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Auction tuesdAy 13th october 2015 At 11.30pm

At sl A n e cA s t l e, co. me At h

Est 1887

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.ieor 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 - 5:00pmSunday 11th October 11:00am - 5:00pmMonday 12th October 10:00am - 5:00pm

Admission by catalogue only - One catalogue admits two.

ADAM’S

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CONTACTS

Brian Coyle FSCSI FRICS

CHAIRMAN

Nick Nicholson

CONSULTANTn.nicholson@adams.ie

James O’Halloran BA FSCSI FRICS

MANAGING DIRECTORj.ohalloran@adams.ie

Kieran O’Boyle BA Hdip ASCSI

ASSOCIATE DIRECTORk.oboyle@adams.ie

Stuart Cole MSCSI MRICS

DIRECTORs.cole@adams.ie

Ronan Flanagan

FINE ART DEPARTMENTronan@adams.ie

David Britton BBS ACA

DIRECTORd.britton@adams.ie

Adam Pearson BA

FINE ART DEPARTMENTa.pearson@adams.ie

Amy McNamara BA

FINE ART DEPARTMENTamy@adams.ie

Katie McGale BA

FINE ART DEPARTMENTKatie@adams.ie

Eamon O’Connor BA

DIRECTORe.oconnor@adams.ie

Karen Regan

FINE JEWELLERY & WATCHESkaren@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 RESERVESThese are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the lower estimate.

PADDLE BIDDINGAll intending purchasers must register for a paddle number before the auc-tion. Please allow time for registration. Potential purchasers are recommend-ed to register on viewing days.

PAYMENT, DELIVERY AND PURCHASERS PREMIUMWednesday 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 REGULATIONSAll 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 BIDSWe are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by 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.ieThe 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

2 A WHITE PAINTED CAST IRON GARDEN 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

9 A WHITE PAINTED CAST IRON GARDEN 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 BENCHESwith 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 URNSof 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 CENTURYPortrait of a Young Lady in a red dress within a painted ovalHalf-length, oil on canvas, 72 x 62cm

€ 1,500 - 2,000

35 IRISH SCHOOL, LATE 17TH CENTURYPortrait of a gentleman, within a painted ovalHalf-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 DYKEPortrait of Henrietta Maria, Queen Consort of England, Scotland and IrelandOil 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 SCHOOLThe Holy Family, with classical ruins beyondOil 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 STOOLwith 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 63.5cmInscribed 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 SpringA pair, oil on canvas, 73.5 x 99.3cm and 72.2 x 99.5cmOne 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 CENTURYeach 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 frieze139 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 distanceOil on canvas, 220 x 148cm

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. 213cm wide x 75cm deep x 80cm high

€ 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 MUSICANTIAn 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 Oil on canvas, 64 x 60cm Signed and dated 1733

€ 2,000 - 3,000

95 ROBERT HUNTER (1745-1803)

Portrait of Sir John Craven Carden, 1st Baronet, half-length, wearing uniformOil on canvas, 74 x 62cm

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, CORKthe 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 DRAWERSwith moulded top above two short and three long drawers, crossbanded and with brass tire, raised on bracket feet96cm 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’Oil on canvas, 76 x 64cm

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, 1569-1627Mughal miniature, opaque watercolour and burnished gold leaf, 20 x 14cmInscribed ‘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 DURGAGouache 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 GROUPbronze, with base 46cm wide, 37cm high

€ 1,000 - 1,500

122 A 14TH CENTURY CARVED SANDSTONE BUDDAHc.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 SCHOOLClassical Landscape with a drover and cattle near a village below a rocky outcrop, figures crossing a stone bridge beyondOil on canvas, 94 x 74cm

€ 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 jayOil 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 SCHOOLEagles Nest, KillarneyOil 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 CENTURYPortrait of the Second Viscount Barrington of ArdglassHalf-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 SCHOOLThe Falls at TivoliOil 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). 232cm wide x 84cm deep x 112cm high

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 plates20 side plates9 large soup plates12 cresent salad dishes18 small side plates8 soup bowls with marks?? on stands13 coffee cups12 saucers4 tureens with covers1 large tureen2 sauce boats2 shaped dishes1 shaped bowl4 oval serving dishes1 large round dishProduced 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’.Oil on canvas, 91 x 70cmSigned ‘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 ovalOil 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 mantillaOil on canvas, 76 x 61cm

(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 SOFAcovered 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 CORNICEcentred 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 dressOil on canvas, 75 x 62cm

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 SCHOOLCountry folk carousing outside a cottageOil 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 VansittartWatercolour 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 - 1801Oil 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 WaterlooOil on canvas, 26 x 63cm

€ 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 SCHOOLA barn interior with a large group of rebels surround-ing a French officerGouache,

€ 300 - 400

214 A VIENNA PORCELAIN PAINTED FIGURE OF NAPOLEONThe 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 CombatDepicting two French Napoleonic soldiersA pair, bronze, 65cm tall

€ 6,000 - 8,000

217 CHARLES SELLGerman lancers surprising French infantry in a snowy winter landscapeOil on canvas, 21 x 26cmSigned and dated 1877

€ 1,000 - 1,500

218 ENGLISH SCHOOL 19TH CENTURYThe 21st Lancers on manoeuversOil on canvas, 30 x 59cm

€ 800 - 1,200

219 ALBERT BLIGNY (1849-1908)French soldiers marching through a trench, during the Franco-Prussian WarOil on panel, 34 x 26cm

€ 1,500 - 2,000

220 THENARD (19TH CENTURY)A French officer standing by a rampartBronze, raised on a marble base, 38cm tallSigned

€ 1,000 - 1,500

221 AN IRISH GEORGE IV MAHOGANY CELLARETTE, by Morgan, Dublin, the sarcophagus shape with flat domed hinged lid above fluted pilasters and raised on carved paw feet with castors, 67cm wide, 68cm tall.

€ 1,500 - 2,000

In an advertisement published in 1832 Anthony Morgan & Co. claimed the ‘business of the house continues to be conducted with the diligent attention which for upwards of half a century, has received the liberal support of the Nobility and Gentry of this Kingdom’. Their father, Robert Morgan is listed in the directories in the years 1782 to 89 as an upholder and cabinetmaker at 16 Henry Street and from 1790-1807 at 21 Henry Street. He was made a Freeman of the City of Dublin as a joiner by service, in 1779 and claimed he manufac-tured ‘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. They promoted the firm as ‘Morgan’s, Cabinetmaker and Upholder to the Right Honble & Hon’ble the Commissioners of his Majesty’s Revenue, General Post Office, Board of Ordnance’. The firm supplied furniture to Borris House, Co. Carlow, Mount Bellew, Co. Gallway and Florence Court, Co. Fermanagh. They received a very important commission to supply dining room furniture for the Provost’s House, Trinity College Dublin, for the visit of King George IV in 1821. The firm supplied ’24 very best Mahogany Parlour Chairs of an extra size with deep carved top rails and having hollowed seats upholstered and covered with satin hair-cloth finished with silk tufts and brass mouldings; £54. 12. 0. The firm also supplied the ‘set of Trafalgar Dining Tables consisting of seven mahogany tops and strong frames on turned and roped legs and patent castors, the entire when opened to form a set, 10 feet 4 inches long and 5 feet 6 inches wide, finished in the best manner with brass fastenings as per agreement - £34. 2. 6. A case was also supplied to store the leaves, made of deal ‘painted as oak lined with Cloth and slipped etc. The term Trafalgar came into use after Nelson’s victories. Finally to complete the suite Morgan’s supplied a mahogany wine cooler and a ‘Mahy Tea Store to match – each with turned pillars, carved claws and castors’. The distinctive pattern used on this wine cooler and tea store appears on the wine cooler illustrated here.

222 AN IRISH GEORGE IV MAHOGANY CIRCULAR RENT TABLE, ATTRIBUTED TO MACK, WILLIAMS & GIBTONthe top with tooled leather scriber above frieze drawers with cast brass circular handles, raised on a turned centrepillar and outswept reeded tripod, base with brass toe caps and castors, 137cm diameter.

€ 2,000 - 3,000

Provenance:: Woodstown House, County Waterford.

Mack, Williams and Gibton were a long lived and highly successful partnership which traded together in Stafford Street, Dublin. Its history can be traced to the latter part of the 18th century when John Mack established a cabinet-making business in Abbey Street, Dublin. The initial partner-ship formed between John Mack and Robert Gibton formed in 1803. Mack and Gibton received the ultimate accolade in 1806 when appointed ‘Upholsterers & Cabinet Makers to his Majesty, His Excellency the Lord Lieutenant and His Majesty’s Board of works’. Robert Gibton died in 1812. An announcement in the Dublin Evening Post stated that the remaining partners ‘beg leave to acquaint their Friends and the Public, that in the Business of their House, in all its branches, will in future be carried on by them in the same extensive manner heretofore, under the firm of Mack, Williams and Gibton (son of their late partner)’. Zachariah Williams, who had married Robert Gibton’s daughter, joined the management, thus creating the new partnership of Mack, Williams and Gibton. The firm enjoyed unparalleled success, supplying furniture and upholstery for many of the most important public buildings in Ireland, including Dublin Castle, the Chapel Royal, the Viceregal Lodge, the Four Courts, the War Office and the Barracks Office. The firm also undertook commissions for many country houses including Borris House County Carlow, Ballynegall, County Westmeath and Ballyfin, Co. Laois. Woodstown, Co. Waterford is an elegant Regency villa beautifully sited overlooking Waterford harbour. The house is attributed to George Pain and was built circa 1823 for Robert Carew, later 1st Lord Carew, as a present for his wife.

223 AN IRISH GEORGE IV ROSEWOOD D-END LIBRARY TABLE, by Williams and Gibton, having twin frieze drawers and opposing false drawer fascia, raised on turned end supports with fluted columns and platform base with rounded feet, 146cm long, 76cm deep, stamped in the drawer

€ 2,000 - 3,000

The final partnership of Williams & Gibton ran from 1829 when John Mack died and operated until 1842 when William Gibton died. The sofa table in this sale is a fine example from circa 1835. Rosewood became increasingly popular for drawing room pieces after 1820. During this period Williams & Gibton supplied the furnishings for Lissadell, Co. Sligo including sofa tables in this style. The firm also supplied furniture for Strokestown Park, Co. Roscommon and Ballindoolin, Co. Offaly. The firm regularly stamped and numbered their pieces. Bill-heads state that Williams & Gibton were ‘Upholsterers & Cabinet Makers to his Majesty, His Excellency the Lord Lieutenant and the Rt Hon Board of Works’. They advertised as house agents and ‘NB auctions Valuations & Funerals Attended’. As the furniture they supplied to Lissadell showed the firm was au fait with the current trends and styles prevalent in the early nineteenth century. Their designs were inspired by pub-lished pattern books including the publications of George Smith and Peter and Michelangelo Nicholson. They were particular in their choice of wood and ran a successful well organised workshop and retail outlet, supplying designs, dealing with clients, purchasing wood, training apprentices, producing upholstery, buying and selling property and conducting funerals.

224 A WILLIAM IV MAHOGANY FRAME SWEPT BACK ARMCHAIR, the curved crest rail above a tub frame with concave support and carved scroll arm terminals, raised on turned fluted legs

€ 600 - 1,000

225 A GEORGE IV MAHOGANY-FRAMED LIBRARY CHAIR, with high back and sides, upholstered in green fabric with panelled pilaster arm supports with scroll capitals, raised on fluted tapering legs with brass castors

€ 600 - 800

226 A GEORGE IV MAHOGANY FRAMED BERGÈRE ARM CHAIR, the close-reeded frame with square back and high, raised sides with baluster fluted arm supports, sprung with cane, with loose leather cushions raised on fluted tapering legs with brass castors

€ 1,500 - 2,000

227 AN IRISH GEORGE II CARVED GILTWOOD WALL MIRROR,the rectangular frame surmounted by a stylised swan neck pediment, above a frame with flat carved scrolls and scallop shell terminal, 110cm x 73cm

€ 1000 - 1500

228 AN IRISH GEORGE III MAHOGANY SILVER TABLE, the cavetto top above a serpentine apron, raised on cabriole legs, with acanthus carved knees on carved paw feet.

€ 2,000 - 3,000

229 AN IRISH REGENCY ROSEWOOD SIDE CABINET, the white marble top with reeded rim, above twin panel doors inset with painted and tooled leather panels, within gilt Greek key borders and fluted gilt pilasters and raised on bun feet. 75cm high, 38cm wide

€ 5,000 - 7,000

230 A REGENCY ROSEWOOD AND BRASS INLAID SOFA TABLE, in the manner of William Trotter of Edinburgh, the figured rectangular top with canted corners above a two drawer frieze flanked by scroll angle brackets, on squared tapering centre column and concave platform base. 153cm wide x 67cm deep

€ 2,000 - 3,000

231 A PAIR OF VICTORIAN ROSEWOOD FRAMED RECTANGULAR STOOLS, each upholstered in pink fabric, the wavy aprons above cabriole legs on scroll feet. 45cm high, 124cm long. (2)

€ 2,000 - 3,000

232 A MATCHED PAIR OF IRISH MAHOGANY BRASS-BOUND PLATE BUCKETS, c.1800, of coopered construction with brass swing handles. 42.5cm high x 39cm and 41cm high x 39.5cm. (2)

€ 3,000 - 5,000

236 A 19TH CENTURY CHINESE TREFOIL SHAPED CARVED HARDWOOD STAND, with scalloped carved border and spreading shaped foot. 25cm diameter

€ 300 - 500

235 A 19TH CENTURY BRONZE AND GILT DECORATED TRIFORM STAND, in Baroque style, each side cast with a female mask above panels of Latin text and held aloft by twin cherubs, on a band of continuous Greek key decoration. 30cm high x 39cm wide

€ 700 - 900

234 A PAIR OF 19TH CENTURY TURKISH CANAKKALE EWERS, the mottled green earthenware with applied floral prunts and painted foliate sprays, one with a single c-scroll handle, the other with entwined handle. 40cm tall

€ 1,000 - 1,500

233 GARY TRIMBLE ARHA (1928-1979)Puck GoatBronze, 26cm tall

€ 400 - 600

236

238 A PAIR OF MID 19TH CENTURY BRONZE FIGURES Of standing Putti holding forth large gilt cornucopia, fluted and converted to table lamps, standing on circular bases, with red marble socles on square gilt bronze reeded pedestals. 74cm tall

€ 3,000 - 5,000

237 AN 18TH CENTURY ITALIAN TORTOISESHELL CIRCULAR BOX with yellow metal mounts, the basket weave carved body, with hinged lid inset with a painted capriccio of a coastal city with figures working in the foreground. 7.5cm diameter

€ 300 - 500

240 A COMPOSED IRISH 19TH CENTURY MAHOGANY BREAKFRONT SIDEBOARDwith step-back pedestals, the table section with gadrooned rim raised on heavily carved lion head column legs, attributed to Strahan & Co. 305 cm long

€ 3,000 - 4,000

239 ATTRIBUTED TO ANDRÉ FÉLIX THOMASStill Life with Fruit, Flowers and LobsterOil on card laid down on panel, 85 x 54 cm Signed indistinctly

€ 1,000 - 1,500

242 A SET OF FOUR REGENCY MAHOGANY SHIELD SHAPED HALL CHAIRS, the crest rail with foliate scrolls, vacant cartouche, solid panel seat and raised on sabre legs.

€ 1,500 - 2,000

241 ITALIAN SCHOOL 19TH CENTURYPortrait of a lady, seated, wearing a red gown with fur trimOil on canvas

€ 2,000 - 3,000

243 AN IRISH GEORGIAN MAHOGANY SIDE TABLE, mid-18th century, with rectangular moulded top, the shaped apron centred by a shell, on scrolled hipped cabriole legs carved with acanthus leaves, on faceted pad feet. 76cm high x 131cm long x 64cm deep

€ 8,000 - 12,000

244 NATHANIEL HONE RA (1718-1784)A mother and child seated in an elegant draped interior, a landscape showing to the leftOil on canvas 127 x 102cm

€ 20,000 - 30,000

Nathaniel Hone R.A. was born in Dublin in April 1718, the third son of Rebeckah and Nathaniel Hone, a merchant. As a young man he plied his trade as an itinerant portrait painter in England picking up com-missions wherever he could. In 1742 he had the good fortune to marry Mary Earle who, Strickland tells us was ‘a lady possessed of some property.’

Hone lived for a time in London before heading to Italy for the purpose of study. He was in Rome in 1750 and in Florence in 1752 when he was made a member of the Florentine Academy. That same year he returned to England and settled in London again, quickly establishing a reputation as a portrait painter in oils but also in miniature. He was an original member of the Royal Academy which was founded in 1769 and continued to exhibit there until 1784, showing a total of sixty nine works. His jealousy of, and turbu-lent relationship with RA President, Sir Joshua Reynolds is well documented and indeed his truculence cast a long shadow over his remaining years. He died in London on August 14, 1784.

Hone was as adept at painting men and women as he was at the characterisation of children and it was in this idiom that he is perhaps rightly regarded as peerless. His originality is most apparent in the well-known portraits of children where they are shown in engaging poses, cuddling pets or playing musical instruments. In the present work, typical of the fashionable English portraits of the day, a small child is held by it’s mother and is holding a small wooden pipe. It displays immense charm and conveys a happy relationship between mother and child and in the relaxed pose little formality is conveyed. There is an element of theatricality, which Hone enjoyed, in the positioning of the sitters against a dark curtain. The view beyond to a pastoral landscape provides light and adds further charm.

245 AN 18TH CENTURY CARVED FRUITWOOD TRIANGULAR PLASTER MOULD, triangular blocks, plaster mould, decorated with scrolling foliage and inscribed 1785, 53 x 30cm

€ 1,000 - 1,500

246 AN IRISH GEORGIAN MAHOGANY DROP-LEAF TABLE, mid-18th century, on moulded shell-capped cabriole legs on prominent foliate trefoil feet. 67cm wide x 117cm (open)

€ 1,800 - 2,000

247 A FINE PAIR OF GEORGE III MAHOGANY SQUARE TOP KETTLE STANDS, with raised wavy gallery and pull-out cup slides, raised on turned fluted tapering legs with brass castors. Each 29cm, 72 high

€ 5,000 - 7,000

248 A PAIR OF IRISH GEORGIAN MAHOGANY SIDE CHAIRS, c. 1750, with scrolled crest rails above fret-cut splats, drop-in seats, on shell-capped cabriole legs with pad feet

€ 1,000 - 1,500

249 AN IRISH GEORGE III MAHOGANY SERPENTINE FRONT FOLDING TOP CARD TABLE, the top opening to reveal sunken counter wells and circular corner candle stands, the apron centred by a scallop shell, raised on carved cabriole legs with paw feet, and shell carved knees. 88 x 42cm

€ 6,000 - 8,000

250 A QUEEN ANNE WALNUT FRAMED UPHOLSTERED WING ARMCHAIR, early 18th century, with arched padded back, out-turned arms and loose cushion seat covered in a teal fabric, on plain cabriole supports and club feet

€ 2,000 - 3,000

251 AN IRISH WILLIAM IV MAHOGANY VENEERED BRASS-BOUND CYLINDRICAL STICK STAND In the style of Williams and Gibton, with gadrooned rim, on three gilt metal claw feet. c.38cm diameter, 66cm high

€ 3,000 - 5,000

252 A SET OF FIVE LARGE GEORGE III STYLE CARVED GILTWOOD WALL SCONCES,

the ribbon tied swags centred by sheafs of corn above phoenixes with outstretched wings having two scroll branches with urn shaped sconces and drip pans. 113cm tall

€ 3,000 - 5,000

253 TWO LARGER SCONCES SIMILAR TO THE SET ABOVE (LOT 252) (2), 123 cm tall

€ 1,200 - 1,600

254 A REGENCY BLACK & GILT DECORATED RECTANGULAR COMPARTMENTED OVER MANTLE MIRROR, with moulded cornice above a frieze decorated in bas relief with figures and lion-drawn chariot, flanked by reeded pillasters and raised on shallow platform base. 89.5cm high, 148.5cm

€ 1,000 - 2,000

255 A GEORGE III MAHOGANY TAMBOUR CYLINDER FRONT BUREAU C.1790, with frieze drawers, the sides with pull-out slides and dummy drawers, pull-out scriber and fitted interior on square tapering legs with brass castors.76 x 52 x 91cm high

Provenance: Baronscourt, Co. Tyrone

€ 1,000 - 1,500

256 A WALNUT CHEST, Basically 18th Century, of three short above five grad-uated long drawers, on tall bracket feet, now divided and apparantly reduced in height.151cm high x 121cm wide x 54cm deep

Provenance: St Anne’s, Clontarf

€ 500 - 800

258 AN IRISH GEORGE III INLAID MAHOGANY SEMI-CIRCULAR SIDE TABLEIn the manner of William Moore, the top inlaid with continuous border of trailing mistletoe within bands of satinwood, raised on square tapering banded legs, 103 x 55cm

€ 6,000 - 8,000

257 AN IRISH REGENCY OVAL WALL MIRROR, Dublin, c. 1800, the fitted glass plate contained within a blue, white and gilded beaded border, 70 cm high

€ 5,000 - 8,000

259 A FINE TERRESTRIAL GLOBE, by W. & T.M. Bardin, dedicated to The Rt. Hon. Sir Joseph Banks Bart. K.B. President of The Royal Society. ‘’This new British Terrestrial Globe containing all of the latest Discoveries and Communications from the Most Correct old Authentic Observations and Surveys to the year 1794 by Captain Cook and other naviga-tors. An accurate drawing by Mr. Arrowsmith’’, contained in a mahogany frame with turned centrepillar and outswept tripod base with brass castors, 108cm high.

