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Click here to subscribeAttributed Augustus Welby Pugin (1812 - 1852)ÿ An important Gothic Revival giltwood Side Table or Altar, the heavy sienna marble top with moulded edge over an ornate frieze, with open front and side under arches in the typical Gothic taste, supported by alabaster columns, the back interior with five panels of floral and linear gold design, on a shaped plinth base, approx. 156cms wide x 84cms deep x 97cms high (61" x 33" x 38"). (1)
A fine quality William IV period mahogany four door Bookcase, in the manner of Graham of Clonmel, the moulded cornice over a plain frieze, the upper portion with four brass grill doors, over a plain flat bottom section with panelled doors, on a decorated plinth base with sunburst design on turned legs, (some alterations), approx. 254cms high x 270cms wide x 42cms deep (104" x 106" x 16 1/2"). (1)
A very good quality William IV figured mahoganyÿCellaret,ÿthe lift top opening to reveal an original lead lined segmented interior, stamped and with number "Wilkinson and Sons, 14 Ludgate Hill, 17001," the main body with carved acanthus leaf design on a plinth base with recessed castors, 36" (91.5cms) wide x 23 1/2" (60cms) deep x 21" (53cms). (1)
A very good quality early 18th Century figured walnut Chest on Stand, the top with crossbanding and herringbone design, over two short and three long graduating drawers with ornate brass drop handles and escutcheons on a plinth base with long frieze drawer, with bracket feet, approx. 100cms wide x 107cms high x 61cms deep (39" x 42" x 24"). (1)
An early 18th Century figured walnut Chest on Stand, the crossbanded top with moulded edge, over two short and three long graduating drawers with brass escutcheons and later brass drop handles on a plinth base with long frieze drawer on turned feet with barley twist stretchers, approx. 107cms high x 94cms wide x 59cms deep (42" x 37" x 23"). (1)
Attributed to William Van Der Hagen (fl. 1720-1745) or Joseph Tudor (d. 1759) A Bird?s Eye View of Howth Castle,ÿ c 1738,ÿ oil on canvas, approx. 4' x 7' (122cms x 214cms), a contemporaneous copy, unframed. (1) Dating from around 1740, this bird?s eye view of Howth Demesne commemorates the extensive rebuilding of Howth Castle, a project completed in 1738 under the direction of William St. Lawrence, 27th Lord Howth. Since then, the original painting has been displayed over the chimneypiece in the Drawing Room. By Family Tradition this contemporaneous copy was removed in the 1800's by an ancestor possibly as part of a dowry. It was subsequently returned to Howth Castle in the 20th Century were it hung in the Billiard Room and the Cookery School before recently being professionally restored, and displayed for auction purposes in the Drawing Room. It is in the style of William van der Hagen, a Dutch artist who worked in Ireland in the early eighteenth century and who painted panoramic views of, among other places, Cork Harbour and Waterford, the latter commissioned by the town?s corporation in 1736. He was an artist held in high regard, and panoramic scenes by him were translated into tapestries for the Irish House of Lords in the 1730?s. Another possible artist is Joseph Tudor, (d. 1759) a follower of van der Hagen. ÿ Although some liberties have been taken with the topography, the painting is a broadly accurate representation of the Hill of Howth, with the castle surrounded by an elaborate complex of lawns, walled gardens, orchards and parterres, laid out in a French style. In the foreground is a canal with swans, and beyond that, an esplanade leading to the castle, with figures walking around a lawn. In the left foreground, the figure of a man in clerical garb, sitting on a garden bench, is believed to represent Jonathan Swift, who in the early 1730?s was a frequent visitor to the castle. In the centre of the lawn can be seen a circular pond, known as ?Black Jack?s Well?. In early nineteenth-century views of the castle, a lead figure of a blackamoor stood on a plinth at this spot. This was stolen in the 1950's and presumably melted down.