Adam's Country House Collections 13th october 2015

Est1887
CountryHouseCollectionsatSlaneCastle
Cou n t ry House Col l ect ions
Auction Tuesday 13th
October 2015 at 11.30pm
at Sl a n e Ca st l e, Co. Me at h
Est1887

COUNTRY HOUSE COLLECTIONS AT SLANE CASTLE
AUCTION
Tuesday 13th
October 2015 at 11:30am
VENUE
Slane Castle, Slane, Co. Meath, Ireland.
SALE CODE
This sale may be referred to as 9050 in all correspondence
CATALOGUE
€20.00 (Plus postage & packaging)
Free to download at www.adams.ie
or download the Adam’s app and browse the catalogue on iPad or iPhone
COLLECTIONS
All lots must be paid for and collected before 12.00 noon on Thursday 15th at the purchaser’s risk
and expense, after which time items will be removed to commercial storage and carriage and storage
fees will apply.
VIEWING
Saturday 10th October 11:00am - 5:00pm
Sunday 11th October 11:00am - 5:00pm
Monday 12th October 10:00am - 5:00pm
Admission by catalogue only - One catalogue admits two.
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin 2 D02 X665
Tel +353 1 6760261
info@adams.ie
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CONTACTS
Brian Coyle FSCSI FRICS
CHAIRMAN
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Kieran O’Boyle BA Hdip ASCSI
ASSOCIATE DIRECTOR
k.oboyle@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
a.pearson@adams.ie
Amy McNamara BA
FINE ART DEPARTMENT
amy@adams.ie
Katie McGale BA
FINE ART DEPARTMENT
Katie@adams.ie
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Karen Regan
FINE JEWELLERY & WATCHES
karen@adams.ie

This the seventh annual auction by Adam’s at Slane Castle where the decorative arts and stuff from country houses can be
displayed in a sympathetic setting. It does not have a theme centred on one house or one family but rather it is a gathering
together of threads spun at random and woven into a picture of Ireland by grubby auctioneers. The tattered garment is nat-
urally of many colours, orange and green, but also imperial crimson, the rich browns of old mahogany, the jewels of Harry
Clarke and of course, the black stuff.
Arthur Guinness II presides over the proceedings in his magisterial portrait by Cregan and in his own person encapsulating
the complications of Ireland. This family which succumbed to an avalanche of English titles came from the most Gaelic of the
Ulster tribes. Although the brewery in Dublin was at one stage the largest in the world and its logo the symbol of the harp,
the Earls of Iveagh landed themselves in an immense estate in Norfolk and their sumptuous bequest “to the nation” was to
England. (Actually when you see how Kenwood is treasured and looked after, compared to Russborough, didn’t he do the
sensible thing?) Of course the Guinness family was generous to a fault to Ireland and restored St. Patrick’s Cathedral, donat-
ed St. Stephen’s Green and undertook practical housing in place of the desperate slum conditions of much of Dublin. It’s just
when you compare them to their real peers, the Jacobsens of Copenhagen and how that city benefits to this day from their
endowments, one can only be wistful.
We have Jonathan Swift in a first edition of Gulliver’s Travels where never was human folly so surgically dissected and the
objects of his rage, the selling of Irish places and peerages to English stooges represented in this sale by the Viscount and
Viscountess Barrington of Ardglass and Barons of Newcastle, Co. Dublin who had no connection to Ireland but whose father
had bought an Irish peerage from George I, in spite of being removed from the Westminster parliament for corruption.
Still most people for most of the time lived domestic lives. The better off furnished their houses comfortably, hung pictures
and portraits, acquired bookcases to hold their books. Jonah Barrington (1760-1834, another embezzler of the name, but no
relation) leaves us a picture of a country house with mahogany furniture, hunt tables, dining chairs (some broken), sporting
pictures, dogs, sofas with stuffing showing underneath, whips, saddles in the hall beneath an ancient set of antlers and ro-
bust oak furniture that could take anything thrown at it. In town the ladies were taking tea or playing cards on little tables,
perhaps a William Moore of Dublin pier table and a mirror by the Booker Brothers introducing a note of fashion.
In the nineteenth century domesticity triumphed; novelties like inlaid Killarney furniture were popular. The sterner and more
aesthetic perhaps, might have preferred the ‘truth’ and solidity of furnishings designed by Pugin. They would have brought
back photographs from the early days of photography showing accurate depictions of “natives” to astonish – best whilst seat-
ed on elaborate Victorian cast-iron garden seats in an age when there were certainly longer and more scent filled summer
evenings than there are now.
It is all here, make of it what you will, and because our forbearers knew what made life covenable and interesting what they
have left us is very liveable with, particularly if imaginatively fused with modernity.
NN
COUNTRY HOUSE COLLECTIONS AT SLANE CASTLE 2015

IMPORTANT INFORMATION FOR PURCHASERS
CREATE A ‘MY ADAM’S’ ACCOUNT
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 definitive 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 auc-
tion. Please allow time for registration. Potential purchasers are recommend-
ed to register on viewing days.
PAYMENT, DELIVERY AND PURCHASERS PREMIUM
Wednesday 14th October 2015, 10.00am - 5pm. Under no circumstances will
delivery of purchases be given whilst the auction is in progress. All purchas-
es must be paid for and removed from the premises not later than 5pm on
Wednesday 14th October 2015 at the purchaser’s risk and expense. After this
time all uncollected lots will be removed to commercial storage and additional
charges will apply.
Auctioneers commission on purchases is charged at the rate of 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 1.5% 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 Regu-
lations 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.
It is up to the bidder to satisfy themselves prior to buying as to the condition
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 inspec-
tion 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.
Please ensure that condition report requests are submitted before 12 noon
on Monday 12th October as we cannot guarantee that they will be dealt with
after this time.
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 telephone.
However, these services are subject to special conditions (see conditions of
sale in this catalogue). All arrangements for absentee and telephone bidding
must be made before 5pm on the day prior to sale. 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
You can now create your own account with us by signing up and registering your particulars online at www.adams.ie
The process involves uploading identification by way of passport or driving license and supplying valid credit card information. This is a once off request for
security purposes, and once the account is activated you will not be asked for this information again. You can leave absentee bids online, and add, edit or amend
bids accordingly as well as other useful functions including paying your invoice.

From Dublin Airport: Approximately 40 mimutes. Head southwest, Turn
left onto R132, At the roundabout, take the 3rd exit, At the next roundabout,
take the 1st exit onto the M1 ramp to Belfast/Balbriggan, Continue straight
onto M1, At junction 10, take the N51 exit to Drogheda (North)/Navan/Col-
lon. At the next roundabout, take the 1st exit onto N51, Turn left at R163,
Turn left and you are at Slane Castle.
From Belfast: Approximately 1 hour 25 mimutes. Head east on Donegall Square N/A1 toward Donegall
Pl, Turn right onto Donegall Square S/A1 Continue to follow A1, Continue onto Grosvenor Rd/B38, Merge
onto A12 via the ramp to M1/Dublin, Continue onto M1, Take the A1 exit toward Sprucefield, At Sprucefield
Roundabout, take the 2nd exit onto A1, Slight left to stay on A1. Continue onto N1, At junction 10, take the
N51 exit to Slane/Drogheda North, At the next roundabout, take the 3rd exit onto N51, Turn left at R163,
Slane Castle is on your left

IRISH FURNITURE - AUCTIONS AND ACQUISITIONS, ANGELA ALEXANDER
The interest in Irish furniture has grown in recent years with a particular appreciation of pieces with provenance and those that are labelled
and stamped. Auctions have long been a favoured process for buying art and objects. In Ireland in the early nineteenth century buying
at auction became increasingly popular as a greater selection of goods became available. During this period Dublin remained the centre
of business and social activity with building resuming after the Act of Union was passed, as rents from land increased and confidence
returned. Houses were bought and sold, contents auctioned and many newly furnished. The second and third sons of many ascendancy
families established careers in commerce and in particular, in the early nineteenth century, turned to the law, in addition to the more tra-
ditional roles they had always followed in the army and the church. Sir Jonah Barrington famously divided gentlemen into three categories:
half-mounted gents, every-inch gents and gents-to-the-backbone.(i) Society remained mobile, which added vibrancy and, as stated, result-
ed in property changing hands more frequently. As Sir Vere Hunt remarked when he attended the auction of the belongings of a Mr Isaac
who, having furnished his house in a most magnificent style, found out his error and miscalculation as to his means to support it; ‘and all, of
course went to the hammer – Going! Going! Just going! Gone!!! (ii)
Furniture with provenance allows us a glimpse into its particular history and an insight into the house it came from. This is the case with
an eighteenth century Chinese Chippendale style mirror (Lot 82), part of the original contents of Kilsharvan House, County Meath. Andrew
Armstrong moved from Antrim, buying the original eighteenth century house at Kilsharvan and continued his linen business on his land in
County Meath. He may have purchased some of the earlier pieces with the early house. He built the present house in circa 1820, retain-
ing the original house as an annexe to the left. In scale, this two-storey house has a modest five-bay façade with shallow bows either side
of a Doric portico and the windows set within blank arches. The family purchased many pieces from noted Dublin cabinetmakers which
represented personal preferences but also the aesthetic values that motivated the wider society in which they lived. The choice of furniture,
at Kilsharvan House, demonstrates a desire for conformity within their own social milieu and differs from the grand antique referenced
schemes of the very wealthy or those engaged in social advancement. These houses also epitomize the problems with studying the building
and furnishing of mid-sized Irish country houses, as few records are available.(iii) The house passed into the McDonnell family through
marriage, after Andrew Armstrong’s only son was killed at the battle of Fetrozan in India in 1845 and it remained in the possession of the
McDonnell family until sold in 1998. The contents were dispersed shortly after the house was sold, with the furniture sold at James Adam,
St Stephen’s Green, Dublin. These largely dated from the eighteenth and early nineteenth century. Like many houses with modest facades,
the interior at Kilsharvan has fine detailing, with a gracious entrance top- lit hall, a fine sweeping staircase and ornate plasterwork. The
decorative quality of gilt wood stands in contrast with the taste for architectural mahogany pieces as (Lot 596), a fine corner cupboard with
a scrolled broken pediment ‘so loved by the Irish cabinet-maker’.(iv) This piece c 1760-1780 opens to reveal shaped shelves for display, with
the corner effect formed by a wonderfully constructed dome.
The Regency period with an increase in rents brought a flurry of country house building and furnishing. In the early nineteenth century the
dining room was the most splendidly furnished room by the early 1800s. By that period it had become a centre of male hospitality but by
the 1820s it had once again become an area for mixed-gender entertainment and family activity. Surviving bills and newspaper adver-
tisements confirm that, by the 1830s in Dublin, the dining room, with its ensemble of a large dining table, a set of dining chairs and other
storage and display furniture was an established ensemble for middle-class houses used for mixed-gender entertainment. Indeed, Mary
O’Connell invited guests for dinner even when Daniel O’Connell was away writing ‘You will say it is a bold thing for me to ask company in
your absence’.(v) The impression given from Robert Graham’s visit to Dublin in 1835 is that people entertained with style before attending

