

48
78 A PAIR OF SMALL ITALIAN CARVED GILTWOOD
MIRRORS,
19th century, with arched tops and pierced crestings. Each 48cm
high
€ 200 - 400
79 AN IRISH MAHOGANY BRASS BOUND BUCKET, EARLY
19TH CENTURY,
with swing handle. 40cm high
€ 1,000 - 1,500

49
81 JAN LOOTEN (1618-1681)
Wooded Landscape with Figures, a village by a lake in the background
Unframed, originally set into an overmantle
Provenance: Sir John Langham, 1st bart, acquired from the artist in London. Cottesbooke Hall, the 1775 Inventory; by which time it had been
moved to the chintz bedroom. Later at Tempo Manor, Co. Fermanagh, and sold HOK Fine Art, The Langham Collection at Slane Castle 2004
€ 10,000 - 15,000

50
82 A SKULL AND ANTLERS OF THE GREAT IRISH DEER (MEGALOCERUS GIGANTEUS)
191cm wide
€ 10,000 - 15,000
“As I emerged from the cluster of trees, cradling my kill, I stopped short. He stood in front of me, elegant and proud, his
colossal figure looming high above the grassland. I took a step back, a twig snapped. The deer’s head darted upwards, his
immense antlers slicing through the air. His powerful jaw clenched with apprehension, a shimmer of fear flickered in his
eyes - and then he was gone”.
Thirteen thousand years ago, Ireland was gripped by the formidable paws of the Pleistocene epoch, an era which
saw Homo Sapiens mixing with creatures the size of which we can only gawk at today. The Great Irish Deer was
among these beasts. Standing up to two metres tall at the shoulder, with an antler span that could reach three
metres, the Great Irish Deer would have been a sobering sight.
Ever since the discovery of their fossils in the 1600s, the Deer has sparked debate and fueled the research of many
an academic. Despite their name, the species was not limited to Ireland but instead was spread out across Europe,
Northern Asia and Northern Africa. The Irish attribution was a result of the hundreds of remains found buried in
the marl underlying the Irish bogland. The high calcium carbonate content of the marl aided the preservation of
bones and antlers, providing the rich supply that now festers in museum cupboards and richly adorns the great
banqueting halls of Europe. But why is it that such an impressive animal has come to such an end? The strongest
theory is that the climate change that occurred with the start of the Holocene led to a decrease in the Deer’s food
source. With the annual renewal of its antlers, the Irish Deer required immense mineral amounts to fuel their
bodies. With the slow decrease of this, it is thought that their bodies could not adjust to the reduced quantities
quick enough and the rate of antler growth to other bodily requirements was simply not sustainable. Whilst the
Deer did in fact survive the Ice Age that marked the switch in climates, is it notable that they died out in Ireland
much sooner than in other parts of the world, the youngest known remains being found in Siberia and dating to
c.6000 BC. This could be explained by the fact that in Ireland, unlike on the Continent, the deer could not move on
to better grazing lands once their old food source had been exhausted.
Although it is unlikely that humans were the single cause of their final extinction, it is interesting to observe the
depiction of Great Irish Deer among the cave paintings discovered in France. These images would suggest that
the animals were hunted, their meat being a valuable addition to hungry stomachs seated around a fire, with the
possibility of their great antlers being held in an even higher regard.
While these animals have been wiped from our world, their extinction itself has proved to be of merit. In the early
1800s, a French scientist by the name of Georges Cuvier used the Great Irish Deer to help him prove that extinc-
tion was, in fact, a real occurrence. Before this, god-fearing people believed that no creature brought on to Earth
would be destroyed and claimed that any animal who had not been seen simply lay hidden in a remote part of the
globe, yet unvisited by man. Cuvier successfully argued that the Deer anatomy was too different from any other
living species and, like the mammoth and the sabre tooth cat, it had been eliminated. As a result, remains such as
these are all that we have to serve as a memory of a world that once was.
Helena Carlyle

52
83 A GEORGE I INLAID FRUITWOOD LOWBOY,
the top with thumb moulded rim and decorated with a cross inlaid
diamond field, above a single drawer, raised on plain slender cabri-
ole legs with pad feet. 71cm wide x 46cm deep x 70cm tall
€ 2,000 - 3,000
84 A GEORGE III INLAID MAHOGANY AND MARQUETRY
BRASS BOUND OVAL OPEN WINE COOLER,
of coopered construction, with zinc lined interior, the body with in-
laid foliage and ribbon tied swags, on a separate base with splayed
tapering legs and castors. 81 x 60cm
€ 2,000 - 3,000
85 AN IRISH GEORGE III MAHOGANY BRASS BOUND
BUCKET,
of coopered construction, with brass swing handle. 39cm tall
€ 1,000 - 1,500

53
87 A PAIR OF EARLY 19TH CENTURY MAHOGANY HALL
CHAIRS, IN THE MANNER OF GILLOWS,
with carved scallop shell backs on ‘C’ scroll supports, centred by a
painted crest, and plain panel seats, raised on reeded sabre legs
€ 2,000 - 3,000
86 AN IRISH MAHOGANY LONGCASE CLOCK,
C.1750
the brass dial signed “Tho. Sanderson, Dublin”, with subsidiary sec-
onds dial and calendar, the hood with swan neck rosette broken
pediment, filled with a palmette, above a carved frieze centred by
a lion mask, flanked by columns, the trunk with quarter engaged
fluted columns, on moulded plinth with bracket feet. 220cm high
€ 1,500 - 2,000

