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Lot 532
JOHN FERNELEY SNR (1782-1860)Mr Hugh Dick's Favourite Mare and Pointer outside Humewood House, County WicklowOil on canvas, 100 x 125cm Signed ‘J. Ferneley Pinx.’ and dated 1809 (lower right)Literature: Major Guy Paget DL, The Melton Mowbray of John Ferneley (Leicester, 1931) under the artist's account book no. 17 (unpaginated); Robert Fountain, John Ferneley (1782-1860): Catalogue of Paintings Chronologically by Subject (British Sporting Art Trust, online, updated December 2015) reference number A.09.017.001; James Horan, Humewood (Kinsale, Gandon Editions, 2018) illustrated page 27.Provenance: Commissioned by Hugh Dick Esq. MP, in July 1809 at a cost of 15 guineas; by bequest to his sister Charlotte Anna, who had married Captain William Hoare Hume of Humewood; with Leggat Brothers, London, from whom acquired by Mrs. Edward Shearson, (née Flora Josephine Shea) New York (her posthumous sale, New York, Parke-Bernet Galleries, November 6, 1955, lot 48); Jane Engelhard (1917-2004), New York philanthropist and owner of the great racehorse Nijinsky which was trained at Ballydoyle by Vincent O'Brien; by gift of Mrs Engelhard to a US private collector. The absence of a native school of equestrian painting has long surprised art historians, especially given Ireland’s close association with the turf. However, this lacuna is in part made up for by the fact that one of the finest of all English sporting painters, John Ferneley, enjoyed close links with Ireland. This was noted by Anne Crookshank and the Knight of Glin: ‘It should be remembered that the great English horse painter John Ferneley of Melton Mobray, paid four visits to Ireland, the first in 1808 when he had introductions from the fifth Duke of Rutland, whose father had been Lord Lieutenant. Ferneley returned for long visits in 1810, 1811 and 1812’. This, one of the finest works daring from his first visit to Ireland, is also invaluable for its depiction of the old house at Humewood, County Wicklow. It was used to illustrate the Georgian house in James Horan’s book on the restoration of the gothic mansion which replaced it.John Ferneley was born at Thrussington in Leicestershire, in the midst of the English Hunting Shires. His precocity attracted the attention of the Duke of Rutland, who persuaded his wheelwright father to apprentice him to the equestrian painter Ben Marshall. The latter became a life-long friend as well as teacher. Little of Ben Marshall's broad and vigorous technique is evident in his pupil's later free and refined style, though some of Ferneley's early works, such as those painted on his visits to Ireland between 1808 and 1812, have echoes of his master.Ferneley first arrived in Ireland in late 1808 and stayed about a year, returning to Thrussington in November 1809. He clearly found the country congenial and won significant commissions, painting for such distinguished patrons as the Lords Lismore and Rossmore, the Earl of Belmore and the Trenches and O’Callaghans. He contrived to earn and save £180, enough to pay for his marriage to Sally Kettle shortly after his return to England. They stayed in England only a few weeks, returning to Ireland in the spring of 1810, where they were received with generosity and affection by his clients of the previous year. In five months he amassed a small fortune of over £200.Ferneley is without question the finest sporting artist to have worked in Ireland, and yet few indeed of his paintings of this prolific period survive or at least can be identified today. There are still two such in the collection of the Earl of Belmore at Castle Coole, which again show ponies, called ‘Plenipo’ and ‘Buffer’. On his return, Ferneley rapidly established a distinguished English and Scottish clientele, and he and John Herring were the sporting painters par excellence in the period 1810-1850. Ferneley was himself a keen sportsman, and he recounts in his (eccentrically spelled) letters his exploits in the field. Throughout most of his working life he kept a meticulous Book of Accounts, which enables much of his work to be traced and identified. This makes him the best-documented – not to say one of the most satisfying – sporting artists in the heyday of hunting. He died on 3 June 1860, and was buried at Thrussington. His sons, John Junior and Claude Lorraine, were competent sporting painters, though not in the same exalted class as their father.Hugh Dick MP, who commissioned this