the theatre or completing the evening with dancing, music or card playing.vi The establishment of dining rooms also required greater quan-
tities of glass and table silver.(vii) When Margaret Harvey attended a dinner party at her relation, Tom Harvey’s house, in Cork she described
the dining room as 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. The room is about forty feet by twenty, with three large windows front, over which is a
pole the length of the room, by way of cornice, beautifully gilt. The curtains were crimson, with wings to them; but the drapery was thrown
over the pole and hung in festoons from one end of the room to the other and of course, over the pier. It is a most fanciful way of putting
up curtains. I never saw any put up so handsome with us. The floor is covered all over with a rich Turkey carpet; mahogany chairs. The
room, elegant light papered. Over the chimney, a portrait of the eldest boy, as large as life, playing Shuttlecock. Under the table was green
cloth spread, fine enough for coats. But how shall I give thee an idea of the grandeur of the tables? – I do not know.”
Thus furniture can carry its history of the cabinet-maker or owner. When Lord Charleville inherited a house and its contents from his aunt
he took her furniture, ‘in my part, on Preston’s Valuation, there are a few very ancient chairs, three gallant Old Christ’s and a few good ma-
hogany articles which shall be sent here, besides two valuable Looking Glasses in good carved gilt wood frames not damaged, which when
properly cleaned up will answer. All the rest of the trumpery goes to Bride’s Alley’.(viii) The fact that Irish furniture is now so sought after in
turn encourages scholarship and appreciation of labels (Lot 103 Clarke) and papers. In this auction it is hoped you will discover gilt wood,
the gallant, good mahogany and perhaps a little trumpery!
i Brian de Breffny and Rosemary ffolliott, The Houses of Ireland (London, (reprint 1984) 1975) 181.
ii R. Herbert (ed.), ‘Diary of Sir Vere Hunt, 1761-1818’, Dublin Magazine, April, June and August,
1943. Quoted by Melosina Lenox-Conyngham (ed.), Diaries of Ireland (Dublin, 1998) 131.
iii James Adam Salerooms, 26 St Stephens Green, Dublin, Kilsharvan House, County Meath, 14 October, 1998.
Sale brochure; Louth Meath Properties, Kilsharvan House, Drogheda, County Meath. For sale by
public auction on Friday 11 September 1998. This brochure for Kilsharvan contained some interior
photographs.
v NLI, MS 13651 (19), Mary to O’Connell, 7 September 1819, cited by Erin I. Bishop, The World of
Mary O’Connell, (Dublin, 1999) 97.
vi Henry Heaney (ed.), The Irish Journals of Robert Graham of Redgorton (Dublin, 1999), 33, 35-36,
41and 44.
vii Stana Nenadic, ‘Middle-rank consumers and domestic culture in Edinburgh and Glasgow 1720-1840’,
Past & Present, 145 (1994) 148.
viii Nottingham City University, Marlay Letters, My 81/1, First Earl Charleville, Charles William Bury to
his wife Charlotte, 6 January 1805. The reference to Preston of Henry Street is suggestive that Lord
Charleville may also have obtained other services from this cabinetmaker including furniture.
Lot 221

THE OAK FURNITURE FROM BELLE ISLE, CO. FERMANAGH
The following lots (41, 46, 56, 60, 62, 69, 73, 74, 76, 149, 150, 151, 540) were removed from the romantic house Belle Isle
on the shores of Lough Erne and are witness to the historicism that swept 19th century Ireland in the mid-19th century
when in an interlude of prosperity and with the Famine behind them, the Anglo-Irish gentry set about making their houses
(and their pedigrees) seem older and more complex than was the actual case.
The Porter family had bought Belle Isle from the heirs of Sir Arthur Gore, the first and last Earl of Ross, but in the 1880s fell
victim to the ill-taste of the time and recast the unassuming house as an ‘English’ Tudor manor house in a style popular-
ised in Victorian suburbia à la Norman Shaw.
It seems likely that the present lots were acquired for Belle Isle at that time. Belle Isle, and its contents, were bought by
the present owner from Miss Lavinia Baird, the last of the Porters.
It is currently undergoing a thorough restoration.

3 A PAIR OF WHITE PAINTED CAST IRON
PLANTERS ON GRANITE PLINTHS,
the circular cast iron planters with ovolo moulded
rims, on fluted detachable pillar supports, raised on
granite stepped plinths. The diameter of the planters
46cm; the granite plinths 55cm high (2)
€300 - 500
1 A WHITE PAINTED CAST IRON GARDEN
URN ON PLINTH,
the urn shaped body with outset rim, twin reeded
handle, the body decorated with classical figures
knopped and fluted stem, on a square stepped plinth,
with garland decoration. The plinth 46.5cm high; the
urn 76cm high
€300 - 500
TABLE,
with circular inset top, moulded rim, raised on a
pierced tapering support, on a scrolling triform
base. 64cm diameter, 78cm high
€300 - 500

4 A 19TH CENTURY WHITE PAINTED
CAST IRON COALBROOKDALE FERN
AND BLACKBERRY PATTERN GARDEN
SEAT,
the shaped back and sides formed as interlaced ferm
leaves in relief, with timber slatted seat. 154cm wide,
90cm high
€300 - 500
5 A FRENCH WHITE PAINTED CAST IRON
GARDEN SEAT,
After a model by the Val D’Osne foundry, late 19th
century, the pierced rectangular seat with straight
back, decorated with pierced Gothic tracery, raised on
straight square legs. 98cm wide, 88cm high
€600 - 1,000

6 A CIRCULAR GRANITE STADDLE
STONE,
in two pieces, pedestal 76cm high, disc 46cm diame-
ter; together with another, missing its cap. (2)
€400 - 600
7 A VICTORIAN CAST IRON GARDEN SEAT,
with wooden slats
€300 - 500
8 A LARGE WHITE PAINTED CAST IRON GARDEN
PLANTER,
with outset ovolo moulded rim, demi-fluted body, waisted
fluted stem, raised on a stepped plinth, with garland deco-
ration. The plinth 70cm high, the planter approx. 50cm high,
90cm diameter
€300 - 500

SEAT,
of compact form, with foliate and lattice work back,
above a pierced honeycomb seat and x-framed
shaped side supports, 93cm wide
€400 - 600

10 A PAIR OF VICTORIAN WHITE PAINTED
CAST IRON GARDEN BENCHES,
each of naturalistic design, the seat and back formed
with intertwined gnarled branches, on conforming
side supports, 131cm wide
€2,000 - 3,000

11 A COALBROOKE STYLE CAST IRON SINGLE
GARDEN SEAT,
19th century, with rectangular lattice back and sides,
pierced grill seat on squared supports joined by
arched stretchers. 56cm wide
€500 - 700
13 A VICTORIAN CODESTONE STYLE
GARDEN URN,
of baluster form, with leaf banding and partially
fluted body. 72cm tall
€1,000 - 1,500

14 A GREEN PAINTED ‘FERN PATTERN’ CAST IRON GARDEN BENCH,
the curved back and sides pierced with scrolling leaves, fitted timber seat on splayed legs.
154cm w
€1,000 - 1,500
15 AN EXCEPTIONALLY LARGE 6 SEAT WHITE PAINTED IRON GARDEN BENCH,
19th century, of rectangular form, the angled back with lateral supports and seat, on splayed legs joined by arched
stretchers. 368cm long
€3000 - 4000

16 A PAIR OF SCOTTISH 19TH CENTURY
TERRACOTTA GARDEN URNS,
stamped Garnkirk, of classical design, each with
lappet rims, waisted neck and partially fluted body,
moulded with a band of domestic figures in relief
raised on circular foot and plinth base. 89cm high
€3000 - 5000

17 A LARGE WHITE PAINTED HALL SEAT IN
THE MANNER OF WILLIAM KENT,
the carved serpentine arched back with carved
scallop shells above a band of vitruvian scrolls, panel
back and seat and outstretched arms, raised on cabri-
ole legs. 184cm wide
€1,500 - 2,500

18 A PAIR OF MARBLE CLASSICAL
STATUES,
Ceres and her companion Ascelpius, he holding
a snake entwined staff, on oval marble columns.
140cm high, (pillar 101cm)
€ 5,000 - 8,000

19 A VICTORIAN CAST IRON 3 PIECE GARDEN SUITE,
comprising of a three seat bench and twin single chairs, each with pierced and shaped
backs formed with roundels and interlinked foliate scrolls, centred with cartouche and
crest ornament, downswept scroll arms and outsplayed feet, the bench 118cm wide (3)
€ 2000 - 3000
20 A PAIR OF VICTORIAN FERN PATTERN CAST IRON GARDEN BENCHES,
19th century, each with curved foliate cast back, timber slatted seat and foliate legs, one lacking timber
seat. 154cm wide (2)
€ 2000 - 4000

21 A MARBLE STATUE OF THE SEATED VENUS,
the nude goddess holding a robe and seated on a rock, on an oval
base on rectangular marble base. 123cm high overall (the statue
111cm)
€ 4,000 - 6,000

22 A 19TH CENTURY CAST IRON TWO
HANDLE GARDEN URN,
with floral rim and body with cast scrolling foliage in
low relief, the twin handles with human mask
terminated on a fluted spreading foot with square
base. 75cm tall
€ 1,000 - 1,500

23 A PAIR OF CAST IRON GARDEN
URNS
of floral form, with panelled body, on circular foot
and square base. 59cm diameter, 41cm tall
€ 1,000 - 1,500

24 A MATCHED SET OF FOUR COMPOSITION, POSSIBLY
COADESTONE, TERRACE URNS,
19th century, of tapering vase shape, the sides swagged in relief with fruit
and flowers tied in bows, illegible makers stamp. 82cm diameter x 62cm
high variations
Provenance: Stephenstown House, Co. Louth, Auction of the Contents by Alain
Chawner 16/7/1975 lot 538 where purchased by the present owners
€ 5,000 - 8,000

26 A PAIR OF GOTHIC STYLE CAST IRON TWO-
SEAT BENCHES
with open lattice backs on splayed square supports.
100cm wide
€ 1,200 - 1,500
27 A PAIR OF GEORGIAN STYLE DECORATIVE
IRON CANNONS,
cast in stages and mounted on timber carriages,
Barrel 130cm high; carriage 72cm tall
€ 600 - 1,000
25 A PAIR OF VICTORIAN CAST IRON
GARDEN URNS
of baluster form, the floral rims and fluted bodies
on square bases. 52cm tall
€ 1,500 - 2,000

28 A PAIR OF VICTORIAN CAST IRON GARDEN
URNS,
of lobed baluster form with flared rims, raised on
square tapering pedestals. 75cm diam., 93cm high
€ 2,000 - 3,000

31 A JACQUES OF LONDON CROQUET
SET,
modern, with four mallets, hoops, balls and
accoutrements, contained in a green painted timber
case.
€ 300 - 400

32 A WHITE PAINTED GARDEN
BENCH,
cast metal and with wooden slats
€ 300 - 500

29 A VICTORIAN CAST-IRON STICK STAND OF
SCROLLED FOLIATE DESIGN,
with a fox’s mask and removable tray.
68cm high
€ 250 - 400
30 A PAIR OF 19TH CENTURY CARVED WHITE MARBLE
WALL BRACKETS,
with egg and dart borders above camels and scroll terminals,
32cm tall
€ 800 - 1,000

33 A VICTORIAN WHITE PAINTED CAST IRON GARDEN SEAT,
by Morgan, Macauley and Wade, of Rotherham, c.1870 the pierced four panel back cast with individual
depictions allegorical of the four seasons, separated by leafy divisions, over a timber seat and splayed end
supports, struck with lozenge shaped registration mark. 183cm wide
€ 3,000 - 5,000

34 IRISH SCHOOL, LATE 19TH
CENTURY
Portrait of a Young Lady in a red dress
within a painted oval
Half-length, oil on canvas, 72 x 62cm
€ 1,500 - 2,000
35 IRISH SCHOOL, LATE 17TH
CENTURY
Portrait of a gentleman, within a
painted oval
Half-length, oil on canvas, 72 x
62cm
€ 1,500 - 2,000

36 A PAINTED PINE GRAND MASTERS CHAIR
For Loyal Orange Lodge No. 579, Portstewart
Lighthouse, early 19th century, with arched hood, planked back
and box seat, decorated with King William, below a royal coat of
arms and with various symbols attached to the order.
20cm high x 66cm wide x 46cm deep
The Orange Order celebrates the Protestant
Ascendancy, in that civil liberties and religious
freedom were maintained by the victories of King William of
Orange, that would surely have been
extinguished if the Jacobites and the autocratic
monarchical system of France had prevailed.
However, after the trouncing of the Catholic Defenders at the
Diamond in Armagh in 1796, the Loyal Orange Institution was
founded on overtly sectarian lines. Based on the Masonic Order
but eschewing that organisation’s non-political constitution, it
became hopelessly partisan. In spite of being actively disliked
by the Westminster Government and indeed the landed classes,
the Orange Order’s gritty determination to exclude Catholics,
oppose Home Rule, and create a Protestant Parliament for a
Protestant people, largely accounts for the present configura-
tion of the island of Ireland.
Today the Orange Order is edging towards a role as an Irish
cultural institution which its verve, regalia and music entitles it
to be, especially as it is represented as to one third of a national
flag.
This chair, a considerable rarity, represents the Royal Purple
Arch level of the Order, second to the Royal Black Institutions.
€ 2,000 - 3,000