54
88 A BRUSSELS STYLE TAPESTRY WALL HANGING, 17TH/18TH CENTURY,
The rectangular centre depicting the Baptism of Clovis by Saint Remigius in the Abbey of Saint-Remi, Reims, con-
tained within a broad border of interwoven rosettes, picked out in deep blue and earthen tones. 293 x 309cm
€ 10,000 – 15,000
Clovis I (466 - 511AD) was the first King of the Franks to unite all the Frankish tribes under one ruler by transform-
ing the original mode of governance from tribal chieftaincy to a hereditary monarchy. His father, Childeric I had
founded the Merovingian Dynasty in c.457 but it was his son who succeeded in creating of a stable and in turn
sustainable dynasty which would rule for a further three hundred years.
Clovis is also renowned for his important relationship to Christianity and is often referred to as the first Christian
king of France. A pagan at birth, Clovis converted to Christianity, mostly on the bequest of his wife Clotilde, in 496.
His conversion is significant in its rejection of Arian Christianity, the prevailing faith of most other Germanic tribes
of the period. The conversion is widely reflected upon in literary and decorative works such as this present ex-
ample. Gregory of Tours, a Gallo-Roman historian was the first to produce a written record of the event, in which
he describes the baptism taking place on Christmas Day 508AD following Clovis’ defeat of the Alamanni in the
Battle of Tolbiac. In a small church, which would subsequently become the Abbey of Saint-Remi in Reims, Clovis is
baptized by Saint Remigius (c.437 - 533 AD); a statue commemorating the occasion can still be seen today in the
cloister of the church.
The inspiration for such tapestries often came from existing engravings or manuscript illustrations. The linear
quality of engravings is reflected in the woven pattern of the tapestries in which a sense of depth or texture is ex-
pressed through line. A close point of reference for the compositional arrangement of this tapestry is a print con-
tained in Right Rev. Richard Gilmour’s Bible History: Containing the Most Remarkable Events of the Old and New
Testaments. Similar examples of tapestries can be found in the ‘Salle du Conseil Communal’ in the Hotel de Ville
in Brussels. The town hall, a gothic building constructed in the 15th century is home to wonderful 17th and 18th
century verdure wall tapestries. Belgium was an important center of production for verdure tapestries from the
medieval period onwards producing pictorially sophisticated works in which numerous individuals were involved
in the process from the original design, to preparatory charcoal cartoon and the final woven product.
The representation of Clovis varies, from a Christ-like figure, nude but for swaddling in the baptismal font, or as in
this present example, dressed in heraldry and armour - following his victorious battle- as a solider of Christ, kneel-
ing before Remigius and attendants. The history of rulers converting to the Christian faith before or subsequent to
a battle is not unique to Clovis, as Constantine had done a century earlier after the Battle of Milvian Bridge. These
representations reflect the broad appeal for the tradition of public acts of piety, termed religion royale, in which
the ruler is presented as a Christ-like figure enacting divine rituals. Such iconography reinforced the royal claim to
a divinely sanctioned authority to rule.

56
89A A MAHOGANY BRASS-BANDED BUCKET OF
COOPERED CONSTRUCTION,
Irish c.1800, with large brass drop-handles. 49cm high, 45cm wide
Provenance: Bellinter House, Co. Meath
€ 2,000 - 4,000
89 A GEORGE II STYLE MAGOGANY AND PARCEL GILT
MIRROR,
The frame carved with scrolls, and surmounted by a gilt urn, and
flanking scrolls.
€ 800 -1,000

57
91 AN IRISH GEORGE III MAHOGANY SHAPED
RECTANGULAR FOLDING TOP CARD TABLE,
C.1750
the baize lined interior with carved counter wells and candle stands,
the frieze centred by a carved scallop shell and flanked by twin
rosettes, raised on cabriole legs with acanthus carved knees and
paw feet. 93 x 47cm
€4,000 - 6,000
For a table of this design with these distinctive rosettes see Peill & Glin
Irish Furniture (2007) no. 130
90 A FINE GEORGE III RECTANGULAR READING
STAND,
the hinged adjustable top with pop out candle stands, decorated
with a carved edge of rosettes and ribbon banding, raised on a
fluted turned centrepillar and tripod base with carved acanthus
carved knees and paw feet. 93cm tall 47cm wide
€ 1,500 - 2,000

58
92 WILLIAM SADLER II (C.1782-1839)
The Mouth of The Liffey with the Poolbeg Lighthouse and Shipping
Oil on panel, 34.5 x 54.5cms
€ 8,000 - 10,000

Known particularly for his competent, atmospheric and topographically interesting views of the countryside
around Dublin, Sadler remains an enigma in the history of 19th century Irish art. This is partially because his
father, William (fl.1768-1788) and his own son, also William (b.1808) painted somewhat similar scenes in a
vaguely similar style and can be confused. William Sadler II, however, stands out as being a better painter than
either his father or his son. He is also credited as having taught painting and counted James Arthur O’Connor
as one of his pupils. He is recorded as exhibiting, between 1808 and 1821, many paintings on his trademark
mahogany panels. The Royal Hibernian Academy records four paintings by Sadler exhibited at the 1828, 1833
and 1836 annual exhibitions, giving his address as Buckingham Street and later at Merrion Avenue. In his
1913 Dictionary of Irish Artists, Walter Strickland notes however that he finally settled in Manders’ Building in
Ranelagh where he died in December 1839. Sadler was greatly influenced by and did many copies of the Old
Masters, particularly Dutch painters and this influence is seen in his landscape compositions with small figural
groups. He also incorporated their technique of painting bright highlights to accentuate the almost three
dimensional effect of his figures.
The present work is a wonderful atmospheric panorama ranging from the north of Dublin city on the right
with it’s church spires over to south county Dublin on the extreme left, with views of Killiney and Dalkey and
the Sugarloaf Mountain beyond. The main concentration however is on the myriad of ships that are heading
into or exiting Dublin port. Sadler conveys the busyness of the channel leading into the city and the River
Liffey, with an anchored coastal trader in the foreground and nearby a British naval frigate heading into port.
Numerous other large sailing ships are evident further into the port area. The lively winds are expressed by
the rough green seas with it’s highlighted surf and in the somewhat stormy skies. Typical of Sadler, these con-
ditions convey a sense of drama in what is essentially a non-dramatic scenario. The architectural landmarks
are accurate, as you’d expect with the artist, whose skill in describing the topography of the city is well regard-
ed. The Poolbeg Lighthouse is prominent, not surprisingly, standing as it does at the end of the four kilometer
long Great South Wall. Also visible is the Pigeon House Fort, built around the time of the 1798 Rebellion and
which housed an armory, magazine, stores, a hospital and quarters for officers and men. A little further in
several domes are visible, perhaps amongst them, the Custom’s House on the Liffey quays. While views of this
scene are not uncommon in the artist’s oeuvre it is the scale and grandness of the view that sets the present
apart from many others.