ÿ Two horses with riders prance in front of the old Gateway Tower?a part of the castle that dates back to the fifteenth century. Flanked by two battlemented towers--that on the right being the medieval Keep, while that on the left a matching structure added in 1738, the central fa‡ade of the castle is asymmetrical, and evidently incorporates older windows. Other additions in 1738 include the classical doorcase, fronted by a terrace and reached by a steeply raking grand staircase. An ancient tree, known as the ?family tree? stands to one side of the esplanade. Behind it can be seen a stable yard and beyond that, a church within a walled enclosure. A formal planting of trees marks a road leading into the distance. In the left background, cattle, horses and sheep graze in fields. In the right foreground is a formal garden, arranged in geometric parterre pattern, with fish ponds and fruit trees. This is mirrored on the left by a smaller parterre with a diamond patterned lawn. These two areas are separated from the central esplanade by high straight brick walls, surmounted with urns. The painting does not show Kenelm?s Tower, which was added in Victorian times. The French-style garden in front of the house was soon altered, although the well, the family tree and canal survived through to the nineteenth century. In the distance, the Dublin mountains rise above Dublin Bay, the estuary of the Liffey busy with shipping. To the right, on the northern side of the isthmus that connects Howth peninsula to the mainland, a relatively flat landscape stretches out, beyond Sutton, to Baldoyle and the sand dunes of Portmarnock. The painting shows the Hill of Howth before the extensive planting of ornamental rhododendrons, beech hedging, and trees resulted in the castle being surrounded, as it is now, by dense foliage. The connection between the Gaisford-St. Lawrence family and the Castle goes back to the twelfth century, when an ancestor named Almerick (or Armoricus Tristram, abbreviated to Amore) was granted lands at Howth by the Norman adventurer John de Courcy. According to family tradition, as recounted in the manuscript Book of Howth, in 1177 Almerick had taken over command of de Courcy?s force when the latter was ill, and won a battle against a local Irish and Norse army. The family name was later changed to St. Lawrence, again in honour of a battle won on that saint?s day. The St. Lawrence family lived at Howth Castle for over eight hundred years, until its recent sale. This is a fascinating picture, very attractive, an enigma, and very important as a depiction of the Irish landscape, and primary evidence of the aspirations of the owners of large Irish Estates, or perhaps those who sought to advise them. Crookshank (Anne) & The Knight of Glin The Painters of Ireland c. 1660 - 1920, page 59, figure 43. Dr.ÿPeterÿMurrayÿ2021 & Julian Gaisford-St. Lawrence 2021 Important Note: In view of the cultural and historic importance of this lot , the vendors have granted an option to the Irish State to acquire same at a price equal to the hammer price realised at the auction date, should a private or trade buyer successfully bid for same.ÿThis option shall be valid for a period ofÿthree monthsÿfrom the auction date, and the Irish Stateÿ( as represented by theÿDepartment of Culture, Heritage and the Gaeltacht,ÿin conjunction with the National Museum, National Gallery and National Library of Ireland and Office of Public Works) shall have the option to acquire and purchase this lot within this time frame, at the final hammer price achieved at the auction date, plus buyer's premiums.ÿ This lot shall be retained within this jurisdiction, and collection and shipment of same shall only be permitted on the expiryand non-exercise of this option by the Irish State bodies.ÿA binding purchase contract shall still exist in relation to any private or trade buyer who successfully bids for this lot on the sale date and the full purchase price plus buyer's premiums due, shall become payable immediately following the expiry of the above option period.