38 A LARGE 17TH CENTURY STYLE DUTCH
BRASS CHANDELIER,
the baluster body decorated with scrolling dragons.
€ 800 - 1,200

37 A NEAR PAIR OF EARLY 18TH CENTURY PEWTER
CHARGERS,
with shallow bowls. 42cm diameter
€ 400 - 600
39 A SET OF SEVEN NAPOLEONIC FRENCH PEWTER
MEASURES
of cylindrical form, with hinged lids, the majority marked
Le Sonneur a Caen 1806, in sizes 25cm to 5cm
€ 500 - 700

40 A PANELLED FRONT COURT CUPBOARD
with recessed top with fielded panel cupboards, turned pillars, the base with two panelled doors, iron butterfly
handles on platform base basically c.1700.
161cm high x 127cm long, 52cm deep
€ 2,000 - 3,000

41 A CARVED OAK OPEN ARMCHAIR, 17TH
CENTURY,
possibly Irish the back with conjoined dragon head
cresting above shaped arms and plank seat raised on
turned supports
€ 1,000 - 2,000
42 A FRUITWOOD TALL SPLATBACK OPEN
ARMCHAIR,
basically 18th Cent, carved crest rail, sloped arms on
plank feet.
€ 400 - 600

43 A BLACK STAINED PANELLED BACK OPEN
ARMCHAIR,
17th Cent, of large proportions with scrolled arms.
€ 800 - 1,200
44 AN ENGLISH FRUITWOOD PANELLED BACK
OPEN ARMCHAIR,
Early 17th Cent., with plank seat.
€ 800 - 1,200

45 A POLISHED ELM PANELLED BACK OPEN
ARMCHAIR,
17th Cent., with downswept arms.
€ 600 - 1,000
46 A CARVED OAK PANELLED FRONT
COFFER,
Basically 17th Cent., with stylised fruitwood decoration, on
plank feet.
146 x 57cm
€ 500 - 800
47 A PAIR OF 19TH CENTURY WROUGHT-IRON FIRESIDE
ANDIRONS
With circular basket top, the uprights applied with a vacant shield
shaped cartouche, 75cm high.
€ 300 - 500

48 AFTER SIR ANTHONY VAN DYKE
Portrait of Henrietta Maria, Queen Consort of England, Scotland and Ireland
Oil on canvas, 125 x 101cm
Henrietta Maria of France (1609-1669) was the youngest daughter of King Henry IV of France and his second wife, Marie de Medici.
In 1625 she married Charles I of England and they apparently enjoyed a close relationship even if the initial stages were made
somewhat difficult by her inability to speak, or write, the English language.
She was an unpopular Queen in England due to her Catholic faith, which marked her out as being different and potentially
dangerous. She immersed herself in national affairs as the English Civil War loomed and was compelled in 1644, to seek refuge
in France. King Charles was executed by Parliament in 1649 leaving Henrietta almost destitute. She returned to England following
the Restoration in October 1660, returning to France the following year. In 1662 she again came to England with her son Charles II
but suffered ill health, which she blamed on the damp British climate.
She died in 1669 and is buried at the Basilica of St. Denis, in Paris.
€ 5,000 - 8,000

49 AN IRISH 18TH CENTURY WILLOW
LAMHOG
of cylindrical tapering form with integral carved
handle. 15cm tall
€ 500 - 800
50 NICCOLÒ BOLDRINI (1510-1566)
Samson and Delilah (After Titian)
Woodcut, 30 x 49cm
€ 400 - 600
51 A GEORGE III OAK COACHING
TABLE,
of oval form, the three plank tilting top supported on
ring turned upright columns joined by cross stretcher
and ending with sleigh feet. 85 cm wide
€ 800 - 1,200

52 A LARGE ELKINGTON CIRCULAR BRASS
AND ELECTROPLATED SIDEBOARD
DISH
embossed ‘The Battle of the Amazons’.
68 cm diameter
€ 600 - 800
53 A JAMES I OAK REFECTORY TABLE,
early 17th century, of rectangular form, the solid
three plank top above a carved strapwork frieze
and supported on turned colums joined by squared
stretchers. 196 cm wide, 78 cm deep
€ 4,000 - 6,000

54 A CONTINENTAL CARVED WALNUT
PANEL
decorated with foliage and putti. 117cm long
€ 600 - 900
55 A 19TH CENTURY LARGE BRASS CIRCULAR LOG
BUCKET
with lion mask and ring handles and raised on paw feet. 83 cm diameter
Provenance: Charleville, Enniskerry, Co. Wicklow, Sale January 1978;
Rockfield, Kells, Co. Meath, Sale October 1999
€ 800 - 1,200
56 A DARK STAINED OAK BENCH,
18TH CENTURY,
with quintuple panelled back, on a box base with
triple panelled frieze, on short turned feet.
€ 500 - 800

57 A LARGE PAIR OF POLYCHROME GLAZED POTTERY WARE MODELS OF
SEATED HOUNDS,
on oval green painted bases. 84cm high
€ 2,000 - 4,000

58 A SMALL 19TH CENTURY ITALIAN WALNUT
CASSONE
In the Renaissance revival taste, of shaped
rectangular form with canted corners, carved and
moulded rim, the sides inset with circular painted
panels with figural scenes. 97cm wide, 46cm deep,
55cm high
€ 400 - 600
59 AN ITALIAN ‘URBINO’ MAJOLICA
VASE,
in 17th Cent style, decorated with portrait medallion
against blue ground, converted to a table lamp
67cm high, excluding fitting
€ 500 - 800
60 AN OAK THREE PANEL FRONT COFFER,
17TH CENTURY,
panelled mouldings, planked hinged lid,
the frieze carved with initials.
123 x 53 x 82cm (high)
€ 1,000 - 1,500

61 ITALIAN SCHOOL
The Holy Family, with classical ruins beyond
Oil on panel, 53 x 34.5cm
€ 1,500 - 2,500
62 AN OAK PLANK TOP REFECTORY
TABLE,
17th Cent, with carved frieze on carved and turned
legs, joined by moulded stretchers.
304 x 81 x 81cm (high)
€ 3,000 - 5,000

63 AN EARLY 18TH CENTURY STAINED OAK
RECTANGULAR BIBLE BOX,
the hinged lid with moulded rim, the interior fitted
with a side compartment, having iron locking plate.
67 x 39 x 25 cm high.
€ 200 - 300
64 A PAIR OF 19TH CENTURY GILT-
WOOD PLASTER AND GESSO
CANDLESTANDS
In the Gothic taste, the brass sconces raised above
circular reeded columns on triangular platform bases.
€ 300 - 500
65 A CHARLES II OAK JOINT STOOL
with hinged lid enclosing deep compartment, the
exterior with arched flutes, raised on turned legs with
base stretcher. 46 x 30cm
€ 1,000 - 1,500

67 A PAIR OF CHARLES I OAK SIDE
TABLES,
basically 17th Century, the shaped top with canted
angles above a conforming frieze carved with sunken
foliate panels, supported on turned tapering col-
umns, platform undertier and bun feet. 70cm wide,
75 cm high
€ 6,000 - 8,000
66 ATTRIBUTED TO SIR GODFREY KNELLER
(1646-1723)
A bust length portrait of Charles Taylor Esq. 1660-
1736. Oil on canvas, 76 x 63.5cm
Inscribed with sitter’s name and dates upper left in a
silvered “Lely” frame
PROVENANCE: SOLD CHRISTIE’S LONDON
07/09/05
€ 2,000 - 3,000

68 JACOB ROOS, CALLED ROSA DA NAPOLI (1682-1730)
A Shepherdess with her Flock Beside a Ruined Arch;
A Goatherd with his Flock Beside a Spring
A pair, oil on canvas, 73.5 x 99.3cm and 72.2 x 99.5cm
One signed and dated 1706 on the majolica pitcher
Provenance: Purchased by Sir Benjamin Lee Guinness (1798-1868) for St. Annes,
Clontarf, Dublin. Thence by descent to the present owner.
DR HERMAN JEDDING, AUTHOR OF THE CATALOGUE RAISONNÉ ON JOHANN HEINRICH ROOS,
HAS ENDORSED THE ATTRIBUTION TO JAKOB ROOS, CALLED ROSA DA NAPOLI, ON THE BASIS
OF PHOTOGRAPHS.
Jacob Roos, called ‘Rosa di Napoli’ was born in Rome in March 1682, son of
Philipp Peter Roos who was known as ‘Rosa da Tivoli’. He was born in Frank-
furt, Germany and enjoyed a successful career as painter of animals and land-
scapes. Jacob in turn adopted the style of his father. Unsurprisingly he lived
and worked in Naples and Benezit observes that it is difficult to distinguish the
son’s work from his father’s. Seven large Italian landscapes are attributed to
him and are to be found at the Résidence de Wurzburg. These two paintings
were purchased by Benjamin Lee Guinness, grandson of the founder of the
eponymous brewery for his home at St. Anne’s in Clontarf, Dublin.
€ 15,000 - 20,000

69 A CARVED OAK PANELLED FRONT
COFFER,
Basically 17th Cent, carved with stylised foliage, the
centre with cypher.
142 x 62 x 73 cm
€ 600 - 1,000
70 A 19TH CENTURY FRENCH (PROBABLY DIEPPE) CARVED IVORY
CRUCIFIX,
on an ebon framed cross. The cross 47 x 21cm
€ 250 - 400
71 A PAIR OF BLACK STAINED TALL BACK
OPEN ARMCHAIRS,
with plank seats
€ 200 - 300

72 A SET OF FOUR GERMAN SILVER REPOUSSE
CANDLESTICKS, FRANKFURT 18TH CENTURY
each fitted with flattened circular sconces on spiral foliated cylindrical
columns and broad dome bases embossed with flowers and leafy
scrolls.
24cm tall
€ 4,000 - 5,000

73 A STAINED OAK DEEP COFFER,
17th Cent., with moulded triple panelled front, raised
on plank feet with brackets.
127 x 55 x 58cm
€ 600 - 800
74 AN OAK PANELLED TOP COFFER,
17th Cent., the triple panelled front with decorative
frieze
139 x 55 x 66cm high
€ 600 - 800

75 A CONTINENTAL GILTWOOD OVAL WALL
MIRROR,
18th Cent, with plain glass surrounded by a foliate
wreath with berries and carved flowerheads, with
platform and twin cherub masks below, 78cm high
€ 2,000 - 3,000
76 A CARVED STAINED OAK
WARDROBE,
17th Cent., panelled doors, above drawers, moulded
plinth on bun feet.
193cm high x 58cm deep x 162cm wide
€ 2,000 - 3,000

77 A THREE-FOLD GILT PLASTER AND GLAZED
DRAUGHT SCREEN,
with gilt panels.
Provenance: St Anne’s, Clontarf
€ 200 - 400

78 AN 18TH CENTURY RECTANGULAR
STAINED OAK REFECTORY DINING
TABLE,
with a five plank top raised on ring turned column
legs with two inner cross stretchers.
243 cm long, 108.5 cm wide, 74 cm high.
€ 1,000 - 1,500

79 A CARVED GILT-WOOD EIGHT BRANCH
CENTRE-LIGHT.
80cm diameter
Provenance - St Anne’s, Clontarf
€ 2,000 - 3,000
80 A GEORGE II STYLE STAINED ELM
RECTANGULAR BLANKET CHEST,
with hinged lift top and raised above two cockbeaded
drawers with brass knop handles on bracket feet.
113 x 52 x 66 cm high.
€ 300 - 400

81 A 17TH CENTURY STAINED OAK OVAL
DOUBLE DROP LEAF TABLE
With Gate-Leg folding supports, on turned and
banded column legs and cross stretchers.
€ 500 - 800

