Adams The Irish Library Wednesday 17th April 2019

ADAM’S
Est.1887
Auction Wednesday 17th
April 2019
THE IRISH LIBRARY

4
CONTACTS
Brian Coyle FSCSI FRICS
CHAIRMAN
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
Amy McNamara BA
FINE ART DEPARTMENT
amymcnamara@adams.ie
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Adam Pearson BA
FINE ART DEPARTMENT
a.pearson@adams.ie
Helena Carlyle
FINE ART DEPARTMENT
h.carlyle@adams.ie
Niamh Corcoran
FINE ART DEPARTMENT
niamh@adams.ie
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
Nicholas Gore Grimes
ASSOCIATE DIRECTOR
nicholas@adams.ie
Ronan Flanagan
FINE ART DEPARTMENT
Claire-Laurence Mestrallet BA, G.G
ASSOCIATE DIRECTOR
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
CONTACTS

AUCTION
Wednesday 17th April 2019 at 12pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green,
Dublin
D02 X665,
Ireland
SALE VIEWING
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin D02 X665
Tel +353 1 6760261
The Irish Library
ADAM’S
Est.1887
12TH
- 16TH
APRIL
Adam’s, 26 St. Stephen’s Green, Dublin D02 X665
Friday 12nd
April 10.00am - 5.00pm
Saturday 13th
April 1.00pm - 5.00pm
Sunday 14th
April 1.00pm - 5.00pm
Monday 15th
Tuesday 16th

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IMPORTANT INFORMATION FOR PURCHASERS
1. Estimates and Reserves
These are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective
purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any
higher than the lower estimate.
2. Paddle Bidding
All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are
recommended to register on viewing days.
3. Payment, Delivery and Purchasers Premium
Thursday 18th April 2019. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases must
be paid for and removed from the premises not later than Thursday 18th April 2019 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, card, 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. Pur-
chasers 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.
4. VAT Regulations
All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations 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.
5. Condition
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 inspection 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 15th April 2019 as we cannot guarantee that they will
be dealt with after this time.
6. Absentee Bids
We are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by tele-
phone. 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.
7. All lots are being sold under the Conditions of Sale as printed in this catalogue and on display in
the salerooms.

7
www.adams.ie The Irish Library| 17th April 2019
1 A VICTORIAN MAHOGANY AND BRASS MOUNTED POST BOX, OF ARCHITECTURAL DESIGN,
the capital applied with the initials ‘V.R’ beneath a coronet, the body with a studded brass letter aper-
with recessed access door to the right side, supported on moulded outset base, 65cm high, 31cm
deep, 38cm wide
€ 800 - 1,000

8
3 A GROUP OF THREE CLASSICAL LIBRARY BUSTS,
together with a bronze model of a terrier.
The largest 28cm high
€ 300 - 500
2 A SET OF FOUR MINIATURE BRONZE LIBRARY BUSTS,
depicting individual composers and set on stepped plinth bases.
Various sizes
€ 500 - 700
4 BACON’S 12” TERRESTRIAL GLOBE,
raised on a stained wood turned baluster column and
spreading circular base. 40 cm high
€ 100 - 200
2 A SET OF FOUR MINIATURE BRONZE LIBRARY BUSTS,

9
5 AN 18TH CENTURY FRENCH TERRACOTTA BUST OF A NOBLEMAN.
52 cm high
€ 2,000 - 3,000

10
6 AN EDWARDIAN OAK COLLECTORS CABINET,
cousin of Charles Darwin)
46cm high, 19cm deep, 32cm wide
€ 300 - 400
7 AN IRISH NOVELTY CHESS BOARD,
by Austin of Dublin, formed as two volumes
with decorative bindings and titled ‘Hours of Idleness’
and a selection of chess and draughts pieces
38 x 22cm (closed), 38 x 44cm (when open)
€ 250 - 350
AN EDWARDIAN OAK COLLECTORS CABINET,
and a selection of chess and draughts pieces
38 x 22cm (closed), 38 x 44cm (when open)
€ 250 - 350

11
8 A 17TH/18TH CENTURY PAINTED OAK ITALIAN DUCAL COAT OF ARMS,
of shaped rectangular form, the domed top with central scroll and foliate crest.
69 x 61cm
€ 800 - 1,200

12
10 A 19TH CENTURY MOROCCAN LEATHER
BOUND WRITING BOX,
the hinged lid with inset brass carrying handle, open-
ing to reveal a writing slope and slender pen compart-
ment, with further hinged tier enclosing a letter and
envelope compartment. 36cm wide x 24.5cm deep x
11.5cm high
€ 300 - 500
10
9 A MAHOGANY DUNHILL HUMIDOR,
of plain rectangular form, with hinged lid; together
with 12 Montecristo cigars and 6 miscellaneous cigars.
€ 350 - 400

13
11 AN EARLY 19TH CENTURY CONTINENTAL ORMOLU AND
SILVERED BRONZE MANTEL CLOCK,
on winged Pegasus, 40cms wise, 63cms high
€ 3,000 - 5,000
N EARLY 19TH CENTURY CONTINENTAL ORMOLU AND
LVERED BRONZE MANTEL CLOCK,
n winged Pegasus, 40cms wise, 63cms high

14
13 A GEORGE IV INLAID ROSEWOOD FOOT STOOL,
after George Bullock, the single leaf scroll on turned
tapering feet
€ 300 - 500
14 A WORLD WAR I TRENCH-ART TOBACCO JAR AND
COVER,
c. 1917, converted from a brass shell case, marked Karlsbru-
he, mai 1915, and cover stamped with the date ‘April 1917’,
the exterior stipple engraved with banner and leaves. 11 cm
high, 12 cm in diameter
€ 80 - 120
,
14
12 A PAIR OF 19TH CENTURY CAST IRON
DOORSTOPS,
in the form of lions rampant guarding. 34cm tall
€ 800 - 1,000

15
15 A PAIR OF EARLY VICTORIAN MAHOGANY FRAMED TUB BACK LOW CHAIRS,
the frame ribbed and surmounted by a carved scroll crest rail with pierced hand hold,
upholstered in dark hide, raised on cabriole legs and scroll feet and castors
€ 1,000 - 2,000

16
17 LEWIS VULLIAMY (BRITISH, 1791-1871)
A set of six designs and elevations for Broughton
Church, including traverse section showing the west
the pews and others
Pen, ink, and watercolour, 35.5 x 51cm
Signed ‘Lewis Vulliamy’ (lower right)
(6)
Provenance: The Kelly Collection, Sale Adam’s,
21.06.2011.
€ 800 - 1,200
16 FRANCESCO PIRANESI (1784)
A set of eight line engravings of classical sculptures,
48.5 x 33cm
Provenance: The Kelly Collection, Sale Adam’s, 21.06.2011.
€ 800 - 1,200

17
18 BENJAMIN DEAN WYATT (BRITISH 1775-1850)
Pen, ink and watercolour, 63 x 86cm
Signed, inscribed and dated ‘Benj Wyatt Archt. AD. 1817’ (upper edge)
Provenance: The Kelly Collection, Sale Adam’s, 21.06.2011.
€ 1,500 - 2,500

18
19 ENGLISH SCHOOL (19TH CENTURY)
A set of seven elevations and plans of a country house
Pen, ink and watercolour
44.5 x 30cm
(7)
Provenance: The Kelly Collection, Sale Adam’s,
21.06.2011.
€ 1,000 - 1,500

19
20 FRANCESCO PIRANESI (ITALIAN 1756 -1810)
(Topographical map detailing the excavated area of Pompeii)
Etching, struck on two plates, 44 x 81cm
€ 400 - 600

20
Engravings with original hand-colouring.
Only two years before he died in 1520, Raphael undertook a monumental commission for Pope Leo X: a vaulted arcade within the
private apartments of the Vatican. Inspired by recent excavations in Pompeii and the Campagna, Raphael covered the Loggia’s walls
and ceilings with painted ornament in the antique style. Like Leonardo and Michelangelo, Raphael was inspired by the rebirth of
classical art and learning that characterized the Renaissance. For the Loggia, he created a fascinating mixture of formal and “gro-
tesque” elements (“Grotteschi” were subterranean grottos which the Romans painted as their fancy dictated: shells entwined with
beasts, history combined with mythology). The Loggia became known as “Raphael’s Bible,” not only for its Biblical paintings but also
for its decorative invention.
The engravings of Raphael’s Loggia were published two and a half centuries later in Rome (1772-1777). One of the most luxurious
in the Vatican. It was the result of a collaboration between the painter Gaetano Savorelli, the architect Pietro Camporesi and the
engravers Giovanni Ottaviani and Giovanni Volpato, all of whom took active interest in preserving for posterity and making available
to contemporaries the splendors of the Vatican. Under the patronage of Pope Clement XIV, this gifted team of artists set out to copy
engravings that resulted from their collaboration are extraordinarily faithful to Raphael’s originals, even more so because they were
hand-colored using gouache, a thicker and more opaque pigment than the more common watercolor that was used to colour prints.
Beyond their purpose as records of Raphael’s frescoes, these splendid engravings served as inspiration for generations of Neo-Clas-
sical artists and designers.
21 GIOVANNI OTTAVIANI (1735-1808),
AFTER GAETANO SAVORELLI
Rome, 1772-1777
A set of ten, coloured engravings, 65 x 57cm
Com Privilegio N. Clementis
€ 4000 - 6000