One the foremost globe makers of the 18th century, William Bardin began his business in 1782. His ear-liest globe is described, ‘This a new, Accurate and Complete Terrestrial Globe originally laid down by the late James Ferguson FRS August 1783’. Ferguson had acquired the skills of the 18th century cartographer, John Senex. Senex had given these to Benjamin Martin in 1757. Bardin acquired them through his associ-ation with Martin’s apprentice, Gabriel Wright. Joined in business by his son in 1790, the firm became W. & T.M. Bardin, based of Fleet Street in Salisbury Square.

€ 8,000 - 12,000

260 CARTE PARTICULIERE DES COSTES OCCIDENTALIS D’IRLANDE... Published Paris 1693. A chart of the West coast of Ireland with an inset of Kinsale. From Jaillot’s Neptune Francais... Original colour 870 x 590 framed

€ 500 - 800

261 ROGER JEAN (1783 - 1828) A huntsman standing in riding boots with a long whip

and greyhoundWatercolour, 31 x 22.5cmSigned and dated 1813

€ 200 - 400

262 WILLIAM MAGRATH (1838-1918)Going to the Well, a peasant girl carrying an empty water ewer in a rural landscapeWatercolour, 39.5 x 30cmSigned and dated 1875

€ 800 - 1,000

260A CARTE GENERAL DES COSTES D’IRLANDE Published Paris 1693 A chart of the whole of Ireland and West coast of Britain from Jaillot’s Neptune Francais... original colour 870 x 590 framed

€ 500 - 800

260 260A

263 A RARE PAIR OF GIANT IRISH DEER (MAGALOCEROS GIGANTEUS) ANTLERS, now detached, one with old ironwork strapping, 320cm wide

€ 2,000 - 3,000

264 A COLLECTION OF 47 UNCOLOURED 17TH CENTURY MAPS, loose folded, some creased, some affected by damp at the extremities, largely removed from the atlas by Nicolas Visscher, the most desirable being that of Novi Belgii, New York still being Nieuw Amsterdam and rarities as Cannibale Insclae,

(A list of contents are available from the auctioneers)

€ 4,000 - 6,000

265 A PAIR OF REGENCY ROSEWOOD FRAMED POLE SCREENS, c.1820, converted to standard lamps, each with adjustable tapestry panel, on a brass tubular column and concave platform base. 160cm high to light fitting

€ 800 - 1,200

266 AN IRISH REGENCY MAHOGANY OCTAGONAL CENTRE TABLE, the crossbanded top with gadroon border supported on a squared tapering centre column and concave platform base. 98cm diameter

€ 1,000 - 1,500

267 A FINE IRISH GEORGE III MAHOGANY TALLBOY CHEST, the moulded cornice above eight graduated drawers, with brass cast handles, raised on a stand with a central carved scallop shell, and well carved short cabriole legs with acanthus leaf carving and rosette terminals on a punched ground, raised on hairy paw feet. 92cm wide and 205cm high

€ 8,000 - 10,000

268 A FINE LARGE GEORGE IV GILTWOOD PIER MIRROR AND CONSOLE TABLE, by William Froom, London, the arched mirror frame surmounted by a scallop shell and flanking c-scrolls, the top carved with palmettes, acanthus leaves and rocaille decoration, the serpentine front table having a marble top and correspondent carving raised on cabriole supports and acanthus capped scroll feet with scrolling cross stretcher.367cm tall 182cm wide

Provenance: Sold Adams 2002, the property of the Earl of Meath, Kilruddery, Co. Wicklow

Note: In 1825 the firm of William Froom of The Strand London were employed to supply British Pier Glasses and overmantles to the drawing room at Kilruddery, the great neo-gothic mansion built for the Brabazons by the Morrisons.

€ 20,000 - 30,000

269 AN IRISH GEORGIAN ‘D’ SHAPED SYCAMORE, HAREWOOD AND SATINWOOD PILLAR TABLE, by William Moore of Dublin, c. 1780, with rosewood banding, the fan inlaid top with harebells with interlaced rosette border, the frieze with triglyphs in trompe l’oeil inlay, on square tapering inlaid legs with raised banding. 137cm wide x 51cm deep x 88cm high

€ 10,000 - 15,000

270 JAMES ARTHUR O’CONNOR (1792-1841)A man walking on a wooded path by a rocky torrentOil on canvas, 51 x 61cm

The son of William O’Connor, an engraver, James Arthur was born in Dublin. He is said to have had some lessons from William Sadler but otherwise he is thought to have been largely self-taught. He had his first exhibition at the SIA in 1809. In 1813, accompanied by Danby and Petrie he went to London but found that they couldn’t afford to stay for long. Danby and O’Connor walked to Bristol where Danby is said to have given his companion the money to return home to Dublin.In 1818 and 1819 he visited the West of Ireland and painted local scenes around Westport and Portumna for Lord Sligo and Lord Clanricarde. In 1820 he received a small award from the Royal Irish Institution, but, unable to support himself in Ireland he left for England in 1822. On his arrival in London he began to exhibit at the RA and to sell his works. He spent a year in Brussels in 1826 and again in 1830. In 1832 he stayed some months in Paris and on his circuitous return journey to London he visited the Moselle and Rhine val-leys. Strickland claimed that he painted his best pictures while on this tour. He sent works to the RHA in 1836 and 1840. He died in 1841 in poverty. He was a versatile artist whose work featured topographical scenes, dramatic seascapes but most commonly picturesque rural scenes and romantic landscapes, many of them based on his early studies in the Dargle valley in Co. Wicklow.

€ 8,000 - 12,000

A very similar work by the artist

Sold these room 6/12/2010 €14,500

271 A NORTH EAST PERSIAN RUNNER, with vegetable dyed wool, woven with multiple geometric panels on a red and cream ground, confined within a border of alternating cross motifs. 504cm long x 81cm wide

€ 1,000 - 1,500

272 A NORTH WEST PERSIAN WOOL RUNNER, c. 1900, the red and navy ground woven with interlinked lozenges to the central field, within a chevron border and narrow stripes. 473 x 118cm

€ 1,800 - 2,200

273 A SEMI-ANTIQUE KASHAN WOOL RUG, c.1920, of rectangular shape, woven with a double ended medallion against a claret red ground filled with dense foliate design and held within broad navy ground borders. 200 x 127cm

€ 1,200 - 1,600

275 AN EARLY 20TH CENTURY LESHOL SHIRWAN RUG, the large navy rectangular field decorated with three large central medallions, two in orange and gold, the central medallion in pale blue and orange, surrounded by abstract geometric decorations, suns, octagons etc., the central field contained within multiple narrow borders of interlinked geometric designs, hand knotted. 223 x 118cm

€ 700 - 1,000

274 A NORTH WEST PERSIAN HALL RUNNER,c.1910, woven with a narrow navy ground lozenge, filled with rows of octagons and medallions within a broad chevron and rosette border. 485 x 107cm

€ 2,000 - 3,000

277 ITALIAN SCHOOL 19TH CENTURYThe Madonna, in the style of Il SassoferratoOil on canvas, 69 x 56 cm (27 x 22 “)

€ 200 - 400

276 STYLE OF GEORGE MULLINS (FL.1756-1775)

An Italianate landscape with figuresOil on canvas, 47 x 42cm

€ 500 - 800

278 CONTINENTAL SCHOOL (19TH CENTURY)

The Holy Family with John the BaptistOval, oil, 41cm diameter

Provenance: The Palles Family, Belvedere Place, Dublin.

A label verso with family crest directs that this painting was given by Eleanor Palles (nee Plunkett) to her daughter-in-law Ellen, wife of Lord Chief Baron Palles (1831-1920)who was the subject of a biography written by V.T.H. Delany in 1960. A legend of the Irish Bar, Christopher was educated at Clongowes Wood College and Trinity College Dublin. He was appointed Chief Justice at the age of 42.

€ 800 - 1,200

279 18TH CENTURY IRISH SCHOOLA view on Powerscourt EstateOil on canvas,

€ 3,000 - 4,000

280 DUTCH SCHOOL (18TH CENTURY)Travellers resting at a bridgeOil on oak panel, 24.5 x 36cm

€ 1,000 - 1,500

281 A GERMAN WWI GREEN FELT PICKELHAUBE WITH BRASS

FURNITURE.

€ 200 - 400

282 A VICTORIAN BLUE CLOTH FIVE PANEL OFFICERS HELMET Of the Royal Horse Artillery by Hawks & Co., with gilt brass furniture, a paper label inscribed ‘Bradel Esquire’.

€ 300 - 400

283 TWO 19TH CENTURY LONG BOWS, WITH COLOURED STRAPPING. 216cm tall

€ 150 - 250

284 A CASED SET OF TEN NAPOLEONIC MEDALLIONS BY ANDRIEU, 19TH CENTURY,Of varying sizes contained within two display trays and fitted in a simulated book binding, each relief cast medallion with bronzed patination including de-pictions of ‘Seige de la Bastille’ , ‘Arrive du Roi a Paris’ and portrait bust medallions.The case 35 x 27 cms €500 – 800

285 A GEORGE III FLINTLOCK LONG BARREL CAVALRY PISTOL,with Tower marks, with a removeable ramrod, fully stocked with brass furniture. 48cm wide with belt hook

€ 600 - 900

286 AN IRISH GEORGE III FLINTLOCK PISTOL, by Harpur, possibly Cork, ca. 1770, the walnut stock inset with silver mounts Irish hallmarks, Dublin C1770, military trophies and engraved flowers

€ 1,000 - 1,500

287 AN EARLY 19TH PERCUSSION OVERCOAT PISTOL, by Van Wart & Sons, London with damascus barrel and checkered walnut stock. 20cm

€ 400 - 500

288 AN IRISH GEORGE III MAHOGANY SIDE TABLEThe top with moulded rim, above a plain friese. the carved apron centered by a scallop shell flanked by leaf scrolls and swags, raised on slender cabriol legs with carved paw feet.

€ 6,000 - 8,000

289 A SET OF TEN REGENCY MAHOGANY DINING CHAIRS, each with curved panel back above a leaf carved mid-rail, upholstered drop-in seats and raised on sabre supports

€ 2,000 - 4,000

290 A SET OF TEN 19TH CENTURY ANGLO-INDIAN EBON FRAME DINING CHAIRSThe reeded rail backs, above cane seats and raised on turned baluster tapering legs.

€4000 - 5000

290A AN ENGLISH CARVED IVORY CHESS SET, one side stained red, the other left natural, contained within a leatherette backgammon and chess box, of book form

€ 500 - 700

291 A 19TH CENTURY MOSAIC CHESS AND BACKGAMMON BOX, containing a set of carved bone backgammon count-ers, one side stained red, the other left natural

€ 150 - 250

292 AN UNUSUAL 19TH CENTURY BRASS DESK CLOCK, with a circular enamel dial and drum movement, within a horseshoe frame, raised on an elaborate scrolling frame supported with chains. 27cm tall

€ 200 - 400

293 AN EARLY 19TH CENTURY HAND TELESCOPE by P&P Gally London, inscribed ‘Day and Night’, the brass frame with a walnut stock. 35cm closed

€ 150 - 250

294 A FINE DAVENPORT ‘LANDSCAPE’ DESSERT SERVICE, c.1840, comprising 12 side plates, two large tazza and four com-ports, each delicately painted with individual views of Irish and British landmarks, inscribed with title verso, each depiction within gilt line borders, and reserved against a rich blue ground and floral mounted border, impressed factory mark and stamped with retailers mark of ‘James & Nephew’ LondonTitles verso as follows:- Lake Como- The Moorland Stream- Lough Aure- East Cliff Hastings- Alton Towers- Mill on Trent- Ross Castle Killarney- Lake Constance- Return of the Missing Boat, St. Ives- Penton Hook Lough, Thames- The Gulf of Salmis- Old Mill, Maple Durham, Thames- Twickenham Ferry- Portchester Castle- Bonn on the Rhine- ‘The Way to Church’ and two others

€ 1,000 - 1,500

295 A 19TH CENTURY BOHEMIAN LARGE GOBLET,the panelled body decorated with a wheel cut continuous landscape of deer running in a forest, with a large vacant oval reserve, raised on panelled knopped stem and a spreading foot. (30cm tall)

€ 800 - 1,000

296 A 20TH CENTURY SILVER GILT AND ENAMELLED SNUFF BOX,.935 Standard, with Swedish import marks and stamped ‘STERLING’ ‘935’ to the gilt interior, the hinged lid decorated with a scene of a hunter and reclining shepherdess with sheep in a landscape surrounded by profusely chased floral and foliate decoration, against a cobalt blue enamelled ground, repeated to the side (c. 8ozs). 9.5 x 7cm

€ 300 - 500

297 TAXIDERMY - A 19TH CENTURY STUFFED WILDCAT, one paw upon a duck in a naturalistic setting, contained in an ebon, framed glass case, 101 x 51cm

€ 800 - 1,200

298 A GILT BRONZE FIGURE OF A STANDING TROUBADOUR, 19th century, with mandolin on associated grey marble plinth. The figure 31cm high

€ 300 - 500

299 A GEORGE III INLAID MAHOGANY KNIFE BOX, crossbanded with boxwood and ebony stringing, the slope top opening to reveal a later interior.38cm high

€ 150 - 250

300 FRENCH SCHOOL, 18TH CENTURY Portrait of a lady and gentlemanA Pair, Pastel, 53 x 48cm

€ 3,000 - 5,000

301 A LARGE 17TH CENTURY STYLE DUTCH DELFTWARE VASE and cover in the manner of Adrian Kock, of baluster form and decorated with figural panel in reserves. 72cm tall

€ 500 - 700

302 A LARGE 19TH CENTURY GOLDEN OAK RECTANGULAR STRONGBOX CHEST with iron strapwork, the hinged lid with applied brass plaque inscribed “CITY OF DUBLIN”. 90 x 56 x 37 cm high.

€ 200 - 400

303 A KAZAK WOOL CARPET, South Caucaus, woven with a large central octagon in pale cream tones against an open terracotta ground with star shaped medallions and navy outer border. 347 x 248cm

€ 1,600 - 2,000

304 A PERSIAN IVORY GROUND CARPET, North West Persia, the large central field filled with geometric medallions and leafy sprigs, contained within a soft blue border and narrow outer stripes. 383 x 308cm

€ 2,000 - 3,000

306 AN ATTRACTIVE ROOM SIZE AUBUSSON CARPET, IVORY GROUND. 274 X 183CM,

€ 0 - 0

307 AN ATTRACTIVE ZIEGLER PATTERN WOOL CARPET,woven with intertwined tendrils and flowerheads on a cream ground, bordered by a brick red band, geometric pattern vines and cross hatch guard stripes. 336 x 253cm

€ 2,000 - 3,000

310 AFTER THE ANTIQUE, A Bronze Bust of a Roman God, with sculpted helmet and beard, on a marble base, 53cm tall

€ 500 - 800

309 AFTER HOUDON, A Bronze Bust of the Goddess Venus, raised on a circular spreading foot with ribbon-tied laurel banding, 60cms tall

€ 1,500 - 2,000

311 A GEORGE II EBON CASED BRACKET CLOCK, by R. Henderson, the domed top with brass carrying handle above a single, arched glazed door enclosing an engraved glass dial with applied brass spandrels, flanked by grill panel sides and raised on bracket feet, 47cm tall

€ 2,000 - 4,000

315 VICTORIAN SCHOOLWaterbirds in their natural habitatThree watercolours, 35.5 x 44 cm; 28 x 43; 44 x 29 cmOne inscribed indistinctly and dated April 1883. (3)

€ 1,000 - 1,500

316 CHARLES COLLINS (C.1680-1744)

Still Life with a Basket of Flowers and Two Parrots on StepsOil on canvas, 105 x 80 cmSigned and dated, 1741

Charles Collins is an artist emerging from obscurity as more paintings have been discovered or re-attributed to him. Strickland merely quotes Walpole’s reference to him and the Hume Sale but pays little attention to the picture in the National Gallery. We can now see that he was a decorative artist of ability.

€ 8,000 - 12,000

317 A RARE IRISH SEAL, c. 1900, oval shape, lead with copper plating

€ 500 - 800

318 A CHINESE BRONZE CENSOR, Of compressed baluster form having twin swing handles and a removable pierced lid,

decorated with a dragon in clouds. 17cm diame-ter

€ 200 - 400

319 A CHINESE EXPORT PORCELAIN PUNCH BOWL, Qianlong (1736-95) of deep circular form, painted to the exterior with insect, flowers and foliate sprays beneath a gilt rim. 26cm diameter

€ 800 - 1,200

320 A CHINESE EXPORT PORCELAIN PUNCH BOWL, Early 19th Century, of circular form, painted with songbirds, chrysanthemums and rocks, the interior with trellis banded border. 27.5cm high

€ 600 - 1,000

321 ATTRIBUTED TO ADAM BUCK R.A., 1753-1833

Portrait of a young boy sitting on an upturned wheel-barrow with a dog and catWatercolour and pencil, 21.5 x 14cmSigned with initials A.B.

€ 100 - 200

322 A RARE AND INTERESTING PALEOZOIC PROLECANITID FOSSIL, IN TWO PARTS.

Note: it is believed that this ammonoid (a broad term used for extinct ma-rine animals) dates between the Middle Devonian to Lower Carboniferous Periods, circa 300-400 million years ago. The Carboniferous era, was the time when many of the global coal beds were formed.