82 AN IRISH GEORGE III CARVED GILTWOOD LONG RECTANGULAR
OVERMANTLE MIRROR,
in the Chinese Chippendale manner, the old plate in three sections within a frame, with
stylised pagodas and rockwork, scrolls and trailing branches,
162cm wide, 57cm tall
Provenance - Kilsharven House, Julianstown, Co Meath. Sold, these rooms, 1998
€ 6,000 - 10,000

83 ATTRIBUTED TO MATTHEW WILLIAM PETERS RA (1741-1814)
Portrait of a Lady, standing beside the Medici Vase, in a landscape, a castle in the distance
Matthew William Peters RA (1741-1814) was born at Freshwater, Isle of Wight, the son of Matthew Peters and his
wife, a daughter of George Young of Dublin. There is an alternative view that suggests that he was born in his fa-
ther’s house at Capel Street in Dublin. In any event he was recorded as entering Robert West’s drawing school at an
early age. Such was his skill that he was awarded prizes in 1756 and 1758, and was sent by the Dublin Society to Italy
to study with an allowance of thirty pounds. He studied under Pompeo Batoni at Florence and was made a member
of the Florentine Academy in 1763. After a less than satisfactory stint in Dublin, he went to London and sent three
works to the Society of Artists : ‘A Florentine Lady in a Tuscan Dress’, ‘A Lady in a Pisan Dress’ and a ‘Portrait of a
Young Gentleman.” In 1769 he began exhibiting at the Royal Academy with ‘Portrait of the Duchess of Ancaster.’ He
continued to exhibit there, sending works from Italy in the early 1770’s. Even while studying for the priesthood at
Exeter College, Oxford and becoming a rector at Eaton, Leicestershire and a little later chaplain to the Prince Regent
he continued to paint but exhibited more sporadically. He was patronized by the Dukes of Manchester and Rutland,
and painted for the latter in 1782 a copy of Le Brun’s portrait of “Madame de la Valliére” in the Carmelite church in
Paris.
Not a great deal is known about this present work, which has been in an Irish country house collection for many
decades. The sitter is unknown but the style of dress suggests the early years of the 1780s and it is conceivable that
she is British or indeed Irish. The work is typical of Grand Tour portraiture with the subject shown standing beside
the monumental Medici Vase in an extensive landscape. A distant grand house set in a pastoral landscape suggests
a western/northern European patron.The sitter is fashionably dressed in a long silk layered gown with a lace collar
and bodice and displays the marked influence Marie Antoinette had on the fashion of the day.
The Medici Vase featured in very many paintings over several centuries but the transfer of the vase from Rome to
its current home in Florence in 1780 caused it to become quite the prop for the fashionable portraits of the last
decades of the 18th century. Standing at almost five feet tall, the Medici Vase, a monumental marble bell shaped
krater was sculpted in Athens in the 2nd half of the 1st century AD as a garden ornament for the Roman market.
It is carved with a mythological bas-relief frieze depicting heroic warriors standing either side of Iphigenia who is
seated below a statue of a goddess. The vase is mentioned in the 1598 inventory of the Medici Villa in Rome but it is
not known when and how it arrived there. It is depicted in many neo-classical paintings, such as the present work.
Amongst the best known is the 2nd Lord Berwick on his Grand Tour seated beside the vase painted by Angelica
Kaufmann.
€ 10,000 - 15,000

84 A DOCUMENTED IRISH MAHOGANY FRAMED HUMP-BACK SOFA,
mid 18th century, retaining the cross-stitch covering embroidered by Lady Betty Fownes, with recess scrolled leaf carved
arms, on three short cabriole legs to the front, with leaf carved scroll brackets and with squared paw feet, two splayed
square legs to the back, sprung in the 19th century.
186cm wide x 70cm deep x 98cm high
Provenance: Lady Betty Fownes of Woodstock, bequeathed to her granddaughter Caroline Tighe who married Charles Hamilton
of Hamwood and thence by descent
Betty Ponsonby was unhappily married to Sir William Fownes of Woodstock. Her granddaughter records, “though an
Earl’s daughter, [she] could only write a very short letter... in a very large hand... but poor Lady Betty Fownes spent too
much of her time working cross-stitch, as many sets of chairs can testify”. She died in 1778.
A set has been re-assembled in a private Co. Kildare collection, and another is in a private Co. Wicklow collection. Both
have the same provenance as the present lot. It is likely that much of this furniture was in the Fownes’ town house, 37
Dominick Street, which was retained by the Hamiltons well into the 20th century.
€ 10,000 - 15,000

85 AN IRISH GEORGE III CARVED GILTWOOD WALL MIRROR,
the shaped rectangular plate within a carved frame of interlocking scrolls and foliate branches,
surmounted by an open cartouche, flanked by Ho Ho birds.
120 x 60cm
€ 2,000 - 4,000

86 A RARE IRISH QUEEN ANNE LONG CASE CLOCK,
by Francis Mansfield of Cork, c. 1700 - 1710, the detatchable hood with glazed panel door enclosing
a brass dial, signed, with Roman numeral chapter ring and seconds subsiduary dial, applied with
spandrels to each corner, supported on a waisted trunk and plinth base, with weights and pendu-
lum, 215cm high
€ 6,000 - 10,000

88 AN IRISH GEORGE III MAHOGANY SIDE TABLE,
c. 1760, with moulded rectangular top, the shallow shaped apron,
centred by a shell, flanked by leaf carved scrolls with open fret panels
to the sides; fret-work brackets, the sides conforming, on square
fluted legs with blocked feet.
€ 8,000 - 12,000

89 A RECTANGULAR GILTWOOD GESSO
COMPARTMENTED MIRROR,
Early 19th Cent., with beaded inner slips within a
moulded and leaf cast frame. 116cm wide x 162cm
high
Provenance: St Anne’s, Clontarf
€ 500 - 1,000
90 A FINE VICTORIAN BRASS FRAMED CLUB FENDER,
the padded seat upholstered in leather, the frame arranged in two alternating galleries with close and
spaced columns, on a stepped platform base,
165 long, 55cm deep, 65cm high
€ 3,000 - 5,000

91 A GEORGE IV EBONY AND ROSEWOOD RECTANGULAR LIBRARY
TABLE,
after Thomas Hope, the top banded in rosewood with inset scriber, having three panelled frieze
drawers, raised on side supports in the form of crossed quivers with scroll terminals, on a raised
platform with bun feet, 125 x 66cm
€ 2,500 - 3,500

92 ATTRIBUTED TO FERDINANDO VICHI (1875 - 1925)
FLORENCE, LATE 19TH CENTURY,
PUTTI MUSICANTI
An Italian carved white marble group depicting five putti musicians
standing on an oval base, raised on a green marble fluted column.
65cm high, 83cm wide; pedestal 110cm high
Italian sculptor Ferdinando Vichi (1875-1945 ) was one of a most talented
group of Tuscan sculptors associated with the Bazzanti Gallery in Florence.
The gallery was founded in 1822 by Pietro and Niccolò Bazzanti as a marble
sculpture atelier whose works embellished many Florentine collections and
were sold all over the world. Historicising romantic subjects were very popular
in Italian sculpture of the late 19th century and sculptors Cesare Lapini,
Guglielmo Pugi and Ferdinando Vichi were amongst the most popular and
successful in the idiom.
€ 15,000 - 25,000

93 STYLE OF TILLY KETTLE,
c. 1780. Portrait of a seated man, half-length, wearing
a blue coat and a white stock and waistcoat
Within a painted oval, 76 x 63cm
€ 600 - 1,000
94 ENGLISH SCHOOL,
18th Cent., Portrait, half-length,
of Anne Carew
Signed and dated 1733
€ 2,000 - 3,000

95 ROBERT HUNTER (1745-1803)
Portrait of Sir John Craven Carden, 1st Baronet, half-length, wearing uniform
This portrait of John Craven Carden is in the uniform of the Templemore Light Dragoons, a volunteer regiment raised in response to
the withdrawal of regular troops required for the American War but which rapidly acquired political leverage. Carden had inherited
large estates in Tipperary acquired in the Cromwellian settlement of the 17th Cent. Although without parliamentry influence, Carden
represented landed interests which the Castle administration were keen to control. Bribes were measured and Carden was made
a baronet in 1787. He proved to be a sound man in the 1798 rebellion, and by fortifying the Market House in Templemore, denied
the town to the rebels. He also leased the land for a barracks (now the Garda Training College) and donated the site of the Catholic
Church in 1810.
€ 3,000 - 5,000

97 AN AFSHAR RUG,
c.1900, the pale ochre ground with central medallion
in carnelian and blues, the field decorated with birds
and floral motifs within bold alternating medallion
border and guard stripes.
175 x 140cm
€ 1,400 - 1,800
96 A QASHQA’I KILIM,
c.1900, the red ground with three large medallions
within multicolour saw-tooth borders, the field
contained within diamond and zig-zag borders and
guard stripes.
260 x 154 cm
€ 1,200 - 1,400

99 AN EARLY 20TH CENTURY KASHAN WOOL
RUG,
Central Persia c. 1930, the deep crimson rectangular
field woven with scrolling foliate decoration, enclosing
a navy, cream and blue floral designed medallion,
this central field contained within a broad border of
interlinked anthemion designs, swags, and scrolling
foliage, finely knotted, good condition. 320cm wide
Provenance: Sourced by Pers Lindfors for an Irish
Collector in c.1980, where it has been well preserved to
the present day
€ 3,500 - 4,500
98 A QASHQA’I ‘KHORJIN’ DOUBLE SADDLE
BAG,
c.1900, both halves with brick red diamond medallion
within saw-tooth border on navy blue ground
contained by ivory, geometric patterned guard
stripes.
120 x 59 cm
€ 900 - 1,200

100 AN EMBOSSED BRASS OVAL JARDINIERE
ON FOUR PAW FEET,
with figural and landscape decoration, having twin
lions mask and ring handles and raised on three legs
with paw feet. 53 x 40 x 26cm high
€ 250 - 350
101 A VICTORIAN BRASS FRAMED WIRE
NURSERY FIREGUARD
with attached handrails. 118 x 91cm high
€ 300 - 500

102 A PAIR OF VICTORIAN MAHOGANY FRAMED
BENCHES
with upholstered seats covered in dark green leather
cloth and raised on ring turned column legs.
274cm long
€ 300 - 500

103 AN IRISH WILLIAM IV GILTWOOD PIER
MIRROR BY R.W. CLARKE, CORK
the rectangular bevelled plate within an ebon reeded
slip and beneath an ebon panel with applied gilt
laurel wreath flanked by rosettes, the frame of spiral
turned pillaster, the reverse with label R & W Clarke,
Parade. 135 x 98cm
€1000 - 1500
104 AN IRISH GEORGE IV MAHOGANY FRAMED
SCROLL END DAY BED,
the frame with carved gadroon banding and fluted
scrolls, raised on carved paw feet with lotus collar, in
the manner of Mack, Williams & Gibton. 182cm wide
€ 800 - 1,200

105 A GEORGIAN STYLE GAINSBOROUGH
ARMCHAIR AND STOOL,
the chair with arched crest rail, scroll armrests with
rosette terminals, loose squab cushion and raised on
square supports and cross stretcher, the rectangular
stool conforming.
€ 1,000 - 1,500
106 A GEORGE II WALNUT RECTANGULAR
CHEST OF DRAWERS
with moulded top above two short and three long
drawers, crossbanded and with brass tire, raised on
bracket feet
96cm wide
€ 1,200 - 1,600

107 ATTRIBUTED TO JOHN HOPPNER
(1758-1810)
A half length portrait of Lord Henry Fitzgerald (1761-
1829) as Don felix in T. Park’s ‘The Wonder’
Subject engraved, engraved by T.Park and illustrated
in the National Gallery of Ireland, illustrated summary
catalogue of prints. page 247
€ 3,000 - 5,000

108 AN IRISH GEORGE III MAHOGANY FRAMED
WINGED ARMCHAIR,
c.1760, with outscrolled arms, on square fluted legs with
scrolled brackets joined by upright ‘H’ shaped
stretcher
€ 2,500 - 3,500