21

22
23 A GEORGE III MAHOGANY WRITING BOX,
of rectangular form, the hinged lid inset with brass
border and rectangular plaque, the lacquered interior
with tooled black leather writing slope, pen tray and
compartments. 50.5cm wide, 26cm deep, 18cm high
€ 300 - 500
24 A GEORGIAN MAHOGANY AND BRASS LIBRARY
LONG-ARM,
of typical form with grab mechanism. 155cm long
€ 300 - 500
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24 A GEORGIAN MAHOGANY AND BRASS LIBRARY
LONG-ARM,
of typical form with grab mechanism. 155cm long
€ 300 - 500
22 A LARGE GEORGE II MAHOGANY WRITING BOX,
with brass carriers handles, the hinged top with interior
baise lined writing slope, pen tray and ink wells, with further
compartment beneath. 60cm wide, 33cm deep, 16cm high
€ 300 - 500

23
25 A GEORGE IV MAHOGANY LIBRARY TABLE,
handles, raised on turned baluster centre pillar and four downswept legs with brass toe caps.
117cm diameter
€ 2,000 - 3,000

24
26 A PAIR OF 19TH CENTURY GILT BRONZE COPIES
OF ‘THE WARWICK VASE’,
raised on green marble platform bases, 21cms wide,
15cms high
€ 600 - 1,000
‘The Warwick Vase’, an ancient Roman marble vessel with Bacchic or-
nament was discovered at Hadrian’s Villa, Tivoli about 1771 by Gavin
Hamilton, a Scottish painter-antiquarian, and more importantly and
an art dealer in Rome. Hamilton had been given permission to carry
out excavations and so proceeded to drain the marshy area around
the villa. He sold the fragments to William Hamilton, British envoy at
the court of Naples.
While the design and ornamentation date to the Hellenistic period of
2nd Century Rome, the extent to which the fragments were restored
Hamilton remarked ‘I was obliged to cut a block of marble at Carrara
(Nancy H. Ramage “Sir William Hamilton as a Collector, Exporter and
Dealer: The Acquisition and Dispersal of his collections” American
Journal of Archaeology 94.3 (July 1990 pp 469 - 480).
It was in fact James Byre who initially undertook the restoration of the
vase but it has been suggested that it was completed by the Italian ar-
chitect Giovanni Battistsa Piranesi, who added, against the opinion of
both Byre and Hamilton, decoration to the body behind the handles.
Piranesi made two etchings of the completed vase, dedicated to Ham-
ilton, which were included in his 1778 publication “Vasi, candelabra,
cippi sarcofagi, tripodi, lvcerne ed ornamenti antichi”.
Hamilton had hoped to sell the vase to the British Museum and when
to his disappointment they declined, he gifted it to his nephew George
Greville, 2nd Earl of Warwick, from whence it got its namesake.
The Earl’s new acquisition caused a sensation amongst the 18th cen-
tury British public, many came to visit it at Warwick Castle making it
salt cellars etc.
Initially Hamilton, hugely protective of his prized possession, refused
to allow any full size copies to be made of it. On special request from
Lord Lonsdale, who intended to have a full-size silver replica cast, a
set of moulds were commissioned. This plan was eventually aban-
doned and only later William Theed’s original moulds were sent to
Paris in the 19th century. Two full scale bronze replicas were cast,
one is housed in Windsor Castle and the other in the Fitzwilliam
Museum, Cambridge.
‘The Warwick Vase’ became a source of inspiration for designs
during the 18th and 19th centuries as the revival of neo-classicism
took hold of the cultural and artistic milieu. The earliest reductions
of the vase were in the form of silver ice pails made by English sil-
versmith Paul Storr for the Prince Regent in 1812. David Udy, writing
in The Burlington Magazine 120, December 1978, concluded that
Storr had worked from Piranesi’s etchings. Many smaller scale ex-
amples have proliferated since, mostly appearing in silver, bronze
and porcelain versions by Rockingham and Worcester.
-
bust naturalistic aesthetic, while the repeating masks modeled in
and balanced tone. The classical motifs are reinforced in the egg
and dart molding around the top and base and the Nemean lion
the visual repertory of classical design.
On one hand the immense popularity of the vase indicates a re-
spect and the strength of cultural desire for a sense of historical
continuity - a desire which had been sparked by the publication
1764. However, on the other hand the fragmentary nature of the
vase upon its discovery did not align with the 18th century appreci-
ation of classical art, and so it was reconstructed where it was found
to be lacking. ‘The Warwick Vase’ in some senses is an expression
of how often the desire for continuity with our past ancestors is of-
ten satiated by a pastiche of history rather than a faithful retrieval.
The needs of the cultural present are often more important than
that of the past. Needless to say, practices around archaeological
excavation and restoration of artefacts and art objects has shifted
presents a unique insight, in its many forms and iterations, into the
revival of neo-classicism in the 18th and 19th centuries.

25
28 A GEORGE III MAHOGANY FOLDING-TOP WRITING
DESK, C.1770,
opening to reveal a green leather scriver and a con-
cealed telescopic arrangement comprising long and
with brass side carrying handles and raised on cabriole
supports and claw and ball feet. 120 cm wide, 78 cm
high
€ 1,500 - 2,500
27 A GEORGE III MAHOGANY AND BRASS
MOUNTED DOOR LOCK AND RECEIVER,
decorated with engraved scrolls, with key. 36.5 x
25.5cm
€ 1,500 - 2,000
TING
n-
d
briole
m
The Irish Library| 17th April 2019

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31 AN IRISH GEORGE III SILVER REGIMENTAL
CIRCULAR SUGAR BOWL,
Dublin c.1780, maker’s mark of John Locker, later
Hussars by Mrs. Davidson ‘as a mark of her regard
for the regiment on the termination of her husband’s
period of command, 19th Oct 1897’. 13cm diameter
(c.10 troy ozs).
The 8th King’s Royal Irish Hussars was raised as a reg-
iment in 1693, continuing until 1958, when it merged
with the Queen’s Royal Irish Hussars. The regiment fa-
mously took part in the Charge of the Light Brigade at
the Earl of Cardigan. Two years after the presentation
of this bowl, the regiment left for the Boer War in
South Africa.
€ 2,000 - 3,000
29 A SMALL IRISH SILVER SOLDIERS SUGAR BOX,
Dublin c.1917, engraved with ‘Sugar - 1918’. 6cm tall
€ 200 - 300
30 A PAIR OF VICTORIAN SILVER AND GLASS INK
POTS,
Dublin c.1902, mark of Weir & Son, in the form of cut
13 x 7cm tall
€ 800 - 1,200

27
32 AN IRISH GEORGE III INKSTAND,
Dublin 1813, mark of William Neville and William Law, of shaped rectangular form with gadroon border,
set with three cut glass pots with silver lids for ink and pounce, with twin pen wells, raised on paw and
ball feet. 22 x 14cm
€ 3,500 - 4,500

28
34 BENJAMIN ZOBEL (GERMAN/BRITISH,
1762-1831)
Vulture and Serpent in a Woodland
Sand painting on panel, 56 x 40cm
Signed with initials ‘BZ’
Benjamin Zobel was born in Germany in 1762. His fa-
ther was reputed to be a master pastry chef and the
family ran a confectionery business in Bavaria.
At the age of eighteen Zobel travelled to Amsterdam,
where he studied painting for several years, before
was working as a designer of wallpapers, linens and
silks for the Ecchard Brothers of Chelsea. Not long af-
ter Zobel was employed by the Prince Regent’s chef
and became a `Table Decker’ at Windsor Castle.
Table Decking was a fashion created during George III
rule and involved elaborately decorating a table cloth
with designs of coloured sands, marble dust, powdered
glass or bread crumbs to create pictures and motifs.
These painstaking images would then be removed with
the table cloth at the end of the meal.
The King suggested making longer lasting pictures and
wood or board using glue to make permanent paint-
-
land, Zobel’s sand-paintings often feature animals and
country scenes.
€ 800 - 1,200
33 TRADE CARD OF LAW,
Goldsmith, Jeweller and Watchmaker, No. 1 Sackville
Street, Carlile Bridge, Dublin, with detailed view of the
bridge and obelisks, shipping and the Customs House,
“drawn and engraved by S. Close, Jan”, 115 x 160mm
This important record of the centre of Georgian Dublin,
Elmes/Hewson nor Bonar Law.
Law was also a major retailer of silver and silver plate
and his mark, as such, is commonly found, added to
the hallmarks of contemporary silver smiths.
€ 200 - 300