60
The son of an Englishman who settled in Dublin, John Henry attended the Dublin Society’s Schools before estab-
lishing himself as a landscape painter in Dublin. Walter Strickland notes that he sent a drawing, ‘Moonlight’ to an
exhibition held at Allen’s on Dame Street. The following year he exhibited two works at Parliament House, followed
by four landscapes in 1802, two in 1804 and further oils and watercolours between 1809 and 1819. He contributed
to the opening exhibition at the Royal Hibernian Academy in 1826 and again in 1828.
Strickland observed “amongst his water-colours are a “View of Dublin, Howth, etc., from Huband Bridge,” exhibited
in 1809 and now in the National Museum, Kildare Street; a “View near Rostrevor” in the National Gallery of Ireland;
and a “Bridge over the Dodder, Upper Rathmines,” in the possession of Mr. J. C. Nairn, 13 Westland Row. In the
British Museum are two drawings by him: “The Little Sugar-Loaf,” dated 1806, and “Rathgar Castle,” dated 1807. A
“View of Dunleary Pier and part of the Town,” drawn by him in 1789, was etched by J. Wright, who published it at 34
Mary’s Abbey. In Ferrar’s “View of Ancient and Modern Dublin,” 1796, is an engraving of “Sarah Bridge” by Clayton,
after a drawing by Campbell. A large aquatint by A. Courcell, of “Powerscourt Waterfall,” with a picnic party, was
done from a drawing by him. Two landscapes in oil: “View on Lough Erne, with Devenish Island and Round Tower,”
and “Fassaroe Bridge”— the latter painted in 1821—belong to Mr. J. C. Nairn. A “View of Killarney, with Torc Moun-
tain,” and a “Banditti with Prisoners,” the landscape after Both, the figures by G. Nairn (q.v.), belong to the Rev. F.
Sadleir, 9 Gardiner’s Place”. Campbell maintained a well regarded position among his peers and still ranks highly for
his watercolour works in particular. His daughter, Cecilia Margaret was also a noted painter in oils and watercolours
and married the artist George Nairn ARHA.
The present work, ‘A View of Shanganagh Castle, with Killiney Beyond’ is a typically reliable topographical view by
Campbell of an area south of Dublin on the Wicklow coast, and looking northwards. Peter Pearson in his book ‘Be-
tween the Mountains and the Sea’ writes – ‘ Shanganagh Castle, now in ruins, occupies one of the oldest inhabited
sites in the area. In 1654 it was described as having two orchards, a garden, a grove of ash trees set for ornament
and a mill’. Pearson illustrates a watercolour by William Westall from 1810 ‘showing the intact ruin of Shanganagh
Castle with Killiney, as yet developed, in the background’.
The present view by Campbell appears to be observed from a similar position, even if the perspective of Westall’s
is not as accurate. Campbell imbues his idyllic scene with figures and livestock, including a goat, in the shaded fore-
ground, flanked by languid and willowy trees. Below in the sunlight is the castle surrounded by verdant trees and a
field occupied by sheep. The view extends for many miles northwards and the sun-speckled Killiney Bay is dotted
with pleasure yachts including two making their way through Dalkey Sound. The artist has created a very attractive
image of semi rural life, pleasure boating and all in an area well known and easily recognizable by many.
93 JOHN HENRY CAMPBELL (1757-1828)
A View of Shanganagh Castle, with Killiney beyond
€ 10,000 - 15,000

62
94 A FINE IRISH VICTORIAN INLAID AND PAINTED SATINWOOD
CARLTON HOUSE DESK,
by Arthur Jones & Co., 135 St. Stephen’s Green, Dublin, the top section of concave
form, fitted central cupboard and flanking pairs of three short drawers and concave
cupboards with incurved panels and end drawers, on a desk base with adjustable
writing slide, and central frieze drawer, flanked by pairs of drawers, on square taper-
ing legs, the entire decorated with rosewood banding and painted ribbon tied bows
and floral sprays, each cupboard door painted with portraits, the back continuously
decorated with satyr mask and floral swags above a vignette of a river landscape with
windmill, affixed with label. 138cm wide, 67cm deep
€ 10,000 - 15,000

64
95 AN IRISH GEORGE III INLAID MAHOGANY AND SATINWOOD SQUARE PIANO,
the case decorated with checkered stringing and opening to reveal a hand painted panel above the keyboard decorated with a central
cartouche containing the maker’s name ‘’Southwell, Dublin and London’’ flanked by floral swags, raised on a rectangular base and turned legs
with brass castors. 86.5cm high, 176cm wide, 60.5cm deep
‘’It is a little appreciated fact that Ireland made a considerable contribution to the development of that most universal of musical instruments, the
Pianoforte. The ingenuity of Dublin’s principal pianoforte builder at the close of the eighteenth century, William Southwell, was to exert an increasing
influence on manufacturers on both sides of the Irish Sea and eventually across the whole of Europe. In fact few histories of the pianoforte omit his
name. Instruments by William Southwell in the 1790’s are rare, this being the decade in which he took out a patent on an outstanding innovation in
the square piano, which would prove to be of immense commercial significance. Throughout most of the Eighteenth Century the standard compass
(number of notes) of harpsichords and pianofortes was five octaves, until the 1790’s when fashion and musical compositions began to demand
instruments with ‘the additional notes’. To increase the compass of a grand pianoforte is a simple technical matter, but in the square piano how-
ever, it becomes a problem of some complexity, for the ranges of the strings and the keyboard must expand in two different directions. This causes
difficulties in string scaling and gives rise to an untenable reduction in the size of the soundboard. William Southwell solved the problem brilliantly
by running the extra half octave under the soundboard, with the hammers emerging through an aperture to strike the strings. This system was
eventually adopted by all makers of square pianos and Southwell patented it in Dublin and London in 1794”
Taken from ‘’Beethoven, Hayden, and the Irish Genius: William Southwell of Dublin’’ by Alec Cobbe in ‘ The Irish Arts Review Yearbook 1997,
Volume 13’.
€ 5,000 - 8,000

65
96 A GEORGE I LONGCASE CLOCK,
with movement by Daniel Quare, London (1647/49-1724),
contained in a mahogany (later) inlaid case, the arched hood sur-
mounted by brass globes above flanking fluted columns, the brass
face with steel chapter ring date aperture second hand, decorated
with applied pierced spandrels, the movement with eight striking
bells, the case inlaid with trailing bellflowers, urns and leaf sprays
with ribbon tied swags, and with quarter engaged fluted pilasters,
raised on braket feet. 240cm high
€ 5,000 - 8,000

66
97 A PAIR OF GEORGE III STYLE PAINTED SATINWOOD DEMI-LUNE COMMODES,
the tops decorated with painted floral festoons and oval vignettes, above frieze drawers and central cupboard doors
decorated with pearl banded medallions of muses, en grisaille to the sides and with central floral bouquet within an
interlaced circle, raised on square tapering legs 92cm tall x 131cm wide x 50cm deep
€ 10,000 - 15,000

68
98 A PAIR OF GEORGE III STYLE PAINTED AND
PARCEL-GILT SATINWOOD TALL COMPACT
DISPLAY CABINETS,
the moulded cornices above arcaded friezes and arched single
glazed panel doors flanked by gilt pilasters above cupboard bases,
decorated with painted oval vignettes of vases of flowers, each
raised on bracket feet. 203cm tall 64cm wide 30cm deep
€ 8,000 - 12,000

69
99 A FINE LATE 19TH CENTURY
INLAID AND PAINTED SATIN-
WOOD BOOKCASE,
The arched cornice above twin arched
glazed panel doors, the bow front twin
panel door cupboard base flanked by
turned baluster pilasters, the entire
decorated with painted foliate and scroll
banding and painted vignettes in the
manner of George Morland, of children
and their parents in winter landscapes
236cm tall x 117cm wide
5,000-8,000

70
100 A GEORGE II CARVED GILT WOOD PIER MIRROR,
C.1730
fitted with mercury backed plate, surrounded by a narrow leaf
carved border, surmounted by a swan neck broken pediment with
feather plum cresting over a blind carved apron. 118cm high, 54cm
wide
€ 1,500 - 2,000

71
101 A GEORGE II IRISH FLAT CARVED GILTWOOD PIER
MIRROR, C.1730,
fitted with rectangular bevelled plate below a swan neck broken
pediment and central cartouche with foliate border and shell
carved apron. 111cm high, 59cm wide
€ 2,000 - 3,000