109 A PAIR OF IRISH GEORGE I RED WALNUT SIDE CHAIRS,
each with shaped backs crested with a carved scallop shell above a solid vase shaped splat and padded
seat covered in a yellow damask, the shell capped cabriole legs joined by an H-shaped stretcher and
ending with paw feet
€ 4,000 - 6,000
110 A GEORGE III STYLE MAHOGANY SHAPED
CIRCULAR SNAP TOP TEA TABLE,
the shaped rim carved with pierced leaf scrolls and
scallops, raised on a well carved baluster turned
centre column and tripod base with leaf carved knees
and claw and ball feet. 77cm
€ 2,000 - 4,000

111 A CONTINENTAL CARRERA MARBLE BUST OF
MARIE ANTOINETTE,
19th Cent, supported on a circular socle. 78cm high
€ 3,000 - 4,000

112 ATTRIBUTED TO ABU’L HASAN,
C.1589-1630
Portrait of Emperor Shah Jahangir, 1569-1627
Mughal miniature, opaque watercolour and
burnished gold leaf, 20 x 14cm
Inscribed ‘Jahangir etc.’, with further Hindi inscription and
gold leaf verso
Shah Jahangir was the son of Akbar the Great and father of
Shah Jahan, the creator of the Taj Mahal.
€ 400 - 600

113 AN 18TH CENTURY EAST INDIAN DEPICTION
OF THE FESTIVAL OF THE HINDU GODDESS
DURGA
Gouache and gold leaf on paper, 34 x 30cm
Provenance: Acquired by the owner’s uncle (a
collector of Indian art) during World War II
The goddess Durga acts as the united front of all divine forces
against the effects of evil within the Hindu religion. As is
customary, she is dressed in red and holds several objects to
symbolise her
characteristics: the ‘sudarshan chakra’ depicting the world at
her will, the bow and arrow to represent
energy, the conch shell to show Durga as holding God in the
form of sound, the sword symbolising
knowledge, the thunderbolt strength and her eight hands
as eight sections of Hinduism. The lion at her feet acts to
enhance her power and strength.
To Durga’s right are those worshipping her, whilst her left
is filled with other deities, including her sons, Ganesh and
Skurda, and her spouse, Shiva.
Her feast day ‘Vijaya Dashami’ is celebrated worldwide each
October.
€ 1,000 - 2,000
114 A LARGE VICTORIAN PAPIER MÀCHÉ
MODEL OF AN ELEPHANT,
105 X 82cm
€ 500 - 800

115 AN ANGLO INDIAN VIZIGAPATAM ENGRAVED IVORY CASKET AND COVER,
Late 18th Century, the lid and sides engraved with topographical views of the seafront with warehous-
es, surrounded by a continuous scrolling chintz border, the sides with fourteen vignettes of merchants’
houses with similar borders and on slightly outset plinth base with leaf scrolls, velvet lined interior.
28cm deep x 50cm wide x 9.5cm high
€ 3,000 - 5,000

116 A SOUTH INDIAN CARVED EBONY AND BRASS MOUNTED TWO DOOR CABINET ON
STAND,
basically 18th century, the quarter fielded panel doors opening to reveal an interior fitted with central
cupboard, itself enclosing further drawers, and flanked by drawers and pigeon holes, the entire flat carved with foliage
and with plain and gilded winged eagles and the Gandaberunda (Berunda) bird - the royal emblem of the Tipu Sultan
Mysore, fitted with later circular knop handles and surmounted with a brass gallery rail, raised on a base fitted with two
long drawers above a scroll apron and lower shelf, on turned feet.
116cm wide x 148cm high x 62cm deep
€ 4,000 - 6,000
This cabinet has come from an Irish country house where it has been in situ for several decades. It was introduced into
that household through an English relative but sadly no more information regarding its provenance is available.
The symbolism in the decoration is hugely interesting and points to south Indian origin. The flat chased foliage which
adorns the entire cabinet hides a number of carved depictions of eagles and more interestingly, the ‘Gandaberunda’ or
‘Berunda’ as it is also known.
The Gandaberunda is a two-headed mythological bird thought to possess magical strength. It formed the royal em-
blem of the Wodeyaar Kings of the princely state of Mysore, in Karnataka.Tipu Sultan (1750-1799), also known as the Ti-
ger of Mysore, Dipu Sultan and Tipu Sahib was a ruler of the Kingdom of Mysore from 1782 to 1799. He was the eldest
son of Sultan Hyder Ali of Mysore. Tipu introduced a number of administrative innovations during his rule, including his
coinage, a new Mauludi lunisolar calendar, and a new land revenue system which initiated the growth of the Mysore
silk industry. Tipu expanded the iron-cased Mysorean rockets and wrote the military manual Fathul Mujahidin and was
considered a pioneer in the use of rocket artillery. He deployed the rockets against the advances of British forces and
their allies in their 1792 and 1799 Siege of Srirangapatna. During Tipu’s childhood, his father rose to take power in
Mysore, and upon his father’s death in 1782, Tipu succeeded to a large kingdom bordered by the Krishna River in the
north, the Eastern Ghats in the east, and the Arabian Sea in the west. He won important victories against the British
in the Second Anglo-Mysore War, and negotiated the 1784 Treaty of Mangalore with them after his father Hyder Ali
suddenly died from cancer in December 1782 during the Second Anglo-Mysore War.
Tipu engaged in expansionist attacks against his neighbours. He remained an implacable enemy of the British East
India Company, bringing them into renewed conflict with his attack on British-allied Travancore in 1789. In the Third
Anglo-Mysore War, Tipu was forced into the humiliating Treaty of Seringapatam, losing a number of previously
conquered territories, including Malabar and Mangalore. He sent emissaries to foreign states, including the Ottoman
Turkey, Afghanistan, and France, in an attempt to rally opposition to the British. In the Fourth Anglo-Mysore War, the
combined forces of the British East India Company and the Nizam of Hyderabad defeated Tipu, and he was killed on 4
May 1799 while defending his fort of Srirangapatna.
Even after five centuries since its first usage in the mints for making coins during the period of the Vijayanagar Empire
around 1510, the Gandaberunda is still flying high as the official insignia of the State of Karnataka.

117 AN ANGLO-INDIAN OCTAGONAL
INLAID EBON OCCASIONAL TABLE,
the top with graduated satinwood banding, raised on four
turned columns with a platform base on scroll feet, 76cm
diameter
€ 500 - 800
119 AN INDIAN INLAID AND ENAMELED METAL
TWO HANDLED CASKET,
of rectangular form, the hinged lid decorated with a
view of the Taj Mahal on a floral ground. 31 x 23 cm
€ 500 - 800

120 A “PEPYS” IVORY CHESS SET, VIZAGAPATAM, INDIA,
early/mid 19th century, one side stained green, the other left natural, kings with galleries
and spire finials, queens similar but of smaller size, bishops in the “Burmese style” with
split mitres topped with crosses, knights as horses’ heads, rooks as raised turrets (with
flags), pawns with spire finials; together with a timber folding chess and backgammon
board, in the form of two leather bound books
€ 2,500 - 3,500

121 A 19TH CENTURY NEPALESE/ TIBETAN
DEITY ‘TANTRIC’ FIGURAL GROUP
bronze, with base 46cm wide, 37cm high
€ 1,000 - 1,500

122 A 14TH CENTURY CARVED SANDSTONE
BUDDAH
c.60cm tall
€ 2,000 - 4,000

123 A 19TH CENTURY “PEPYS” IVORY CHESS
SET, VIZAGAPATAM, INDIA,
one side stained green, the other left natural, kings
with galleries and spire finials, queens similar but
of smaller size, bishops with pierced mitres, knights
as horses’ heads, rooks as raised turrets (with flags),
pawns with spire finials, contained within a later fitted
leather case
€ 2,500 - 3,500
124 AN 8TH CENTURY EASTERN PAINTED
TERRACOTTA HEAD OF BUDDHA,
62cm tall
€ 3,000 - 5,000

125 A LARGE COLLECTION OF TIBETAN RITUAL ITEMS,
18TH/19TH CENTURY,
INCLUDING:
- a brass and silver mounted water pot with dragon cast
handle
- a thigh-bone trumpet
- collection of bronze phurba daggers
- a silvered and gilt metal reliquary box
- a quantity of prayer wheels with scroll contents
- silver embossed triptych panel
- a flute pouch, bronze masks
- jade buckle
- two bronze Ghanta bells-
- a Chinese Ming period gilt bronze Buddha
- flint pouch
€ 1,500 - 2,000

126 A CHINESE BLUE GROUND MONOCHROME
BOWL,
19th Century, Qing dynasty, of flared circular form,
supported on a narrow cylindrical foot, Qianlong
sealmark to underside. 19.75cm diameter
€ 500 - 800
127 AN OTTOMAN MOTHER OF PEARL INLAID
CASKET,
18th Century, of rectangular form, inlaid with
diamond shaped coloured segments, on squared
supports. 23cm wide
€ 400 - 600

128 A PAIR OF CHINESE BLUE AND WHITE VASES AND COVERS,
late 19th century, each pear shaped body fitted with a carved timber cover, decorated with courtesans
by a garden fence, contained within lozenge reserves against a ‘reverse-decorated’ ground, bearing
six-character Kangxi marks within a double line border. 37cm high
€ 800 - 1,200

129 A GEORGE III MAHOGANY STICK
BAROMETER
By John Bleuler London, Late 18th Cent, the silvered
rectangular vernier scale calibrated in
barometric inches from 27 to 31 to the right hand margin,
opposing weather observations to the left, the upper
margin with engraved signature J. Bleuler, London, set
within concave glazed case surmounted by a broken ar-
chitectural pediment, centred by an urn finial, the slender
mahogany trunk with moulded edge and exposed tube,
above rounded base applied with half-sphere cistern
cover with moulded
cylindrical upstand and narrow band to waist, the
underside with brass level adjustment screw. 95cm high.
John Bleuler is recorded (in Clifton, Gloria Directory of
British Scientific Instrument Makers 1550-1851) as ap-
prenticed to Henry Shuttleworth in 1771, he took on the
business of the late Thomas Whitford at 27 Ludgate Hill,
London in 1791 and worked from that address until 1822.
He died in 1829.
€ 1,000 - 1,500

130 A WILLIAM IV MAHOGANY FOLIO
STAND,
the adjustable compartmented sides on turned
central column and arched downswept legs,
terminating in lotus capped feet and castors,
114 x 71cm
€ 400 - 600

131 A SET OF FOURTEEN 19TH CENTURY MAHOGANY DINING
CHAIRS
after a design by Thomas Hepplewhite, the open shield backs with reeded vase splats
with carved sheaves of wheat and bellflowers, the serpentine front seats upholstered
in green damask, raised on square tapering legs, 12 chairs, 2 carvers.
€ 5,000 - 8,000

132 A FINE IRISH GEORGE III MAHOGANY OVAL DOUBLE DROP LEAF HUNT TABLE,
the plain top with moulded rim raised on square legs with gate leg movement. 260cm long
€ 6,000 - 10,000

133 A SET OF EIGHT IRISH GEORGIAN MAHOGANY DINING CHAIRS,
mid-18th century (1 carver and 1 single are later copies) with flamboyant shell crest rails above scrolled
pierced splats set with flower-heads, drop-in seats, shaped aprons on square chamfered legs joined by
stretchers
€ 2,000 - 3,000

134 A GEORGE III MAHOGANY TRAY TOP
BEDSIDE TABLE,
the raised gallery with integral pierced handles raised
on turned tapering legs, with stretcher on brass
castors. 48 x 43cm
€ 600 - 900

135 A GEORGE IV MAHOGANY RECTANGULAR
BEDSIDE TABLE,
the top with pierced gallery above an open
compartment and two drawers, within turned
outspread legs and pad feet. 65 x 50cm
€ 1,000 - 1,500