painting, was born in 1780, the second son of Samuel Dick, East India proprietor and merchant, of Dublin and Charlotte, daughter of Nicholas Forster of Tullaghan, County Monaghan; he was the younger brother of Quintin Dick, MP. He died, unmarried, on 10 August 1830. One of the fourth generation of a Scottish family settled in County Antrim, Hugh Dick's grandfather, Quintin Dick of Nenagh, County Tipperary, had brought his family to Dublin, where his father, Samuel, flourished as a linen merchant and rose to become deputy governor (1796) and governor (1797-99) of the Bank of Ireland. He died in 1802 with property ‘estimated at upwards of £400,000’.Dick, who had been raised to play a prominent role in the family business, now took premises at 13 Linen Hall Street and, reflecting his younger brother William Forster Dick’s involvement, they traded briefly as Dick (Hugh, William) and Company. Hugh did not share his father’s involvement in banking and insurance, but he became a director of the Corn Exchange Building Company of Dublin (1815-25) and from 1819-29 served as a merchant trustee of the Royal Exchange and member of the ‘Society of the Ouzel Galley’ – a merchant-traders’ cartel. Dick’s return as Member of Parliament for Maldon, where he topped the poll in absentia in December 1827, as locum for his elder brother Quintin, then Member for Orford, on the 3rd Marquess of Hertford’s interest, was unexpected and hurriedly organized by Quintin, following the death of George Allanson Winn, who had defeated him there in a costly contest in June 1826. Dick died of a stroke at his Dublin home, Violet Hill House, Raheny (now part of Beaumont Hospital) in August 1830.Hugh Dick’s ‘favourite mare and pointer’ are shown in front of his sister’s new home of Humewood, County Wicklow. Charlotte Anna Dick had married William Hoare Hume at Bath on 24 November 1804 and appropriately the picture was bequeathed to the Humes when Hugh Dick died without a direct heir. Hume, was an MP in the Dublin Parliament, having replaced his father (who had been killed by rebels in 1798), in the County Wicklow seat. Closely connected with the Fitzwilliam interest of nearby Coolatin, he voted against Union, though later took his seat, again for Wicklow, in the Westminster parliament.The Georgian House of Humewood as shown in the background was built on the estate acquired by Thomas Hume (d. 1718), which had originally been based on a fifteenth-century castle. It comprised a seven-bay two-storey house with distinctive large hexagonal rooms on each side of the frontage, rather like Coolderry in County Monaghan (demolished), which belonged to cousins of the family, and the Dick’s own Violet Hill House near Dublin; all three probably were constructed about the same time, and possibly designed by the same architect. A nice detail is the eagle trophy on the roofline above the pedimented entrance door. Fernley’s painting is a rare depiction of the charming Georgian house which was replaced by the very much larger (if rather less charming) Humewood Castle, a true Victorian extravaganza built in rebarbative Gothic style between 1867 and 1870, and recently restored to its original splendour.
Lot 701
AN EBONISED AND PARCEL GILT THREE-PIECE DRAWING ROOM SUITE, following a design by George Smith, comprising a two-seater settee and a pair of armchairs, each panel back applied with laurel wreath and scroll ornament, the cushion seat and side panels upholstered in a golden damask, with animal head handles and seat rail set with interspersed stars, on cabriole legs and paw feet. Settee: 90cm high, 110cm wide, 69cm deep; chairs: 89cm high, 63cm wide, 72cm deep
Lot 10
Corgi: A boxed Corgi Toys, Special Agent 007 James Bond's Aston Martin DB5, 270. This rare example has a pictorial wing flap bubble pack. The model itself is in silver with a red interior, all gadgets operate normally apart from ejector seat which does not release. The item also comes complete with secret instructions, badge and additional bandit, all within envelope. Pictoral box has a punched display hole but otherwise in very good condition for age.
Lot 1324
Set of six 19th century rosewood balloon-back dining chairs, each with dished top rail, scroll cross rail, stuffover seat, in floral cretonne, on turned tapering supports Condition ReportScratches throughout surfaces. Minor chips to top of one chair, some lightened patches/stains to wood. Some minor dents to legs. Discolouration to upholstery and some pacthes of staining.