Provenance: Tara, Co. Meath, Ireland

€ 3,000 - 5,000

323 AN IRISH GEORGE III CAST BRASS DOOR KNOCKER, in the form of a lion mask with a hinged ringturned knocker. 19cm overall

€ 200 - 400

324 AN IRISH GEORGE III CAST BRASS DOOR KNOCKER, of shield form with the head of Mercury cast in low relief, with a hinged knocker, 23cm overall(See Volume IV cover of the Georgian Society Records)

€ 400 - 600

325 HUBERT CORNISH (1757-1823)Kildare Cathedral and Round TowerWatercolour, 25 x 35cmInscribed with title and dated ‘16 September 1809’ on the reverse

€ 300 - 500

326 A FINE VICTORIAN BRASS FRAMED SIX LIGHT BILLIARD ROOM ELECTROLIER, the tubular frame with two outswept end branches and two mid sections with central urn support and scroll branches. 260cm

€ 2,000 - 3,000

327 A LATE 19TH CENTURY ITALIAN CARVED MARBLE FIGURE OF A THERM, naked with floral headress supporting an iconic capital, her body within a veined mark scroll pedestal on stepped square base, surmounted by a circular breccia marble top. 114cm high

€ 800 - 1,200

328 ENGLISH SCHOOLBust length portraits of the 11th Viscount Mountgarret (1745-1793) and the Viscountess Mountgarret (1748-1785)A pair, oil on canvas, each 72 x 55cmInscribed with sitters’ identities on old labels on the reverse

€ 2,000 - 3,000

330 AN IRISH GEORGE III MAHOGANY LONG CASE CLOCK, by James Auton, Cork, the hood with swan neck pediment and urn finial enclosing a brass dial and chapter ring, flanked by fluted columns, above a waisted case, with a single arched door panel on bracket feet

€ 3000 - 5000

329 LIONEL EDWARDS (1878-1966) & LANCE THACKERAY (1869-1916)

Every Dog Has its Day;Every Couple is Not a Pair;Fools Rush in, Where Angels Fear to Tread;Last But Not LeastA Set of 4, each Ink and watercolour, 30 x 49cmSigned by both artists, in original oak frames,

LIONEL EDWARDS (1878-1966)Lionel Edwards was born in North Wales. A student at the Heatherly School of Fine Art, he became the youngest Member of The London Sketch Club at the age of 19. He became a Member of the Royal Cambrian Academy of Art in 1926 and the Royal Institute in 1927. He worked almost entirely in watercolour and between 1925 and 1966 he wrote and illustrated nearly thirty books on sporting subjects, mainly featuring equestrian sport. He also provided designs for Punch and The Graphic and exhibited at the Royal Academy, the Royal Cambrian Academy and at the Royal Institute.

LANCE THACKERAY (1869-1916)Lance Thackeray was born in Darlington. He was a founding member of the London Sketch Club. He produced the designs for over 950 postcards, working for Raphael Tuck & Sons of London. He had a studio in Chelsea at 169 Ebury Street and collaborated with Lionel Edwards, painting watercolours of sporting subjects including horse racing, billiards and golf. He exhibited at the Royal Academy, the Fine Art Society of Bond Street, The Leicester Gallery, the Royal Society of British Artists and at the Walker’s Gallery, London.

€ 2,000 - 3,000

331 A LONG SINGLE PLANK STAINED OAK BENCH, with reeded edges and raised on end supports with inverted ‘V’ feet. 295 cm long, 22.5 cm deep.

€ 300 - 400

332 AN IRISH MAHOGANY OPEN ARMCHAIR, c. 1770 with shell eared crest rails, open trellis splat inscrolled arms, the seat upholstered in old brown hide on square grooved legs with fret-work brackets

€ 700 - 1,000

333 A 19TH CENTURY STAINED WOOD BOOKPRESS, with turned wooden screw, with acorn finial, raised on a table base, with frieze drawer on square taper-ing legs. 72cm wide

€ 600 - 1,000

334 A LARGE VICTORIAN BLACK PAINTED DISH TRAY, on an ebon stand, with ringturned legs and X-frame stretcher. 78 x 56cm

€ 200 - 400

335 WILLIAM OSBORNE RHA (1823-1901)

Bay Hunter in a Stable YardOil on canvas, 45 x 59.5cm (17¾ x 23½”)Signed with monogramProvenance: Arthur Ackermann trade label affixed versoWilliam Osborne was born in Dublin in February 1823 and was twenty-one years of age when he entered the Royal Hibernian Academy as a student. He began exhibiting at the RHA in 1851 with three works, a portrait of a Terrier Dog, a watercolour of a Boy and another of a Girl from an address in Pleasants Street in Dublin. He became a Member in 1868 and exhibited almost every year up to his death. Strickland notes that Osborne “devoted himself to the painting of animals, chiefly dogs and horses, which he loved and thoroughly understood.” His son, Walter eclipsed the father as a painter and sadly only outlived him by a couple of years.

€ 4,000 - 6,000

336 AN IRISH MID-GEORGIAN DROP LEAF DINING TABLE, extending to oval form, the solid moulded top over an arched frieze and plain cabriole legs, ending with trefid foot. 125cm wide x 148cm long (extended)

€ 3,000 - 5,000

337 ENGLISH SCHOOL 19TH CENTURYPortrait of William Earle (1787-1864), Mayor of Liverpool (1836-1837) and his wife Anne Bradish of KilkennyA pair, oil on canvas, 109 x 84cmContained in ornate oak leaf frames

€ 4,000 - 6,000

338 NATHANIEL HONE RA (1718-1784)Portrait of a gentleman, half length, wearing a red coat, a buff waistcoat and white stock, his hand on a cane, in a landscapeOil on canvas, 75 x 62cm

Provenance: sold Sotheby’s, London 13/05/05

€ 8,000 - 10,000

340 A GEORGE IV ROSEWOOD LIBRARY TABLE, c.1825, the plain rectangular top with rounded corners above two short frieze drawers and opposing dummy drawers, sup-ported on solid tapering columns and lotus carved platforms, ending with bold lion’s paw feet. 151cm wide

€ 1,500 - 2,500

339 ENGLISH SCHOOL 18TH CENTURY, Portrait of a naval officer with distant Man of War Oil on canvas, 123 x 100cm

€ 4,000 - 6,000

342 AN 19TH CENTURY FRENCH CARVED FRUIT-WOOD RECTANGULAR DECORATIVE PANEL, centered with a portrait of a bearded man, supported by twin angels within a field of foliate scrollwork and contained in a carved timber frame. 54 x 190 cm. Signed ‘René Bigat, Sculp.’

€ 500 - 800

341 AFTER BARTOLOME ESTEBAN MURILLO, 18TH CENTURY“Three Boys” A Group with three boys, one carrying a water jugOil on canvas, 131 x 104cmAfter the original in the Dulwich Picture Gallery

€ 5,000 - 8,000

343 A PAIR OF VICTORIAN BRONZE STANDING FIGURES of Italian/Spanish 17th Century Soldiers, in armour, carrying weapons, one blowing a horn, on circular vases and raised on black stained timber stepped platforms. 42.8cm high; 48cm high overall

€ 500 - 800

344 A 19TH CENTURY FRENCH VERNIS MARTIN VITRINE, the serpentine front with glazed panel single door, decorated with a hand painted laquered panel depicting lovers in landscape, the entire decorated with brass reeded banding and cast foliate sprays enclosing glass shelves and raised on slender cabriole legs. 75cm wide, 154cm tall, 39cm deep

€ 2,000 - 3,000

345 A 19TH CENTURY FRENCH INLAID KINGWOOD OCCASIONAL TABLE, of shaped rectangular form, the top inlaid with continuous panel of musical trophies with putto, flanked with marquetry floral parcels within a gilt brass band, having single frieze drawer raised on slender cabriole legs with cast ormolu mounts. 51 x 35cm

€ 1,500 - 2,000

346 A FRENCH 19TH CENTURY INLAID WALNUT BEDSIDE CABINET, the top with raised sides above a fall front section enclosing pigeon holes and drawers, raised on slender cabriole legs, the entire with cast gilt metal mounts. 35cm square, 88cm tall

€ 2,000 - 3,000

347 A PAIR OF LATE 19TH CENTURY FRENCH BRONZE FIGURAL LAMPS in the form of Eugène Marioton’s ‘Fascinator’ and ‘Vainqueur’, each standing and holding aloft lights, each raised on a square base inscribed with title, signed and with ‘Siot-Decauville Fondeur Paris’ mark. 95cm high

€ 1,500 - 2,500

348 AN EARLY 19TH CENTURY FRENCH INLAID KINGWOOD TALL BOY CHEST OF EIGHT LONG DRAWERS, the breccia marble top above drawers decorated with naturalistic cast gilt bronze handles on a ground banded with boxwod stringing and chequered band-ing, the side with herring bone panels and raised on shaped platform base. 94cm wide, 168cm high, 41cm deep

€ 2,000 - 3,000

349 A PAIR OF CARVED GILTWOOD TRIFORM JARDINERE STANDS, 19th Century, each with dished circular top above an inverted acanthus and acorn ornament supported by three lead carved scroll legs. 50cm high, the platform interior 25cm diameter

€ 800 - 1,200

(NOTE : THE VASES - LOT 366)

350 A GEORGE IV MAHOGANY AND SATINWOOD CROSSBANDED SOFA TABLE, c.1820, of rectangular form, the moulded top with drop leaf extensions to each end above a two-drawer frieze centred with a ram’s mask in relief, on splayed trestle end supports and joined by centre stretcher, extending to 160cm wide, 64 cm deep

€ 800 - 1,200

351 A 19TH CENTURY CAST IRON HORSE HEAD, beneath oak leaf spray. 92cm high

€ 5,000 - 7,000

352 A SET OF FOUR GEORGE II MAHOGANY FRAMED UPHOLSTERED SIDE CHAIRS, each with rectangular back and padded seat covered in cream floral damask, raised on squared legs joined by an H-shaped stretcher

€ 1,500 - 2,500

353 A FINE GEORGE III MAHOGANY BREAKFRONT BOOKCASE in the Neo-classical taste, the moulded cornice centred by a fan shaped pediment and a pierced gallery with urn finials above four arched glazed panel doors, dec-orated with carved rosettes and trailing bellflowers, arranged in a pair of flanking single doors, the base with frieze drawers with gilt brass handles, on cupboard base, similarly arranged, each panel decorated with applied carved oval rosettes, with bellflower swags and raised on bracket feet.254cm wide, 62cm deep, 241cm high

€ 30,000 - 40,000

354 A PAIR OF GEORGE III STYLE CARVED GILTWOOD WALL MIRRORS, in the manner of Mathias Locke, the oval mirror plate within open pierced frames of trailing branches and foliage, and small enclosed mirror panels, surmounted by oval cartouches with carved swans against a mirror back. 149 x 81cm

€ 10,000 - 15,000

355 ATTRIBUTED TO NATHANIEL GROGAN (C.1740-1807)Figures Boating in a Wooded River Landscape, at Sunset Oil on canvas, 102.5 x 142.5cm

Provenance: The Estate of William Roth

€ 8,000 - 12,000

356 18TH CENTURY SCHOOLClassical Italianate Landscape with figures by a weir beneath a large villa with a millwheelOil on canvas, 85 x 117cm

€ 6,000 - 8,000

358 WILLIAM SARTORIUS, 18TH CENTURYA still life of fruit in a landscape, with a Jay and a BullfinchOil on canvas, 51 x 63.5cm

€ 3,000 - 5,000

357 HENRY MAURICE PAGE (19TH CENTURY)

A figure gathering wood in a snowy wooded lodgeOil on canvas, 75 x 126cmSigned and dated 1889

€ 2,000 - 4,000

359 ATTRIBUTED TO ENOCH SEEMANA young boy wearing a blue coat and white jabot, with a King Charles Spaniel, three-quarter length portrait;together with a young girl, wearing a blue dress and pink and white bonnet, with a bouquet of flowers,Three-quarter length portraitA Pair, Oil on canvas, 70.5 x 58.5 cmIn carved gilt-wood frames

€ 5,000 - 7,000

360 A JAPANESE IMARI PARCEL VASE of baluster form, with serrated rim, the body decorated in traditional burnt orange, blue and gilt, with panels of garden landscape with heron, on a foliate panel ground. 57cm tall

€ 400 - 600

361 A LARGE PAIR OF CHINESE STYLE CELADON PORCELAIN BALUSTER VASES, decorated with pomegranates and leaf sprays in low relief, on stands. 68cm tall

€ 1,000 - 1,500

361A THREE MARBLEIZED TAZZAS46cm diameter and 32cm diameter

€ 800 - 1,200

361

360

363 A LARGE PAIR OF MARBLEIZED PORCELAIN URNS with covers of baluster form and Dog of Fo finial. 92cm tall

€ 2,000 - 3,000

362 A PAIR OF IRISH EARLY VICTORIAN CAST IRON GATES BY RICHARD TURNER DUBLIN.

The gates stamped R. Turner Stephens Green.

€ 5000-7000

364 A SET OF THREE LARGE OAK FRAME PANELS, each with bevelled mirror panels with pierced half circular segments with carved urns and floral swags. 245 x 152cm

€ 3,000 - 5,000

365 A VENETIAN CUSHION FORM GLASS FRAMED MIRROR of octagonal form surmounted by a segmented cartouche with cut glass banding and etched panel depicting a bird in a tree, the mirror frame surround-ed by etched foliate sprays. 170 x 102cm

€ 3,000 - 5,000

366 A PAIR OF MASSIVE CHINESE BLUE AND WHITE PORCELAIN BOTTLE VASES, 20th Century, each decorated with coiled dragons amongst clouds and stylized pearls. 74cm high

€ 1,200 - 1,600

367 A SIGNED MESHAD WOOL CARPET, North East Asia, woven by Bordbar, with large central field filled with groups of flowers against a claret ground, surrounded by a broad rectangular border of flower heads and palmettes. 409 x 311cm

€ 3,500 - 4,000

368 A FINE SEMI-ANTIQUE KASHAN WOOL CARPET, c.1910, the large rectangular field woven with a floral medallion on a teal and claret ground, set within a larger lozenge and contained within alternating leafy borders.

€ 3,500 - 4,000

368A AN ANTIQUE BAKTHIAR KELLI (RUNNER),originating in Chahar Mahal, West Persia, c.1890-1910, the field with large Herati design within a border of flowerheads and rosettes, linked by vines between double floral meandering guard stripes in a shaded navy blue ground. 405 x 153cm

€1,500 - 2,500

369 A CONTEMPORARY CREAM GROUND WOOL CARPET in the William Morris style, with large rectangu-lar reserve woven all over with fruits and feath-er fern leaves, within a single broad border and narrow outer guard stripe. 314 x 248cm

€ 3,500 - 4,500

370 A FINE SPARTA CARPET, c.1900, with large rectangular field woven with a geometric medallion against a deep red ground, set with spandrels to each corner and bordered by alternating palmettes and leafy designs. 460 x 396cm

€ 2,000 - 3,000

371 AN IRISH GEORGE II GILTWOOD PIER MIRROR, mid 18th century, by John and Francis Booker, circa 1750 the architectural pediment centred with a classical urn above the large rectangular plate, and narrow border plates overlaid with acanthus and bellflower ornament and flanked by corinthian columns, pilasters and fish scale corbels. 181cm high x 113cm wide

€ 40,000 - 60,000

This important Palladian pier glass was made by the celebrated Dublin ‘Looking Glass Merchants’, ‘glass-grinders’ and ‘glass sellers’, Francis and John Booker. There is a shadow of the brother’s trade label on the reverse. As the frame’s design shows no hint of the rococo flourishes that adorn their later work it is thought that it dates from soon after their father’s death in 1750. The Bookers, father and sons, are recorded in premises in Essex Bridge, Dublin from 1715. Francis Booker became Lord Mayor of Dublin in 1772 and died later that year, leaving his brother John to continue with the business in their shop in Essex Bridge until 1786 when he moved to Jervis Street. He died three years later in 1789 and the experience and craftsmanship of two generations of Irish looking-glass sellers died with him.

This mirror is very close in form to designs by William Jones in his The Gentleman’s or Builders Companion containing a variety of useful designs for doors, gateways, peers, pavilions, temples, chimney-pieces, slab tables, pier glasses, or tabernacle frames, ceiling pieces, etc., 1739 (see Glin and Peill, Irish Furniture, fig. 193). It also belongs to a documented group of similar mirrors by the Booker brothers, formerly at Charleville, Enniskerry, and in the collection of the Marquess of Dufferin and Ava, amongst others. (See Glin and Peill, Irish Furniture, fig. 194, cat. nos. 224-226.)

Related mirrors include one from the ‘Collection of The Knight of Glin, Glin Castle’, sold Christie’s, London, 7 May 2009, lot 51 (£61,650 including premium), another,Christie’s, London, 9 June 2011, lot 281 (£49,250 including premium), another, Christie’s, London, 14 November 2013, lot 5 (£68,500 including premium) and another Christies, London 13 November 2014, lot 60 (£80,500 including premium).

372 A QUEEN ANNE WALNUT TALL BOY CHEST, with moulded cornice above three short and three long drawers with brass tire, above a base fitted centre drawer flanked by deep drawers and raised on turned bell legs with stretcher. 103cm wide

€ 3,000 - 5,000

373 A GEORGE I WALNUT TALL BOY CHEST, the moulded frieze enclosing a separate drawer above twin folded panel doors, enclosing a fitted interior, the base with two short and two long drawers with brass drop handles on bracket feet. 102cm wide

€ 1,500 - 2,500

374 ENGLISH SCHOOL 18TH CENTURY The expulsion from Edenoil on canvas

€ 200 - 400

375 A QUEEN ANNE STYLE WALNUT LONG RECTANGULAR SIDE TABLE, the top veneered with panels of flame cross section, with a moulded rim above two cockbeaded drawers, with turned wooden handles, raised on spiral turned legs, with flat tied stretcher and bun feet. 148 x 55cm

€ 1000 - 1,500

376 STYLE OF SIR JOSHUA REYNOLDS PRAA half length portrait of William Chambers RAOil on canvas

A version of a painting by Reynolds which now hangs in the Royal Academy London

€ 2,000 - 4,000

377 A FRENCH ROSEWOOD AND ORMOLU MOUNTED CURIO CABINET, 19th century, of shaped rectangular form with glazed top and velvet lined interior, applied with acanthus mounts on slender cabriole supports. 64 x 41cm

€ 500 - 700

378 A WILLIAM IV MAHOGANY CIRCULAR DRUM TABLE, with inset leather scriber above frieze drawers with brass circular handles raised on turned centrepillar with carved leaf collar, raised on triangular platform base with paw feet.91cm diameter

€ 1,500 - 2,000

379 FRENCH SCHOOL, 19TH CENTURY A young maiden with three putti

Oil on canvas, 73 x 100cmSigned indistinctly

€ 3,000 - 4,000

379A EARLY 19TH CENTURY SCHOOLA young lady seated with her elbow resting on a stone pillar, wearing a loose shift dress and veil, hold-ing a lamp in her right handOil on canvas laid on board, 94 x 74cm

€ 3,000 - 5,000

380 A REGENCY MAHOGANY CROSSBANDED SHALLOW BREAK-FRONT SIDE CABINET, fitted four doors filled with damask backed brass trellis grills on plinth base. 206cm wide x 36cm deep x 90cm high

Provenance: Baronscourt, Co. Tyrone

€ 2,000 - 3,000

381 A VICTORIAN MAHOGANY AND UPHOLSTERED NURSING CHAIR, mid 19th century, the padded rectangular back with outset leaf carved corners, and stuffed seat on spiral turned supports and brass castors

€ 100 - 200

382 A SET OF FOUR BRASS WALL SCONCES, the shell shaped plaques with surmounted swags and beaded border, having twin branches with single sconces of fluted urn form.