An exceptional Regency period Egyptian Revival brass inlaid Secretaire Side Cabinet, with concave centre with adjustable shelf on open bookcase, and faux drawer, the right hand side with frieze drawer with writing compartments, etc, and a conforming frieze drawer to the left above double brass grill door either side, flanked with Egyptian mask reeded pillars, on a shaped plinth base, approx. 10'7" (322cms) wide x 42" (107cms) high x 19 1/4" (49cms) deep. (1)
A fine Regency period rosewood cased and brass mounted Bracket Clock, by "Upjohn of Exeter," the circular convex painted dial with Roman numerals, and double fus‚e movement, striking on a steel bell, brass pineapple finial, on a rectangular stepped top, pierced brass side panels, and ornate brass handle, on a plinth base raised on brass bun feet, 20" (51cms) high x 12" (30cms) wide. (1)
A magnificent IrishÿWilliam IV silver gilt Warwick Vase,ÿafter Paul Storr, Ascot Cup, by Richard Sawyer Junior, Dublin 1836, the bead and egg and dart moulded top above a band of cast scrolling vines, and six cast horse heads emerging in high relief, and tiger pelts below, and acanthus leaf applied with two leaf cast and reeded double interlaced handles, on a stem base with square foot on a conforming square panelled plinth, chased with trailing shamrocks, both inscribed Finlay Fecit, 8 College Green, Dublin, 15 1/4" (39cms), 6000 grams, 212 ozs approx. (1)
A superb George IV silver gilt model of the Warwick Vase, by Philip Rundell, London 1820, also with the mark of Richard Sawyer Jnr., Dublin 1839, the egg and dart and bead moulded rim over scrolling vines in relief, the lower band centred with a winged classical female figure holding an oval panel and pen in high relief above hanging drapes and various trophies, a quiver of arrows, a caduceus, sword, a draped X framed altar, a Roman helmet and leaf sprays above a tiger pelt, applied with two double leaf cast interlaced reeded handles on a tongue and dart moulded stem, on a square base raised on a panelled plinth with scrolling shamrocks by Richard Sawyer Jnr, Dublin, 1839, 14 1/2" x 14 1/4"w (37cms x 36cms) 6400 gr, 225.75 ozs approx, also inscribed Law & Son, Dublin. (1)
A 19th Century cut bronze Centrepiece, the square flared base with grotesque masks united by fruit swags supporting a leaf cast fluted and half reeded column and four sphynx heads above, the leaf cast base supported by four eagles on a circular plinth, lacking top section, 13" (33cms), and another small bronze Ewer surmounted by two Felines, 6 1/4" (16cms). (2)
A set of 3 Greek Revival 19th Century Neo-classical painted Vases, in red, black and white, with figures and mythological scenes, birds and animals by Giustiniani Factory, c. 1840 with impressed G mark, 15" (38cms); one lacking one handle, and chips to rim, the other with small chips and another with no plinth or foot, as is, with damage and loss. (3)
A pair of late 19th Century Alabaster Urns and Covers, each with a band of carved scrolling foliage above a half fluted body and fluted stem, 9 1/4" (23cms); together with a demi-lune alabaster Plinth carved with flowers and trophies, 12 1/2" (32cms) and a carved alabaster Figure of a semi-draped classical female, as is, w.a.f., 13" (33cms). (4)
LORD BLAKENEY A rare English rectangular enamel plaque, c.1756-61, painted with a monk holding a lantern over an oval portrait, titled 'Ld. Blakeney' on the plinth beneath, mounted in a gilt metal frame, 9.2cm overall. William Blakeney was Member of Parliament for Kilmallock from 1725 to 1757. He took part in the War of Jenkins Ear (see lot 14), being appointed Brigadier-General. Following the disastrous campaign in the West Indies he returned to Britain and was appointed Lieutenant Governor of Stirling Castle in 1742. After the Battle of Culloden (see lot 16) he was promoted Lieutenant General and given command of the Highlands. In 1748 he was appointed Lieutenant Governor of Menorca. During the early part of the Seven Years War, and despite gallant efforts to defend the island, Blakeney surrendered on 29th June 1756, the Garrison being given free passage to Gibraltar. Absolved of any blame for the defeat, Blakeney was raised to the Irish Peerage the same year and retired from military service to Ireland where he died on 20th September 1761. He is buried in the nave of Westminster Abbey. A print published in 1756, engraved by James McArdell after George Chalmers was inspiration for this plaque. Cf. Bernard Watney, EEC Trans, vol 9, part 3, plate 171. Provenance: sold Bonhams, 18th April 2012, lot 97.
QUEEN CAROLINE A creamware jug, c.1820, printed in black with a portrait bust upon a plinth inscribed 'Queen of Great Britain Shielded by Britannia and Wisdom', flanked by Britannia and Athena, the reverse with Britannia seated and supporting a shield with the Royal coat of arms, restoration to the foot and rim, 18cm.
A 19th century French bronze figural mantle clock, with two train movement marked to the rear Gasche, the dial with Roman numerals the base black slate and metal mounted. Height 59 cm, width 48 cm, depth 19 cm (see illustration). CONDITION REPORT: The movement does wind on both trains. The movement strikes when advanced. It appears to be ticking away when the crutch is activated without the pendulum in place. The crutch is a little misshapen and will require some adjustment. The bell is present. The rear door is detached at the hinge. The bronze itself is in generally very good order with no significant issues. The gilding to the base is rubbed in places. The plinth beneath which is black slate has some edge nibbles but no major condition issues. We do not have a winding key but we could easily supply one if necessary.