Lot 1420
Modern two-seat sofa in tartan upholstery, the whole in the manner of Howard & Sons of London, deep seats and shaped side railsmeasurements 165 cms wide 103 deep and 84 cms approx highCondition Reportmeasurements 165 cms wide 103 deep and 84 cms approx highWe are unsure of the filling of the cushions - see label on them
Lot 1427
Walnut window seat with scroll ends above the rectangular top with canted corners, on turned and fluted supports, 112cm wide approx. Condition ReportSmall surface crack to top as well as some staining. The top appears to be peeling a bit in the centre. There are several spots of loss around the edges of the top and a large section to one side. There is some wear in spots to the legs. There appears to be extensions added to all four feet. Please see further images.
Lot 611
Illum Wikkelso for CFC Silkeborg, Denmark/A 1960s 'Plexus' suite of oak and rattan furniture comprising two-seater sofa, two armchairs and footstool, all with loose cushions/Note: The seat padding is for viewing purposes and does not conform with currrent safety standards and does not form part of this lot CONDITION REPORT: One chair back cushion is missing and one seat cushion is stained, both chairs and sofa sound cane in good condition and frames with wear acceptable with age.
![A pair of mid-Century Italian leather and chrome side chairs and an Italian cantilever chair with caned back and seat [3]](https://cdn.globalauctionplatform.com/a6ba38c7-3c37-4f74-b320-ad97010adf93/f3feb5bc-5211-4060-8321-adba0110569d/468x382.jpg)
Lot 591
Style of Arne Vodder, a set of eight rosewood dining chairs, mid Century, with curved toprail, spindle back and upholstered seat [8]/Note: A CITES certificate has been obtained for the sale of this item, No. 605878/01 CONDITION REPORT: All the chairs are in good sound condition with ware acceptable with age, small spot stains to two seats,
Lot 559
Charles and Ray Eames for Herman Miller, a model 670 lounge chair, veneered rosewood with buttoned black leather upholstery on a metal frame, and a matching ottoman, model 671, both with Herman Miller labels [2]/Note: A CITES certificate has been obtained for the sale of these items, No. 601969/01 CONDITION REPORT: Chair: Two buttons missing from leather seat cushion. Generally the upholstery is worn but complete. There is a scratch across the lower back panel. Splash marks and general dirt throughout. Edge of one armrest and lower edges of seat cushion rubbed. Wool stitching across the zip of the upper back cushion. There are light scratches and some grubby marks to the back veneered panels. Chip to leading edge of chair seat, and other minor chips to the plywood. Leather is still supple.Ottoman: one button missing to the leather upholstery, otherwise condition slightly grubby but good.
Lot 551
A set of eight Danish 'Eva' rosewood dining chairs, §designed by Niels Koefoed in 1964 for Hornslet Møbelfabrik, each with a tapering slatted back, with a padded vinyl seat, raised on slender tapering supports,53cm wide48cm deep95cm high,together with a Danish rosewood circular dining table,designed by Erik Buch for Rosengaarden, with two extra leaves, raised on a cruciform base,132cm diameter234cm long extended72cm high (11)Condition report: Table top slightly sunbleached resulting in leaves being darker in colour. Some scuffing and marks to the top. The finish is flaking in areas of the edge. Chairs good overall, used condition. CITES A10 No. 607658/01
Lot 47
An Aesthetic Movement ebonised side chair, in the manner of Christopher Dresser, on flared legs joined by a ring-turned 'H' shaped stretcher, with seat and back upholstered in blue fabric, the seat set within ring-turned raked arms, the backrest raised on tuned spindles,48cm wide 52cm deep63cm high, seat 31cm highCondition report: With some cracks in the frame. The ebonisation rubbed through in areas. The upholstery with stains.
Lot 475
An 'NY' folding chair,designed in 1958 by Takeshi Nii, with a latticed canvas slung seat, with brown metal arms, 60cm wide80cm deep86cm high, seat 38cm highCondition report: Some scuffing to both arms. Chrome wear to the stand.Seat showing signs of wear to the points of securing to the frame.