136 A GEORGE IV MAHOGANY TRAY TOP LOW
TABLE,
the gallery basket shaped top with turned spindles
raised on turned fluted tapering legs with castors.
77 x 55cm
€ 1,000 - 1,500

138 A GEORGE III GILTWOOD OVAL WALL MIRROR,
the beaded frame with fluted border and gadroon rim.
58 x 44cm
€ 500 - 700
137 A LARGE REGENCY CARVED PINE
CIRCULAR RONDO FRAME,
in the form of a ribbon bound Laurel wreath.
103cm diameter
€ 1,000 - 1,500
139 A GEORGIAN STYLE GILTWOOD OVAL
WALL MIRROR,
the frame-flat carved with recurring anthemions.
70 x 63cm
€ 300 - 500

140 18TH CENTURY SCHOOL
Classical Landscape with a drover and cattle near a
village below a rocky outcrop, figures crossing a stone
bridge beyond
€ 3,000 - 5,000
141 A GEORGE III GILTWOOD SMALL ‘D’
SHAPED SIDE TABLE,
with marble top, the fluted frieze set with paterae on
tapering fluted legs with trefoil feet. Bearing trade
label ‘Braddell, Carvers, Gilders, Looking-glass
manufacturers, 5 Hercules Place Belfast’.
84cm wide, 40cm deep, 82cm high
€ 2,000 - 3,000

142 MATTHEW WILLIAM PETERS RA
(1741-1814)
Two young girls at a window ledge, looking at a caged jay
Oil on canvas, 91.5 x 73cm
Another version of this painting is reproduced in the book
‘Rev. Matthew William Peters’ by Victoria Manners
€ 6,000 - 8,000

143 A GEORGE III MAHOGANY AND BOXWOOD
BEADED TOILET STAND,
c. 1780, to a Hepplewhite design, with heart shaped
mirror, the bowed breakfront fitted with drawers on
slender outset supports, joined by cross-over
stretcher. 124cm high x 26cm wide x 39cm wide
€ 1,000 - 1,500
144 AN EARLY 18TH CENTURY STAINED OAK
RECTANGULAR COFFER,
the hinged two-plank top above a triple fielded panel
front, with later inlaid diamond motifs and checkered
banding, raised on square legs.
116 x 53 x 66 cm high.
€ 500 - 800
145 AN 18TH CENTURY STAINED OAK
RECTANGULAR SLOPE LIFT-TOP LECTURN/
BIBLE BOX,
with applied iron tire, the sides with three carved
roundels, the frieze carved with bas relief scrollwork.
49 x 40 x 24 cm high.
€ 200 - 300

146 19TH CENTURY IRISH SCHOOL
Eagles Nest, Killarney
Oil on board, 54 x 79cm
€ 2,000 - 3,000
147 A WILLIAM AND MARY OAK
CHEST,
late 17th Cent, of rectangular form, with moulded top
above a pair of doors with geometric moulded pan-
els, opening to reveal four long graduated drawers
and raised on short square supports. 95cm wide, 51
cm deep
Provenance: Jellinek and Sampson, London
€ 2,000 - 3,000

148 A 17TH CENTURY OAK
COFFER,
dated 1691, of rectangular form, with hinged
three plank top over panels of carved strap-
work and foliage trails, bearing the initials
M.L and date 1691 above four recessed
fielded panels and short squared
supports. 143cm wide, 60cm deep
€ 800 - 1,200

149 AN OAK BENCH,
18th Century, with quadruple panelled back, plank
seat on box base with triple panelled front, with
downswept arms.
118cm high, 46cm wide
Provenance: Belle Isle, Co. Fermanagh
€ 1,000 - 1,500

150 A PLANK OAK TOP SIDE BOARD
On an arcaded base, panelled ends, basically 17th
Century.
69 x 247 x 194cm high
€ 1,000 - 2,000

151 A FINE OAK COURT CUPBOARD,
17th Cent., the recessing top with bold gadrooned
frieze on turned pillars, the base with reeded pan-
elled doors, on plank feet.
€ 2,000 - 3,000

152 A COUNTRY MADE EBONISED
LADDER-BACK CHAIR
on ring turned legs, the seat upholstered in tartan.
€ 50 - 100
153 A PAIR OF STAINED WOOD HALL
BENCHES,
with upright ends pierced with a quatrefoil, the
seats with loose cushions covered in blue and white
chequered material. 191cm long
€ 250 - 350

154 AN IRISH OAK PROVINCIAL LINEN
PRESS,
C. 1740, with moulded cornice above a pair of fielded
panelled doors, the base with two drawers and on tall
bracket feet.
120cm wide x 150cm high
Provenance: The Estate of Anne Yeats (1919 - 2001);
HOK Fine Art Sale 19/11/2002, lot 500.
This lot was inherited by Anne Yeats and is likely to have
originated with the Pollexfen family, Co. Sligo
€ 1,000 - 2,000

155 A CHARLES II OAK JOINT STOOL,
17th Century, with plain moulded panel seat over
turned column supports and solid stretchers.
40 x 26cm
€ 1,000 - 1,500
156 A CHARLES II OAK JOINT STOOL,
17th Century, with moulded panel seat supported
on splayed turned column supports joined by solid
stretcher. 46cm wide
€ 1,000 - 1,500

157 IRISH SCHOOL, EARLY 18TH CENTURY
Portrait of the Second Viscount Barrington of Ardglass
Half-length, standing in a blue coat, holding a letter, wearing a hat;
together with the companion portrait of his wife, Mary Lovell
A pair, Oil on canvas, 125.5 x 102cm
Viscount Barrington (1717-1793) was a prominent official under George II becoming Chancellor of the Exchequer, Secretary for
War, amongst other prominent offices. He married an heiress in 1740.
His peerages inherited from his father, John Shute, are curious and not exactly honourable. Shute, a shady character, had
somehow managed to inherit estates from unrelated people and had been used by the Hanoverians to persuade the Scot
Presbyterians to accept the German succession by disseminating Protestant polemics.
George I, to raise money, was able to bypass the Westminster parliament by selling Irish peerages, the Irish establishment
being powerless to stop it. Shute, now called Barrington, pocketed the proceeds of the Harburgh lottery and bought an Irish
peerage. As MP for Berwick-upon-Tweed this did not disallow him from continuing to sit in the Westminster parliament. How-
ever even that body, not noted for its lack of corruption, threw him out in 1723.
€ 20,,000 - 25,000

158 A IRISH FINE WILLIAM IV MAHOGANY BREAKFRONT BOOKCASE,
attributed to Mack, Williams & Gibtons, the moulded cornice with a round central pediment above
four open shelves intersposed by pilasters with leaf carved capitals, raised on a cupboard base with
four fielded doors on a platform base, 335cm wide, 215cm tall
€ 15,000 - 20,000
Mack, Williams & Gibton supplied library bookcases to a number of Irish country houses including
Ballyfin, Co. Laois and Borris House, Co. Carlow. The bookcases at Ballyfin drew on the designs of
W. F. Pocock and favoured the use of low relief panels as are found on this bookcase and on two
tables in Dublin Castle and a bookcase in Áras an Uachtaráin (Illustrated in Angela Alexander, ‘A
Firm of Dublin Cabinet-Makers Mack, Williams & Gibton’, Irish Arts Review Yearbook, Vol. 11, 1995,
pp. 142-148). The firm also favoured the use of architectural pediments as on this bookcase. The
partnership of Mack, Williams and Gibton formed in 1811-1812 flourished under this name until the
death of John Mack in 1829. The firm is recognized for the superb timbers employed and their high
quality of workmanship which is often compared to Gillows of Lancaster and London. As with this
bookcase, much of the furniture they produced was inspired by the designs published by Thomas
Hope and George Smith. The original partners John Mack and Robert Gibton are listed in the Dublin
directories individually from 1784 and 1790, respectively, and appear to have come into partnership
in 1803. They were appointed ‘Upholsterers & Cabinet Makers to his Majesty, His Excellency the
Lord Lieutenant and His Majesty’s Board of Works’ in 1806 and the firm retained this Royal Warranty
for many years, supplying and restoring furniture for important public buildings in Ireland including
the Four Courts, the War office, the Barracks Office, Dublin Castle and the Treasury and Vice-regal
Lodge.

159 A REGENCY MAHOGANY AND BRASS MOUNTED
TWO-TIER DUMB WAITER
of circular form, each level with pierced brass gallery border,
separated by tubular columns on fluted central support and
reeded downswept legs, ending in lion paw toecaps
€ 800 - 1,200

160 A VICTORIAN BRASS AND CAST IRON
TRIVET,
19th century, fitted with a three prong detachable toasting
fork, with turned timber handle and pierced bell-shaped
stand. 43cm long
€ 150 - 250
161 AN EARLY 19TH CENTURY BLOOR DERBY CHINA
DESSERT SERVICE,
COMPRISING:
17 dessert plates, 3 scallop shaped serving dishes, 2 oval
serving dishes, 4 shaped square serving dishes the white
ground decorated with central reserves of wild flower bou-
quets with flower heads to the outer border and gilt banding
(26)
€ 800 - 1,200

162 18TH CENTURY GRAND TOUR
SCHOOL
The Falls at Tivoli
Oil on canvas, 63.5 x 81cm
Provenance; ex collection of Marquess of Angelsea,
Plas Newydd
€ 2,000 - 4,000

163 AN IRISH GEORGIAN MAHOGANY AND SATINWOOD INLAID BOWED
BREAKFRONT SIDEBOARD,
C.1790, with three-quarter gallery, the frieze with central drawer flanked by cup-
boards on square tapering legs with raised banding, inlaid overall with paterae and
ribbon tied husk pendants, (the gallery, drawer and some inlay later).
Provenance: St. Anne’s, Clontarf
€ 2,000 - 3,000

167 A 19TH CENTURY HARLEQUIN SET OF
WINE GLASSES,
with pillar cut flutes.
€ 300 - 500

168 A SET OF FOUR DERBY PORCELAIN MEAT
DISHES,
Early 19th Cent, of oval shape, each painted in the
Chinese export manner, with teal border panels
and interlinked bellflower swags, enclosing a floral
painted central reserve, factory mark verso. 40 to
47cm in size
€ 1,200 - 1,800
169 A FINE EXTENSIVE ROYAL COPENHAGEN PORCELAIN
DINNER SERVICE,
Blue flower border by Arnold Krouce, of the 139
pieces, the white ground decorated with an
underglaze basket weave border in low relief,
enclosing handprinted floral sprays in blue, with outer sprays in
the border comprising:
18 dinner plates
20 side plates
9 large soup plates
12 cresent salad dishes
18 small side plates
8 soup bowls with marks?? on stands
13 coffee cups
12 saucers
4 tureens with covers
1 large tureen
2 sauce boats
2 shaped dishes
1 shaped bowl
4 oval serving dishes
1 large round dish
Produced between 1923-1934
€ 3,500 - 4,000

170 A FINE IRISH REGENCY MAHOGANY THREE PILLAR DINING TABLE,
atributed to Morgan of Dublin, the D-end top, raised on three ring turned column supports
with outstepped fluted downswept quadruped legs with brass toe caps and castors.
160cm wide x 387cm long
€ 30,000 - 40,000

Robert Morgan is listed in the directories in the years 1782 to 1789 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. A mahogany rectangular dining table dating from the 1790s and stamped ‘Mor-
gan’ survives, with the top having a reeded rim above four pillar supports and reeded scroll quadruped
base, the splayed legs with brass caps and castors. In 1805, Robert Morgan offered ‘his sincere thanks to
his numerous Friends, the Nobility and the Public, for their Kind particularity to him for nearly thirty years’.
He highlighted the fact that he had ‘very considerably improved his Ware-Rooms, and also the communi-
cations thereto by a gallery; and has now ready for sale a variety of furniture which on inspection will be
found equal to any in Europe’. From the 1820’s, after Robert Morgan’s death the business was managed by
his two sons Anthony and Louis and became one of the most important firms in the trade.
The Morgan firm supplied escritoires to Borris House, Co. Carlow which bear a four number stamp and a
dining table, circa 1825, sold at Christies was numbered 5174. The firm, as mentioned, also supplied the
‘set of Trafalgar Dining Tables consisting of seven mahogany tops and strong frames on turned and roped
legs and patent castors’ to the Provost House, Trinity College, Dublin for the visit of George IV.
Dr. Angela Alexander 2015
NOTE FOR ILLUSTRATION. THE TABLE IS PHOTOGRAPHED WITHOUT THE TWO LEAVES
WHICH ACCOMPANY IT