72
102 CONTINENTAL SCHOOL (MID 19TH CENTURY)
The Defeat, a Battle Scene
€ 1,000 - 1,500
103 A 19TH CENTURY CONTINENTAL GILTWOOD
CONSOLE TABLE,
with white statuary marble top, with moulded rim and raised
above pierced foliate scroll apron supported by two legs in the
form of putti, terminating in scroll feet. 152cm wide x 52cm deep
€ 1,500 - 2,000

73
104 A PAIR OF EBONISED,
PAINTED AND GILDED
BLACKAMOOR TORCHERES,
the standing figures, raised on pedestal bases
with rockwork tops, holding aloft torches with
seven scroll lamps, adapted for electricity.
196cm high
From the 12th century, the city state of Venice
acted as one of the controlling parties of the
Eastern Mediterranean. For this reason, items of
high commercial value passed through its ports, one
of these products being human beings. Whilst many,
at the mention of the slave trade, instantly recall
the struggles faced by black repression, the market
that passed through Italy bears a different tale. The
Italians, it would appear were slaves themselves, viciously
serving wealth, and the demands that it made. Until the
fall of Constantinople in 1453, many of the people passing,
shackled, through Venice were fellow white Europeans. It
was only with the demise of the Islamic kingdoms that the
market changed and, dutifully, the Italians altered the colour
of the commodities with which they dealt. In 17th century
Venice, the dark skinned Moor became synonymous with
luxury. These Africans, beautiful in their differences, became
a thing of fashion, with many white nobles engaging them in
servitude to act as more of an accessory than anything else.
This fascination soon became the subject of art, giving rise
to the creation of the Blackamoor figure. These figures, of-
ten shown holding torcheres or trays, stood in the place
of the real person, allowing for a hint of glamour to be
brought into a room otherwise lacking. For this reason,
whilst the depiction of such menial subjugation can
nowadays be questioned, it is hard not to admire the
artwork behind the pieces. Yes, they reveal an insight
into the inappropriate relationships present in Italy at
the time, but they also unveil an appreciation for the
human form, and the delightful differences that it
can produce.
€ 4,000 - 6,000

74
105 SAMUEL SPODE (FL.1825-1858)
Ivanhoe: A bay hunter in a stable, his rug and bucket with the
initials C.A
Oil on canvas, 50 x 60cms
Signed and inscribed with title
€ 3,000 - 5,000

75
106 AFTER GEORGE STUBBS (C.1800)
Molly Longlegs
Oil on canvas, 79 x 118cms
The original painting by Stubbs is part of the collection at the National Museum of Liver-
pool. ‘Molly Longlegs’, a bay mare, brought much success to her owner Lord Boling-
broke (1678 -1751) by winning on two occasions at the Newmarket races. Bolingbroke
was presumably the commissioner of the original portrait.
€ 5,000 - 8,000

76
107 SAMUEL SPODE (FL.1825-1858)
A Chestnut Hunter, and A Bay Hunter in their stables, the horses,
buckets and rugs with the initials E.C; a pair
Oil on canvas, both 49 x 60cms
Each signed
(2)
€ 6,000 - 10,000

78
108 A GEORGE III INLAID SATINWOOD OVAL DOUBLE
DROP LEAF PEMBROKE TABLE, C.1800
decorated with ebon stringing and satinwood banding, with single
end drawer, and raised on square tapering legs with brass castors.
43 x 75cm
€ 500 - 800
109 A GEORGE III MAHOGANY BUTTERFLY SHAPED
DOUBLE DROP LEAF PEMBROKE TABLE,
C.1780
with single end drawer on square tapering legs and plinth feet.
71 x 46cm
€ 500 - 800

79
110 A PAIR OF GEORGE IV INLAID MAHOGANY FOLDING
TOP TEA TABLES,
each on four baluster turned columns on a platform with four
splayed legs, with brass paw castors
€ 3,000 - 5,000

80
111 GIUSEPPE VASI (1710-1782)
Prospetto dell’Alma Citta di Roma Visto dal Monte Gianicolo
Set of 12 etchings
The Complete Monumental Panorama of the City of Rome circa
1750. framing label verso of Cornelius Callaghan.
Provenance: Powerscourt House, auction 1984
€ 3,000 - 5,000
112 A FIGURAL MAHOGANY AND INLAID MARBLE TOP
CIRCULAR CENTRE TABLE,
MID-19TH CNETURY
the top radially set with specimen marbles on a green ground, the
plain frieze raised on a mahogany tapered triangular base on scroll
lappet feet. 106cm diameter x 77.4cm high
€ 3,000 - 5,000

81
113 A FINE PAIR OF 17TH/18TH CENTURY CONTINENTAL
CAST BRONZE FIGURES,
of Bellona and Venus, raised on mannerist open scroll pediments
centred by amorial shields. 105cm tall
€ 15,000 - 20,000

82
114 AN IRISH GEORGE III SILVER PIERCED OVAL SWING
HANDLED FRUIT BASKET, DUBLIN C.1780,
mark of John Lloyd, the handle with bellflower swags, the body
with raised beaded border and decorated in the neo-classical
taste, the plain central reserve engraved with the arms of Plunket,
raised on pierced oval foot, (c.964g). 37cm wide
€ 1,500 - 2,500
115 AN IRISH REGENCY SILVER OVAL HELMET SHAPED
SUGAR BOWL OF PANELLED FORM, DUBLIN
1819,
mark of James Scott, with shaped carrying handle and wavy rim,
the body with bright cut neo-classical decoration, on
corresponding shaped base, (c.295g). 17.5cm wide
€ 600 - 1,000

83
116 AN IRISH GOLD AND CORAL BABY’S RATTLE, DUBLIN
C.1770,
makers mark ST, hung with bells, the whistle with neo-classical
decoration with a crested medallion suspended from swagged
husks draped from paterae, with coral ** teething piece and a
loop for a ribbon. 14cm
The crest is that of ‘Fitzgerald’ and the query is who of this name
could indulge in the ostentatious luxury of a gold baby’s toy? A like-
ly candidate is the notorious George Robert Fitzgerald of Co. Mayo.
He was a nephew of the Earl/Bishop of Derry and married in 1770
to Jane, née Connolly, of the Castletown family, one of the richest
in Ireland. Much was expected of George Robert as the Fitzgerald
family conversation piece by Zoffany (1733 - 1810) in the National
Gallery illustrates. He cut a dashing figure at the Court of Versailles
where he acquired a taste for luxurious bijoux, and dressed in a
magnificent uniform as head of the Earl/Bishop volunteer corps.
His operatic end by hanging in Castlebar in 1786 is well document-
ed. He was survived by his daughter the presumed recipient of this
incredibly rare object
€ 3,000 - 5,000