Lot 745
Four 'Jason' chairs, designed by Carl Jacobs for Kandya, each with a bentwood ply seat, on painted supports with metal plugs, two labelled, 52cm wide46cm deep75cm high, seat 45cm high (4) Condition report: One has sprayed front edge of seat. Two labelled - all appear to have been reset and blackened to the bases and supports.
Lot 480
A 'Matador' three-seater sofa, designed by Aage Christiansen, upholstered in green leather, with back and seat cushions, raised on turned supports, 208cm wide84cm deep74cm high, seat 40cm highCondition report: Wear to the cushion fronts and seats, arms with wear and tops of the back cushions, Some more cracking to the leftarm. Tear and worn to the left and right top back corners.
Lot 33
An Aesthetic Movement Moorish mahogany armchair,c.1910, in the Liberty & Co. manner, the back with a pointed cornice over three arabesque pairs of aprons, with carved decoration set with mother-of-pearl, over three bobbin-turned panels, the seat upholstered in red fabric with a gilt floral design, raised on square legs with bobbin-turned aprons, on turned feet, 54cm wide56cm deep96cm high, seat 39cm highCondition report: With old woodworm holes to the armrests. Upholstery later. With some minor surface cracks to the frame (none that impeds the stability of the chair). With scuffs, scratches and wear all over
Lot 506
A leather and rosewood 'Model V11' sofa, §Danish, designed by Illum Wikkelsø for Holger Christiansen, with three seats and cushion backs and arms, raised on rosewood supports, 228cm wide80cm deep70cm high, seat 42cm high approximatelyCondition report: Leather is creased and some cracking through wear. Left-arm cushion has some cracks and losses to the front edge. Some knocks to the beading on the top back edge. The base appears to have been re-strapped and black fabric tape added. Some chips to the supports. One cushion has a 9cm crack or slice to the leather.CITES A10 no. 608044/1
Lot 632
A suite of contemporary chrome furniture,comprising: a table with a glass top, on an 'X' frame stand,135cm wide80cm deep75.7cm high,an open display stand,with six glass shelves,101.5cm wide39.5cm deep190cm high, a side table,to match the longer table,63cm wide40cm deep47cm high, and three single chairs,39cm wide50cm deep111cm high, seat 52cm high (6)Condition report: Wear to the seats and backs of the chairs. Glass appears good.
Lot 674
An Artifort 'F437' or 'Orange Slice' lounge chair,designed in 1960 by Pierre Paulin for Artifort, upholstered in grey textile, on polished steel legs,84cm wide80cm deep70cm high, seat 41cm highCondition report: Wear commensurate with age and use. The legs with some scratches and marks. Upholstery in good order. Upholstery likely to be later. Manufacturer's label not present. Additional images added.
Lot 597
An Emmanuelle wicker peacock chair,1970s, with two-tone wicker details, with an olive pad seat, 107cm wide58cm deep145cm high, seat 46cm highProvenance: From the estate of post-war architect Brian Smith, who worked for Frederick MacManus & Partners on the Gospel Oak Development, London, and for the United Reformed Church. He took over as senior partner of the firm in 1969.Condition report: Arms worn and scrollwork is unattached. Used condition.
Lot 588
A Danish birch and teak lounger and stool,with upholstered seat and back cushions,armchair 65cm wide76cm deep77cm high, seat 45cm high,stool 58cm wide46.5cm deep41cm high, and a matching teak fold-over table, with two frieze drawers and a shaped undertier, with teak caps, 65cm wide48cm deep60.5cm high (3)Condition report: #table stained top and worn. #stool - loose frame, with crack to joints. #chair - seats OK, frame with stains and knocks.
Lot 696
A pair of afrormosia 'T' chairs,designed by Peter Hvidt for France and Son, each hoop back above a leather pad seat on square section supports,50cm wide44cm deep70cm high,together with a low table, with a smoked glass top, 60.5cm wide 60.5cm deep35cm high (3)Condition report: Good condition commensurate with age
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