29
35 DAWSON RAWDON (19TH CENTURY)
A folio album of good amateur watercolours inscribed
by the artist, ‘Vol. 2 Sketches of Home & Abroad’ and
later inscribed ‘Pencilling’s by the Way 1835 - 1836’,
500 x 35mm, with binders ticket ‘DOBBS & COMP, Or-
namental Stationers to His Majesty, 13 Soho Square’,
with single double drawings on each leaf, within mostly
ruled borders, dated and inscribed, approx. 121
This appears to be a combination of a collection formed
by the artist, carefully annotated and dated. The bulk
recording a continental journey from July to October
1836, then a later visit to Wales, Rome and Naples.
In the 1840s there are Irish and English landscapes
where the style has loosened and changed. Either an-
other hand or more likely the artist progressing to a
‘freer’ expression.
€ 1,500 - 2,500

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37 A VICTORIAN PAINTED BRASS CAST STANDISH,
29cm wide, 17cm deep, 9cm high
€ 60 - 80
36 AN UNUSUAL 19TH CENTURY
METAMORPHIC LIQUEUR BOX,
in the form of four leather bound volumes hinged to
open and reveal two decanters and four shot glasses.
13 x 20 x 14cm tall
€ 1,000 - 1,500

31
39 PEWTER BASIN, ROBERT GRAHAM AND JAMES
WARDROP, GLASGOW, SCOTLAND (C.17761806),
marker’s mark stamped into bottom and surrounded by the
phrase “SUCCESS TO THE UNITED STATES OF AMERICA.” 6.4cm
high, 23cm diameter
Provenance: Alex Nish, Edinburgh, Scotland, 1999.
€ 1,000 - 1,500
38 A PEWTER PORRINGER BY JOHN WILL (1696-1774),
New York City c.1752-1774, maker’s mark stamped onto handle
back. 4.7cm high x 8.7cm wide x 12.7cm diameter
Provenance: Sotheby Parke Bernet, New York City, November 17
1977, Lot 256; Ledlie I. Laughlin Jr., Brooklyn, New York; Thomas D.
Bedford, New York, 1990.
€ 1,000 - 1,500

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41 A 19TH CENTURY PARIAN PORCELAIN FIGURE OF
JOHN MILTON,
resting on a pile of books, on an oval base. 31cm tall
€ 250 - 350
40 A CARVED WOODEN MODEL OF
THE ‘LION OF LUCERNE’ AFTER
THORVALDSON.
19cm wide x 10.5cm high x 8cm deep
€ 400 - 600
The Lion of Lucerne is a sorrowful monument of a dying lion,
carved beautifully into the rock wall of an old sandstone quarry in
Lucerne, Switzerland. Measuring ten metres long and six metres
high, the animal proudly commemorates the Swiss Guards who
died in 1792 defending the French Royal Family at the Tuileries
Palace in Paris.
Swiss Guards had been used by the French monarchy since the
17th century and were highly prized for their loyalty and unfailing
dedication to their service. On 10th August 1792 over seven hun-
dred guards were killed, with further deaths taking place during
the September Massacres a month later.
-
pened to be on leave in Lucerne during the atrocities, took it upon
himself to erect a monument in honour of his fallen comrades. In
1818, he began to raise the money and Bertel Thorvaldsen was
granted the commission. Thorvaldsen was a Danish sculptor who
was working in Rome at the time. Inspired by the grand classical
the strength and nobility of the Guards. With its head resting on a
shield bearing the Fleur-de-Lis, an unmistakeable representation
of the French Crown, even in death the lion protects the monar-
chy.
The lion was hewn into the rock by Lucas Ahorn, a German stone
Mason, between 1820 and 1821 and lies there to this day, the sol-

33
42 A NEAR REPLICA OF THE CROSS OF CONG,
early 20th Century, composed of gilt brass and polychrome glass cabochons, the front
decorated with typical Celtic interlaced pattern with incorporated animal motifs inspired
beast head. 68cm long (excl. modern stand), 44cm wide
€ 1,000 - 1,500

34
45 A WORCESTER PORCELAIN STYLE DESK
STAND,
the shaped oval tray with twin baluster ink pots, deco-
ground; together with a pen tray
€ 400 - 500
43 A 19TH CENTURY PORCELAIN AND
ORMOLU CIRCULAR DESK STAND,
centred by putti, on scallop shells and dolphin sup-
ports, the turquoise ground decorated with pearl
€ 600 - 800
44 A SEVRES PORCELAIN CIRCULAR PLATE,
the white reserve decorated with putti and gilt
crest within turquoise banding, raised on gilt stand,
stamped verso Chateau de Compiègne. 18cm
€ 500 - 800

35
46 A 19TH CENTURY OAK CASED DOME TOP LIBRARY POST BOX,
with painted metal fascia with aperture above a single panel door with
inset paper postal schedule, raised on platform base. 36cm tall
€ 800 - 1,000

36
47 A 19TH CENTURY ITALIAN CARVED GILT
WOOD AND PAINTED LAMP,
with leaf sprays etc. 56cm tall
€ 600 - 1,000
48 A PAIR OF 19TH CENTURY JAPANNED
METAL TEA URNS,
of cylindrical form painted in green and gilt,
converted to table lamps
€ 500 - 700

37
49 A 19TH CENTURY OAK LIBRARY POST BOX,
of rectangular form, the top applied with brass ‘Letters’ plate and aperture, having single panel
door and brass side carrying handles. 25 x 23 x 31cm tall
€ 800 - 1,000

3838
The Killarney Woodwork Industry
By the middle of the 18th Century Killarney and its hinterland was emerging as a ‘tourist centre’. Early visitors related their experi-
ences of awesome lakes, mountains and wildlife in guidebooks and by 1853 Killarney was accessible by rail, allowing even greater
numbers to reach the area. Roughly 30 years before the arrival of the railroad, enterprising men such as Jeremiah O’Connor estab-
were made from a variety of beautiful local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance
Killarney wares. As mementos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites:
Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of
-
ery, Character &c’ (1841) by Mr and Mrs S. C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy,
ferns, mountain eagles and deer. The depiction of wreaths, shamrock, rose and thistle together symbolised the union of Ireland with
England, Scotland and Wales. It is possible that producers obtained the notion for such souvenir articles from other tourist resorts
such as Tunbridge Wells in Kent as there are records of similar items being manufactured earlier than those at Killarney. The sale of
these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned
nationally/internationally. Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York.
-
ria and many of the manufacturers both gifted and sold pieces to members of the royal family giving further status to the wares. The
decline in production of Killarney woodwork came in the late 1800s. The lack of innovation in design and competitive pricing from
outside manufacturers assisted in the demise of the industry. The production of items in bog oak lasted longer than that of arbutus
but by the early 1900s Killarney was better known for its lace than its woodwork. Now only woodwork museums in Kerry and the
items themselves remain.
50 AN IRISH MID-19TH CENTURY INLAID ARBUTUSWOOD AND MARQUETRY DAVENPORT DESK,
-
-
ous short drawers, with solid column supports, on platform base and castors. 101 cm high x 71 cm wide
€ 4,000 - 6,000

39

40
51 A COLLECTION RELATING TO THE DUKE OF ALBANYS 72ND HIGHLAND REGIMENT, AND
LIEUTENANT JAMES ROBERT KINDAHL
comprising: a Black Feather busby; a silver engraved crossbelt plate, with Hindoostan battle honour,
centred with coloured stone and with inscription ‘HINDOOSTAN’ & ‘CAPE OF GOOD HOPE’; A giltmetal
documents relating to the allocation of prize money for Lieutenant Kindahl’s involvement in the capture
of Kotah, during the Indian Mutiny of 1857, and also a copy of his will. Kindahl died in India and is buried
at Mhow.
€ 3,000 - 5,000

41
(Photograph courtesy of The Imperial War Museum)
Men of the 72nd Duke of Albany’s Highland Regiment circa 1857

42
53 A LEATHER MILITARY ARTILLERY SHELL BUCKET,
the leather body of cylindrical form printed with the Royal
Coat of Arms and motto of the United Kingdom, with leather
over handles
€ 350 - 450
52 A SET OF IRISH ARMY OFFICER’S SILVER
BUTTONS AND CLOAK CHAIN WITH
FASTENER,
Dublin 1923, presented in a frame, inscribed
and set against a blue background
€ 200 - 300