€ 500 - 700

383 A FINE VICTORIAN WALNUT RECTANGULAR WRITING DESK OR BUREAU PLAT, c. 1875, by Howard and Son, Berners Street, London, in the French style, the top with gilt tooled, leather scriver above twin frieze drawers and raised on ormolu mounted cabriole legs. 131 cm wide

€ 1,500 - 2,000

384 A PAIR OF WILLIAM IV MAHOGANY CARD TABLES, each with shaped rectangular top and baize lined interior, above a carved apron, and raised on turned centre column, above a quadruped platform base on shallow turned feet. 74.5cm high, 92cm wide

€ 6,000 - 8,000

385 A GEORGE IV MAHOGANY FRAMED UPHOLSTERED LIBRARY ARM-CHAIR, with padded button back, loose squab cushion and reeded armrest fascia extending to baluster tapering legs

€ 1500-2000

386 A GEORGE IV MAHOGANY FRAMED DRESS-ING STOOL, with upholstered seat and raised on cabriole legs with scroll feet

€ 800-1200

387 A SET OF EIGHT GEORGE IV MAHOGANY TUB BACK LIBRARY CHAIRS, the overscroll back rails upholstered in red hide, and raised on turned tapering legs, with lotus carved collars raised on castors (8)

€ 3,000 - 5,000

388 FRENCH SCHOOL, 18TH CENTURY Portrait of a Lady Pastel, 67 x 52cm

€ 1,500 - 2,000

389 A GEORGE II WALNUT TALLBOY CHEST, with moulded cavetto cornice, above three short and three long graduated, cross and feather banded drawers, with fluted canted angles, the base with pull-out brushing slide, above three long graduated drawers, the bottom drawer centred by an apsidal parquetry demi-starburst and raised on bracket feet. 101cm wide, 57cm deep, 183cm high

€ 4,000 - 6,000

390 GEORGE HENRY BOUGHTON RA (1833-1905)A 17th Century Style Interior Scene with thoughtful gentlemanOil on canvas, unframed

€ 1,500- 2000

391 A FINE 19TH CENTURY GILT BRASS AND PORCELAIN MOUNTED LADIES STATIONARY CASKET, signed by Wertheimer, 33 Bond Street, London, the slope front cover inset with Sevres porcelain panels and engraved with phoenix, cherubs and scrolling foliage, enclosing a fabric lined compartmented interior, the front and angled sides with conforming decoration, 20cm wide

€ 800 - 1,200

392 A GEORGE V SILVER MOUNTED TORTOISESHELL STATIONERY BOX, Chester 1911, makers mark of Grey & Co., of rectangular form with hinged sloping domed cover, the interior with ascending partitions. 22.5cm high, 21.5cm wide, 12cm deep

€ 400 - 600

393 A FINE 18TH CENTURY VENETIAN GLASS NINE-LIGHT CHANDELIER, the scroll branches framed by individual blown pieces on a frame, having candystripe drip trays and blue prunts and hanging bells, the centre section with outswept leaf frond edges in pink and blue with scroll branch supports and an upper tier with similar leaf sprays. 140cm diameter, 150cm high

€ 10,000 - 15,000

394 A FRENCH 18TH CENTURY LOUIS XV ORMOLU MOUNTED TULIPWOOD, KINGWOOD AND SATINE PARQUETRY SECRÉTAIRE ABATTANT BY CHARLES CHEVALLIER MAÎTRE CWC 1732, the shaped Breche d’Alep marble top above a fall front opening to reveal a gilt tooled leather writing surface, and an interior fitted three compartments and six drawers including one with an inkwell, above a central drawer fitted with sliding surfaces hiding compartments and a central adjustable lecturn, a pair of doors opening to a single shelf on cabri-ole feet with foliate cast sabots.Stamped under the marble, Chevallier and JME133.5cm high; 114cm wide; 41cm deep (52.5” high; 44.5” wide; 16” deep)

Charles Chevallier (1703-1771) established his workshop on Rue du Bac, Paris, and his production consists essen-tially of fine marquetry furniture, a secrétaire bearing his stamp can be seen in the collection of the Musée Carnavalet in Paris. On his death, the celebrated ébeniste Matthieu Criaerd took over his business.

Literature: Anne Foray-Carlier, Le Mobilier du Musée Carnavalet, editions faton 2000Pierre Kjellberg, Mobillier Français du XVIIIe Siècle, les editions des l’amateurs

€ 2,500 - 3,500

395 A GEORGE III PAINTED AND JAPANNED SOFA Of elegant proportions, with shallow dished back, scroll arms, on four turned and tapering legs to the front, decorated overall with husk and leaf pendants and gilt line borders, upholstered in later striped silk. 226 cm wide x 62cm deep

Provenance: Caroline Hamilton of Hamwood

€ 2,000 - 3,000

396 A GEORGE III FOUR POST BED WITH PAINTED CANOPY AND MAHOGANY POSTS, c.1790, the sides of the canopy with ribbon tied garlands of flowers rising to central tablets painted with trophies, the rounded corners with rosette centred wreathes, the mahogany swelling reeded posts turned and wrapped with palmettes, on square blocked feet (the hangings modern). 168cm wide x 205cm long x 286cm high

€ 8,000 - 12,000

397 TWO EARLY VICTORIAN MAHOGANY FRAMED NURSING LOW CHAIRS,each upholstered in crimson fabric patterned with gold leaf sprays, raised on turned fluted legs with lobed collars

€ 600 - 800

398 A VICTORIAN MAHOGANY FRAMED UPHOLSTERED ARMCHAIR, covered in a cream fabric with leaf sprays, raised on turned legs with castors

€ 1,000 - 1,500

399 A VICTORIAN ROSEWOOD FRAMED BOBBIN-TURNED ARMCHAIR, the back, seat and armrests upholstered in red hide and raised on bobbin-turned legs with castors

€ 800 - 1,200

400 A GEORGE III TALL MAHOGANY BREAKFRONT BOOKCASE, c.1790, the shallow moulded cornice and Greek fret frieze above four astragal glazed panel doors, the conforming cabinet base with moulded fielded panel doors, concealing shelves and raised on bracket feet.264cm high x 246cm wide x 47cm deep

Provenance: St Anne’s, Clontarf

€ 5,000 - 8,000

401 A FINE IRISH VICTORIAN EXHIBITION QUALITY KILLARNEY WORK ARBUTUS OUTSIZED DAVENPORT DESK, the raised panel back, inlaid with a central crowned harp flanked by eagle and deer above a slopefront writing section, inlaid with vignettes of the ‘Swiss Cot-tage’, the entire decorated with trailing shamrocks, thistles and roses, signifying the three Kingdoms, having a fitted interior and twin door cupboard base with column supports, further decorated with oval vignettes of Muckross House, etc. 80cm wide, 118cm high, 66cm deep

€ 7,000 - 10,000

402 AN IRISH VICTORIAN KILLARNEY WORK INLAID MAHOGANY AND ARBUTUS RECTANGULAR BOX, with trailing shamrock foilage depicting Ross Castle. 26cm x 9cm x 6.5cm

€ 400 - 600

A SMALL COLLECTION OF KILLARNEY WORK (LOTS 401 TO LOT 404)

‘Killarney-work’ as it is known is variously made from Bogwood, Arbutus and Yew and is associated in the main with the mid 19th Century man-ufacture of both trinkets and larger items of furniture. The smaller items were made mainly for the burgeoning tourist trade in the region which was beginning to enjoy its first real wave of popularity in the 1820s. An artisan by the name of John Neate is credited with being the first to man-ufacture articles from Bogwood but it was his son-in-law, Cornelius Goggin who took the business onto a more successful level.

Brian Austen in his Irish Arts Review article lists quite a number of cabinet makers or manufacturers of this ware and suggests that even Dublin makers such as Arthur Jones and Son were also creating the so-called Killarney-work pieces. It is difficult to differentiate between the work of one manufacturer and another and very few stamped or labelled their work. Jeremiah O’Connor of Main Street, Killarney, who did stamp his work, also produced a varied and substantial range of items from the largest Davenports to the most diminutive objects, card cases. The motifs of his inlay work included the Irish Revival repertoire such as shamrock, wolfhounds and harps as well as castles and abbeys.

The London, Dublin and Cork exhibitions of the mid 19th Century provided these manufacturers with the opportunity to display, for a much wider audience, more dramatic and complex articles of furniture such as Davenport desks, centre tables, games tables and desks, all decorated with the signature views of the local Killarney beauty spots such as Muckross, Glena Cottage, Ross Castle and Killarney House. Other iconogra-phy included forms which grow abundantly in the region, as well as eagles and deer. Brian Austen notes that wreaths and trails of shamrock, rose and thistle are found in mid 19th Century items symbolising the Union of Great Britain and Ireland (lot 401) but are significantly absent from later items. Clever marketing resulted in the purchase of various pieces by The Prince of Wales in 1858 and subsequently Lord Castlerosse commissioned James Egan of Killarney to make a fine inlaid arbutus cabinet and desk for Queen Victoria’s visit in 1861. These more substantial and decorative items of furniture were thus successfully aimed at the more discerning patrons including the Irish and English nobility and gentry including the Earl of Clarendon, the Earl of Lanesborough, the Earl of Kenmare, the Earl of Eglinton, Viscount Hill and Lord Headley.By the 1880s however the arbutus industry was in decline along with much of the indigenous furniture manufacturing trade in Ireland due in no small part to the competition from British firms. Whilst they have always been prized amongst collectors, the demand, both national and inter-national, for these highly decorative items began to see a resurgence in the late 1970s and 80s and has continued strongly to the present day.

403 A FINE IRISH VICTORIAN KILLARNEY WORK ARBUTUS AND MARQUETRY BREAKFAST TABLE,the shaped circular tilt-top with wavy moulded rim, centred with a marquetry medallion depicting Muckross Abbey, reserved within a band of trailing shamrocks and radial veneers, the outer borders inlaid with eight oval vignettes inlaid with titled landmarks, supported on a cluster column and plat-form base. 153cm diameter

€ 15,000 - 25,000

404 A VICTORIAN KILLARNEY BREAKFAST TABLE, the shaped circular tilt-top with wavy moulded rim and radial veneers, centred with a circular inlaid medallion and outer boarders, supported on an inlaid centre column and circular platform base on three scroll supports

€ 6,000 - 8,000

406 A BOULLE AND BRASS STANDISH, 19th Century, with two brass capped cut-glass inkwells, cen-tral carrying handle, frieze drawer and on brass ball feet, with a label “The Lord Chancellor’s (First Lord Plunket born 1765) inkstand from Ballymascanlon”. 32 x 26cm

Provenance: St Anne’s, Clontarf

William Conyngham Plunket was a successful lawyer and occupied all the high offices, being Solicitor and Attorney General, Chief Justice of the Court of Common Pleas and in 1830, Lord Chancellor of Ireland. He built Old Connaught, near Bray Co. Wicklow. Ballymascanlon came into the Plunket’s possession through the marriage of his son Thomas to Louisa Foster.

€ 1,000 - 1,500

407 A LARGE PAIR OF EBONISED TIMBER COLUMN PEDESTALS, with fluted bodies raised on square platforms. 98cm tall

€ 600 - 900

405 A PAIR OF REGENCY GILT BRASS AND TÔLE TWO LIGHT CANDELABRA the twin scroll branches supported on a circular tapering column with applied leaf motifs raised on square platform base and having glass bead pen-dants. 39cm high

€ 800 - 1,000

408 A BOULLE DISPLAY CABINET, 19TH CENTURYwith plain moulded top with gilt brass banding above a single arched glazed panel door, flanked by caryatid corbals and raised on a shaped platform base with applied brass mounts.

€ 800 - 1,200

409 A FRENCH BOULLE SERPENTINE FRONT SECRETAIRE CHEST,with flat domed top above a seven drawer fascia, incorporating a fitted writing drawer and with shaped sides, decorated with applied brass mounts and raised on shaped platform base.

€ 1,000 - 1,500

410 A VERY FINE FRENCH 19TH CENTURY ORMOLU MOUNTED AND SILICATE STONE BALUSTER SHAPED URN, with acanthus scrolled handles, on circular ribbon beaded foot and square pedestal panelled base, fit-ted with a later six light candleabra top and converted to electricity, the vase 50.5cm high x 69cm

€ 1,800 - 2,200

411 A PAIR OF FRENCH 19TH CENTURY LOUIS PHILIPPE EBON AND PIETRA DURA SIDE CABINETS, with white marble tops above single panel doors, each with a centred oval reserve, set with semi-precious carved stones in the form of a still life of flowers within an ormolu cast border and four quarter panels with similar leaf sprays, the canted corners with cast ormolu female caryatids, the entire decorated with cast ormolu banding and mounts, the door interiors with inlaid panels. 93cm wide, 115cm tall

€ 4,000 - 6,000

412 A FINE FRENCH BOULLE WORK AND ORMOLU MOUNTED BRACKET CLOCK, 18TH CENTURY of large proportions, the arched dome pediment surmounted with a figure of winged Victory and ormolu mask, with diaper cut brass panels above a circular glazed panel door, enclosing a brass and enamelled dial with arabic numerals, the movement engraved ‘Lores. A. St. Malo’ verso, hung with brass disc pendulum, flanked by bacchic figural mounts, on leaf cast inscrolling feet. 113cm high

€ 3,000 - 5,000

413 A FRENCH NAPOLEAN III BOULLE AND ORMOLU MOUNTED CENTRE TABLE, 19th Century, of shaped oval form, the top inlaid with brass arabesques, flower and scrolling vines against a red tortoise shell ground, above shaped frieze to each side, applied with cabouchon centre mounts, on acanthus capped cabriole supports. 136 x 85cm

€ 2,500 - 3,000

414 GEORGE ARMFIELD (C.1808-1893)Terriers in an InteriorOil on canvas, tondo, 51 cm diameter

€ 3,000 - 4,000

415 A REGENCY ROSEWOOD ARMCHAIR

€ 500 - 800

416 A PAIR OF BOULLE VITRINE CABINETS, 19th Century, with arched cornice and urn finials above single glazed panel doors enclosing shelved mirror back interiors above bases with white marble tops, fitted panel door cupboards with fielded ovals, decorated with applied gilt brass mounts and raised on platform bases.

€ 4,000 - 6,000

417 A LARGE VICTORIAN IRONSTONE DINNER SERVICE,c.1840, decorated in the Imari pattern, the chinoiserie designs in blue, burnt orange and gilt

€ 2,000 - 4,000

418 A GEORGIAN MAHOGANY FRAMED THREE TIER WHAT-NOT, of upright rectangular form, with plain moulded levels separated by turned baluster columns, with single frieze drawer to base. 81cm wide x 164cm high

€ 400 - 600

419 A SET OF SIX GEORGE III MAHOGANY FRAMED DINING CHAIRS, each with slightly arched toprail above a pierced vase shaped splat and padded upholstered seat on squared legs joined by a stretcher

€ 800 - 1,200

420 A 19TH CENTURY CONTINENTAL MAHOGANY BOW FRONT CONSOLE TABLE, with white marble top, raised on two panelled taper-ing legs, 82 x 43cm

€ 1,400 - 1,800

421 A FINE GEORGE II MAHOGANY TRIPLE FOLDING TOP GAMES TABLE, the first folding top inlaid with a chess board, above a card table with sunken counter wells and candle-stands, the concertina action base with carved lion masks and acanthus leaves on cabriole legs with claw and ball feet, 90cm wide

€ 20,000 - 25,000

422 AN IMPORTANT EARLY VICTORIAN OAK DINING SUITE, attributed to J.E. Crace and Sons, in the manner of Augustus Welby Northmore Pugin, comprising of an extending dining table, seven dining chairs and three carvers, a dumb waiter, a two-door cabinet and a large sideboard,

(i) the diningtable comprising two canted end rectangular sections extending with three leaves, raised on faceted Gothic column legs carved with rosettes. 365cm x 162cm wide, the hinged leaf clips stamped ‘Cope & Collinson, Jan 2, 1840’

(ii) a set of seven diningchairs with rail backs having carved rosettes on chamfered supports and upholstered seat on matching Gothic chamfered square legs, with stretcher, five stamped ‘R’; three matching carvers with upholstered backs, one castor stamped Cope’s Paten

(iii) a large shaped rectangular sideboard, the raised back with carved parcel ends, the back with an ‘R’ monogram above a frieze draw-er and twin cupboard doors with linen fold panels, flanked by open compartments with drawers and open portrait panels

(iv) a matching three-tier dumbwaiter, 37cm

(v) and a two-door cabinet on castors with raised back. 121cm wide and 106cm wide

Provenance: This suite of furniture was inherited from the estate of Dr William McCartan from Sussex. Dr McCartan was Superintendent of the Sussex County Mental Hospital, later St. Francis Hospital, a gift on his retirement in 1957.

It is likely that the suite was the first commission for Dr Lockhart Robinson, Suprintendent at the above institution at the time of its opening in 1859. The carved ‘R’ in the sideboard and the origin of the suite would tend to prompt this conclusion.

A similar diningtable and chairs were sold in Christies, 30th November 2000, with identical markings to the chairs and the table clips.

€ 20,000 - 30,000

423 A GEORGE III MAHOGANY KETTLE STAND, with dished circular top over a knopped and spiral turned column and arched triform base. 57cm high

€ 800 - 1,200

424 A PAIR OF GEORGIAN CARVED WOOD TORCHERE STANDS, each with circular dished top supported on a turned tapering column carved with a band of oak leaves on arched triform base, raised on hairy paw feet. 94cm high

€ 3,000 - 5,000

425 AN IRISH GEORGE III MAHOGANY LOWBOY, of rectangular form, the moulded top over a single frieze drawer and wavy apron centred with a carved lion mask, on leaf capped cabriole legs and paw feet. 79 cm wide x 53cm deep

€ 5,000 - 8,000

426 GEORGE ARMFIELD (1808-1893)Terriers Knock Over a PotOil on canvas, 70 x 90cmSigned

€ 2,000 - 3,000

427 A PAIR OF CARVED PINE AND MARBLE TOP SIDE TABLES, early 19th century, each of rectangular form, inset with green variagated marble tops over an egg and dart border, the frieze boldly carved with acanthus scrolls and rockwork raised on cabriole supports and paw feet. 121cm wide

€ 10,000 - 15,000

428 A GEORGE III INLAID MAHOGANY BOWFRONT CORNER WASH STAND, with raised back and removeable top, revealing a well for a basin, above a single cupboard door and drawer on square tapering legs with undertier and outsplayed feet. 65cm wide, 121cm high

€ 200 - 400

429 A REGENCY ROSEWOOD AND BRASS INLAID BREAKFRONT SIDE CABINET, fitted with faux marble top above four brass grill panel doors enclosing a shelved interior, on gilded lion paw feet. 181cm wide

€ 2,000 - 3,000

430 A REGENCY MAHOGANY AND UPHOLSTERED LIBRARY ARMCHAIR, the rectangular back and seat covered in a green floral fabric, supported on fluted tapering legs ending with brass castors

€ 500 - 800

431 A PAIR OF IRISH GEORGE III CARVED GILTWOOD WALL MIRRORS, the frames formed of pierced carved interlocking con-tinuous scrolls, with intertwined foliage and flowers, surmounted by oval cartouches centred by flowers and flanked by crouching eagles. 120 x 86cm

€ 8,000 - 12,000

431A A WILLIAM IV MAHOGANY LIBRARY TABLE, of rectangular form, the moulded top fitted with inset tooled leather above a frieze fitted with three short drawers to each side, on leaf carved columns joined by turned stretcher, bun feet and castors, 182cm wide, 90cm deep

€ 2,000 - 3,000

432 ANTONIO GIOVANNI LANZIROTTI (1839-

1921)Study of a Classical Female Figure with Amphora,modelled standing in crouched position on a circular naturalistic baseBronze, 69cm high

€ 3,000 - 4,000

433 GIUSSEPPE ROSSI (ITALIAN, 1823-1907)Italian Carrera marble bust of the Venus de CapuaSigned and dated ‘G.A ROSSI, 1875’Height 42cm

€ 1,000 - 1,500

434 AFTER AUGUSTE MOREAU, 19TH CENTURYA figure of a boy playing a lute, seated on a stoolBronze, 68cm tall

€ 1,200 - 1,500

435 AN EARLY GEORGE III MAHOGANY SMALL BREAKFRONT BOOKCASE,with dentil frieze above four astragal glazed panel doors, on conforming outset base with relief fielded panel doors, on a full plinth base carved with a running bell-flower frieze. 212cm high x 147cm wide x 46cm deep

€ 5,000 - 8,000

436 AN ITALIAN CARVED ALABASTER BUST, 19TH CENTURY of a young girl with ribbon-tied bonnet, on waisted circular socle. 70cm high

€ 2,500 - 3,500

437 JOE DESCOMPS (1872-1948)A bronze figure of a naked Dutch girl leaning against a tree stump wearing clogs, raised on circular socle with a continuous band of geese in low relief, having a foundry mark ‘Susse Frères’. 33cm overall

€ 1,000 - 1,500

438 FREDERICK RUSCH The Ice Man, a figure of a man lifting a block of ice with a large ice pick, raised on black marble base. 31cm tall

€ 800 - 1,200

439 AN IRISH GEORGIAN MAHOGANY BUREAU BOOKCASE, the moulded cornice above twin bevelled mirror doors with pull out candle slides and fitted interior, slopefront bureau, with brass tire and fitted interior, single drawer over two short and two long drawers with brass handles, and raised on bracket feet. 99 x 219cm

€ 8000 - 12,000

440 CHARLIE JOHNSON PAYNE, “SNAFFLES”, “If there is Paradise on Earth, It is this! It is this! It is this!!!” C.1926Coloured print, 50 x 73 cmSigned and personally dedicated to Lavender Rose (of Rose’s Limejuice fame).