173 A FINE SET OF FOUR VICTORIAN SILVER
PLATED SHAPED CIRCULAR WINE
COASTERS,
the lobed flared bodies cast with floral sprays and
foliage with scroll rims, having turned wooden bases.
20cm diameter
€ 500 - 700
172 A LARGE VICTORIAN SILVER PLATED
ADJUSTABLE TABLE LAMP,
the column support on a baluster base surrounded
by three winged therms on a circular spreading foot
base. 80cm
€ 1,000 - 1,500
171 A PAIR OF VICTORIAN SILVER PLATED
DOMED DISH COVERS,
with detachable leaf cast handles and a border of
trailing foliage, in sizes 29cm and 23cm wide;
together with a larger panel dish cover. 43cm wide (3)
€ 300 - 500

174 A VICTORIAN SILVER PLATED THREE PIECE TABLE CENTRE PIECE,
comprising of a group modelled as an arabic figure seated under a palm tree with a camel
and two side pieces each formed as palm trees on a naturalistic base, the tallest 38cm high.
€ 800 - 1,200

175 A SAROUGH, NORTH WEST PERSIAN WOOL CARPET,
the allover foliate field on red ground within a blue border.
(These village woven carpets were made for the American market).
317 x 538cm
€ 3,000 - 5,000

176 A SET OF FIVE ITALIAN CARVED ALABASTER
FIGURES
Representing Venus attended by Nymphs on
laurel embellished pedestals (one pedestal lacking),
first half of the 19th century. 50cm high variations
Provenance: Part of the original furnishings of
Ballinkeele House
€ 1,500 - 2,000
177 A REGENCY ROSEWOOD FRAMED LIBRARY
ARMCHAIR,
the rectangular padded back with arched floral
carved top rail, over padded seat and armrests, cov-
ered in a green and beige upholstery, on leaf capped
tapering legs and brass castors
€ 500 - 800

178 MARTIN CREGAN RHA (1788-1870)
A Portrait of Arthur Guinness II, half length, seated wearing a black coat and white stock, his hand resting on a book and papers,
with a letter addressed ‘A. Guinness Beaumont’.
Signed ‘Creyan’ on the papers.
Provenance: St. Anne’s, Clontarf, and by descent in the family.
Exhibited: RHA 1827, see Strickland, Vol I, p.227
Martin Cregan was amongst the most highly regarded, prolific and successful portrait painters of his day. Glin and Crookshank
(1978) describe his start in life as ‘romantic’, but being brought up as a foster child in Summerhill in Co. Meath, and then into the
service of the Stewarts of Killymoon, in Co. Tyrone may not have been so idyllic as he never, even to his own family, referred to his
parentage or upbringing.
His talent for drawing was, however, recognized by the Stewarts and he was sent to the Dublin Society Schools where he was a
double prize-winner in 1806 and 1807. He was then generously sponsored by the Stewarts to go to London where he became Sir
Martin Archer Shee’s one and only pupil. Cregan returned to Dublin in 1822 and quickly developed a reputation as a fine portrait
painter and over a period of thirty-three years exhibited 334 pictures at the Royal Hibernian Academy, of which institution he was
a founding member and later President. He fathered sixteen children, the support of whom necessitated his continuing to paint
commissions up until his death at the age of 82.
The present work, a portrait of the second Arthur Guinness (1768-1855), was exhibited at the RHA in 1827 and is also listed in
Strickland. Arthur was the second son of Guinness founder, Arthur Guinness (1725-1803) and is credited with greatly developing
the business at a time of great change economically and politically. He also extended the operations of the family into such areas
as flour milling and banking. Arthur’s interest in banking led him to being appointed to the ‘Court of Directors’ of the Bank of Ire-
land and later becoming it’s Govenor. He was also chairman of Dublin Chamber of Commerce and was elected a member of Dub-
lin Corporation. He married Ann Lee in 1793 and had nine children, including Benjamin Lee Guinness who was born in 1798. The
letter held by the sitter identifies him and is addressed at Beaumont House, his childhood home, which is now part of Beaumont
Hospital on the north side of Dublin. Views of Beaumont House were drawn by his daughter, Mary Jane after some remodeling in
the 1850s (see Painting Ireland, Topographical Views from Glin Castle, ref. nos.143 & 144).
€ 10,000 - 15,000

179 STEPHEN CATTERSON SMITH JUNIOR RHA (1849-1912)
Portrait of Sir Benjamin Lee Guinness, half length, wearing a black coat and blue bow tie, in a feigned oval
Oil on canvas, 75 x 62cm;
Together with and by the same hand:
Portrait of Elizabeth Guinness, wife of Benjamin Lee Guinness half length,seated in black dress with a black mantilla
(Please note these are not contained within uniform frames)
Provenance: St. Anne’s, Clontarf, and by descent in the family.
(2)
Born in Dublin in 1849, Stephen was eldest son of portrait painter Stephen Catterson Smith, PRHA and Anne Wyke, herself an artist who
exhibited occasionally at the RHA. Stephen Jun. had intended to join the army but owing to financial issues he was unable to enter that
profession and instead settled down as a painter in his father’s studio. He is listed in the RHA records as having first exhibited there
in 1871 with ‘a Portrait’. His father died the following year and he effectively took over the practice and continued the family tradition
of painting the great and the good of Irish society. He was a regular visitor to Scotland and it was whilst there in 1905 that he caught a
severe cold which permanently affected his health. He died on November 24th 1912, at his home, 42 St. Stephen’s Green in the same
room in which he was born. Walter Strickland notes that Smith Jun. made a number of copies of pictures painted by his father, including
portraits of the present Sir Benjamin Lee Guinness and his wife Lady Guinness, which were done, we must presume, for Lord Ardilaun.
The original portrait of Benjamin Lee Guinness was painted in 1862/3 and exhibited at the RHA in 1863.
Sir Benjamin Lee Guinness, 1st Baronet (1798 - 1868) was the third son of Arthur Guinness II and his wife Anne Lee and grandson of
the first Arthur Guinness, founder of the eponymous brewery. While his father had developed the family business and had extended
the family’s range of commercial interests, it was Benjamin Lee that brought the brewery onto a different level altogether. By the time
of his father’s death in 1855, he had become Ireland’s richest man by developing a huge export trade. He enjoyed a successful political
career, being elected Lord Mayor of Dublin in 1851 and taking a seat in the House of Commons in 1865, a position he retained until his
death. His philanthropy was well known, particularly in his home city of Dublin. He undertook in the 1860s the restoration of St. Patrick’s
Cathedral and is reported as having spent the enormous sum of £150,000 on the enterprise. His Dublin home was what is now known
as Iveagh House at 80, St. Stephen’s Green and in 1852 he purchased Ashford Castle in Co.Mayo adding two large Victorian extensions to
the castellated mansion. An avid gardener, he extended the estate to 26,000 acres and planted many thousands of trees and oversaw the
development of the massive woodlands.
On his death in 1868, he was succeeded in the baronetcy by his eldest son, Arthur (later Lord Ardilaum) who took over the brewery with
his brother Edward (later Lord Iveagh). His daughter, Anne (1839 - 1889) married William, Lord Plunket in 1863. He is buried in the family
vault in Mount Jerome Cemetery in Dublin.
€ 2,000 - 3,000

180 A 19TH CENTURY OAK FRAMED BRASS
BINNACLE COMPASS,
‘Dense improve liquid boat compass’ having hinged
ebon handle and glazed panels raised on an oak case
with single door and stamped ‘DENT 50570’. 30cm
tall, 22cm square
€ 500 - 800
181 ANTOINE-LOUIS BAYRE
(1796-1875)
A Seated Lion,
Green patinated bronze, 17cm tall
Signed
€ 1,000 - 1,500

182 LÉON PILET (1836-1916)
A bronze group of a seated Classical woman examin-
ing a pointed amphora, raised on a black rectangular
marble base, signed ‘L.Pilet’. 26.5cm high
€ 600 - 800

183 A FRENCH EMPIRE SIENNA MARBLE AND BRONZE MOUNTED
FIGURAL MANTLE CLOCK,
19th century, depicting a bearded Asclepius standing against a marble
plinth, encasing a circular enamel dial with roman numeral chapter ring and
surounded by zodiac panels, on foliate cast bronze base. 89cm high
€ 5,000 - 8,000

184 AN UPHOLSTERED BUTTON BACK DAY
BED
On mahogany turned feet, with generous proportions
and covered in blue striped material.
186cm long, 90cm wide
€ 600 - 1,000
185 A GEORGIAN STYLE UPHOLSTERED CAMEL
BACK SOFA
covered in pink damask and raised on mahogany
square column legs and stretchers. 222 cm long
€ 1,000 - 1,500

186 AN IRISH MAHOGANY FRAMED TRIPLE CHAIR BACK SETTEE,
19th century, by Butler of Dublin, each section with scallop carved toprail above a solid vase shaped splat, outscrolling arms
and single drop-in seat, on carved cabriole legs joined by uniform stretcher and ending with paw feet. 148cm wide
€ 3,000 - 5,000

187 A PAIR OF GILTWOOD PELMETS WITH
MOULDED FOLIATE FRIEZE AND DENTIL
CORNICE
centred with an oval pattera under arched hood, 322
cm long. Together with a matching smaller pelmet,
229 cm (3)
€ 2,000 - 3,000
188 A WILLIAM IV MAHOGANY FRAMED LONG
RECTANGULAR HALL SEAT
with double turned ends, raised on spiral turned legs.
122cm wide
€ 600 - 800

189 A PAIR OF 19TH CENTURY GILTWOOD
SQUARE FOOTSTOOLS
with canted corners and raised on bold paw feet,
the padded tops with lion crested material. 37 x
39 cm
€ 500 - 800

190 A BRASS HEXAGONAL HALL
LANTERN,
19th Century, with bevelled glass plates, suspended
from a corona. 68cm
Provenance: St. Anne’s, Clontarf
€ 1,000 - 1,500

191 AN EARLY 19TH CENTURY INLAID SATINWOOD SHAPED RECTANGULAR DOUBLE DROP LEAF
PEMBROKE TABLE,
The top with rosewood crossbanding, fitted single drawer with brass knop handles and raised on square tapering legs
with rosewood panelling. 80.5 x 45 cm (closed)
€ 1,200 - 1,800

192 A VICTORIAN SKELTON CLOCK,
in the Gothic manner, raised on a circular base.
€ 300 - 500
193 AN EDWARDIAN INLAID MAHOGANY
RECTANGULAR NEST OF QUARTETTO
TABLES,
the tops with inlaid oval panels and banded in rose-
wood, raised on pairs of ring turned side supports
with bow stretchers. 51 x 34cm
€ 600 - 800
194 A VICTORIAN BRASS FRAMED WIRE
FENDER,
with metal grate. 135cm wide
€ 200 - 400

195 ATTRIBUTED TO SIR GODFREY KNELLER
(1646-1723)
A half length portrait of a lady wearing a pink dress
Provenance; ex collection of Marquess of Angelsea,
Plas Newydd
€ 2,000 - 4,000

196 A FINE INLAID SATINWOOD AND
MARQUETRY SEMI-ELLIPTICAL
COMMODE,
Attributed to James Hicks of Dublin, the rosewood
banded top inlaid with a half patera with floral
bandings with an outer band of stylised flower
heads, and a band of flowerheads, and harebells,
over a pair of glazed panel doors, enclosing a shelved
interior, with marquetry panels of garden trophies to
either side, on short tapering supports. (now with a
plate glass top) 107 cm wide .
€ 3,000 - 5,000

197 A VICTORIAN ROSEWOOD RECTANGULAR
DESK BOOKSTAND,
with gilt brass gallery and side carrying handles,
raised on bun feet, 58 x 26cm
€ 200 - 300