43
www.adams.ie THE LIBRARY SALE APRIL 16TH
2019

44
54 A 19TH CENTURY MODEL OF THE ARMSTRONG BREECH-LOADING ARTILLERY PIECE,
wide, 24cm high; together with
GEORGE BRYANT CAMPION (BRITISH 1796-1870)
Watercolour, 25 x 47.5cm
Signed
€ 2,500 - 3,500
William Armstrong and manufactured in England beginning in 1855 by the Elswick Ordnance Company and the
Royal Arsenal at Woolwich. Such guns involved a built-up gun construction system of a wrought-iron (later of mild
steel) tube surrounded by multiple wrought-iron strengthening coils shrunk over the inner tube to keep it under
compression.
Robert Swinhoe, after the British attack on the Chinese fort at Pehtang:
the legs.
British troops and Maori in the Waikato. A well preserved 12-pounder which was used in the battle of Rangiriri is
at the Te Awamutu museum. The barrel can traverse 6 degrees left or right without moving the gun carriage. The
wheels are wooden with a 75 mm wide steel band. The wheel diameter is 1.7 m. The track width is 1.8 m. Barrel
took cover in a slight depression in the ground in front of the Maori trenches and then stormed the trenches when
the shelling stopped.
On July 4, 1868 Armstrong guns were used at the Battle of Ueno by forces supporting the Imperial government of
Japan.
Armstrong guns were used against British and Indian troops during the Second Anglo-Afghan War in the Battle of
Charasiab, in which Howard Hensman describes six being captured by a combined Anglo-Indian expedition under
the command of Brigadier-General Baker.[5]

45

46
56A A 19TH CENTURY PERCUSSION PISTOL
WITH OCTAGONAL BARREL AND BRASS
FURNITURE,
39cm long
€ 300 - 500
56A A 19TH CENTURY PERCUSSION PIS
WITH OCTAGONAL BARREL AND B
FURNITURE,
39cm long
55 AN EARLY 19TH CENTURY PERCUSSION OVERCOAT PISTOL
(CONVERTED FROM FLINTLOCK),
the octagonal damascus barrel set within a walnut chequered stock
with engraved steel furniture
€ 200 - 300
56 A 19TH CENTURY PERCUSSION MUFF PISTOL,
€ 150 - 200

47
47
The Irish Library| 17th April 2019www.adams.ie
57 A GEORGE III 1796 PATTERN LIGHT
CAVALRY SABRE,
in a brass scabbard, throat engraved 8th Armagh, the stir-
rup hilt with wire wrapped bone grip, the blade etched with
regimental motifs. 85.5cm wide
The sword belongs to the 8th Armagh Militia.
€ 2,000 - 3,000
The 8th Armagh Regiment was set up in 1793 but was not fully engaged in active
service until the French Invasion of 1796-98.
Following their own revolution, the newly established French Republic carried a
sympathy for other nations similarly repressed under Crown Rule and therefore
agreed to assist the United Irishmen in their push for independence. However, be-
hind this lay the more calculating desire for an invasion of Britain itself. The French
perceived that if they could arrest rule in Ireland, they could use the country to
gain access to the British mainland. Protective of Ireland and aware of the greater
threat, the 8th Regiment was mobilised to halt the French advance.
Longford. With a successful win over the British at Castlebar, General Humbert
led the French army through Mayo and towards Dublin. Nearby, in Westmeath and
Roscommon, French allies were being defeated and Humbert thus chose to make a
stand at Ballinamuck.
Humbert and a small force of Irishmen were met in the early
morning by the Armagh militia. A cursory attack was made
by the French before, seeing that they were greatly outnum-
bered, Humbert gave the order to surrender. Unfortunately,
the Irish did not share this sentiment and the resulting battle
gave way to an unconditional slaughter of Irish forces.
-
nalled the end of the 1798 Rebellion, but the militia was kept in
service for a further twenty years.

48
60 TWO JAPANNED METAL DOCUMENT BOXES,
trustee of Joseph Ward
€ 150 - 250
48
58 S.T.A. GRIFFITH (20TH CENTURY)
Irish Guards Capturing a French Standard
Watercolour, 35.5 x 25.5cm
Signed and dated 1931
€ 150 - 200
59 TWO JAPANNED METAL DOCUMENT BOXES
each with twin doors enclosing compartmented
interiors with pigeon holes
€200 - 300

49
61 AN EARLY 19TH CENTURY MAHOGANY AND BRASS BOUND CAMPAIGN CHEST BY
ROSS OF DUBLIN,
front section, with recessed brass handles and supported on bun feet (stamped).
€ 1,500 - 2,000

50
63 A COLLECTION OF THREE 19TH CENTURY
FENCING MASKS,
with oval wire mesh front and padded leather helmet.
The largest 33cm long
€150 - 250
62 JOHN KERR
A series of Views in the Island of St. Helena
Coloured aquatints, each 25 x 34 cm approx.
Comprising : ‘From the First Range of Hills
Below Sandy Bay Ridge’, ‘The New House at
Longwood Intended for the Late Napoleon
Buonparte’, ‘View of Plantation House, the
Residence of the Governor’, ‘View Taken
From the Road Leading Towards the Planta-
tion House’, ‘Funeral Procession of Napoleon
Buonparte on the 9th of may 1921’
€ 400 - 600

51
65 A GEORGE III PAINTED LIGNUM VITAE
TIPSTAFF WITH PAINTED CYPHER,
31cm long
€ 300 - 400

52
68 MACSWINEY, TERENCE
A contemporary photograph of an illuminated me-
morial parchment dedicated to Terence MacSwiney,
the martyred Lord Mayor of Cork who died on hunger
strike in a British jail in 1920, approx 6 ins x 7 ins, the
original probably by Art O’Murnaghan.
With a copy of a Breton newspaper, 1935, containing
coverage (in French) of the 19th anniversary of the
1916 Rising.
(2)
Provenance: Collection of Jack Lynch TD, formerly on
loan to Cork Public Museum.
€ 100 - 200
66 REPUBLICAN AUTOGRAPH BOOK 1918.
mostly with names from Belfast Jail Nov./Dec. 1918,
signatures include Aibhistín de Staic [Stack], ‘I gcarcar
i mBéal Feirisde’, Fionán Ó Loingsigh [Lynch], Earnán
de Blaghd [Blythe], Mícheál Ó Braonáin [Brennan],
Co. an Chláir, Gearóid Ó Beoláin [Boland], ‘The Shin-
dy Eleven’, with eleven signatures headed by Charles
Minogue, Máirtín Ó Droighneáin, An Spidéal, and
many others; also a good small watercolour sketch of
Cave Hill as seen ‘from top windows of “B” wing Bel-
fast Prison’. In a small oblong autograph book, with
home-made cover incorporating a tricolour, spine
perished, the binding shaken but holding.
€ 600 - 800
67 OGLAIGH NA HEIREANN [I.R.A.]
POLICE HEADQUARTERS (CORK,
1ST BRIGADE), 19.10.1921.
A.L. on headed paper to O/C. I.V.P. [Irish Volunteer
Police] 7th Batt., stating that ‘A prisoner from Kilmur-
ray, who was working at Crookstown and taken in for
a robbery at Eyrecourt by men from 3rd Batt. .. was
forcibly released from his guard on 28/10/21 by two
men from Kilmurray .. [sgd] O/C I.V.P. Cork I.
frayed.
Documents relating to Republican policing are rare.
€ 100 - 200

53
69 A PORTRAIT PHOTOGRAPH OF PATRICK PEARSE,
25 x 19cm
€ 1,000 - 2,000

54
70 A ‘BLOODY SUNDAY’ 1920 G.A.A. ORIGINAL TICKET,
Cumann na gcleas Luith n Gaedhealach (Gaelic Athletic Association) Great Challenge Match
(Football) Tipperary V. Dublin at Croke Park, on Sunday November 21, 1920. Match at 2.45p.m.
Admission 1/- , 8 x 11cm (A very rare original admission ticket)
€ 4,000 - 5,000
21st November 1920. The date hung in the air. Sitting in their beds that night, the inhabitants of Dublin stared mo-
rosely ahead of them, their eyes unfocussed. Some were numb, shocked into a speechless submission. Some were
heartbroken, their minds unable to fathom the cruelty and the chaos. And some, some were angry. Their muscles
tensed, their blood pulsed and their mind raged. They were consumed by the fury, the adrenaline for vengeance
crashing through their body.
For nearly two years, Irish and British troops had been engaging in guerrilla warfare throughout the country, with
the prize being Ireland’s keenly contested independence. At the midst of this was the Irish Republican Army, spear-
headed by Michael Collins. In November 1920, in an attempt to gain the upper hand over the Crown forces, Collins
Dublin Castle and leave their opponent vulnerable. The attack was planned for Sunday 21st November. That morn-
ing, as commanded, a group of IRA members spread out across the city and forcefully entered the homes of their
Against this backdrop, and unaware of the violence being carried out, thousands of people were preparing to
support Dublin and Tipperary in a fundraising match at Croke Park, the match being held in aid of Republican Pris-
were being used as a cover for more nefarious activities. This feeling was enhanced when 1919 saw a ban on mem-
bers who had sworn an oath of allegiance to the Crown. Although the implementation of this was not particularly
strong, a clear message had been sent to the British.
As the time of the match drew near, throngs of people swarmed into Croke Park, jostling good naturedly against
shot was heard.
Believing the GAA crowd to contain members of the IRA, British forces had arrived at the stadium, reportedly with
the intention of searching everyone present. Instead, what followed was to become one of the War’s most memo-
on sighting the British forces pulling up outside. The reply was swift, with frenzied shots being released at random
into the crowd. No account was taken of age or gender, with a child as young as ten being among the fatalities. In
total, eleven civilians died on the day itself, with more later passing from injuries sustained at Croke Park.
The innocent lives lost during the match that day fuelled the resentment held by the Irish towards their British
rulers. Whilst the event itself did nothing towards directly advancing either side, it strongly swung public support in
favour of the Nationalists, the British being charged as the bringers of Bloody Sunday.