Ref: Welcome/Collins no.110

€ 800 - 1,200

441 G. CERYTHI (LATE 19TH CENTURY) St Augstine a NaplesWatercolour, 37 x 55cmSigned and inscribed with title

€ 800 - 1,200

442 FRANK STRATFORD (BRITISH 19TH CENTURY)The End of a Day’s shootingOil on canvas, 51 x 76cmSigned

€ 800 - 1,200

443 BELGIAN SCHOOL (19TH CENTURY)Street Scene with figuresOil on board, 43 x 36.5cmSigned indistincly and dated ‘1875’

€ 1,500 - 2,000

444 O.E. FOOTA View of the Lakes of KillarneyWatercolour

€ 200-400

445 PATRICK LEONARD HRHA (1918-2005)

Men working in the fields, with large haycock beyondOil on canvas on board, 49 x 61cmSigned

€ 800 - 1,200

446 WILLIAM CALLOW (1812-1908)Interior of York CathedralWatercolour, 73 x 52cm

€ 1,000 - 1,500

447 COLIN H. GREENWOOD, Near Beachy HeadA pair, watercolour, 8 x 12.5 cmInscribed with title and dated 8th Oct. 1874 verso. (2)

€ 500 - 700

448 JOHN FREDERICK HERRING JUNIOR (1815-1907)Horses in a farmyardOil on canvas, 36 x 41cmSigned lower left

€ 5,000 - 7,000

449 A 19TH CENTURY WALNUT MARQUETRY AND ORMOLU RECTANGULAR THREE DOOR CREDENZA, the frieze decorated with applied tongue and dart rim, above an acanthus border, the panel doors with marquetry flowers in an urn, the pillasters headed with ormolu therm mask corbals and raised on shaped platform base. 184cm wide, 46cm deep, 117cm high

€ 3,000 - 5,000

450 MATTHEW WILLIAM PETERS RA (1741-1814)

The presentation of John Henry, Marquess of Granby, later 5th Duke of Rutland 1778-1857Oil on canvas, tondo, 73cm diameter

The present painting is derived from ‘The Madonna and Child with Saint Jerome, Mary Magdalene and the infant Saint John (Il Giorno)’ after Antonio Allegria, il Correggio (c.1527-28) commissioned by Donna Briseide Colla in 1523 for her family chapel in Sant Antonio, and now in the Galleria Nazionale, Parma. During the 18th century this celebrated work became one of the most admired objects of the Grand Tour.

€ 7,000 - 10,000

451 ENGLISH SCHOOL, 18TH CENTURYPortrait of a Young Gentleman in Brown PetticoatOil on canvas, oval, 67 x 56cm;

€ 200 - 300

451A ITALIAN SCHOOL, 19TH CENTURYPortrait of a Lady, half-lengthOil on canvas, 69 x 54cm, and two further unframed portraits (4)

€ 200 - 300

452 AN IRISH GEORGE III INLAID MAHOGANY BOWFRONT SIDE TABLE, the top banded in satinwood with ebon stringing, the central frieze panel inlaid with an oval patera, flanked by twin drawers with brass lion mask and ring han-dles, raised on square tapering legs with plinth feet, 162 x 69cm

€ 2,000 - 3,000

453 A 19TH CENTURY MAHOGANY CIRCULAR GRADUATED THREE-TIER DUMB WAITER, with bead and reed banding, raised on a turned centrepillar and tripod base with scroll feet, 105cm tall

€ 600 - 800

454 A GEORGE III INLAID MAHOGANY SERPENTINE-FRONT WASH STAND, with two drawers with brass lion mask and ring handles and banded in satinwood, raised on square tapering banded legs, 104 x 54cm

€ 600 - 800

455 A GEORGE III GILTWOOD AND GESSO CHINOISERIE OVERMANTLE, 18th century, the compartmented rectangular plates contained within a border of oak leaves and scrolling tendrils, surmounted by a Ho-Ho bird, over a rock-work base. 138cm wide

€ 500 - 800

456 A FINE LATE GEORGE II MAHOGANY SERPENTINE FRONT GENTLEMAN’S WRITING DESK,circa 1755, attributed to William Vile, the top with moulded rim above a pull-out writing slide and a single long frieze drawer above a central kneehole cupboard and flanking pairs of three graduated cockbeaded drawers all with brass swing handles having cant-ed corners with fluted pilasters and leaf capitals raised on ogee bracket feet and lignum vitae castors. 140cm wide, 77cm deep, 86cm tall

Provenance: Gibson Family, Colpits Grange, Slaley, Corbridge, Northumberland

€ 12,000 - 15,000

457 IRENEE ROCHARD (1906-1984)

A racehorse with jockey upBronze, 29cm long

€ 200 - 300

458 A GEORGE III SILVER COFFEE POT, London marks, of cylindrical tapering form, the domed hinged lid with pineapple finial, the body profusely chased with repousse scrolling foliage and cartouches and garlands of flowers with ebon handles. 25cm tall

€ 400 - 600

459 AN IRISH GEORGE III SILVER HOT WATER JUG, Dublin 1777, makers mark of Matthew Walsh, of plain baluster form, the hinged lid with a pineapple finial, the s-scroll handle with leaf decoration and leaf terminal, raised on a circular spreading foot.

€ 1,500 - 2,500

460 A GEORGE IV SILVER CIRCULAR DISH COVER, London 1813, makers mark of Richard Sibley II, of panelled form with detachable cast finial in the form of a boar’s head, with gadroon border, on a later silver plated tureen with scroll feet (the silver cover alone c. 24ozs). 24cm diameter

€ 1,000 - 1,500

461 ATTRIBUTED TO WILLIAM HILTON (1786-1839)

Portrait of Sir Walter Spencer-Stanhope (1749-1822), seated at a table holding a bookThree-quarter length, Oil on canvas, 124 x 102cm

Provenance: Lord Dinorben, Kinmel Manor, Wales

€ 3,000 - 4,000

462 AN ANGLO INDIAN CARVED WOOD LONG RECTANGULAR STOOL, the upholstered seat raised on carved elephant supports with tied flat stretcher on carved paw feet. 97cm wide

€ 300 - 500

463 A GEORGE III MAHOGANY RECTANGULAR KNEEHOLE DESK, with moulded rim above a long frieze drawer enclosing a writing slide above an hidden apron drawer and kneehole fielded cupboard door, flanked by eight short drawers with brass handles raised on bracket feet;together with an associated panel door cupboard top.110cm wide,

€ 800 - 1,000

465 A VICTORIAN MAHOGANY FRAMED LONG

RECTANGULAR UPHOLSTERED FOOT STOOLraised on claw and ball feet. 127cm wide

€ 200 - 300

464 AN IRISH GEORGE III OAK RECTANGULAR LINEN CUPBOARD,the lift top opening to reveal a large open compart-ment, with dummy drawers above fascia drawings to the base, raised on ogee bracket feet. 150 x 55cm

€ 400 - 600

466 A GEORGE III INLAID MAHOGANY FRAMED SIDE CHAIR with padded scroll panel back flanked by spiral col-umns, raised on spiral turned supports with castors.

€ 200 - 400

467 TWO VICTORIAN MAHOGANY TOWEL RAILS

€ 200 - 400

468 A PAIR OF WILLIAM IV MAHOGANY FRAMED SINGLE BEDS, with arched backs and cane panels and spiral turned pillasters, raised on carved paw feet. 90cm wide

€ 200 - 400

469 A SMALL ART DECO INLAID MAHOGANY SQUARE FOOT STOOL in the manner of James Hicks, Dublin with padded gros point tapestry panel on square supports with inlaid banding. 33cm

€ 200 - 300

470 A WILLIAM IV MAHOGANY SINGLE

BED with panel ends and decorated with acorn finials. 120cm wide

€ 200 - 300

471 A VICTORIAN MAHOGANY RECTANGULAR FOLDING TOP TEA TABLE, the swivel top raised on turned tapering centrepillar on quadruped platform base with scroll feet. 91 x 43cm

€ 200 - 300

472 A WILLIAM IV MAHOGANY FRAMED ARMCHAIR, the shaped balloon back with scroll arm supports, with carved acanthus fronds, raised on turned legs

€ 200 - 400

473 A 19TH CENTURY INLAID MAHOGANY LONG RECTANGULAR BOWFRONT SIDE TABLE, the plain top above a cross-banded frieze centred with a tablet decorated with oval bellflower motif, raised on six square tapering legs. 255.5 x 80cm

€ 1,500 - 2,500

474 NINA COLMORE (IRISH 1889-1973)

A Bay Mare and Foal in a PaddockOil on canvas, 57 x 61cmSigned and dated ‘47 lower left

Provenance: ex collection Lord and Lady Stalbridge, Sussex. Hugh Grosvenor, 2nd Lord Stalbridge 1880-1949 was a patron of Nina Colmore.

€ 2,000 - 3,000

475 AN 18TH CENTURY CARVED PINE STAIRCASE

€ 2,000 - 4,000

476 AN IRISH GEORGE III MAHOGANY CORNER CABINET, the swan neck pediment with dentil moulding and cornice above twin arched fielded cupboard doors, with short fielded panels above a fielded cupboard door base, the canted corners with fluted pilasters with a fitted interior

Provenance: See: Glin & Peill ‘Irish Furniture’

€ 6,000 - 10,000

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477 A VICTORIAN GILTWOOD RECTANGULAR TRIPLE COMPARTMENTED OVERMANTLE MIRROR. with moulded cornice above a row of balls and a blind lattice work frieze flanked by rosette topped pillasters.120cm wide

€ 200 - 400

478 A VICTORIAN ROSEWOOD FRAMED TUB BACK CHAIR, the rail back, with spiral turned gallery, raised on scroll feet.

€ 200-300

479 A LARGE POLYCHROME GLAZED EARTHEN-WARE COCKEREL.Provenance: From a notable German pre-war collec-tion.

€ 2000 - 3000

480 AN UPHOLSTERED RECTANGULAR TWO SEATER KNOLL SETTEE with loose cushions, covered in ‘Arts ‘n’ Crafts’ Movement style material and tasselled ties. 181cm wide, 91cm deep, 98cm high

€ 600 - 1,000

481 A 19TH CENTURY FINE MIDDLE EASTERN, OLIVE AND OTHER WOODS AND MARQUETRY GAMES TABLE, PROBABLY CAIRO,the box top folding out to a card table and then with a backgammon compartment with counter wells, the lids inlaid as chess boards, the stand on shaped legs joined by platform centred cross-over stretcher. 96 x 88cm

€ 1,500 - 2,500

482 A GEORGIAN STYLE MAHOGANY FRAMED UPHOLSTERED WING BACK ARMCHAIR, raised on a curved leaf scroll apron and short cabriole legs and claw feet.

€ 300 - 500

483 A GEORGE III STYLE MAHOGANY BEDSIDE LOCKER, with bow front tambour cupboard and frieze drawer, raised on square tapering legs, 40cm wide

€ 500 - 700

484 A MAHOGANY AND PARCEL GILT MIRROR, the frame of architectural form, with fluted Corinthian columns, 194cm high, 134cm wide

€ 1,000 - 1,500

485 A GEORGE IV IRISH MAHOGANY DRESSING TABLEwith shaped three-quarter gallery, on ring-turned taper-ing legs, joined by a concave platform stretcher. 139cm wide x 51cm deep x 93cm high

Provenance: Christies 15/5/2002, Lot 268. The property of the late Lord Farnham, removed from Farnham, Co. Cavan

€ 600 - 1,000

486 A VICTORIAN BURR-WALNUT SLOPEFRONT STATIONERY BOX, fitted, applied with a gilt brass monogram for the Marquess of Hamilton.33cm wide, 35cm high

€ 150 - 250

487 A GEORGE III STYLE MAHOGANY

SHALLOW BREAKFRONT COMPACT SIDEBOARD, 19th Century, with frieze drawers above twin deep drawers on square tapering legs. 133cm wide, 58cm deep, 84cm high

€ 500 - 800

488 A VICTORIAN FLAME MAHOGANY DRESSING TABLE MIRROR,the rectangular plate supported on crutch facetted side supports and platform base.62cm wide

€ 150 - 250

489 A PLAIN LATE GEORGIAN MAHOGANY WARDROBEwith two panelled drawers above two short and two long drawers, on later turned feet and with replaced turned wood handles. 120 x 230 x 55cm deep

€ 300 - 500

490 A MOORISH INLAID TUB CHAIR, the curved back, solid panel seat and legs profusely decorated with bone and exotic timbers

€ 300 - 500

491 AN IRISH GEORGE IV CARVED MAHOGANY CONSOLE TABLE, with mottled marble top, scrolled frieze with pierced apron, having twin lion supports and raised on deep concave platform base. 114cm wide

€ 1,000 - 1,500

492 A SET OF SIX 19TH CENTURY STAINED OAK FRAMED DINING CHAIRS, the rectangular panel backs and seats covered with mustard coloured hide with brass studs and raised on turned and blocked legs and cross-stretchers. (two elbow & 4 side chairs).

€ 600 - 1,000

493 A SCOTTISH MAHOGANY WRITING TABLE, Mid 19th century, of rectangular form, the plain top with shallow three-quarter gallery, single frieze draw-er and panelled tapering supports. 91.5cm wide x 56cm deep

€ 300 - 500

494 A GEORGE III OAK LONGCASE CLOCK, the hood with swan neck pediment and fluted col-umns enclosing a brass dial inscribed T.M. Chester-field, raised on a waisted case with a single door and fluted pillasters. 220cm tall

€ 1,000 - 1,500

495 AN ART NOUVEAU GLASS CEILING

LIGHT, by Muller Frères, Lunéville, France

€ 800 - 1,200

496 A 19TH CENTURY MAHOGANY RECTANGULAR SIDE CABINET, with a single plain fielded panel door, raised on bun feet, 73 x 46cm

€ 300 - 500

498 A NEAR PAIR OF WILLIAM IV MAHOGANY WASHSTANDS, in the manner of Williams and Gibton, each with high shaped gallery backs, scroll sides and terminals, one with single freeze drawer, the second with twin drawers, both raised on turned tapering legs. 114cm high x 91cm wide

Provenance: Part of the original furnishings at Ballinkeele House, Co. Wexford

€ 1,000 - 1,500

499 A SET OF TEN GEORGIAN STYLE MAHOGANY FRAMED DINING CHAIRS in the Hepplewhite taste, with carved arch crest rail above a pierced splat, the frames with incised deco-ration, having bowfront drop-in seats covered in hide and raised on square tapering legs (8 single and 2 elbow chairs)

€ 3,000 - 5,000

497 AN OAK CREDENCE TABLE, 17th century, extending to oval form, the plank top with single drop leaf and gate leg supports, with sin-gle frieze drawer on turned column supports joined by solid stretchers. 106cm wide, 98cm extended length

€ 2,000 - 3,000

500 A VICTORIAN MAJOLICA EGGERY STAND, a pewter mounted pottery tankard and a Minton’s green glazed dish and two Chinese export tankards

€ 100 - 200

501 A MOUNTED PAIR OF BLUE WILDEBEEST HORNS AND SKULL, inscribed ‘Zambesi’

€ 200 - 400

502 A LARGE EDWARDIAN METAL BOUND TRAVELLING TRUNK, painted with the inscription ‘THE CHARLES RUDEBUSCH CO.’ 122 x 92 x 50cm

€ 500 - 800

503 IRISH SCHOOL, 19TH CENTURYPortrait of a lady, half length, seated in a black dressOil on canvas, 103 x 102cm

€ 1,000 - 1,500

504 AN IRISH GEORGE III MAHOGANY SECRETAIRE CHINA CABINET, the moulded dentil cornice with a detailed frieze above two oval inlaid glazed panel doors with shelves above a long fitted secretaire drawer with two rect-angular doors with oval inlaid panels on bracket feet, 231cm high, 127cm wide, 56cm deep

€ 2,500 - 3,500

504A AN IRISH MAHOGANY DROP-LEAF ‘BUTLERS TABLE’, mid-18th century, on cabriole legs with pointed pad feet. 114cm wide x 58cm wide (closed), 74cm high

€ 500 - 800

505 A MAHOGANY FRAMED WINGBACK GENTLEMAN’S ARMCHAIR, in the Georgian style, the rectangular padded back and outscrolled arms covered in a rich yellow dam-ask, fitted with a loose seat cushion and supported on shell capped cabriole legs

€ 600 - 1,000

506 A CONTINENTAL GLAZED POTTERY CHARGER, signed E.V. Richard, of shallow circular form, painted with chestnuts in a woodland and contained within a circular gilt frame. 66cm diameter

€ 300 - 500

507 DANIEL MACLISE RA (1806-1870)‘The Standard Bearer’Oil on canvas, 30 x 24”Signed lower left

Provenance: Carlton T. Chapman by whom given to the Toledo Museum of Art, Ohio, USA in 1905; Sold by the Toledo Museum of Art to benefit The Acquisitions Fund 2007.

Exhibited: Daniel Maclise exhibition in the Crawford Gallery, Cork, October 2008 - February 2009.

Literature: The Toledo Museum of Art, European Paintings, 1976, p.393 illustrated.