A Victorian walnut wardrobe, with detachable moulded cornice above a central mirror door flanked on either side by panelled door and enclosing trays, drawers and hanging space. Height 196 cm, width 197 cm, depth 57 cm. CONDITION REPORT: The wardrobe is in generally good order. The cornice is in good condition all round. The side panels have the usual old scratches and marks and some minor scratches but no undulation and no significant splitting. The doors are not warped and when locked are flush. Both locks are present, we have the keys. The left-hand door panel has some surface marks and scratches and is a little bowed. The same applies to the right-hand door. This is not problematic. Above the door lock on the mirror door there is a small section of the beaded edge moulding missing. All interior trays are present. The drawer fronts are in generally good order and all handles are original and present. The mirror plate is in generally good condition with only very minor perishing to the silvering. The plinth base is in generally good order with no significant veneer losses. There are some traces of woodworm to the left-hand bottom return and also on the right. There is not a huge amount but treatment would probably be sensible. The woodworm does not appear to be anywhere else but we are unable to lift the wardrobe from the base to fully inspect the soft wood in the underside of the base.
A large composition "Decor Garden" statue of a female figure, raised on a cylindrical floral encrusted plinth. Figure height 171 cm, plinth height 58 cm, diameter +/- 63 cm (see illustration). CONDITION REPORT: The statue is in generally good condition. The only loss is to the rear trailing leg where the toes are missing. There are some nibbles around the lower section of the base, presumably caused by manhandling and lifting on and off the accompanying plinth. Clearly the statue has been outside and has some weathering, staining and ingrained dirt. The cylindrical base is again in good structural order with some nibbles around the top edge and other minor blemishes. Again this is weathered but there are no significant issues.
A Victorian mahogany four door sideboard. CONDITION REPORT: The sideboard is structurally very sound. The top is flat with no splits or stress fractures. The polish to the top is rather dry. There are some old ring marks and the odd scratch. The moulded edge and frieze are in good condition all round. The sides are not split. The doors are not warped and close as they should. All locks are present but we do not have any keys. The doors are not locked. The plinth base has the usual scuffs and marks and some fading but no significant issues. The backboards are original. There is no evidence of any woodworm.
An Edwardian oak open bookcase, with moulded edge above a fluted frieze and pilasters raised on a plinth. Height 105 cm, width 83 cm, depth 30.5 cm. CONDITION REPORT: The bookcase is structurally sound. The top is in generally good order and a fairly uniform colour but does have numerous old ring marks and surface scratches. The top has slightly lifted from the carcass on the lefthand side which should be visible from our image. In our opinion this I not a significant issue. The pilasters have minor scuffs and marks which again should be visible in our images. The lefthand side has had something screwed to it at some point and there are four small 3 mm diameter drill holes, again of little significance. The righthand side is in good order. The plinth base is veneered and there are some veneer losses to both rear corners. The backboards are original, there is no evidence of any woodworm.
A Victorian inlaid walnut pier cabinet, with glazed door opening to plush lined shelves and raised on a plinth. Height 96 cm, width 76 cm, depth 38.5 cm. CONDITION REPORT: The cabinet is in generally very good condition. The top is flat and unmarked. The frieze is in good condition all round. There are no losses to the metalwork. The door is not warped and closes as it should, we have the lock and key. The cloth lining is a little faded and marked in places but in generally good order. The plinth base has some minor scuffs and nibbles as one would expect but no significant problems. The backboard is original. We can see no evidence of any woodworm.
An early 19th century mahogany chest of drawers, with caddy top above two short and three long drawers with wooden knob handles flanked by pilasters. Height 118 cm, width 124 cm, depth 55 cm. CONDITION REPORT: The top is flat with no warping. There are minor surface scratches and minor veneer stress fractures but no lifting. There are minor losses to the veneer around the cornice, particularly at the corners. The sides are in generally god order but do have some scratches. The drawer fronts are in generally good condition with some minor losses to the cockbeading. There are some minor veneer nibbles between the drawers of the runners. The plinth bas has losses to the corners and there are nibbles to the veneers.
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