55

56
72 ALEXANDER POPE (1763-1835)
Portrait of a gentleman, half-length with powdered
hair, in blue coat and elaborately tied white silk stock
Pastel over pencil, oval 25.5 x 20cm
Signed ‘A.Pope’ and dated 1784
Provenance: Inherited by the owner’s father from his
late aunt Lady Eleanor Esmonde, wife of Sir John Lym-
brick Esmonde (MP and TD) (14th Baronet) who was a
direct descendant of Henry Grattan.
Always considered by the Esmonde family to be a
likeness of Henry Grattan.
€ 2,000 - 3,000
71 NATHANIEL HONE THE ELDER
Portrait of Gentleman
Watercolour on ivory, 3 x 2cm
Signed and dated 1767
€ 1,200 - 1,800

57
73 AN IRISH GEORGE IV SILVER RECTANGULAR
FREEDOM BOX,
Dublin c.1821, retailed by Keane Mahony, Hy. Flavelle,
presented by the Corporation of Weavers, with the
Freedom of their Guild to Alderman Frederick Darley,
‘In testimony of their approbation of his wright (sic)
conduct as a magistrate and his attachment to our
most gracious sovereign and his undeviating adher-
ence to the principles of our glorious constitution as
established by the immortal Prince of Nassau’, the en-
graved hinged lid decorated in low relief by a weaver’s
shuttle. 8.5 x 5.5cm (c. 5 troy ozs).
€ 5,000 - 7,000
A Stonecutter and builder, of Lower Abbey Street, Dublin. Frederick
Darley, was a younger son of HENRY DARLEY. Born in Dublin and bap-
tised in St Thomas’s Church on 6 July 1764. He was a pupil at Sisson
Darling’s school in Mabbott Street.Although he is referred to in 1802
as being ‘among the most eminent architects of the kingdom, he would
probably be more properly described as a builder and developer. The
frequent references to him in BRYAN BOLGER’s papers indicate that
he was involved in development in Mountjoy Square and elsewhere on
the north side of the city. He was employed by Trinity College, Dublin,
as a stonecutter on a regular basis from 1816 until 1824 or later, initially
with a George Darley (probably his uncle who died in
1817)
Frederick Darley was admitted a freeman of the City of Dublin at
Christmas, 1795; unlike many of the other members of the family who
were members of the Guild of Carpenters, he belonged to the Guild of
-
man in 1800 and was Lord Mayor in 1808-9.He was also chief magis-
trate of police from 1806 or earlier, as mentioned on this freedom box
Darley married Elizabeth, eldest daughter of Arthur Guinness of Beau-
mont, Drumcondra, in 1785. The couple had twenty children, FREDER-
being the second surviving son. The latter was styled Fred-
erick Darley, junior, until his father’s death on 29 June 1841.

58
74 A PAIR OF SILVER GEORGIAN SPECTACLES,
Birmingham date mark rubbed, maker probably that
of Joseph Willmore, inscribed with initials ‘AMcC’.
11.5cm wide
€ 100 - 200
75 AN AMERICAN TWENTY DOLLAR GOLD COIN,
1920, designed by Augustus Saint-Gaudens, the
obverse with lady liberty holding a torch and olive
with “E PLURIBUS UNUM” c.33 grams
€ 1,000 - 1,500

59
76 A PAIR OF GEORGE III SILVER CANDLESTICKS,
London 1762, mark of William Cafe, with detachable
stepped bases, modelled at the corners with stylised
anthemions. 23cm tall (c. 34 troy ozs).
€ 2,000 - 3,000

60
77 A COLLECTION OF NINE GOLD SOVEREIGNS,
DATED 1894, 1903 (2), 1907 (2), 1908 (2),
1910, 1911
€ 2,000 - 3,000
78 A COLLECTION OF 20 GOLD HALF SOVEREIGNS,
1914
€ 2,000 - 3,000

61
79 AN IRISH WILLIAM IV SILVER FREEDOM BOX,
Dublin c.1834, presented to Mr. Edward O’Conner,
Camden Street by the Tallow Chandlers Guild of St.
George founded 1461 in the City of Dublin, given as ‘A
Testimony of Their Esteem for his Zeal on all Matters
Concerning Their Welfare, 23 Dec 1849’, Pat O’Ryan
as Chairman, John Harrison as Secretary and William
Sherwin.
8 x 5.5cm (c.6 troy ozs).
€ 2,500 - 3,000

62
80 A LARGE IRISH GEORGE III SILVER CIRCULAR FRUIT BOWL,
Dublin c.1819, mark of S. Bergin, with swing handle, profusely decorated with repousse and
‘From Violet and Wilfred Wild, January 12th 190’. 34cm diameter (c. 40 troy ozs).
€ 2,000 - 3,000
62

63
www.adams.ie The Irish Library| 17th April 2019d h h b | h l
81 A FINE PAIR OF IRISH GEORGE III SILVER
BEER JUGS,
Dublin c.1798, mark of Robert Breading, of baluster
form, the hinged domed lids and thumb piece, with
plain ‘C’ scroll handles, each engraved with a crest, on
circular rim foot. 18cm tall , (c. 42 troy ozs). 18cm tall
€ 4,000 - 6,000

64
82 AN IMPORTANT SET OF FOUR IRISH GEORGE II SHAPED CIRCULAR SILVER PLATES,
Dublin c.1755, mark of John Loughlin, each with a chased border with alternate
anthemion and scallop terminals, engraved with the crest of the Powerscourt family.
25cm diameter (c. 70 troy ozs).
€ 7,000 - 9,000

65

66
84 HALLS IRELAND
Three volumes, compartmented spines, gilt stamped
with red and green leather
Provenance: The Collection of Hugh and Anne Iremon-
ger
€ 200 - 300
85 COPY LETTER BOOK,
Beardwood, Dublin, early 20th century, 4to ledger,
extensive correspondence of a consulting architect
active in Dublin, 1901-1905
€ 100 - 200
83 TWO PHOTOGRAPHS OF THE IRISH RUGBY
TEAM 1899 & 1901
Triple crown winners in 1899, beating England ,Scot-
land and Wales. The concept of the Grand Slam was
not introduced until 1956, and applied retrospectively
back to 1908. 20 cm x 29 cm & 20 cm x 26.5 cm
€ 150 - 200

67
86 A 17TH CENTURY LETTERS PATENT GRANTING ROBERT BOOTH ESQ. AS CHIEF JUSTICE OF
THE KINGDOM OF IRELAND,
A two sheet handwritten vellum document granting “Esq. Robert Booth” and describing the details of
this patent, with the great seal Privy Seal of Charles II attached to the bottom of the document.
€ 1,000 - 1,500
Sir Robert Booth was born in 1621, to the wealthy Booth family of Salford, son to Robert Booth and Anne Mosley, daughter of the
Oswald Mosley of Manchester. He was educated in Manchester and later St John’s College, Cambridge and was called to the bar
English bar 1649. A year later, he moved to Ireland and was admitted to the King’s Inns in January 1657.
common pleas on December 1st 1660. He was promoted to the Chief Justice in January 1670.
At the height of the Popish Plot in 1679, the Chief Justiceship of the Kings Bench became vacant. While many judges at the time had
sympathies towards the Roman Catholic religion, Booth as staunch protestant, was a clear choice for Charles II in the promotion to
amongst other ailments, he was often incapacitated and unable to carry out his duties. James Butler, 1st Duke of Ormonde, Lord
Lieutenant of Ireland had objected to the King’s choice, on the grounds that Booth was both too extreme in his religious views and
years into role.

