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AN EDWARDIAN SILVER FRAMED DRESSING TABLE MIRROR, Chester 1901, mark of William Neale, the rectangular bevelled glass plate enclosed by a moulded border and centred with a cartouche engraved with initials, with easel back support, 33cm high; together with another smaller example with foliate carved border; and four white metal photograph frames. (6)
A COLLECTION OF FOURTEEN FIDDLE PATTERN SILVER TABLE FORKS, comprising:- 6 William IV forks, Dublin c.1831, maker's mark of Thomas Farnett- 4 Victorian forks, Glasgow c.1862, maker's mark of Wilson & Sharp- 1 William IV forks, Dublin c.1835, maker's mark of James Le Bas- 1 George IV fork, Dublin c.1828, maker's mark of Thomas Farnett- 1 Victorian forks, London c.1842 maker's mark of Samuel Hayne & Dudley Cater- 1 Victorian forks, London c.1849 maker's mark rubbed(c.36 troy ozs in all)
A VICTORIAN SILVER FRAMED DRESSING TABLE, London 188, mark of Williams Comyns, 19th century, with bevelled plate enclosed by foliate carved border with ribbon tied swags, the arched top centred with a scallop shell cartouche with a crown, with easel back support, 34cm high; together with an English silver photograph frame, London, 1983, mark of John Bull Ltd. (2)
A FRENCH GILTWOOD AND MARBLE TOPPED CONSOLE TABLE, 19th century, with raised mirrored back surmounted by a Sevres type porcelain portraits linked by foliate boughs and swags and supported on twin pillar columns enclosing a large oval mirror plate, the base of inverted breakfront design, with fitted Carrara marble supported on leaf carved tapering legs and joined by concave stretchers. 260cm high x 180cm wide x 57cm deep
A MAHOGANY EXTENDING DINING TABLE, in the manner of Johnson, Jupe & Co., of circular form, the inlaid crossbanded segmented top revolving and expanding to accept further segmented leaves, on a solid central column support and narrow turned columns, on concave platform base, with brass supports. 156cm diameter (closed); together with a fitted mahogany holder for segment leaves with twin brass carrying handles. 116cm high
ATTRIBUTED TO FRANCIS BINDON (1690 -1765)Portrait of Marmaduke Coghill, 3/4 length seated wearing a full wig and ceremonial robes over a brown suit, his left hand resting on a table with a latter inscribed 'To The R. Hon Doctor Coghill Chancellour of Exchequer, Dublin 1735'Oil on canvas, 124 x 100cm Provenance: By Descent in the Coghill family until acquired by the present vendor This portrait was painted the year that Marmaduke Coghill was appointed Chancellor of the Exchequer. A firm adherent to the 'castle' administration he had 'inherited' from his father the position of Judge of the Prerogative Court and had enriched himself sufficiently to re-build Drumcondra House, probably using Edward Lovett Pearce. He had a penchant for commissioning outstanding pieces of silver from the Dublin silversmiths such as the extraordinary cistern in the Ulster Museum and the Monteith in Waterford. There is a monument to him by Peter Scheemakers in Drumcondra Church.Francis Bindon (1690 - 1765) is the most likely artist to have painted this portrait. He would have known Coghill and painted many in this circle. He is chiefly remembered today for his portraits of Jonathan Swift. His ambitious scale of portraiture and indeed architecture is always characterised by somewhat amateur weaknesses, compensated for by the serious self-importance of his subjects, as this example exemplifies.
AN EARLY VICTORIAN ROSEWOOD AND MOTHER OF PEARL INLAID TABLE CASKET, c.1840, of rectangular shape with hinged cover and twin panelled doors, enclosing stationary compartments, lidded compartments and three short graduated drawers with plain, segmented divisions, the lower drawer with a tooled leather slope front writing panel, pen tray and ink well compartments, on outset plinth base, 37cm wide, 39cm high
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1181627 item(s)/page