84
117 A GEORGE I SILVER ALMS DISH, LONDON
1721,
maker’s mark rubbed, with everted rim, the plain centre engraved
with a coat of arms, (c.295.5g). 21.5cm diameter
€ 400 - 600
118 A SET OF FOUR IRISH GEORGIAN SILVER
CANDLESTICKS AND SCONCES, DUBLIN
C.1770,
the knopped stems with starburst shaped sockets and conforming
shaped bases, (c.2674.9g all in). Each 27cm high. (4)
€ 2,000 - 3,000
119 A PAIR OF GEORGE III SILVER CHAMBER
CANDLESTICKS AND SNUFFERS, LONDON
1794/96,
mark of John Emes, of plain oval design, with ‘C’ scroll handles and
with contemporary crests, (c.653 g). Each 11cm high, 16cm wide.
(2)
€ 500 - 800

85
120 AN IRISH GEORGE III SILVER FREEDOM BOX OF RECTANGULAR FORM, DUBLIN 1808,
the hinged lid engraved with the City of Cork coat of arms, surmounted by inscription Statio Bene Fida Carinis, and contained within a border of
chased and engraved foliate and shamrock decoration, the base inscribed “With this Box the Freedom of the City of Cork in Ireland was unanimous-
ly given to Capt. Robt. Hall for his Gallant conduct in His Majesty’s Navy the 22nd day of August 1809”, (c.77.75g). 5.25 x 7.75cm
Merchants of Cork and Dublin were keen to acknowledge the efforts of the British navy blockading Continental Europe. These actions both
protected and expanded the trade with North America, Portugal and other neutral countries and the Far East, mainly India. Freedoms of cities
in gold or silver boxes with appropriate inscriptions were favoured.
Robert Hall, a Tipperary man born in 1778, whose mother was Mary Roche (nee Verling) of County Cork, commanded the ‘Lucifer’, a gun-ship
designed to engage on-shore positions. In 1808, he took the ship inshore to bombard gun batteries in the Gulf of Rosas, Spain. and, in spite of
heavy counter-fire, maintained his position until damage forced him to retire after two days of engagement.
€ 4,000 - 6,000

86
121 AN IRISH GEORGE III SILVER BRANDY PAN, DUBLIN
1798,
mark probably that of Robert Wyke, of plain baluster form with
lipped moulded rim and right-angled turned wooden ebon handle,
the body crested, (c.388.7g all in). 26cm wide over handle
€ 500 - 800
122 AN IRISH GEORGE III SILVER OVAL DISH FRAME,
DUBLIN C.1780,
with beaded rim, the pierced gallery body with bands of leaves and
gadrooning, the flanged handles pierced with acanthus flanked
anthemion, and with a heavy clear glass liner with star cut base,
(the frame c.560g). 9cm high, 32.5cm wide
€ 1,000 - 1,500
123 AN IRISH WILLIAM IV SILVER WINE FUNNEL STAND,
DUBLIN C.1830,
mark of William Nolan with gadrooned rim, the plain convex re-
serve crested. 11cm diameter; together with An Associated funnel,
Dublin 1835, maker’s mark rubbed, crested, (c.140g all in). (2)
€ 200 - 300

87
124 A PAIR OF GEORGE III TWO BRANCH SILVER GILT
FIGURAL CANDELABRA, LONDON 1811,
mark probably that of Edward Capper, each in the form of a clas-
sical female torch carrier, the sockets formed as flower heads with
leafy drip pans, with central pineapple finial, the figures raised on
spreading circular neo-classical engraved bases, (c.2954.8g all in).
Each 44cm high, 26cm wide. (2)
€ 3,000 - 5,000

88
125 A HANDSOME IRISH GEORGE III SILVER PRESENTATION SALVER, DUBLIN 1776,
mark of John Lloyd, the shaped gadrooned rim to a central reserve finely engraved with the arms and motto of
Drogheda and inscribed ‘The Gift of The Corporation of Drogheda to Hugh Montgomery Lyons Esqr., one of Sheriffs of
said Town in testimony of Their regard to Him for his spirited and proper conduct in that office AD 1776’, and raised on
four pad feet, (c.2301.66g), scratch weight 75 ounces and 5 penny weights. 47.5cm diameter
€ 4,000 - 6,000

90
126 A PAIR OF IRISH SILVER TABLE ORNAMENTS IN THE
FORM OF COCK PHEASANTS, DUBLIN 1975,
mark of Irish Silver Ltd, (c.1804g all in). Each 35cm. (2)
€ 800 - 1,200
127 A PAIR OF SILVER TABLE FLASKS IN THE FORM OF
A COCK PHEASANT AND A GROUSE, SHEFFIELD
1899,
finely modelled and with removable heads, (c.373g all in), the
pheasant 25cm
€ 800 - 1,400
128 MINIATURE SILVER FOR A BABY HOUSE,
A set of six bright cut table spoons, London c.1780,
mark of George Smith. 6.5cm
€ 150 -250
129 A GEORGE III IRISH SILVER WINE FUNNEL, DUBLIN
C.1770,
maker’s mark of James Warren, of plain form. 10cm long
€ 250 - 350

91
130 A PAIR OF IRISH SILVER TABLE ORNAMENTS IN THE
FORM OF A COCK AND A HEN PHEASANT, DUBLIN
1980,
mark of Irish Silver Ltd, (c.1493g all in). The cock 35cm
€ 1,000 - 1,500

92
A RARE CRUET STAND,
London c.1720, mark of David Clayton, the five-ring compartments on a
stepped frame with three graduated baluster shaped castors and cov-
ers, and two original glass flasks and covers, stamped with lion passant
and makers mark seven times. 10cm wide
€ 600 - 1,000
The 18th century marked an era of retail where children themselves
were seen as valuable consumers and the idea of being born with a
silver spoon in one’s mouth appeared as a genuine possibility. The
concept of dollhouses, which originated in Germany and Holland, took
hold of Britain and skilled silversmiths created charming accessories
for these miniature homes. Most English silver toys were made in Lon-
don, but shops also imported items from Holland, a country that still
maintains an expert level of craftsmanship in this delicate work.
Although these houses offered entertainment for both children and la-
dies alike, they also played an important role in the education of young
girls. They provided a visual display of how a lavish house should be
kept, its accessories denoting the styles of the period and what was
considered fashionable. This can be clearly seen in the differences
between Georgian and Victorian silver toys. Whilst the first boasts a re-
fined elegance through relatively plain designs, the fussy decoration of
the latter indicates a stark change in taste. Unlike today’s toys that are
often beaten and bruised with affection, the care of these silver items
mirrored that taken over the real thing. For this reason the silver toys
that we find now, whilst quite rare, are often in excellent condition,
despite being nearly three hundred years old.
Helena carlyle
A PLAIN TANKARD,
London c.1720, mark of David Clayton. 3.5cm; together with a kettle
and cover, c.1700, apparently unmarked, contemporary initials ‘C.M’.
6cm
€ 400 - 600
A FLUTED PATEN,
Exeter c.1690
and a fluted chalice, apparently unmarked. 4cm high
€ 100 - 200
A RARE TRIPOD DINNER PLATE STAND WITH A SET OF
30 PLATES,
London c.1720, mark of David Clayton. 8.5cm high, the plates 3cm
diameter
€ 600 - 1, 000