68
89 STREET, GEORGE EDMUND
‘The Cathedral of Holy Trinty, commonly called Christ
Church Cathedral, Dublin. An account of the resto-
ration of the fabric...With a historical sketch of the
cathedral, by Edward Seymour ... and a dedication
by Sir Theodore Martin, Sutton Sharpe & Co. London
1882. With illustrations, large folio. Original full gilt &
red decorated vellum
€ 250 - 350
87 BECKETT, SAMUEL.
Nouvelles et Textes Pour Rien. Avec 6 illustrations
d’Avigdor Arikha. Eds. de Minuit 1958, no. 1157 of
Eds. de Minuit 1969, FIRST, no. 64 of 92 numbered
copies, orig. wrs. Cap Au Pire. Traduit de l’anglais
par Edith Fournier. Paris, Minuit, 1991, FIRST, no. 5 of
ten hors commerce copies, warmly inscribed by the
translator to Eoin [O’Brien], with another copy, no. 13,
and two further copies, trade edition, both inscribed
by the translator; also two further Beckett items
translated to French from English by Fournier, both
inscribed by her. Clean copies. (8)
€ 200 - 300
88 BECKETT, SAMUEL.
Poems 1930-89. Calder 2002, FIRST UK, cloth in wrap-
per; and a large collection of Beckett items, mostly
playscripts, mostly in English, mostly soft-cover, in-
generally clean copies. (about 33)
€ 200 - 300

69
92 POPE, ALEXANDER
The Works of. 10 vols. 12 mo. London (Millar, Tonson et al.) 1757
contemporary speckled calf.
€ 100 - 200
91 ‘LAURIE AND WHITTLE’S NEW MORAL AND
ENTERTAINING GAME OF THE MANSIONS OF
HAPPINESS’,
a framed 19th Century hand coloured engraved board
game, originally published 13th Oct. 1800 by Robert
Laurie & James Whittle, No. 53 Fleet Street, London,
46 x 57cm;
together with a framed engraving of the winner’s
Laurie and Whittle dedicated this game to the Duch-
ess of York whose residence was at Oatlands Park.
The Mansion of Happiness itself is a representation of
Oatlands Park. In comparison to other moral games of
the time, this one is very strict, with serious punish-
ments for immoral behaviour.
€ 400 - 600
90 A COLLECTION OF BOOKS FROM
THE GRATTAN/ESMONDE LIBRARY
(note of H. Grattan Jnr. MP)
-A bound collection of pamphlets, half-calf over marble boards, the spine with mo-
rocco label stamped ‘England’ comprising: Erskine, A Short Defence of the Whigs,
London 1819 (2nd ed) the title page inscribed Henry Grattan, Lond; Erskine, A Let-
ter, London 1819, title inscribed Henry Grattan Jnr., London, Romilly, Observations
on the Criminal Law of England (2nd ed) London 1811; Malthus, Observations on
Sir H. Parnell (Com Laws) London 1814; Lauderdale, Leaders on the Corn Laws,
London 1814
-Another, tan calf over marble boards, the spine with morocco labels stamped
‘America’ ‘Orders in Council’ comprising: Baring, An Inquiry....Conduct of Great
Britain towards the Neutral Commerce of America, London 1808; Stephens, War
in Disguise (5th ed) London 1807; An Abstract of Evidence (orders) London 1812;
Broughman, The Speech in Support of the Petitions from London, Liverpool and
Manchester, London 1808
-Another, half-cut, the spine with Morroco label stamped ‘Trials or Speeches’ and
blind stamped ‘Ireland’ comprising: Wilson, A Correspondence (Relative to the Per-
secution of the Roman Catholics by a Certain Description of Orange Men-Tyrone)
Dublin 1806; Pemberton, A Letter to the Nobility, Gentry and Landholders of the
v. Maguire Dublin 1827, coloured frontispiece of Mrs. M’Garahan; Trial Mary Reilly,
alias Kilkenny, alias Kenny v Brady (Civil Bill) Dublin 1828
-Young, Travels in the Kingdom of France (Vol 1 only) Dublin 1793
-Dublin Magazine, Vol IV (1800) with contemporary ticket marking article “Lords
Protest against Union”
-Temple, The Works (Vol 4 only) London 1757
calf, worn)
€ 700 - 1,000

7070
93 A 19TH CENTURY FOUR-FOLD
CHINOISERIE RED LACQUERED
SCREEN,
the arched tops with painted dragons, each panel
landscape, and the lower section with decorative
-
€ 1,000 - 1,500
94 AN ANGLO-INDIAN FRUITWOOD TILT-TOP
CENTRE TABLE,
c.1900, of shaped circular form, the plain central
reserve contained within a broad border carved with
temples, animals and intricate foliate scrolling deco-
ration, enclosed by a wavy border carved with similar
foliate decoration, raised on a tapering carved cen-
trepillar with protruding hanging fruit, the quadruped
base carved with birds below reaching up to eat the
fruit above interwoven sea creatures.
€ 800 - 1,200

71
95 AN INDIAN BLACK STONE MODEL OF A NANDI, (THE BULL) PROBABLY PALA PERIOD
12TH CENTURY, IN RECUMBENT POSITION, ,
with right foot forward and wearing a jewelled necklace, bell collar and saddle blanket, resting on a rectangu-
lar plinth, 26 cm wide
*Nandi, meaning “joyfulness” in Sanskrit, is the name of the bull and vehicle of the Hindu god Shiva - the god of
strength and destruction.
Sculptures of Nandi are typically displayed sitting on a plinth guarding temples dedicated to the Hindu deity,
and positioned to face the sanctuary which houses the main representation of Shiva.
divinity’s image & functions.
The bull can be seen as a symbol of fertility and strength.
became a favourite animal subject for Indian sculptors and miniature painters.
€ 2,000 - 3,000

72
96 AN INDIAN WHITE MARBLE FIGURE OF A STANDING DEITY (18TH/19TH CENTURY)
balanced on a double lotus base, wearing a loosely tied dhoti and sash, with a three-string beaded
necklace and crowned with a band of upright leaves, all raised on a solid rectangular plinth base, 126
cm high
€ 8,000 - 12,000

73
www.adams.ie The Irish Library| 17th April 2019www.adams.ie The Irish Library| 17th April 2019

74
98 A PAIR OF GEORGE IV OAK LONG
RECTANGULAR STOOLS,
with double scroll ends, on octagonal tapering legs.
108 x 33cm
€ 1,000 - 1,500
98 AAA PAIR OF GEORGE IV OAK LONG
RECTANGULAR STOOLS,
with double scroll ends, on octagonal tapering legs
108 x 33cm
€ 1,000 - 1,500
97 A PAIR OF GEORGE IV MAHOGANY HALL
CHAIRS,
the shell shaped backs carved with ribbon tied swags
on panel seats and incurved legs
€ 1,000 - 1,500

75
101 A GEORGE III MAHOGANY METAMORPHIC
LIBRARY STEPS,
in the manner of Gillows, transforming from a stool,
folding out to four tread levels, inset with gilt stamped
-
tors. In steps form 78cm high, 95cm deep, 48cm wide
€ 2,000 - 3,000
100 A 19TH CENTURY CARVED WHITE MARBLE
FIGURE OF A RESTING LION,
on a grey stone platform base.
40 x 21 x 22cm tall
€ 2,000 - 3,000
99 A PAIR OF GEORGE IV GILTWOOD CIRCULAR
DEEP FRAME MIRRORS,
label verso C.J. Crave, Ipswich, decorated with mould-
ed scrolls and egg and dart banding. 36cm diameter
€ 800 - 1,200

76
102 A PAIR OF GEORGE III PAINTED ARMORIALS,
‘William Eustace of Cradoxtown Esq and Jene Daughter to Sir Nicholas White of Leixlip’ and ‘Sir Rowland
Eustace Lord Portlester Lord Deputy of Ireland, a Son and Heir and Lord Portlester’s Daughter Alison, Wife
of the Earl of Kildare’. 56 x 45cm
€ 3,000 - 5,000

77

78
104 A GEORGE IV MAHOGANY FRAMED LIBRARY
ARMCHAIR,
the scroll back upholstered in tan hide, with carved
tapering legs
€ 1,000 - 1,500
d
103 A WILLIAMS AND GIBTON MAHOGANY FRAMED
LIBRARY ARMCHAIR,
c.1830, with spoon back, lotus scrolled handles, on
leaf capped turned tapering feet with brass and por-
celain castors, stamped Williams and Gibton 2063
€ 800 - 1,200

79
106 A GEORGE III MAHOGANY AND BRASS
BOUND HEXAGONAL WINE COOLER,
the hinged top inlaid with shell motif and framed
with boxwood stringing, on original stand, raised on
square tapering legs, and brass castors. 67.5cm high
x 49cm wide
€ 500 - 800
105 A PAIR OF SMALL 19TH CENTURY CARVED
GILTWOOD MIRRORS IN THE
ROCOCO TASTE,
bracket. 61cm high x 27cm wide
€ 300 - 500

80
107 A 19TH CENTURY GILTWOOD PIER MIRROR,
of architectural form, with broken pediment and
rectangular glass plate enclosed within an egg and
dart border, above a carved apron.143cm high x 77cm
€ 800 - 1,200
108 A GEORGE IV MAHOGANY BOW-FRONT
KNEEHOLE DESK,
-
boards, on ring turned tapering feet. 101 x 52cm
€ 1,000 - 1,500