€ 5,000 - 7,000

508 A FRENCH EBONISED AND GILT METAL MOUNTED NINE-PIECE DRAWING ROOM SUITE, 19th Century, comprising of a long three-seat settee, four open armchairs and four single chairs, each covered in button back burgundy damask, with arched crested back and serpentine shaped seats on short cabriole legs and castors, the settee, 170cm wide

€ 2,500 - 3,500

511 A GEORGE III INLAID MAHOGANY BOWFRONT SIDEBOARD, the top banded in satinwood above two frieze drawers and cupboard decorated with inlaid oval reserve with urns flanked by single door cupboards and drawers, decorated with inlaid classical figure, raised on square tapering legs. 230 x 73cm

€ 800 - 1,200

510 A LARGE EDWARDIAN BRASS FRAMED PICTURE EASEL

€ 800 - 1,200

509 A LOUIS PHILIPPE MAHOGANY THREE-TIER ÉTAGÈRE, with applied brass gallery and banding, raised on square supports and turned tapering feet, 36cm wide, 72cm tall

€ 800 - 1,200

513 A VICTORIAN INLAID MAHOGANY RECTANGULAR NEST OF TRIO TABLES, raised on turned column supports and splayed feet, one marked underneath 5753, stamped, 45 x 30cm

€ 400 - 500

512 A GEORGE III OPEN ARMCHAIR, with pierced splat, and raised on square tapering legs

€ 600 - 800

514 A GEORGE IV MAHOGANY RECTANGULAR WRITING TABLE, in the manner of Gillows with hinged compartment enclosing ink wells, frieze drawer fascia, on turned tapering legs with castors

€ 2,000 - 3,000

516 A FINE VILLAGE BIJAR CARPET North West Persia, c.1920, woven with a double anchor medallion within multiple serrated lozenges, filled with rosettes and boteh motifs on a red and navy ground. 611 x 226cm

€ 4,000 - 5,000

515 A LARGE AUBUSSON IVORY GROUND CARPET, with central floral design reserved within an oval and chains of pendant flowers, set with spandrels to each corner. 435 x 308cm

€ 2,500 - 3,500

517 A SEMI ANTIQUE GEORAVAN CARPET, ORIGINATING NEAR HERIZ, NORTH WEST PERSIA, C.1920, the ivory ground with large stylised leaves and flow-ering grids in reds, yellows and blues within a wide lotus vine border and two guard stripes. 311 x 225cm

€ 2,000 - 3,000

518 A PAIR OF VICTORIAN MAHOGANY TABLE

TOP POST BOXES, each with a single fielded panel door, and gilt letter-ing, ‘Letters Answered’, and ‘Letters Unanswered’. Each 21cm wide, 26cm tall

€ 300 - 500

519 A GEORGE III INLAID MAHOGANY RECTANGULAR TALL BOY CHEST of two short and eight long graduated drawers with boxwood stringing and brass oval handles having cor-nice with dentil moulding and raised on bracket feet. 113 x 54cm

€ 1,000 - 1,500

523 A PAIR OF JAPANESE WORLD WAR II 10 X 15 AIRCRAFT SPOTTING BINOCULARS ON A BRASS TRIPOD BASE

€ 4,000 - 6,000

524 N.D. PACKPortrait of a young lady, half lengthPencil, 69 x 53cmSigned

€ 400 - 600

525 A VICTORIAN MAHOGANY RECTANGULAR SIDE CABINET, the moulded top above a frieze drawer, and twin door cupboard with fabric panels, flanked by Tuscan columns, raised on turned feet. 102 x 39cm

€ 800 - 1,200

526 VICTORIAN SCHOOLPortrait of a young gentleman wearing a black coatOil on canvas, 96 x 76cm

€ 500 - 800

527 VICTORIAN SCHOOLPortrait of a grey haired gentlemanOil on canvas, 90 x 70cm

€ 500 - 800

528 AFTER THE 18TH CENTURYPortrait of a military officer, half-length, in a red coatOil on canvas, 75 x 62cm

€ 500 - 800

529 A CHINESE FAMILLE VERTE ROULEAU VASE, 19th century, Kangxi style, decorated with figures in a court and garden landscape, 46 cm high, the base with six charcter marks with double circle

€ 1,000 - 1,500

530 A GEORGE III MAHOGANY RECTANGULAR FOLDING TOP TEA TABLE, the plain frieze centred by a carved scallop shell raised on plain square supports, 76 x 36cm (closed)

€ 800 - 1,200

531 A GEORGE III MAHOGANY HALF-CIRCULAR TRIPLE FOLDING TOP COMBINATION CARD AND TEA TABLE, with sunken counter wells and plain frieze raised on slender cabriole legs with pad feet.

€ 800 - 1,200

532 A CHINESE WOOL CARPET with foliate motifs on navy blue ground with gold border, decorated all over with flowers within a navy blue guard stripe. 355 cm wide

€ 1,000 - 2,000

534 THREE 19TH CENTURY MAHOGANY SIX-PANEL DOORS,208CM X 101.5CM

€ 1,000 - 1,500

535 A LEATHER SIDE-SADDLE;and two other saddles.

€ 300 - 500

536 A LATE GEORGIAN MAHOGANY BREAK-FRONT WARDROBE, C.1820, the central press with arched panelled doors containing a drawer to base, moulded cornice and flanked by higher conforming pedestal wardrobes on plinth base. 225cm wide x 210cm high x 68cm deep

€ 600 - 1,000

537 A MAHOGANY TWO-TIER FOLDING CIRCULAR DUMB WAITER, of compact proportions, with turned centred column on reeded splayed legs. 83 x 63cm (open)

€ 100 - 150

538 A 19TH CENTURY CROCODILE SKIN SUITCASE, 56 x 35cm

€ 400 - 500

539 A LATE 19TH CENTURY NORTH WEST AFRICAN ISLAMIC OAK TEACHING BOARDInscribed with text from the Koran, 47cm long over the handle, 21cm wide

The label on the handle reads: ‘...teaching board on which Koran mystic inscriptions are inscribed by Fikis (holy teacher). The oak when dry is washed off and the resulting fluid prescribed as medicine for internal administration and external application...’

€ 200 - 300

538A A PAIR OF FRENCH IMPERIAL SÈVRES PORCELAIN CABINET PLATES, c.1870, painted with individual depictions of Narcissis and Psyche, each contained within blue and gilt palmette borders, titled and with factory mark verso. 24cm diameter

€ 700 - 900

540 AN OAK COURT CUPBOARD, 17th Century, the associated top elaborately carved, fitted with doors, the outset base with panelled field-ed doors above a grillade frieze.

€ 600 - 1,000

541 A PAIR OF EARLY 18TH CENTURY STYLE WALNUT FRAMED TALL BACK ELBOW CHAIRS, the arch top back and seat with canework, having scroll armrest terminals and raised on turned and blocked legs and cross stretchers.

€ 300 - 500

542 A 19TH CENTURY MAHOGANY RECTANGULAR LINEN PRESS with single panel door, with fascia in the form of a ‘tallboy ‘ chest of eight long graduated cockbeaded drawers with brass drop handles and raised on plat-form base. 173 cm high, 106 cm wide, 66 cm deep.

€ 500 - 800

543 AFTER F. REYNOLDS (19TH CENTURY)

Royal Agricultural Show of Ireland, 1871,Photogravure, 53 x 109cm, published by Thomas Cranfield, circa 1872; with a framed facsimile of the Key Plate identifying all 188 figures. (2)

€ 300 - 500

543A A PAIR OF EDWARDIAN SMOKING-ROOM LOUNGING ARMCHAIRS, covered in faded blue hide, on timber turned feet.

Provenance: St Anne’s, Clontarf

€ 500 - 1,000

544 A COLLECTION OF BRITAIN’S LTD. AND TIMPO

TOYS CAST LEAD FIGURES OF COWBOYS AND INDIANS, the cowboys with pistols, lassoos, typical cowboy attire, including horses, campfire musicians and tree stump;the indians complete with headresses, some carrying rifles, some with bows and arrows, some in crouched, crawling postition, some seated, also including bareback horses and a canoe. Some pieces marked ‘ Britain’s Ltd. Copyright’, some ‘Timpo Toys England’ (41)

€ 200 - 400

545 A SET OF TIMPO CAST LEAD FIGURES OF FOUR ROYAL CANADIAN MOUNTED POLICE, riders detachable, in full uniform, all white horses with blue saddle cloth under brown saddle and saddle bag, all stamped ‘Timpo Toys England’;Together with a small canon on rotating wheels and a small red Din-ky Toys model of a Jaguar car, stamped ‘Made in England, Meccano Ltd.’ (10)

€ 200 - 400

546 A BRITAIN’S LTD. SET OF PAINTED CAST LEAD HUNTING

FIGURES, comprising three riders on horseback, two standing figures, each with moveable right arm, some holding whips, two dressed in Hunt Master attire, with red hunting jackets, with a pair of foxes scarper-ing with chickens in their mouths, pursued by thirteen hounds, some pieces marked ‘Britain’s Ltd. Copyright’ (20)

€ 200 - 400

547 A COLLECTION OF PAINTED CAST LEAD TOY FIGURES,comprising six mounted cavalry, each marked ‘Britain’s Ltd. Copy-right’;Five marching band figures, two Scottish bagpipers and five guards, one mounted;Two Royal Mail postboxes, one British red telephone box and one sentry box, some marked ‘Dinky Toys Made in England by Meccano Ltd.’ (22)

€ 200 - 400

548 A PAINTED CAST LEAD SET OF FARMYARD

TOYS, comprising farmyard equipment, pony trap, wagons, plough and rollers, water pumps, petrol pump, buckets and pails, fences, trees, feeding troughs, a pair of farmers, one holding a pitchfork and vari-ous farmyard animals, various markings

€ 200 - 400

550 SMOLLETT, TOBIAS.

The History and Adventures of the Renowned Don Quixote translated from the Spanish of Miguel de Cervantes Saavedra (2 vols.) 4to - London 1755, with the copper-plates after Francis Hayman, cancelled bookplate of Thoms Browning, the fly-lef signed B.L. Guinness, St. Anne’s slight staining in places, full contemporary calf, spines attractively tooled in compartments, morocco labels, worn, joints split, else a nice copy.

€ 300 - 500

549 A LARGE 19TH CENTURY CARVED OAK SIDE CABINET in 17th Century style, of rectangular form, the four plank top moulded edge over three frieze drawers carved with scallop shells and acanthus, divided by stylised lion masks, above four cupboard doors each decorated with groups of figures in relief and flanked by musicians at either end, on carved outset base. 218cm wide

€ 1,500 - 2,500

550A ST. STEPHEN’S GREEN PARK, DUBLIN, PHOTOGRAPHS BY W. LAWRENCEa small oblong folio of ten views of the Green, each 115 x 165mm, mounted on a fold-out strip, the faux silk end paper inscribed “To My Dearest Wife, A, 1882” green cloth cover titles in gilt with shamrock spandrels.Provenance: St Anne’s, Clontarf

€300 -500

551 THE CHARLEVILLE FOREST LIBRARY BOOKAn office ledger, (270 x 230mm) quarto, ruled in red, with printed title, “Catalogue of the Library of The Lady Emily A.J. Howard-Bury at her residence, Charleville Forest, Tullamore Ireland 1892,”

in a careful manuscript hand giving, shelf position, title, (author), quantity, size, date and place of publication, in alphabetical order, full black armorial morocco binding, gilt, with the ticket of Charles Cham-bers, Dame Street

€ 500 - 800

552 FEE FARM GRANT 1876; Lord Baron Rathdonnell to Thomas Connolly (of Castletown), of lands at Possedown, Co. Kildare, three leaves, in a clerks hand, on vellum; together with a solicitors cash ledger, mid 20th century

€ 100 - 200

553 THE NOVELS OF G. J. WHYTE MELVILLENew edition, London (n.d.), 23 volumes, in a good half green morocco bindings with labels, over marble boards

Provenance: St Anne’s, Clontarf

€ 150 - 250

554 THE WORKS OF CHARLES DICKENSIllustrated library edition, London 1874-1876, in a fine ½ green grained morocco binding, spines gilt in compartments with rosettes, over marbled boards

Provenance: St Anne’s, Clontarf

€ 600 - 1,000

555 [DICKENS, CHARLES]. OLIVER TWIST; OR, THE PARISH BOY’S PROGRESS. By “Boz”. London (Richard Bentley) 1838.

3 volumes, 12mo (188 x 119mm). Title “By Boz”, bound with publisher’s advertisements. Etched frontispiece in each volume and 21 plates after George Cruikshank. Half bound in brown leather over marbled boards with gilt titles and tramlines to the spine. Condition is poor with pages loose and foxed.

FIRST EDITION, FIRST ISSUE (in book form), with the “Fire-side” plate at p.312 in Volume 3 and authorship ascribed to “Boz” on each title-page.

Inscribed: “Lucy Woolsey December 1838 the gift of a very dear friend” on each title-page, and with the bookplates of O’Bryen Bellingham Woolsey.

The first ‘realistic’ novel that quickly became a classic. This set from the County Louth Library of Milestown House, Castlebellingham. This inscription shows that the local ladies kept abreast of literary developments.

€ 800 - 1,200

556 JONATHAN SWIFTTravels into Several Remote Nations of the World by Captain Lemuel Gulliver (2 vols) London (Benjamin Motte) 17261st Edition (Teerink’s state ‘B’ or third issue)Frontispiece portrait and six plates Contemporary panelled calf, recently rebacked, bookplates of ‘the Honble. George Baillee Esqr. one of the Lords of the Treasury 1724’,In a modern slipcase, a rather nice copy of this famous book that, due to Swift’s genius, will never lapse into ob-scurity. All of the first edition issues are exceedingly scarce and its status is best summarised in Printing and the Mind of Man no.185.

€ 2,000 - 3,000

557 THE WORKS OF WILLIAM MAKEPEACE THACKERAY(22 vols), Smith, Elder & Co. 1869, with the illustrations, a fine set in half green morocco, gilt tooled bindings over marbled boards

Provenance: St Anne’s, Clontarf

€ 500 - 800

558 THE NOVELS OF GEORGE ELIOT

New edition, Edinburgh and London (n.d.), seven volumes, in a good half tan calf binding with morocco labels;together with ‘The Agamemnon of Aeschylus - The Trage-dies of Aescylus’, seven volumes, London 1865/1885, both with bookplate of Lady Ardilaun, St. Annes;together with ‘The Works of Charles Kingsley’, London 1895, 11 volumes, cloth, gilt, bookplate of Bishop of Tuam, Killala and Achonry (25)

Provenance: St Anne’s, Clontarf

€ 200 - 300

559 THE WAVERLEY NOVELS OF SIR WALTER SCOTT, BART Edinburgh 1876, 25 volumes, with the steel engrav-ings, in a sumptuous polished green full morocco binding, the spines elaborately gilt in compartmentsProvenance: St Anne’s, Clontarf

€ 400 - 600

560 JOHN VILLETTE‘The Annals of Newgate or Malefactor’s Register’, London 1776, four volumes, numerous engravings, old calf, rebacked at some stage, somewhat worn and loose but a useful copy

Provenance: St Anne’s, Clontarf

€ 150 - 250

561 FRED NORMANM.S.S. Notebook: ruled, with green morocco cover, 155 x 85mm, Valuation of furniture etc. at St. Annes, Clontarf for Arthur Lee and Benjamin Lee Guinness Esqrs. on the 23rd January 1838, the total is £1,175-3-9 of which £81-15-0 is at James Gate. The most valuable entry is a set of 20 dining chairs in morocco leather at £57-15-0.

Provenance: St Anne’s, Clontarf

€ 500 - 800

562 AN ALBUM195 x 150mm, preserving printed menus for Cambridge dinners attended by the Hon. Benjamin Plunket c. 1890’s for colleges and various dining clubs, mostly designed by Redin & Co. Cambridge (53), displaying considerable artistic ingenuity and originality in art-nouveau taste these feasts, typically with many courses such as Hors d’oeuvre; Potage; Poisson; Entrée; Relevé; Rôti; Extremet; Dessert. are redolent of fin-de-siècle luxury. Interesting are ‘The Hibernian Dinners’ where the toasts, Prosperity to Ireland, Woman, Foxhunting were proposed by such gilded youths as Viscount Corry of Castle Coole and Tom Connolly of Castletown.

Provenance: St Anne’s, Clontarf

€ 200 - 300

563 A VISITORS BOOKkept by Benjamin Plunket from August 1904 to Janu-ary 1947, oblong, 200 x 260mm in crushed burgundy morocco covers, with a fairly dull list of gentry and clerical worthiesthis covers: Aghode Rectory, Co. Carlow, 1912, 71 St. Stephen’s Green 1913, The Palace Tuam 1925, St Annes 1939, Sybil Hill to end. The Plunkets inherited St. Annes from Olive, Lady Ardilaun and sold it in 1939together with a Victorian oblong carte-de-visite photograph album, 150 x 210mm, in ribbed morocco with brass greek-key border with central ivory shield, signed Arthur E. Guinness, containing approximately 50 portraits, some inscribed (2)

Provenance: St Anne’s, Clontarf

€ 300 - 500

564 A TYPESCRIPT COPY OF THE DIARY OF ELIZABETH GUINNESS, daughter of Edward Guinness and wife of Sir Benja-min Guinness on her wedding tour, 1837 pp.131, with frontispiece photograph of the author’s portrait by Catterson smith, finely bound in three-quarter hide, with morocco labels, bookplate of Benjamin John Plunket;a conventional trip from Dublin, taking in France, Itlay, Switzerland and back through England; together with Aide-memoire diary 1866-1886 of Frederika Plunkett, The Palace, Tuum, and 64 Eaton Place, London

Provenance: St Anne’s, Clontarf

€ 200 - 300

565 ORDNANCE SURVEY LETTERS, COUNTY MAYO

Letter from John O’Donovan M.D to Sir Thomas A Larcom; a pro-fessional transcript of pp.94-177 on Whatman Turkey Mills 1858 paper within red ruled borders, the dd Irish script particularly good, unbound in five quires, 290 x 240cm, dealing with the his-tory and features of South Mayo around Cong. This is obviously a commission of Benjamin Guinness who had bought Ashford from the Browne family and was to expand the existing house into an enormous pseudo-castle.

Provenance: St Anne’s, Clontarf

€ 500 - 1,000

566 THE CONFIRMATION OF TITLE TO LANDS TO THE ‘41 OFFICERS UNDER THE ACTS OF SETTLEMENT AND EXPLANATION OF CHARLES IIA two sheet vellum document confirming by patent property to Captain Thomas Evans in the city and county of Kilkenny, entered into the registry 16th September 1666, signed by Lord Chancellor Carleton and retaining part of a wax impression of the Great Seal of Ireland. The first sheet headed by a miniature portrait of the King beside a cresting of the Royal Arms and Symbols, all well hand-coloured over a printed base, the whole text highlighted with gilding, approx. 560 x 700mm

Provenance: St Anne’s, Clontarf

€ 600 - 1,000

567 AN ALBUM IN FOLIO, 1920’S, summarising the circumstances and connections between various families related to the Hedges of Macroom and Whites, Earls of Bantry, professionally compiled under the supervision of Olive, Lady Ardilaun, containing typescripts of historical records and documents, photographs of portraits and family monuments, geneologies, each separately verified by Thomas V. Sadler, Regis-ter, Ulster’s Office and an illustrated section on the destruction of Macroom Castle, August 1922, with many annotations in ink, pp. 140. (340 x 250cm) handsomely bound in crushed brown moroc-co, with gilt fillets, spine in comparments, upper cover with central overlaid monogram tied by a baronesses coronet.Olive White was born in Macrom Castle in 1850 and inherited it on the death of her brother the 4th Earl of Bantry 1841, she was intensely interested in it and the link it gave to her desent from O’Sullivan Beare and the McCarthy’s. Childless and widowed she had been traumatised by the First World War and had done her best to alleviate the distress of Irish soldiers and their families. The wanton burning of Macrom Castle (the unsatisfactory strate-gic excuses, given the reality of modern warfare, do not suffice, and the Black and Tans were long gone) probably caused her to compile the current list. It is very thorough and she commissioned professional help to copy documents. Most, of course, from available public sources but much from unpublished family papers and importantly tran-scripts of documents that had been in the Public Record office so barbarically destroyed. Of immediate interest is the account signed by Kathleen Olive Everett of a thrilling adventure getting to Macroom in the wake of the burning and establishing that the bravery of the caretakers had ensured the rescue of most of the contents.

Provenance: St Anne’s, Clontarf

€ 1,000 - 1,500

568 A COMMON-PLACE BOOK, 235 X 190mm, inscribed ‘Frederick John Foster, a gift from his sister Elizabeth Foster, Cheltenham June 4th 1824’. Containing transcripts of poetry, epigrams etc, sketches and drawings, together with a similar volume, inscribed ‘Poetry, Original and translated by E.S.F.’ In contemporary morocco bindings (worn) one with label of ‘Wallers, Engraving Printing and Stationary Warehouse, 20 Suffolk Street’ the other with bookplate of Benjamin John Plunkett. These are the younger children of John William Foster (M.P for Dunleer)William Foster bought Ballymascenlon, Dundalk. Their younger sister Louisa married the second Baron Plunket

Provenance: St Anne’s, Clontarf

€ 500 - 800

569 BURY, TALBOT (ARCHITECT). Two albums containing numerous sketches of mainly Gothic architecture, interiors, details, ornaments, furniture and fittings, many signed, most annotat-ed. One inscribed “Sketches by Talbot Bury 1852”, bookplate of Lord Ardilaun, 310 x 250mm and 360 x 280mm, a working reference archive for a Victorian architect working in the Gothic Revival style of the period.