93
A TEAPOT AND COVER,
London c.1720, mark of David Clayton, with scroll handle and
straight spout. 5cm wide over spout
€ 400 - 600
137 A PAIR OF GEORGIAN STYLE SILVER HELMET SHAPED SAUCE BOATS,
BIRMINGHAM 1911,
each with reeded rim above a plain body engraved to one side with monogram and crested to the
opposing side, with acanthus wrapped ‘c’ scroll handle and raised on three shell capped hoof feet,
Engraved with the arms of the Marquess of Waterford, Nihilo nisi cruce (c.622g all in). Each 20.5cm
wide over handle and spout. (2)
€ 1,000 - 1,500
136 A GEORGE I SILVER DRAM CUP IN THE
FORM OF A PORRINGER, LONDON
1725,
mark of Louis Laroche, of demi-fluted baluster form
with a band of scallop shell punched decoration and
twin handles. 8cm over handles; together with a toy
monteith, London, 1707, Britannia standard, with sim-
ilar demi-fluted decoration and a band of punched
trefoil decoration. 5cm diameter. (2)
€ 800 - 1,200

94
138 A GEORGE III OVAL TWO HANDLED TRAY,
LONDON 1807,
mark of William Bennett, with gadrooned rim, the centre
with a baron’s coronet, (c.1586g). 58cm wide over handles
€ 1,000 - 2,000
139 A GEORGE III SHAPED CIRCULAR SALVER,
LONDON 1767,
mark of Richard Rugg I, with gadrooned border, the centre
engraved with a coat of arms and raised on four hoof feet,
(c.1586g), scratch weight 57 ounces and 8 penny weights.
41cm diameter
€ 1,500 - 2,000

95
140 A GEORGE III PEAR SHAPED COFFEE JUG,
LONDON 1761,
mark of Thomas Whipham and Charles Wright, the lid
with acorn finial, delightfully embossed with architectur-
al fantasies, palm trees and ho-ho birds, on skirted foot,
inscribed ‘A Gift of Geo. Knox Esqr. to Eliz. Knox’, (c.575.5g).
26cm high
€ 1,000 - 1,500
141 A PAIR OF SILVER TWO-HANDLED CUPS, DUBLIN C.1770,
mark of Matthew West, with acanthus wrapped handles, to the central girdled body, with later repoussé regency decoration and with car-
touches containing the crest of Preston, Lord Tara, raised on engraved spreading circular feet, (c.839.79g all in). Each 13.5cm high. (2)
€ 800 - 1,400

96
142 A RARE GEORGE III IRISH SILVER PASTRY
SERVER, DUBLIN 1801,
maker’s mark of Joseph Jackson, of shaped triangular
form, with scissors action handle, the upper server
with pierced, chased and engraved central star dec-
oration and engraved border, threaded point handle
(c.217.7g). 32.5cm long
€ 1,600 - 2,000
143 A GEORGE II IRISH SILVER SUGAR BOWL,
DUBLIN C.1750,
makers mark of James Warren, with shaped turnover rim, the body
decorated with contemporary repousse work depicting a bird in
flight carrying a snake in its beak, and a putti laden down with
grapes, raised on human masks and shell feet (c. 279.9g). 14cm
diameter
€ 1,800 - 2,200

97
144 A RARE IRISH GEORGE I SILVER STRAWBERRY DISH,
DUBLIN 1715,
mark of Anthony Stanley, twenty-four panel, the plain centre
engraved with a contemporary armorial, (c.419.89g). 22.5cm
diameter
€ 7,000 - 10,000

98
145 A LARGE AND HEAVY PROVINCIAL SILVER
SAUCEBOAT, CORK C.1770,
mark of John Nicolson, struck ‘STERLING’ to the underside, of
helmet form, with gadrooned rim, with acanthus wrapped applied
cast handle, raised on shell capped legs and feet (c. 498g) 20.8cm
over handle.
€ 3,000 - 5,000
146 AN IRISH QUEEN ANNE SILVER STRAWBERRY DISH,
DUBLIN 1710,
maker’s mark indistinct, with sixteen fluted panels and engraved
with later crests, (c.326.5g), scratch weight 11 ounces, 14 penny
weights. 21.5cm diameter
€ 2,000 - 3,000

99
147 A PAIR OF LARGE IRISH GEORGE III SILVER SAUCE
BOATS, DUBLIN 1798,
mark of Robert Breading, each of helmet form, with flared rim and
acanthus wrapped scroll handles, the plain bodies crested and
each raised on three shell capped hoof feet, (c.917.5g all in). Each
24cm wide
€ 4,000 - 6,000

100
148 A PROVINCIAL SILVER BASTING SPOON, CORK
C.1770,
maker’s mark of John & Samuel Nicolson, of plain form, with taper-
ing handle terminating in crest (c.93.3g). 32cm long
€ 500 - 800
149 A FINE PAIR OF GEORGE III IRISH BRIGHT CUT SILVER
SERVING SPOONS, DUBLIN 1789,
maker’s mark of John Sheils, having plain bowls, the tapered point
handles with star terminals and engraved ovals with eagle crest
(c.208.4g). 31.5cm long (2)
Provenance: Formerly in the collection of Dudley Westropp.
€ 1,800 - 2,200
150 A PAIR OF GEORGE II IRISH SILVER HOOK HANDLE
BASTING SPOONS, DUBLIN 1758,
maker’s mark of Thomas Walker, the tapered handles terminating
in engraved crests (c.218g). 29cm long
€ 1,000 - 1,200
151 AN IRISH PROVINCIAL BRIGHT-CUT SILVER SERVING
SPOON, CORK C.1805,
maker’s mark of John & Nicholas Nicolson (c.108.6g). 32cm long
€ 1,200 - 1,500

101
152 A GEORGE II IRISH SILVER CIRCULAR BOWL, DUBLIN
1735,
mark of Charles Lemaitre, of plain design, with everted rim, the
body crested and raised on a spreading circular foot, (c.544g).
18.5cm diameter
€ 3,000 - 5,000

102
153 A PAIR OF PROVINCIAL IRISH SILVER HOOK HANDLE
BASTING SPOONS, LIMERICK C.1780,
maker’s mark of Philip Walsh, the tapered feather edged handles
terminating in engraved initials (c.218g)
Literature: Douglas Bennett, ‘Collecting Irish Silver’, 1984, where
illustrated, page 113, fig. 115.
€ 2,000 - 3,000
154 AN IRISH SILVER WINE FUNNEL DRIP-TRAY, DUBLIN
1761,
maker’s mark of William Bond, of circular for with beaded rim, the
centre engraved with initials. 8.5cm diameter
€ 250 - 400
155 TWO SIMILAR SILVER TAPER STICKS, LONDON 1729
AND 1746,
the latter with maker’s mark IB, with knopped stems and shaped
square bases, one engraved with initial, (c.202g all in). 11cm high
and 10.5cm high (2)
€ 300 - 500
156 A GEORGE III IRISH BRIGHT-CUT SILVER LADLE,
DUBLIN 1780,
mark of MS, with pointed star terminal and the handle also with a
monogram, and with shell bowl, (c.140g). 36cm long
€ 400 - 600