81
109 A HOWARD & SONS MAHOGANY FRAMED TUB BACK ARMCHAIR,
the reeded frame with carved ram’s head arm terminals and acanthus leaf fronds,
€ 2,500 - 3,500

82
111 A VICTORIAN BRASS AND LEATHER TELESCOPE,
by J.H. Steward, 66 Strand, London, the extending
brass cylinder wrapped in black leather, with brass
Telescope 93.5cm long, extending to 130cm long
€ 1,000 - 1,500
82
110 A PAIR OF 19TH CENTURY MAHOGANY SIX
PANEL LIBRARY DOORS,
99.5 x 212cm
€ 2,000 - 3,000

83
112 A FINE PAIR OF GEORGE III MAHOGANY FRAMED COUNTRY GENTLEMAN’S LIBRARY
CHAIRS,
the pierced vase shaped splats beneath serpentine crest rail and carved anthemion, with
serpentine armrests and deep curved seats upholstered in green leather, raised on square
tapering legs with castors
€ 2,000 - 3,000

84
113 A GEORGE IV MAHOGANY BREAKFRONT BOOKCASE,
by James Winter & Sons, 101 Wardour Street, London, the moulded cornice
above four astragal glazed panel doors with arched moulding, the conform-
Provenance: The Smales Family, Carrmount, Sleights, Whitby.
The Smales Family were well known shipbuilders in Whitby from the early
€ 10,000 - 15,000

85

86
114 EDWIN HAYES RHA RI ROI (1819-1904)
A Merchantman Heaving - To and Calling for a Pilot as She Approaches Harbour
Oil on canvas, 104 x 139cm (41 x 54¾’’)
Signed
painter. His experiences as a pleasure sailor on the Irish Sea and also as a hand on a trans-Atlantic vessel stood him in
good stead in his future art, as Walter Strickland noted ‘ his experiences enabled him in his pictures to delineate the sea
and shipping with a sincerity and truth born of experience.’
showing hundreds of paintings over that period. He remained in Dublin for ten years before moving to London. He also
in Watercolours, becoming a full member of the latter in 1863. Hayes painted the shores and harbours of the British
yielded him many subjects, not to mention many of the coasts around Ireland, particularly in the east. He died as he had
€ 8,000 - 12,000

87

88
115 A FINE PERSIAN SEMI-ANTIQUE PRAYER
RUG,
woven in shades of red and cream ivory tones, the
geometric motifs . 218cm long, 88cm wide
€ 1,000 - 1,500
116 AN FINE KASHMAR WOOL CARPET,
lozenge shaped medallion and surrounded by classical
antiquities and mythical birds, scattered foliage, set with
spandrels to each corner and bordered by a broad foliate
band interspersed with eastern vessels and a narrow
outer border with interlinked leaves. 407 x 297cm
€ 2,000 - 3,000

89
117 AN ANTIQUE BIDJAR CARPET,
-
lions, contained within broad and narrow margins. 379 x 238 cms
Provenance: With Peter Linden, Blackrock.
Sold Adam’s ‘The Peter Linden Sale’ October 24th 2016, lot no. 130
€ 3,000 - 5,000

90
118 A PAIR OF REGENCY ROSEWOOD FRAMED
FIRESCREENS,
frieze section with turned brass supports and fall
front shelf, raised on acanthus capped carved trestle
supports and upholstered cross stretcher. 114cm
high, 38cm wide
€ 1,000 - 1,500
119 A FRENCH KINGWOOD AND MARBLE TOP SIDE
CABINET,
d’Alp marble within a pierced brass gallery above
twin mirror panel doors and a fall front of faux book
spines, quarter veneered to either side on square
tapering legs. 89cm high, 56cm wide, 35cm deep
€ 400 - 600

91
121 A GEORGE II YEW WOOD LIBRARY TABLE,
the hinged rectangular top with thumb moulded rim, raised
on an adjustable stand, having a short pen drawer and one
larger drawer, raised on slender tapering legs with carved
lapets on pad feet. 91 x 55cm
€ 1,500 - 2,000
120 A FRENCH ROUGE MARBLE AND ORMOLU
MOUNTED MANTLE CLOCK, 19TH CENTURY,
housing a drum case with beaded and glaze panelled
door, signed ‘F. BARBEDIENNE, PARIS’. 26cm high,
20.5cm diameter
€ 500 - 800

92
122 AN IRISH GEORGE III MAHOGANY
DOUBLE DROP-LEAF DINING TABLE,
with plain moulded rim and raised on heavily leaf
carved gate-leg cabriole supports, decorated with
162 cm diameter (when open)
€ 4,000 - 6,000
92
122 AN IRISH GEORGE III MAHO
DOUBLE DROP-LEAF DININ
with plain moulded rim and ra
carved gate-leg cabriole suppo
162 cm diameter (when open)
€ 4,000 - 6,000

93
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94
124 A PAIR OF 19TH CENTURY
OAK AND BRASS OBLONG STICK STANDS,
141 cm wide
€ 1,200 - 1,800
123 AN OAK LONG BENCH,
the rectangular panelled back, above a rectangular
seat with scroll ends, raised on turned baluster legs.
229cm long, 84cm high, 46cm deep
€ 800 - 1,200
94

95
126 A GEORGE III MAHOGANY FRAMED
TWO SEAT SOFA,
the high back and sides upholstered in green fabric,
the frame decorated with carved blind fretwork in the
chinoiserie taste. 144cm wide
€ 1,500 - 2,000
125 ATTRIBUTED TO NATHANIEL
GROGAN (C.1740-1807)
Figures Boating in a Wooded River Landscape, Sunset
Oil on canvas, 102.5 x 142.5cm
Provenance: The Estate of William Roth
€ 3,000 - 5,000

96
128 A GEORGE III MAHOGANY
RECTANGULAR WRITING TABLE,
c.1780, the boxwood trimmed top retaining its old
inset leather, with three frieze drawers opposed by
dummy drawers, on square tapering line inlaid legs
and spade feet. 143 x 171.5cm
€ 3,000 - 5,000
128 AA GEGEGEOOORGE III MAHOGANY
RECTANGULAR WRITING TABLE,
c.1780, the boxwood trimmed top retaining its old
inset leather, with three frieze drawers opposed by
dummy drawers, on square tapering line inlaid legs
and spade feet. 143 x 171.5cm
€ 3,000 - 5,000
127 DUTCH SCHOOL (18TH CENTURY)
Revellers in a Pastoral Wooded Landscape
Oil on canvas, 74 x 84cm
€ 2,000 - 3,000

97
129 AN IRISH GEORGE III CARVED
GILTWOOD FRAMED OVAL WALL MIRROR,
the gadroon frame within an open trellis of scrolls and
128 x 85cm
€ 1,000 - 1,500
AN IRISH GEORGE III CARVED
GILTWOOD FRAMED OVAL WALL MIRROR,
the gadroon frame within an open trellis of scrolls and

98
130 A GEORGE II IRISH RED WALNUT BUREAU BOOKCASE,
above two short and two long cockbeaded drawers, on prominent
99cm wide x 220cm high
€ 10,000 - 15,000

99
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100
131 THOMAS FRYE (C.1750)
Portrait of a gentleman with powdered hair and cream
overcoat, half length
Contained within a feigned oval,
Signed and dated
€ 4,000 - 6,000

101
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132 A FINE PAIR OF GEORGE III GITWOOD PIER
MIRRORS IN THE MANNER OF WILLIAM KENT
The broken pediments, and egg and dart moulde
cornices, surmounting reticulated frames, enclosing
mirror plates with leaf banded borders. 182cm x 106cm
€ 6,000 - 10,000

102
133 A SET OF EIGHT GEORGE IV ROSEWOOD FRAMED SWEPT BACK LIBRARY CHAIRS,
the curved crest rails above buttoned upholstered backs and seats, covered in red leathercloth
raised on baluster turned tapering legs with lotus carved collars on castors
€ 2,500 - 3,500

103

104
135 A REGENCY BRASS INLAID ROSEWOOD DISPLAY
CABINET,
the rectangular marble top, with canted corners, over
a moulded cornice and brass inlaid frieze, above a
glazed panelled door enclosing a shelved interior, the
glazed side panels and door decorated with brass
frame above brass inlaid panels, raised on spreading
moulded supports and bun feet.
€ 2,000 - 4,000
104
135
134 A FRENCH PORCELAIN AND ORMOLU FIGURAL
MANTLE CLOCK,
side and a child playing with a dog, the dial inscribed
Merra, Paris and raised on a breakfront shaped oval
platform base and ormolu feet
€ 400 - 600

105
136 WILLIAM BARRAUD (1810 - 1850)
Grey and chestnut hunters in a courtyard
Signed with initials ‘W.B’ in red
€ 4,000 - 6,000