Provenance: St Anne’s, Clontarf

€ 2,000 - 3,000

570 BELL, THOMAS. An Essay on the Origin and Progress of Gothic Architecture ... in Ireland - Dublin 1829. Lithographs by Hullmandel (lacking plate Timahoe Round Tower). Extra illustrated with a frontispiece of the arms of Dublin surmounted by the Guinness crest signed T. Bell and illuminated dedication leaf to Benjamin Lee Guinness, Lord Mayor, 1851. Owner’s signature Benjamin Lee Guinness, St. Anne’s and a bookplate of Benjamin John Plunket. Original linen-covered boards, printed paper, label on spine.

Provenance: St Anne’s, Clontarf

€ 250 - 400

571 ALBUM. PHOTOGRAPHS OF THE

ILLUMINATED ADDRESSES PRESENTED TO SIR BENJAMIN LEE GUINNESS BART ... together with an account of the restoration of the Catherdral of St. Patrick ... the re-opening ceremony ... by John Norwood. Folio, 380 x 280mm. Mounted photographs. Belfast (Marcus Ward & Co.). 1870. In brown Morocco binding inscribed. Addresses to Sir B.L. Guiness, Bart. within a gilt celtic banding; together with two folio albums, one entitled; Old Dublin Churches, the other; History of the Churches of St. Bride, St. Michael and St. Stephen’s (by Edward Evans, 37 Wentworth Place, Dublin 1896). Chiefly comprising cuttings from The Irish Builder and also transcripts from parish records.

Provenance: St Anne’s, Clontarf

€ 500 - 800

572 BOULTER. LETTERS WRITTEN BY HIS

EXCELLENCY HUGH BOULTER, D.D. (2 vols. in 1), Dublin 1770, title and preliminary pages reinforced at edges, some staining throughout, contemporary polished calf, slightly worn, morocco label.

Provenance: St Anne’s, Clontarf

€ 60 - 100

573 PEDIGREE OF THE MAGENNIS (GUINNESS) FAMILY OF NEW ZEALAND AND OF DUBLIN; Christchurch, New Zealand 1897, limp armorial caff. Milton, Paradise Lost, 17th edition - Dublin 1765, inscribed Anne Lee October 28th 1790, with note tipped-in “This book belonged to Anne Lee eldest daughter of Benjamin Lee of Merrion ..., married May 7th 1793 Arthur Guiness, junior, of Beaumont ... - Poems by E.B. A privately printed collection by ... Bellingham of Cas-tlebellingham and Dunany , written 1843-1885, limp crimson Morocco.

Provenance: St Anne’s, Clontarf

€ 50 - 100

574 THE PICTURE OF DUBLIN1821,fold-out map and the plates, half calf, bookplate of Benjamin Lee Guiness - (Edward Dubois). My Pocket Book, 3rd edition, London 1808, fold-out frontispiece, also with report on the libel case Carr-v-Hood & Sharpe, in which the jury dismissed Sir John Carr’s case that he had been libelled by this spoof on “The Stranger in Ireland”, bookplate of Lord Ardilaun. Calf, spine defective.

Provenance: St Anne’s, Clontarf

€ 100 - 150

575 CLARKE, HARRY. Fairy Tales by Hans Christian Anderson illustrated by Harry Clarke, folio, London (n.d.), edition limited to 125 copies, this one no. 32, signed by Clarke, with the mounted coloured plates and the numerous black and white engravings, bound in vellum with gilt lettering, the upper cover with Clarke’s design of the princess, bookplate of Benjamin John Plunket, some pages slightly foxed, the cover stained at the top, lacking the plates at pp. 22 and 44.

Provenance: St Anne’s, Clontarf

€ 800 - 1,400

576 [BLACKWOOD, HENRY] MEMOIR OF THE ARCHDALES with the Descents of Some Allied Families, 4to. Enniskillen 1928, coloured armorial frontispiece and photographs, dedication by the author 28th October 1926, linen boards with printed paper label.

Provenance: St Anne’s, Clontarf

€ 100 - 200

577 JACKSON STOPS & MCCABE. The St. Anne’s sale catalogue, with annotations “by the direction of the Right Reverend, The Honourable Benjamin Plunket D.D. Catalogue of the Entire Con-tents of St. Anne’s, Clontarf ... to be sold at St. Anne’s commencing Monday, 9th October, 1939 at 12 Noon each day and continuing for two weeks”. Illustrated, printed armorial boards with buckram spine.

Provenance: St Anne’s, Clontarf

€ 300 - 500

578 MSS. BOTANICAL, 18TH CENTURY, 155 x 100mm. A notebook signed “The Revd. Philip le Brocq M.A. at Shepperson & Reynolds, No. 137 Oxford Street”, with a meticulous list of botanical names with sub-species, a summary of English / Latin nomenculture and a further list designating old Authors, Generic Names rejected, English names, Linnean Genera. In a nice crimson Morocco and gilt tooled 18th century binding with metal clasps, book-plate of Peter Vere.This is a most detailed and neat reference work of a botanist. In 1786, Shepperson & Reynolds published his “A Description of Certain Methods of Planting, Draining and Managing All Kinds of Fruit Trees, etc.”.In 1788, he advertised: “At Ashley-Hill, near Lyming-ton, that’s one mile from the sea, and one of the most dry, chearful and healthy spots in the Kingdom, pupils of future rank and fortune are educated upon a most vast and liberal, extensive, rational and consistent plan by the Rev. Philip le Brocq.”; together with, Shirley Hibberd, “The Amateur’s Green-house and Conservatory”, London 1875, with fold-out coloured lithographs, decorated cloth.

€ 500 - 800

580 GOLDSMITH, J. A GRAMMAR OF BRITISH GEOGRAPHY, 4th edition, London 1816, fold-out maps, the title signed “B.L. Guinness. January 1818”. - J. Joyce Scientific Dialogues ... for Young People, new edition, London (N.D.), the title signed Arthur E. Guinness, and the fly leaf, to dear Arthur from his Papa”.

Provenance: St Anne’s, Clontarf

€ 30 - 60

581 CARLETON, WILLIAM. VALENTINE MCCLUTCHY, THE IRISH AGENT, DUBLIN (James Duffy) 1847 with the plates by ‘Phiz’, in a fine polished calf ‘revival’ binding, bookplates of Lord Ardilaun and Benjamin John Plunket, a detailed study of the character and career an Irish Land Agent of the worst type. It puts the reader on intimate terms with the prejudices, feelings, aims and manners of the Orangemen of the day ... one of the most daring pic-tures of Irish Country Life ever executed” - S.J. Brown. Ireland in Fiction. The 1st edition was 1845; together with Samuel Lover, R.H.A. Legends and Stories of Ireland. 2nd edition. Dublin (Weekeman) 1832, plates after the author, polished green Morocco leather gilt, bookplate at Lord Ardilaun.

Provenance: St Anne’s, Clontarf

€ 100 - 200

582 HYDE / YOUNG. HYMN BOOK IN IRISH. Dánte Dé, 4to, 1928, (Colm O’Loclainn, Three Candles Press), dedication by Douglas Hyde 4th February 1929, and with holograph letter, signed An Craibín (Douglas Hyde) explaining the genesis of the book, “I paid for printing the translation myself ... I think the hymns 68, 69 and 92, are rather remarkable as nature hymns ... it gave me more trouble than any two of my own books!’’A remarkable association copy in mint condition.

€ 300 - 500

583 ALKEN, HENRY. THE NATIONAL SPORTS OF GREAT BRITAIN folio, London (Thomas McLean) 1825, large paper, with the 50 plates (uncoloured), bookplate of Ben-jamin Lee Guinness. half maroon morocco leather, spine gilt, in compartments.

Provenance: St Anne’s, Clontarf

€ 500 - 800

584 EGAN. (IMITATION). REAL LIFE IN LONDON; or the Rambles and the Adventures of Bob Tallyho, Esq. and his cousin, the Hon. Tom Dashall, 2 vols., London 1821, with the coloured aqua-tints, in a fine polished brown calf ‘revival’ binding, with binders stamp, J. Larkins, edges cropped and gilded (occassionally affecting plates), a fine set with the bookplate of Benjamin John Plunket. Ref. Tooley 198 with same collation except frontispiece Vol. I is substituted by the optional plate “Tom and Bob Catching a Charley napping”. Lot 1557 in the St. Anne’s sale but withdrawn.

€ 200 - 300

585 ROWLANDSON (ET AL). SYNTAX IMITATION. The Tour of Doctor Syntax through London, or the Pleasures and Miseries of the Metropolis, London 1820 (J. Johnston, Cheapside), with the coloured aquatints, in a fine crushed crimson morocco binding, gilt, all edges gilt, stamped J. Larkins, bookplate of Benjamin John Plunket, ref. Todey 434 with same collation, lot 1558 in the St. Anne’s sale, but withdrawn.

€ 300 - 400

586 COMBE, WILLIAM. FIRST/SECOND/THIRD TOUR OF DR. SYNTAX, (3 vols.) a late edition, London, George Routeledge and Sons, with a re-issue of the Rowlandson aquatints, hand coloured, bookplate of Benjamin John Plunket in smart half crimson Morocco, gilt bindings, over marbled boards. Lot 1556 in the St. Anne’s sale but withdrawn.

€ 250 - 400

587 SCOTT, WILLIAM HENRY. (John Lawrence) British Field Sports, London 1818, numerous engrav-ings and cuts in text, bookplates of Lady Ardilaun and Benjamin John Plunket, in a fine polished tan morocco binding by Zaehnsdorf, the spine gilt in compartments with sporting trophies, red morocco labels; together with W. Bingley, Memoirs of British Quadrupeds, London 1809, numerous engravings, bookplate of Benjamin Lee Guinness and dedication to him “sincere esteem and fraternal love from his affection-ate brother - 30th November 1819”, ticket of “Martin Keene, Bookseller and Stationer, 6 College Green, Corner of Anglesea St., Dublin”, mar-bled calf with gilt Greek-key border, somewhat worn.

€ 100 - 200

588 MCCLEOD, JOHN.

Voyage of His Majesty’s Ship Alceste along the Coast of Corea, 2nd edi-tion, London 1818, portrait frontispiece in 5-coloured acquatints, the fly leaf signed, Benj. Lee Guinness, the gift of his Affectionate Aunt, Mrs. Smyth, Bristol 1819, to my dear son, Arthur Edward Guinness, 14th March 1849, polished tan morocco with gilt anthemion border, worn.

€ 150 - 250

589 METAMORFOSEUS O TRANSFORMACIONES DE OVIDO, a set of 140 engravings, 220 x 150mm, within rococo printed frames by Jose Assensio, Madrid 1795, in a 19th century half brown morocco binding.

€ 50 - 100

590 THE GEORGIAN SOCIETY RECORDS OF EIGHTEENTH CENTURY DOMESTIC ARCHITECTURE AND DECORATION IN DUBLINDublin University Press 1909-1913 5 volumesAlso the scarce companion volume ‘Georgian Mansions in Ireland’, with some account of the revolution and Georgian architectureThomas Sadlier and Dickinson

€ 1,000 - 1,500

591 ‘PEERAGE OF IRELAND’ BY WILLIAM PLAYFAIR 1811, 3 volumes I,II, IV(4VO) marblised covers with gilt stamped moroccon leather spines.

€ 150 - 200

595 DAGUERRE, LOUIS JACQUES (1787-1851) Excursions Daguerriennes; Vue & Monuments les plus remarquables du Globeoblong folio, Paris (Lerebours) 1841 [270 x 365mm]with twenty etched views after photographs, French texts by various people, origi-nal binding in embossed linen, title in gilt on upper cover, decorated spine.The earliest attempt to utilise photography, if indirectly, to illustrate a book, fur-ther plates were issued later.

€ 3,000 - 5,000

596 SAMUEL BOURNE AND OTHERS AN EXCELLENT PHOTOGRAPH ALBUM OF THE 1860S

oblong folio illustrating a trip through India, Ceylon, Western Australia, Tasmania, New Zealand, Honolulu and ending at the Niagra Falls, 35 leaves, in contemporary buckram and morocco binding, somewhat shaken and split but a good record in otherwise fine condition (a detailed list of contents available on request)Samuel Bourne (1834-1912) from Nottingham became the leading landscape pho-tographer in India where he favoured the wet collodion process. The printing and distribution of his plates was left to his partner in the firm of Bourne & Shepherd in Simla. Bourne is most remembered for his Himalayan studies.

€ 3,000 - 5,000

597 JAMES MALTONAn Essay on British Cottage Architecture,4to London 1798 1st edition, with the twenty-one plates in aquatint, original printers boards, un-trimmed, lacking spine, loose

€ 600 - 1,000

598 VITRUVIUSThe Civil Architecture of Vituvius which relate to the Public and Private Edifices of the Ancients translated by William Wilkins M.A.F.A.S.4to London 1812 with the 41 architectural engraved plates, half-russia, joints split, covers loose and scuffed, internally a very fine copy.

€ 250 - 500

599 BERNARD PICARTA Collection of Prints from the Most Celebrated Paintersfolio, London (Boydell) n.d. disbound and sold as a collection of prints, approx. 48

€ 50 - 100

600 RAPHAELAn Analysis of the Pictures of the Transfiguration of Raffaello Sanzio D’Urbinolarge folio, London (Bowyer) 1817, with the frontis-piece and 15 (only) studies of the heads, half-russia over marbled boards, the joints split, worn.

€ 200 - 300

601 JOSIAH BOYDELL (BOYDELL’S SHAKESPEARE)A collection of prints - illustrating the Dramatic Works of Shakespeare, 2 vols, elephant folio, London (John & Joshua Boydell) 1803-1805, with the plates (510 x 610mm), apparently a complete set of the 100 called for in the index but bound up as follows:Vol. I The King, vignette and thirty nine platesVol. II The Queen, vignette and fifty seven platesin a lavish gilt stamped morocco binding, covers detached and spines defective, the plates in excellent condition. (2)

€ 1,500 - 2,000

602 RAILWAY COMMISSIONERS OF

IRELAND Atlas to Accompany the 2nd Report, 1838, the six folio maps by Richard Griffith, wrappers, morocco label lettered in gilt, some staining.

€ 500 - 1,000

603 JOHN MARTIN (ILLUSTRATOR)

The Paradise Lost of Milton (2 vols)4to London (Septimus Prowett) 1827, with illustra-tions designed and engraved by John Martin, in dark morocco with ruled line embellished borders, spines gilt in compartments, a fine set. (2)

€ 1,000 - 1,500

604 TABLEAUX, STATUES, BAS-RELIEFS ET CAMÉES DE LA GALERIE DE FLORENCE ET DU PALAIS PITTI, 4 vols. imperial folio, Paris (Lacomb) 1789-1807a wonderful set in 19th century stamped morocco bindings, all edges gilt, this set is declared to be “Imprimées sur Papier-vélin superfin de Johanot d’Annonay”.

€ 1,000 - 2,000

605 IMPORTANT ITALIAN DICTIONARYVocabolro degli Accademici della Crusca, 3 vols., folio, 3rd edition, Florence 1641,in an English panelled calf binding of the early 18th century, joints split and worn, bookplate of, The Right Hon. Charles Lord Halifax 1702 (the last leaf of Vol. II is lacking)

€ 150 - 200

606 A WOODEN BOX CONTAINING GLASS SLIDES AND A RARE EARLY FRENCH STEREOSCOPIC DAGUERREOTYPE OF THE STATUE OF ANDROMEDA BY JOHN BELL

€ 200 - 300

607 AMEDEO REVINAIn Morte di Giorgio Canning, 4 to London, 1828, large paper, original boards, linen spine

€ 50 - 100

608 AN IRISH WILLIAM IV ROSEWOOD CONSOLE TABLE, with white marble top above a plain frieze, on well carved scroll supports with acanthus carved knees on paw feet on a platform base with mirror back

€1,000 - 1,500

609 A GEORGE III MAHOGANY FRAMED GAINSBOROUGH ARMCHAIR with upholstered back, seat and arm rests, on square legs with stretcher

€1,000 - 1,500

610 A GEORGE IV MAHOGANY SIDE CHAIR, the padded back and dished seat, raised on reeded X-frame support with cross stretcher

€500 - 800

612 A RARE IRISH MAHOGANY DROP-LEAF TEA-TABLE, C.1740, the rectangular top above a shaped apron, on moulded shell capped cabriole legs on faceted pad feet.183cm x 53cm x 71cm high (the top associated)

Provenance: St Anne’s, Clontarf

€2,000 - 3,000

613 A 19TH CENTURY BRONZE SHIP’S BELL,of typical form, 29cm tall

€200 - 300

614 FRENCH SCHOOL, 19TH CENTURY

A set of eight decorative prints depicting figurative mantle clocks, comprising:i) ClothoEtching, 77 x 56cmii) Alonso e CoraEtching, 61 x 45cmiii) Le bouquet d’amourEtching, 54 x 40cmiv) Melle de Lafayette au rendez-vous de Louis XIIIEtching, 51 x 38cmv) MilitadeEtching, 67 x 46cmvi) Ibrahim PachaEtching, 62 x 45cmvii) Les Ruins doriquesEtching, 64 x 40cmviii) Jeunesse de MiltonEtching, 61 x 45cm All in identical frames Provenance: Purchased from George Stacpoole, Adare by the present owner.

€3,000 - 5,000

615 A SWISS CHROME ATMOS CLOCK JAEGER-LECOULTRE, GENEVA, mid 20th century, the engine turned base plate inscribed ‘ATMOS/ BREVETS REUTIER/ JAEGER-LECOUL-TRE/ FABRIQUÉ/ EN SUISSE-SWISS MADE’, silvered and painted chapter ring, black painted hands, movement of typical form and punch numbered ‘7809’ to the top and ‘6752’ to the front plate. 23.5cm high x 21cm wide

€1,500 - 2,000

616 ITALIAN SCHOOL, 17TH CENTURY STYLEThe Birth of Venus, Venus with attendants carried on a sea chariotOil on canvas, 91 x 112cm

€2,000 - 3,000

617 A WHITE VEINED MARBLE PEDESTAL, 20TH CENTURY, in the form of a Doric column, with solid black marble platform and corresponding base. 101cm high, platform 49.5cm diameter

€2,000 - 3,000

General Terms and Conditions of BusinessThe Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auctioneer or set out in any relevant Catalogue. Conditions 12-21 relate mainly to buyers and conditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1. Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogue Explanation contained in condition 2.

DEFINITIONS AND GENERAL CONDITIONS

Definitions

1. In these conditions the following words and expressions shall have the following meanings:

‘Auctioneer’ – James Adam & Sons.

‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by the buyer and seller as specified in conditions 13 and 25.

‘Catalogue’ – Any advertisement, brochure, estimate, price list or other publication.

‘Forgery’ – A Lot which was made with the intention of deceiving with regard to authorship, culture, source, origin, date, age or period and which is not shown to be such in the description therefore in the Catalogue and the market value for which at the date of the auction was substan-tially less than it would have been had the Lot been in accordance with the Catalogue description.

‘Hammer Price’ – The price at which a Lot is knocked down by the Auctioneer to the buyer.

‘Lot’ – Any item which is deposited with the Auctioneer with a view to its sale at auction and, in particular, the item or items described against any Lot number in any Catalogue.

‘Proceeds of Sale’ – The net amount due to the seller being the Hammer Price of the Lot after deducting the Auctioneer’s Commission thereon under condition 25 the seller’s contribution towards insurance under condition 26, such VAT as is chargeable and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising.

‘Registration Form or Register’ – The registration form (or, in the case of persons who have previously attended at auctions held by the Auctioneer and completed registration forms, the register maintained by the Auctioneer which is compiled from such registration forms) to be completed and signed by each prospective buyer or, where the Auctioneer has acknowledged pursuant to condition 12 that a bidder is acting as agent on behalf of a named principal, each such bidder prior to the commencement of an auction.

‘Sale Order Form’ – The sale order form to be completed and signed by each seller prior to the commencement of an auction.