103
157 A GEORGE II SILVER COFFEE POT, LONDON
1747,
mark of George Sleath, of tapering form with tucked
base on skirt foot, the domed hinged lid with acorn
finial, the body engraved to one side with contempo-
rary crest and to the other with a cartouche enclosing
arms, the body with later all over chased and em-
bossed scrolling foliate and leafy decoration and with
ebon handle, (c.808.69g all in). 25cm high
€ 1,500 - 2,000
158 A GEORGE III IRISH SILVER DISH RING,
DUBLIN C.1775,
mark of Ambrose Boxwell, of circular waisted form, the
pierced trellis work body decorated in the neo-classical
taste with swags and paterae, and with central medal-
lion containing contemporary crest, (c.264g). 10.5cm
high, 19.5cm diameter
€ 1,000 - 1,500

104
159 A GEORGE III IRISH BRIGHT-CUT SILVER SOUP LADLE,
DUBLIN 1780,
mark of Michael Keating, engraved with a crest contained within a
medallion, and with shell bowl, (c.155.5g). 32cm long
€ 400 - 600
161 A SMALL SILVER URN-SHAPED VASE, LONDON
1834,
mark of Charles Thomas Fox, with raised foliate decoration,
engraved with a cow and inscribed ‘Drogheda, Meath, Louth Farming
Society’. 9cm (lacks base); together with a reduction of the Tara
Brooch by Johnson, Dublin, with crown cresting and inscribed
‘Royal Meath’. 5.5cm
€ 200 - 300

105
163 A SET OF SIX PROVINCIAL OLD ENGLISH PATTERN
SILVER TABLE SPOONS, LIMERICK C.1780,
mark of Philip Walsh, the terminals crested, (c.420g all in). (6)
€ 3,000 - 5,000
164 ‘THE POWER’S GOLD CUP’
An Irish Celtic Revival silver gilt tri-handled presentation cup of
tapering panelled form, Dublin 1979, mark of E.M, the rim with
a band of embossed Celtic decoration, the corner angles applied
with outset handles, the plain body engraved with a ‘P’, supported
on a conforming timber base with inscription plaque ‘The Power
Gold Cup, Fairyhouse 1979, Won by PERSIAN WANDERER’. The cup
35cm high, the entire 42.5cm high
€ 2,500 - 3,500

106
166 A GEORGE III MAHOGANY RECTANGULAR LINEN
PRESS,
the dentil cornice above twin doors with oval panels enclos-
ing 4 sliding shelves supported on a base with two short
and two long drawers supported on bracket feet
€ 2,000 - 3,000
167 AN IRISH GEORGE III CHIPPENDALE
MAHOGANY RECTANGULAR TALL BOY CHEST
ON CHEST
the moulded fret cornice above two short and six long
drawers, flanked by canted fret corners, supported on
shaped carved bracket feet, with original brass swan
neck handles and locks. . 45 inches wide x 24 inches
deep x 73.5 inches high (187 x 108 cm)
This double chest-of-drawers called a ‘Tallboy’ in
Messrs A. Hepplewhite and co. “The Cabinet-maker and
Upholsters Guide” London 1788, is embellished with
fretted-ribbon bands in the Chinese /Gothic fashion
popularized by Thomas Chippendale’s “The Gentleman
and Cabinet-Makers Director “ London .1754 and these
bracket feet fellow the design in the Directory.
€ 1,500 - 2,000

107
168 A FINE IRISH MAHOGANY OVAL DOUBLE DROP LEAF
DINING TABLE, C.1740,
on cabriole gate-leg supports, the acanthus wrapped legs with
rosette brackets on outsized paw feet. 163cm long x 185cm wide
(open)
€ 10,000 - 15,000

108
171 A GEORGE III MAHOGANY KNEEHOLE
BREAKFRONT SECRETAIRE
BOOKCASE,
the central mirror door cupboard surmounted by a
carved and pierced neck pediment with scrolls and
foliage, flanked by stepped single door cupboards with
applied cast ribbon tied fruiting swags, set on three
concave drawers, raised on a desk base with single
long drawer and kneehole cupboard, flanked by pairs
of three graduated drawers on bracket feet. 226cm tall
x 126cm wide x 56cm deep
€ 8,000 - 12,000
169 AN IRISH FLAT CARVED GILTWOOD
MIRROR, EARLY 18TH CENTURY,
with a scroll broken pediment, set with rosettes and
filled with an escutcheon, the later bevelled plate
within a shaped moulded border with beaded and leaf
carved rim. 122cm high x 72cm wide
€ 1,000 - 2,000
170 AN IRISH MAHOGANY RECTANGULAR SIDE
TABLE, C.1760
the top with moulded rim above a shaped apron
centred by a carved scallop shell, raised on slender
cabriole legs with shell carved knees and feathered
hocks on paw feet. 100 x 51cm
€ 2,000 - 3,000

110
173 A GEORGE III MAHOGANY BRASS BOUND OVAL
OPEN WINE COOLER,
of coopered construction, with removable zinc liner, raised on
cabriole legs, with shell carved knees, on carved claw and ball
feet. 61 x 40 x 55cm tall
€ 1,000 - 1,500
172 A LARGE WILLIAM IV MAHOGANY
CELLARETTE,
of sarcophagus form, the flat domed hinged lid enclosing a fitted
interior, with timber side carrying handles, raised on paw feet. 93
x 58cm
€ 2,000 - 3,000

111
174 A FINE PAIR OF GEORGE III MAHOGANY
RECTANGULAR FOLDING TOP CARD TABLES,
C.1780
the interiors baize lined and carved with rosette and dart banding,
with concertina action supports, raised on reeded square legs,
with moulded brackets
€ 8,000 - 12,000

112
175 AN IRISH GILTWOOD AND GESSO NEO-CLASSICAL
COMPARTMENTED MIRROR, 19TH CENTURY,
in the manner of George Beamish, the flat palmette enriched
cornice, above “verre eglomisé” panels decorated in gold on a milk
white ground, the plate divided by slender caryatid pillars, with
husk pendants, the base with panels of swagged and half patterae.
191cm high x 128cm wide
€ 2,000 - 4,000

113
177 A PAIR OF GEORGE II STYLE CARVED WOOD
SIDE TABLES,
in the manner of William Kent, with marble tops above a
fluted frieze centred by a carved scallop shell and flanking
acanthus swags, raised on canted scroll legs with scaled
panel sides and leaf carved liners on scroll feet. 115 x
66cm
€ 4,000 - 6,000
176 A GEORGE I STYLE GILTWOOD WALL
MIRROR,
the arched pediment with flanking scrolls carved in low
relief with foliate swags, above a frame with bound leaf
banding. 90 x 52cm
€ 800 - 1,200