198 A CARVED SATINWOOD FRAMED PIANO
STOOL,
attributed to Gillows, with adjustable circular seat, on
leaf carved baluster centre column and arched tripod
base ending with paw feet, the seat 39cm diameter
€ 500 - 800
199 A 19TH CENTURY OAK PANEL DOUBLE
SCROLL END HALL BENCH,
after George Bullock, the panel seat with column
ends with rosettes in the bosses, raised on outswept
scroll legs, 84cm wide
€ 1,500 - 2,000

200 18TH CENTURY FLEMISH SCHOOL
Country folk carousing outside a cottage
Oil on cradled panel, 34.5 x 43cm
€ 2,000 - 3,000

201 A PAIR OF AMERICAN MAHOGANY FRAMED
OPEN ARMCHAIRS,
19th century in the Chippendale taste, each with
foliate carved toprail above a pierced interlaced splat
and upholstered drop-in seat, with downswept
armrests and squared legs joined by H-shaped
stretchers, (2)
€ 2,000 - 3,000

202 A FINELY ENGRAVED CHINESE PALE JADE SEAL,
by Shangjun, contained in a polished horn case. 75mm long, 20mm square
Provenance: The Family of Captain Edward Westby Vansittart;
together with A Portrait of Admiral Vansittart, father of Edward Westby Vansittart
Watercolour on ivory, 6 x 5cm
This rare seal is offered by the descendants of Edward Westby Vansittart (1818-1904) and
family tradition is that it is one of the gifts received by him from grateful merchants during his
duty on the China station in the 1850s.
Vansittart belongs to that type of British naval officer as epitomised by Cochrane, and fiction-
alised by C.S. Forester and Patrick O’Brien. Son of an admiral and joining the navy at the age of
thirteen he became a first class seaman, contemptuous of authority. By the time he brought
the sloop H.M.S Brig “Bittern” (ironclad) to the North China Sea, he had gained a reputation for
independence and initiative ideal for the task of suppressing piracy. Insanely outnumbered
in October 1855 he destroyed the fleet of armed junks at Sheipoo that had been cruising the
China coast, categorised by the Imperial powers as ‘pirates’. The North-China Herald records
that the ‘native’ merchants rewarded him with cash, plate and gifts.
€ 3,000 - 5,000

203 A CHINESE SPINACH JADE GROUP,
19th/20th Century, of female deity riding a stag, the
figure seated to the right side and playing a flute, on
fitted hardwood stand, the entire 37cm high
€ 2,000 - 3,000

204 A CHINESE GREEN JADE ARCHAISTIC
PANEL,
18th/19th Century, Qing Dynasty, shaped as a musical
chime, carved in shallow relief with shou medallion,
lions and scrollwork, supported on fitted hardwood
stand. 23.5cm wide
€ 3,000 - 5,000

205 A CHINESE SPINACH JADE VASE AND
COVER,
late Qianlong, of flattened ovoid shape, the top surmounted
with a model of a Kyliu on a pedestal, the body with a band of
stiff leaves and loose ring handles, carved in relief with Taotie
masks and a broad band of archaic scrollwork, narrowing to a
lappet foot, 33cm high, on a fitted carved timber stand
€ 8,000 - 12,000

206 A CHINESE FAMILLE VERTE JAR AND
COVER,
Kangxi c.1700, of circular tapering form, the domed
cover with knop finial painted with figures and
pagodas against a mountain landscape, repeated to
the body, bearing six character reign mark to base.
22cm high
€ 800 - 1,200

207 A PAIR OF CHINESE BLUE AND WHITE
PORCELAIN BOWLS,
Kangxi c.1700, of deep circular form, painted with
panels of flowering prunus birds and rockwork, the
exterior with scattered foliate sprays, the underside
with auspicious symbol within double ring border.
27cm diameter
€ 800 - 1,200
208 A PAIR OF CHINESE BLUE AND WHITE
SQUARED PORCELAIN BOWLS,
Early 19th Century, each with steep potted sides and
inverted corners painted with chrysanthemum sprays
within floral and trellis borders, repeated to the
exterior. 24.5cm wide
€ 800 - 1,200

209 A PAIR OF CHINESE BLUE AND WHITE PORCELAIN
MOON FLASKS,
19th Century, each of flattened circular form, applied with stylized
dragon side handles, the circular reserves painted to one side
with courtesans in a garden landscape, encircled by a dragon and
clouds on a blue ground. 47cm high
€ 2,000 - 3,000

210 WILLIAM SADLER II (C.1782-1839)
Battle of Copenhagen - 1801
Oil on canvas, 38.25 x 54.5cm (15¼ x 21½”)
The Parker Gallery, London label verso
The destruction of the Dannebrog at the Trekroner Battery - an incident in the Napoleonic wars. England had declared a trade embargo to weaken
the French while a group of neutral countries, headed by Russia, formed the “League of Armed Neutrality” in order to continue vital continental trade.
Denmark had joined this reluctantly. England objected, but also provoked Denmark, as the opportunity presented itself of neutralising the Danish
navy, one of the largest in Europe. Unwilling to accept the ultimatum delivered, the Danes set about the defence of Copenhagen, relying on shore
batteries (in particular the Three Crowns Fort at the entrance of the harbour) supplemented by anchored men-o-war.The Dannebrog was an obsolete
60 gun, double decker, built in 1772, being used as a gun platform. Attacked by bomb vessels, she caught fire at 11.30am, ran aground and exploded
at 4.30pm, killing all 250 of her remaining crew. Shortly afterwards, to avoid the threatened bombardment of the civilian areas of the city, the Danes
accepted a capitulation. However, all was not lost from the English viewpoint, as in 1807 they merrily bombarded Copenhagen for real using, indis-
criminately, hundreds of experimental ‘Congreve Rockets’ which being recoiless, could be fired at point-blank range from rowing boats. Besides killing
civilians, some 90% of the city was destroyed.
William Sadler and his workshop obviously found a ready market for depictions of military and naval battles. The Nelson myth (the pillar in Sackville
Street was erected in 1808-1809), and stories of the Duke of Wellington’s victories were eagerly consumed by an Irish middle class who had prospered
in the course of the war. A readily available source for Sadler’s compositions was the numerous coloured aquatints that were published at the time.
Nick Nicholson 2015
€ 2,000 - 3,000

211 WILLIAM SADLER II (1782-1839)
The Battle of Waterloo
€ 6,000 - 8,000

William Sadler II was born about 1782, the son of William Sadler I, a painter of portraits and historical subjects. Strickland
has no information on his artistic education but notes that he contributed to various Dublin exhibitions between 1809 and
1814 and again between 1819 and 1821. He also exhibited at the fledgling Royal Hibernian Academy in 1828 and again in
1833. William Sadler II’s paintings are usually painted on small mahogany panels and frequently depict scenes in and around
Dublin. Many of his compositions however display an interest in dramatic events, suggesting the eye of a journalist. A large
work which was uncovered in the late 1990s ‘Battle of Waterloo’, (Pyms Gallery, London, Summer 1999) is one such journalis-
tic piece and would appear to be the finished work for which the present painting is surely a well-worked study.
The Battle of Waterloo was fought two hundred years ago, almost to the day, June 18th, 1815 near Waterloo in what is now
Belgium. The principal actors were a French army under the command of Napoleon against the combined forces of the Unit-
ed Kingdom under the Duke of Wellington and a Prussian army under the command of Gerhard Leberecht von Blucher. By
all accounts it was a very closely fought battle and Napoleon was narrowly defeated. It marked the end of his rule as Emper-
or of the French and he abdicated four days later. Over the course of the next half century a cult developed around Waterloo
and its heroes, it being regarded generally as Britain’s greatest victory. Over the decades after the great event many artists
represented various moments of the battle, no doubt encouraged by the nationalist, anti-French fervor prevalent at the time.
According to William Laffan, writing in Pyms Gallery’s ‘Masterpieces by Irish Artists 1660-1860’ (Summer 1999) Sadler has opted
to portray an early point in the battle, a time which he suggests is about 1.30 in the afternoon. He describes the composition
thus “ The picture reads from right to left. Leading the charge at the right in a blue uniform with his sabre raised is the Earl of
Uxbridge, Wellington’s cavalry commander with eight brigades under his command. Uxbridge, later the Marquess of Angle-
sey who famously had his leg shot off in the battle is shown here charging with his second brigade, the Union Brigade which
comprised of the Royal Dragoons, the Royal Scots Greys and the 6th Inniskilling Dragoons. In the centre of the action can be
seen the Eagle standard of the French 105th Regiment, which had been captured by Captain Kennedy Clarke of the Royals.
Behind this scene the farm building represents La Haye Sainte which was to be the focal point of a concerted French attack a
little later in the afternoon. In the distance on the right Wellington appears to be shown. Further into the distance, immedi-
ately to the left of La Haye Sainte can be seen the burning of the Chateau of Hougoumont where the battle had begun in the
morning.
The left hand side of the picture seems to conflate two episodes, which happened in quick succession. On the far left is
shown the moment when Sergeant Ewart, of the Royal Scots Greys captures the standard of the “Invincibles”, the French
45th Regiment of Infantry, inscribed with the victories of Austerlitz and Jena. ..Shortly afterwards however Union Brigade
General Ponsonby himself was killed by a lance. This seems to be the scene shown in the central foreground with Ponsonby
being cradled in his men’s arms; the lance lying broken in front of him.”
There is another unattributed painting of Waterloo which is in the West Point Academy Museum, surely in Sadler’s hand and
which shows distinct similarities with both the present work and the much larger Pyms version.
Laffan says of the Pyms’ Battle of Waterloo “...the structure of the composition is tightly organised with the principal points of
action clearly legible in the foreground. The large plume of smoke just off centre acts as a focal point with views receding into
the distance on either side.
“Wellington was, of course born in Dublin, some thirteen years before Sadler, and in his early career was MP for Trim.
An engraved portrait of Wellington by Henry Brocas Snr. published in Dublin in October 1815 just months after Waterloo
demonstrates the support enjoyed by the Duke in his home town. Three years later in 1818 work was begun on the marble
obelisk commemorating the Duke in the Phoenix Park. The obelisk was frequently included by Sadler in views of Dublin from
his favoured viewpoint near Island Bridge.”
We gratefully acknowledge Pyms Gallery and William Laffan, whose 1999 article provided us with much of the above information.

212 A 19TH CENTURY GILT BRONZE BUST OF
THE DUKE OF WELLINGTON IN PROFILE
RELIEF.
18 x 12cm
€ 200 - 300

213 BAZIN, 19TH CENTURY CONTINENTAL
SCHOOL
A barn interior with a large group of rebels surround-
ing a French officer
Gouache,
€ 300 - 400
214 A VIENNA PORCELAIN PAINTED FIGURE OF
NAPOLEON
The defeated Emperor seated on a chair in
contemplation. 17cm tall
€ 200 - 300

215 A SET OF SIX NAPLES PORCELAIN
CIRCULAR PLATES
each with a different episode from the life of Napo-
leon within burgundy borders, with gilt leaf banding.

216 HENRY ÉTIENNE DUMAIGE (1830-1888)
Avant le Combat, Apres le Combat
Depicting two French Napoleonic soldiers
A pair, bronze, 65cm tall
€ 6,000 - 8,000

217 CHARLES SELL
German lancers surprising French infantry in a snowy
winter landscape
Signed and dated 1877
€ 1,000 - 1,500

218 ENGLISH SCHOOL 19TH CENTURY
The 21st Lancers on manoeuvers
€ 800 - 1,200

219 ALBERT BLIGNY (1849-1908)
French soldiers marching through a trench, during
the Franco-Prussian War
Oil on panel, 34 x 26cm
€ 1,500 - 2,000
220 THENARD (19TH CENTURY)
A French officer standing by a rampart
Bronze, raised on a marble base, 38cm tall
Signed
€ 1,000 - 1,500

Adam's Country House Collections 13th october 2015

Adam's Country House Collections 13th october 2015

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Adam's Country House Collections 13th october 2015