‘Total Amount Due’ – The Hammer Price of the Lot sold, the Auctioneer’s Commission due thereon under condition 13, such VAT as is chargeable and any additional interest, expenses or charges due hereunder.

‘V.A.T.’ – Value Added Tax.

Cataloguing Practice and Catalogue Explanations

2. Terms used in Catalogues have the following meanings and the Cataloguing Practice is as follows:

The first name or names and surname of the artist; In the opinion of the Auctioneer a work by the artist.

The initials of the first name(s) and the surname of the artist; In the opinion of the Auctioneer a work of the period of the artist and which may be in whole or in part the work of the artist.

The surname only of the artist;In the opinion of the Auctioneer a work of the school or by one of the followers of the artist or in his style.

The surname of the artist preceded by ‘after’;In the opinion of the Auctioneer a copy of the work of the artist.

‘Signed’/’Dated’/’lnscribed’;In the opinion of the Auctioneer the work has been signed/dated/inscribed by the artist.

‘With Signature’/’with date’/’with inscription’;In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person other than the artist.

‘Attributed to’;In the opinion of the Auctioneer probably a work of the artist.

‘Studio of/Workshop of ’In the opinion of the Auctioneer a work executed in the studio of the artist and possibly under his supervision.

‘Circle of ’;In the opinion of the Auctioneer a work of the period of the artist and showing his influence.

‘Follower of ’;In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily by a pupil.

‘Manner of ’;In the opinion of the Auctioneer a work executed in artist’s style but of a later date.

‘*’;None of the terms above are appropriate but in the Auctioneer’s opinion the work is a work by the artist named. GENERAL CONDITIONS

Auctioneer Acting as Agent3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the contrary. The Auctioneer as agent for the seller is not responsible for any default by the seller or the buyer.

Auctioneer Bidding on behalf of Buyer4. It is suggested that the interests of prospective buyers are best protected and served by the buyers attending at an auction. However, the Auctioneer will, if instructed, execute bids on behalf of a prospective buyer. Neither the Auctioneer nor its employees, servants or agents shall be responsible for any neglect or default in executing bids or failing to execute bids.

Admission to Auctions5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admission to its premises or attendance at its auctions by any person.

Acceptance of Bids6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse any bids, advance the bidding in any manner it may decide, withdraw or divide any Lot, combine any two or more Lots and, in the case of a dispute, to put any Lot up for auction again.

Indemnities7. Any indemnity given under these conditions shall extend to all actions, proceedings, claims, demands, costs and expenses whatever and howsoever incurred or suffered by the person entitled to the benefit of the indemnity and the Auctioneer declares itself to be a trustee of the benefit of every such indemnity for its employees, servants or agents to the extent that such indemnity is expressed to be for their benefit.

Representations in Catalogues8. Representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source, origin, date, age, provenance, condition or estimated selling price or value is a statement of opinion only. Neither the Auctioneer nor its employees, servants or agents shall be responsible for the accuracy of any such opinions. Every person interested in a Lot must exercise and rely on their own judgment and opinion as to such matters.

9. The headings of the conditions herein contained are inserted for convenience of reference only and are not intended to be part of, or to effect, the meaning or interpretation thereof.

Governing Law10. These conditions shall be governed by and construed in accordance with Irish Law.

Notices11. Any notice or other communication required to be given by the Auctioneer hereunder to a buyer or a seller shall, where required, be in writing and shall be sufficiently given if delivered by hand or sent by post to, in the case of the buyer, the address of the buyer specified in the Registration Form or Register, and in the case of the seller, the address of the seller specified in the Sale Order Form or to such other address as the buyer or seller (as appropriate) may notify the Auctioneer in writing. Every notice or communication given in accordance with this condition shall be deemed to have been received if delivered by hand on the day and time of delivery and if delivered by post three (3) business days after posting.

The Buyer12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the Hammer Price. Any dispute which may arise with regard to bidding or the acceptance of bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as principal unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is acting as agent on behalf of a named principal.

Commission13. The buyer shall pay the Auctioneer a commission at the rate of 20%, exclusive of V.A.T..

Payment14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a Lot shall pay to the Auctioneer within one (1) day from the date of the auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the conclusion of the auction.

The Auctioneer may apply any payments received by a buyer towards any sums owing from that buyer to the Auctioneer on any account whatever regardless of any directions of the buyer or his agent in that regard whether express or implied.

The Auctioneer shall only accept payment from successful bidders in cash or by the bidder’s own cheque. Cheques drawn by third parties, whether in the Auctioneer’s favour or requiring endorsement, shall not be accepted.

Reservation of Title buyer until he has paid to the Auctioneer the Total Amount Due.15. Notwithstanding delivery or passing of risk to the buyer the ownership of a Lot shall not pass to the buyer until he has paid to the Auctioneer the Total Amount Due.

Collection of Purchases16. The buyer shall at his own expense collect the Lot purchased not later than seven (7) days after the date of the auction but (unless credit terms have been agreed with the Auctioneer pursuant to condition 14) not before payment to the Auctioneer of the Total Amount Due.

The buyer shall be responsible for any removal, storage and insurance charges in respect of any Lot which is not taken away within seven (7) days after the date of the auction.

The purchased Lot shall be at the buyer’s risk in all respects from the earlier of the time of collection or the expiry of one (1) day from the date of the auction. Neither the Auctioneer nor its employees, servants or agents shall thereafter be liable for any loss or damage of any kind howsoever caused while a purchased Lot remains in its custody or control after such time.

Packaging and Handling of Purchased Lots17. Purchased Lots may be packed and handled by the Auctioneer, its employees, servants or agents. Where this is done it is undertaken solely as a courtesy to buyers and at the discretion of the Auctioneer. Under no circumstances shall the Auctioneer, its employees, servants or agents be liable for damage of any kind and howsoever caused to glass or frames nor shall the Auctioneer be liable for the errors or omissions of, or for any damage caused by, any packers or shippers which the Auctioneer has recommended.

Non-Payment or Failure to Collect Purchased Lots18. If a buyer fails to pay for and/or collect any purchased Lot by the dates herein specified for payment and collection the Auctioneer shall, in its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies without further notice to the buyer:

(a) To issue court proceedings for damages for breach of contract;

(b) To rescind the sale of that Lot or any other Lots sold to the buyer whether at that or at any other auction;

(c) To resell the Lot or cause it to be resold whether by public auction or private sale. In the event that there is a deficiency between the Total Amount Due by the buyer and the amount received by the Auctioneer on such resale after deduction of any necessary expenses the difference shall be paid to the Auctioneer by the buyer. Any surplus arising shall belong to the seller.

(d) To store (whether at the Auctioneer’s premises or elsewhere) and insure the purchased Lot at the expense of the buyer.

(e) To charge interest on the Total Amount Due at the rate of 2% over and above the base rate from time to time of Bank of Ireland or if there be no such rate, the nearest equivalent thereto as determined by the Auctioneer in its absolute discretion from the date on which payment is due hereunder to the date of actual payment.

(f ) To retain that Lot or any other Lot purchased by the buyer whether at the same or any other auction and release same to the buyer only after payment to the Auctioneer of the Total Amount Due.

(g) To apply any sums which the Auctioneer received in respect of Lots being sold by the buyer towards settlement of the Total Amount Due.

(h) To exercise a lien on any property of the buyer in the possession of the Auctioneer or whatever reason.

Liability of Auctioneer and Seller19. Prior to auction ample opportunity is given for the inspection of the Lots on sale and each buyer by making a bid acknowledges that he has, by exercising and relying on his own judgment, satisfied himself as to the physical condition, age and Catalogue description of each Lot (including but not restricted to whether the Lot is damaged or has been repaired or restored). All Lots are sold with all faults and imperfections and errors of description. None of the seller, the Auctioneer nor any of their employees, servants or agents shall be responsible for any error of description or for the condition or authenticity of any Lot. No warranty whatso-ever is given by the seller or Auctioneer or by any of their employees, servants or agents in respect of any Lot and any condition or warranty express or implied by statute or otherwise is hereby specifically excluded.

Forgeries20. Any amount paid by a buyer in respect of a Lot which, if it is proved within three (3) years of the date of the auction at which it was purchased, to have been a Forgery shall be refunded to the seller subject to the provisions hereof, provided that:

(a) The Lot has been returned by the buyer to the Auctioneer within three (3) years of the date of the auction in the same condition in which it was at the time of the auction together with evidence proving that it is a Forgery, the number of the Lot and the date of the auction at which it was purchased;

(b) The Auctioneer is satisfied that the Lot is a Forgery and that the buyer has and is able to transfer good and marketable title to the Lot free from any third party claims;

FURTHER PROVIDED THAT the buyer shall have no rights hereunder if:(i) The description of the Lot in the Catalogue at the time of the auction was in accordance

with the then generally accepted opinion of scholars or experts or fairly indicated that there was a conflict of such opinion;

(ii) The only method of establishing at the time of the auction in question that the Lot was a Forgery would have been by means of scientific processes which were not generally accepted for use until after the date of the auction or which were unreasonably expensive or imprac-tical.

The buyer’s sole entitlement under this condition is to a refund of the actual amount paid by him in respect of the Lot. Under no circumstances shall the Auctioneer be liable for any damage, loss (including consequential, indirect or economic loss) or expense suffered or incurred by the buyer by reason of the Lot being a Forgery.

The benefit of this condition shall be solely and exclusively for the buyer and shall not be assignable. The buyer shall for the purpose of this condition be the person to whom the original invoice in respect of the sale of the Lot is made.

Photographs21. The buyer authorises the Auctioneer at any time to make use of any photographs or illustrations of the Lot purchased by the buyer for such purposes as the Auctioneer may require.

CONDITIONS WHICH MAINLY CONCERN THE SELLER

Auctioneer’s Discretion22. With regard to the sale of any Lot the Auctioneer shall have the following powers exercisable solely in the discretion of the Auctioneer:

(i) To decide whether to offer any Lot for sale or not;

(ii) To decide whether a particular Lot is suitable for sale by the Auctioneer and, if so, to determine which auction, the place and date of sale, the conditions of sale and the manner in which such sale should be conducted;

(iii) To determine the description of any Lot in a Catalogue.

(iv) To decide whether the views of any expert shall be obtained and to submit Lots for examina-tion by any such experts.

(v) To determine what illustration of a Lot (if any) is to be included in the Catalogue.

Seller’s Warranty and Indemnity23. The seller warrants to the Auctioneer and to the buyer that he is the true owner of the Lot or is legally authorised to sell the Lot on behalf of the true owner and can transfer good and marketable title to the Lot free from any third party claims. As regards Lots not held by the Auctioneer on its premises or under its control the seller warrants and undertakes to the Auctioneer and the buyer that the Lot will be available and in a deliverable state on demand by the Auctioneer or buyer. The seller shall indemnify the Auctioneer and the buyer or any of their respective employees, servants or agents against any loss or damage suffered by any of them in consequence of any breach of the above warranties or undertakings by the seller.

Reserves24. Subject to the Auctioneer’s discretion, the seller shall be entitled prior to the auction to place a reserve on any Lot. All reserves must be agreed in advance by the Auctioneer and entered on the Sale Order Form or subsequently be confirmed in writing to the Auctioneer prior to auction. This also applies to changes in reserves. A reserve may not be placed upon any Lots under €500 in value. The reserve shall be the minimum Hammer Price at which the Lot may be sold by the Auctioneer. A reserve once in place may only be changed with the consent of the Auctioneer. A commission shall be charged on the ‘knock-down’ bid for Lots which fail to reach the reserve price. Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT payable thereon must be paid before removal of the Lot after the auction. The minimum commission hereunder shall be €25. The Auctioneer may in its sole discretion sell a Lot at a Hammer Price below the reserve therefore but in such case the Proceeds

of Sale to which the seller shall be entitled shall be the same as they would have been had the sale been at the reverse.

Unless a reserve has been placed on a Lot in accordance with the provisions set out above such Lot shall be put up for sale without reserve.

In the event that any reserve price is not reached at auction then for so long as the Lot remains with the Auctioneer and to the extent that the Lot has not been re-entered in another auction pursuant to condition 31 the seller authorises the Auctioneer to sell the Lot by private treaty at not less than the reserve price. The Auctioneer shall ensure that in such a case those conditions herein which concern mainly the buyer shall, with any necessary modification, apply to such sale.

Commission25. The seller shall pay the Auctioneer commission at the rate of 10% on the Hammer Price of all Lots sold on behalf of the seller at Attic Sales and 17.5% on the Hammer Price of all Lots sold on behalf of the seller at Fine Art, Wine and Militaria Sales together with V.A.T. thereon at the applicable rate. The seller authorises the Auctioneer to deduct from the Hammer Price paid by the buyer the Auctioneer’s Commission under this condition; VAT payable at the applicable rates and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that the Auctioneer may also receive commission from the buyer pursuant to condition 13.

Insurance26. Unless otherwise instructed by the seller, all Lots (with the exception of motor vehicles) deposited with the Auctioneer or put under its control for sale shall automatically be insured by the Auctioneer under the Auctioneer’s own fine arts policy for such sum as the Auctioneer shall from time to time in its absolute discretion determine. The seller shall pay the Auctioneer a contribution towards such insurance by the Auctioneer, be sold for such amount. Such insurance shall subsist until such time as the Lot is paid for and collected by the buyer or, in the case of Lots sold which are not paid for or collected by the buyer by the due date hereunder for payment or collection such due date or, in the case of Lots which are not sold, on the expiry of seven (7) days from the date on which the Auctioneer has notified the seller to collect the Lots.

Recision of Sale27. If before the Auctioneer has paid the Proceeds of Sale to the seller the buyer proves to the satisfac-tion of the Auctioneer that the Lot sold is a Forgery and the requirements of condition 20 are satisfied the Auctioneer shall rescind the sale and refund to the buyer any amount paid to the Auctioneer by the buyer in respect of the Lot.

Payment of Proceeds of Sale28. The Auctioneer shall remit the Proceeds of Sale to the seller not later than thirty (30) days after the date of the auction, provided however that, if by that date, the Auctioneer has not received the Total Amount Due from the buyer then the Auctioneer shall remit the Proceeds of Sale within seven (7) working days after the date on which the Total Amount Due is received from the buyer. If credit terms have been agreed between the Auctioneer and the buyer the Auctioneer shall remit to the seller the Proceeds of Sale not later than thirty (30) days after the date of the auction unless otherwise agreed by the seller.

If before the Total Amount Due is paid by the buyer the Auctioneer pays the seller an amount equal to the Proceeds of Sale then title to the Lot shall pass to the Auctioneer.

If the buyer fails to pay the Auctioneer the Total Amount Due within fourteen (14) days after the date of the auction, the Auctioneer shall endeavour to notify the seller and take the seller’s instructions on the course of action to be taken and, to the extent that it is in the sole opinion of the Auctioneer feasible, shall endeavour to assist the seller to recover the Total Amount Due from the buyer provided that nothing herein shall oblige the Auctioneer to issue proceedings against the buyer in the Auction-eer’s own name. If circumstances do not permit the Auctioneer to take instructions from the seller or, if after notifying the seller, it does not receive instructions within seven (7) days, the Auctioneer reserves the right, and is hereby authorised by the seller at the seller’s expense, to agree special terms for payments of the Total Amount Due, to remove, store and insure the Lot sold, to settle claims made by or against the buyer on such terms as the Auctioneer shall in its absolute discretion think fit, to take such steps as are necessary to collect monies due by the buyer to the seller and, if necessary, to rescind the sale and refund money to the buyer.

Payment of Proceeds to Overseas Sellers29. If the seller resides outside Ireland the Proceeds of Sale shall be paid to such seller in Irish Punts unless it was agreed with the seller prior to the auction that the Proceeds of Sale would be paid in a currency (other than Irish Punts) specified by the seller in which case the Proceeds of Sale shall be paid by the Auctioneer to the seller in such specified currency (provided that that currency is legally available to the Auctioneer in the amount required) calculated at the rate of exchange quoted to the Auctioneer by its bankers on the date of payment.

Charges for Withdrawn Lots30. Once catalogued, Lots withdrawn from sale before proofing/publication of Catalogue will be subject to commission of 5% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. If Lots are withdrawn after proofing or publication of Catalogue they will be subject to a commission of 10% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. All commission hereunder must be paid for before Lots withdrawn may be removed.

Unsold Lots31. Where any Lot fails to sell at auction the Auctioneer shall notify the seller accordingly and (in the absence of agreement between the seller and the Auctioneer to the contrary) such Lot may, in the absolute discretion of the Auctioneer, be re-entered in the next suitable auction unless instructions are received from the seller to the contrary, otherwise such Lots must be collected at the seller’s expense within the period of thirty (30) days of such notification from the Auctioneer.

Upon the expiry of such period the Auctioneer shall have the right to sell such Lots by public auction or private sale and on such terms as the Auctioneer in its sole discretion may think fit. The Auctioneer shall be entitled to deduct from the price received for such Lots any sums owing to the Auctioneer in respect of such Lots including without limitation removal, storage and insurance expenses, any commis-sion and expenses due in respect of the prior auction and commission and expenses in respect of the subsequent auction together with all reasonable expenses before remitting the balance to the seller. If the seller cannot be traced the balance shall be placed in a bank account in the name of the Auctioneer for the seller. Any deficit arising shall be due from the seller to the Auctioneer. Any Lots returned at the seller’s request shall be returned at the seller’s risk and expense and will not be insured in transit unless the Auctioneer is so instructed by the seller.

Auctioneer’s Right to Photographs and Illustrations32. The seller authorises the Auctioneer to photograph and illustrate any Lot placed with if for sale and further authorises the Auctioneer to use such photographs and illustrations and any photographs and illustrations provided by the seller at any time in its absolute discretion (whether or not in connection with the auction).

Catalogue illustrations are included at the discretion of the Auctioneer. Illustration charges will be calculated on the particular category of sale. These charges are subject to change. Irish Art Sale Illustrations: €150.00 full page, €100.00 half page, €50.00 other sizes. Fine Art Illustrations: Scaled fee: €100.00 for lots sold for €3,000.00 and over, hammer price, €50.00 for lots sold under €3,000.00 hammer price. All other sales: €25.00 per illustration. All lots illustrated and not sold are charged €25.00 per illustration.

VAT

34. It is presumed, unless stated to the contrary, that the items listed herein are auction scheme goods as defined in the Finance Act 1995.

35. Artist’s Resale Rights (Droit de Suite)

Government Regulations (S.1. 312/2006)

Under this legislation a royalty (droit de suite) is payable to artists or the artist’s heirs (if deceased in the last 70 years) of E.U. Nationality on all works resold for €3,000 or more, other than those sold by the artist or the artist’s agent.

The resale royalty payable is calculated as follows:__________________________________________From €3,000 to €50,000 4%From €50,000.01 to €200,000 3%From €200,000.01 to €350,000 1%From €350,000.01 to €500,000 0.5%Exceeding €500,000 0.25%

The total amount of royalty payable on any individual sale shall not exceed €12,500 The seller is liable for payment (paragraph 7.1 of Government Regulations (S.1. 312/2006) of this royaltyon completion of the sale. The artist may request from the Auctioneer any information necessary to secure payment.

The Auctioneer will automatically deduct the amount due from the proceeds of sale and will hold in trust for the artist, their heirs or their representative for a period of 3 years from the date of sale. A vendor may choose to check the ARR Waiver on the Sale Receipt Contract indicating that they accept sole responsibility for the payment and authorises the Auctioneers to disclose their contact details to the artist, their heirs or their representative.

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10 PRINCE REGENT ROAD, BELFAST BT5 6QR.

TEL: (048) 9070 4004 FAX: (048) 9070 4020

EMAIL: enquiries@thedixonline.co.uk WEB: www.thedixonline.co.uk

Official carrier for

ADAMS “COUNTRY HOUSE COLLECTIONS”

SLANE CASTLE, SLANE, CO. MEATH

LOCAL & OVERSEAS REMOVALS PACKING & CONTAINERISED STORAGE

Perfection with pride!

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Hobart, Tasmania c.1860

Est 1887