114
178 A VERY FINE AND LARGE GEORGE IV IRISH WINE
COOLER BY WILLIAMS & GIBTON,
of sarcophagus form, thepull out interior well lined and fitted
with compartments and stamped, the flat domed lid with carved
gadroon banding above a tapering body, with heavily carved paw
feet. 105 x 70 x 70cm tall
€ 6,000 - 8,000

116
179 A FINE PAIR OF WILLIAM IV IRISH ROSEWOOD FRAMED LONG SOFAS
BY WILLIAMS & GIBTON,
with upholstered backs and seats on a reeded frame, the
armrests carved with scrolls and raised on turned fluted
tapering feet, each stamped ‘Williams & Gibton, 18348’. 212cm long
Provenance: Orignally purchased in the 1930’s from Castlemorris house,
Co, Kilkenny.
€ 8,000 -12,000

118
180 A LARGE GEORGE IV IRISH MAHOGANY
CELLARETTE, OF ARCHED SARCOPHAGUS
FORM,
by Mack William & Gibton, the hinged lid above a tapering
body, decorated with applied carved fruiting vines, raised
on carved paw feet, stamped. 81cm wide x 61cm deep
€ 2,000 - 3,000
181 A GEORGE II CARVED MAHOGANY SHAPED
RECTANGULAR STOOL,
with padded seat, the frame carved with scallops and acanthus
leaves, on cabriole legs with trefid feet. 66 x 53cm
€ 2,000 - 3,000

119
182 A GEORGE IV IRISH MAHOGANY CELLARETTE, BY MORGAN OF DUBLIN,
the sarcophagus shape with flat domed hinged lid above fluted pilasters and raised on carved paw feet with
castors.
67cm wide, 68cm tall.
In an advertisement published in 1832 Anthony Morgan & Co. claimed that the business of the house con-
tinues to be conducted with the diligent attention which for upwards of half a century, has received the liberal
support of the Nobility and Gentry of this Kingdom. Their father, Robert Morgan is listed in the directories in
the years 1782 to 89 as an upholder and cabinetmaker at 16 Henry Street and from 1790-1807 at 21 Henry
Street. He was made a Freeman of the City of Dublin as a joiner by service, in 1779 and claimed he manu-
factured a variety of furniture which on inspection will be found equal to any in Europe. From the 1820s, after
Robert Morgans death, the business was managed by his two sons Anthony and Louis and became one of
the most important firms in the trade. They promoted the firm as Morgans, Cabinetmaker and Upholder to the
Right Honble & Honble the Commissioners of his Majestys Revenue, General Office, Board of Ordnance. The firm
supplied furniture to Borris House, Co. Carlow, Mount Bellew, Co. Galway and Florence Court, Co. Ferman-
agh. They received a very important commission to supply dining room furniture for the Provosts House,
Trinity College Dublin, for the visit of Kind George IV in 1821. The firm supplied 24 very best Mahogany Parlour
Chairs of an extra size with deep carved top rails and having hollowed seats upholstered and covered with satin
hair-cloth finished with silk tufts and brass mouldings; £54. 12. 0. The firm also supplied the set of Trafalgar Din-
ing Tables consisting of seven mahogany tops and strong frames on turned and roped legs and patent castors,
the entire when opened to form a set, 10 feet 4 inches long and 5 feet 6 inches wide, finished in the best manner
with brass fastenings as per agreement - £34. 2. 6. A case was also supplied to store the leaves, made of deal
painted as oak lined with Cloth and slipped etc. The term Trafalgar came into use after Nelsons victories. Fi-
nally to complete the suite Morgans supplied a mahogany wine cooler and a Mahy Tea Store to match - each
with turned pillars, carved claws and castors. The distinctive pattern used on this wine cooler and tea store
appears on this wine cooler illustrated here.
€ 2,000 - 3,000

120
184 A REGENCY ROSEWOOD RECTANGULAR CONSOLE
TABLE,
the white marble top above a frieze decorated with cast foliage
and rosettes, on baluster turned supports, with cast gilt collars,
mirrored back and white marble base. 89 x 38cm
€ 4,000 - 5,000
183 A FRENCH LOUIS XVI STYLE ORMOLU AND BRONZE
MANTLE CLOCK,
in the form of a putto standing on stacked books, playfully
grabbing a rooster who sits atop a pedestal, with painted
enamel dial and bands of Vitruvian scrolls, the rouge marble base
with bun feet with beaded bands.
The depiction is an allegory which refers to study and the require-
ment of a sharp and alert mind.
€ 1,500 - 2,000

121
185 A FINE EARLY 19TH CENTURY CIRCULAR
OCCASIONAL TABLE,
with Italian pietra dura marble top, decorated with central
trophy of musical instruments within a band of specimen
marbles and segmented panels, the border a frieze of shells,
birds, urns, fruit and military trophies, the mahogany octag-
onal centre column with applied ormolu Gothic arcading and
columns and raised on a star form base with applied circular
cast trophies of the arts. 67cm diameter
€ 10,000 - 15,000

122
186 A WILLIAM IV MAHOGANY FRAMED
ARMCHAIR,
upholstered in russet patterned fabric, with button
back and loose cushion, raised on carved fluted taper-
ing legs
€ 1,500 - 2,000
187 A GEORGE IV MAHOGANY FRAMED
BERGERE ARMCHAIR,
the reeded frame with cane back, seat and sides, with
padded arm rests on ring turned supports, with taper-
ing legs and brass castors
€ 800 - 1,200

123
188 ATTRIBUTED TO FRANCESCO FIERAVINO, IL MALTESE (FL. ROME 1610-1660)
Still Lifes of Fruit and Flowers on Stone Ledges, part covered in carpets
A pair, oil on canvas, 70 x 120cm; 68 x 115cm
€ 5,000 - 10,000

124
190 AN EARLY 19TH CENTURY ANGLO-INDIAN
CARVED HARDWOOD DAYBED,
the double scroll ends in the form of leaping fish, the
framed carved with rosette banding, raised on winged
paw feet
€ 3,000 - 5,000
189 DUTCH SCHOOL (17TH CENTURY)
portrait of Gentleman, half lenght seated
oil on canvas
90cm x 62cm
€500-700

125
191 FOLLOWER OF WILLEM KALF (1619-1693)
Still Life with Fruit and Birds
Provenance: Sothebys, Old master paintings. 8th of July 1992
(lot295)
€ 8,000 - 12,000

126
192 A GEORGE III GILTWOOD OVERMANTLE MIRROR
with Chinese export mirror paintings, the pierced foliate cresting flanked by Ho Ho birds above a divided frame
with scrolling foliage and leafy branches
170cm wide x 184cm high
€ 25,000 - 35,000

Adams Country House Collections 10th October 2017

Adams Country House Collections 10th October 2017

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Adams Country House Collections 10th October 2017