106
137 AN EARLY 19TH CENTURY JAMAICAN SATIN WOOD, ROSEWOOD AND SPECIMEN-WOOD
WORK TABLE,
a spiral disc centered with a star, above three drawers, the top drawer with a secretaire writing surface, the middle drawer
with an arrangement of lidded compartments above a well drawer, all with turned timber knop handles raised on a carved
leaf and berry scroll quatrefoil base and carved paw feet. 66 x 48cm
Born in Scotland in 1788, Ralph Turnbull appears to have moved to Jamaica with this two brothers, Thomas and Cuthbert,
in the early 19th century. An advertisement in the Kingston Chronicle in 1819 indicates that he was in partnership with his
brothers at that time, though they would appear to have had separate businesses by 1823. He was also married about this
time and he and his wife Jane had three children.
Ralph Turnbull is best known for his idiosyncratic furniture, with its unusual exotic veneers. It appears that he was the only
one of the Turnbull’s to actually label his work. Such was the quality of his work that he was awarded a most prestigious
commission - a large suite of furniture for the Governor of Jamaica, the Marquis of Sligo.
Peter Howe Browne (1788 - 1845) was the son and heir of John Browne, 1st Marquess of Sligo. He was educated at Eton
and Cambridge and on the death of his father in 1809 he became 2nd Marquess of Sligo inheriting his father’s titles and
immense fortunes, including over 130,000 acres of County Mayo. He also inherited two plantations in Jamaica from his Kelly
grandmother.
In 1834-35 he was Governor and Vice-Admiral of Jamaica and set about reforming the status of slaves on the island and im-
for black workers and later, after emancipation, to divide his lands into numerous farms to be leased to the former slaves.
pamphlet,
in 1838.
1838 that he would free all apprentices on his own estates in Jamaica drove the government to declaring full emancipation
village in the world, still bears his name.
€ 2,000 - 4,000

107

108
139 A MARBLE AND ORMOLU CANDELABRUM
raised on ormolu platform base, adapted for electric-
ity
Provenance: Courtown Stud, Kilcock, Co Kildare
€ 1,000 - 1,500
138 A 19TH CENTURY NOVE DOCCIA PORCELAIN
LIDDED URN GARNITURE,
of panelled baluster form, the ribbed white ground
and two attending urns. (3)
€ 1,500 - 2,000
108

109
140 A GEORGE IV INLAID ROSEWOOD CIRCULAR
BREAKFAST TABLE,
the top decorated with a band of brass stringing and
scrolls, raised on turned baluster centre pillar and
four outswept legs with cast brass toe caps.
(with glass top)
131cm diameter x 72cm high
€ 2,000 - 3,000

110
141 A LATE 18TH / EARLY 19TH CENTURY MAHOGANY AND SATINWOOD
FORTEPIANO BY JOHN BROADWOOD & SONS,
inset with plaque bearing inscription ‘John Broadwood & Sons Makers to his
Majesty and the Princes, Great Pulteney Street, Golden Square, London’ the
elongated case decorated with brass inlay and cast brass mounts, with lyre
shaped peddle support, raised on turned baluster rope twist legs and gilt brass
paw feet. 91 high x 245 long
€ 2,000 - 4,000
“In spite of its present, so much improved form and character, the upright piano, will never be the piano for the artist” (Alfred
Dolge Pianos and their Makers: A comprehensive History of the Development of the Piano, Dover Publications 1972, p. 56)
piano of the artist, the piano-players’ piano. John Broadwood & Sons was founded in 1728 by Burkat Shudi and initially the
John Broadwood, a Scottish joiner and cabinetmaker came to London in 1761 to work with Shudi. As the popularity of
altogether in 1793. The fortepiano provided more variation of tone and greater volume than the harpsichord. The ‘wing’
fortepiano. The large size, the natural horizontal position of the strings, the opportunity of using a forceful action, were all
enticing to Broadwood. The perfecting of the fortepiano, depended upon the development of an action capable of produc-
ing greater tone out of the longer strings and larger soundboard.
Home entertainment in the 19th century often revolved around the piano in the parlour, and Broadwoods thrived on this
rapidly expanding home market. They are as much instruments of sound as items of furniture. The shape is highly distinc-
tive with its elongated tapering case terminating in an elegant curving arc. It would have functioned as a centerpiece within
a large drawing room, where when it was not being played, could be admired for its handsome brass inlay and robustly
carved rope twist legs and claw feet.
For the 1862 International Exhibition in London, at which the company won a gold medal, they produced a booklet contain-
ing the astonishing statement that they had produced 124,048 pianos between 1780 and 1861. Broadwood were one of
the twelve largest employers of labour in London, in an industry that remained craft-based, all parts were made in-house.
They also exported overseas, mainly to ‘Empire’ destinations such as Australia, India, New Zealand and South Africa. In the
earlier part of the 19th century, North and South America were also important markets for pianos. Broadwood pianos even
reached such remote outposts as the Falkland Islands and St Helena.

111

112
142 ERSKINE NICOL RSA ARA (1825-1904)
Prayers at the High Cross
Signed and Dated 1851 lower right
Exhibited: Royal Scottish Academy, 1857, no. 187.
€ 8,000 - 12,000
the monasteries. The round tower in the background strongly resembles O’Rourke’s tower, whose cap is missing after
the structure was struck by lightning during a storm in 1135.
-
culture had been systematically destroyed by English colonisation.
The focal point of the painted composition and in turn the attention of its subjects is the high cross. It is most likely a
depiction of the Cross of the Scriptures, which is one of the most skilfully executed carving of the surviving high cross-
es in Ireland. Nicol has positioned it at an angle to give us full view of the detailed carving on the side panels, casting
the centre of the cross in shadow. Instead the light falls on the individuals kneeling in devotion around the base. While
their prayers up to the cross.
to the left of the composition is visually reminiscent of depictions of Mary Magdalene clinging to the foot of the cross.
Overcome with emotion, her hat discarded on the ground, she fallen forward, her forehead resting on the stone plinth.
The carving on the cross itself depicts scenes from the scriptures, including Christ’s death. The episodic nature of the
the faithful gathered around her.
Nicol enlivens the scene with his characteristic eye for detail. The elderly gentleman leaning on his cane for support,
his coat worn thin with age, and the faintest glimpse of red handkerchief peeking out from one of the pockets. Or the
young woman seated behind him, rosary beads clasped between her hands, still wearing her apron, whose edges are
fraying. These are ordinary, working peasants, whose life and customs were the focus of much of Nicol’s artistic output
while in Ireland.
He exhibited this painting at the Royal Scottish Academy in 1857, showing a version of Irish identity that was not
inclined towards caricature of the ‘stage Irishman’ but moving towards the Realist tradition of his European coun-
Thomas Davis, one of the founders of the Young Ireland who claimed that painting ought to be “a pictorial history of
our houses, arts, costume and manners”. (Murray, Peter (ed), “Realism versus Romanticism in Framing National Identi-
ty”, Whipping the Herring, Survival and Celebration in Nineteenth-Century Irish Art, Murray, Cork: Crawford Art Gallery
and Gandon Editions, 2006, p. 11)

113

114
143 A FINE GEORGE III TWIN PEDESTAL PARTNER’S DESK,
frieze drawers,
above six pedestal drawers, each with cast brass handles in the rococo taste
and rocaille
plate locks, raised on platform base.
136cm wide, 89.5cm deep, 79.5cm high
€ 15,000 - 20,000

115
115

116
144 A PAIR OF 19TH CENTURY PAINTED PINE FIRE
SURROUNDS,
each with moulded cornice above a frieze carved with
oak leaves and acorns, above egg and dart rim and
upright supports. 153.5cm high, 176cm wide
€ 2,000 - 4,000

117
146 A BRASS FRAMED CLUB FENDER,
the brown button leather seat raised on plain column supports and stepped base
€ 1,500 - 2,000
145 AFTER JOHN LEECH
‘Our Friend Mr. Noddy Has a Day with the Brockside Harriers’ and ‘Where There’s a Will There’s a Way’
A pair, coloured lithographs, 52 x 68cm
Published by Thomas Agnew
€ 800 - 1,200

118
148 A FINE LARGE 19TH CENTURY IRISH SLATE OC
TAGONAL SUNDIAL, DATED 1835,
with wrought iron gnomon and profusely engraved
with geographical compilations, the southern
point of the plate engraved with inscription: ‘Anno
MDCCCXXXV. Domini. Horizontal Sun Dial Mathemati-
cally Calculated for North Lat. Deg. Minats. Longitude
Degrees Minutes. The Mariners Compass the twelve
58cm diameter
€ 2,000 - 3,000
148
118
147 A 19TH CENTURY CARVED STONE CELTIC
PATTERN CROSS,
mounted. 81cm tall
€ 1,000 - 1,500
set. The earliest examples of sundials in Ireland were
discovered at Early Irish monastic settlement sites
where it is thought they were used to regulate times
of prayer.
By the 18th and 19th Centuries sundials had advanced
-
these dials told time for every day of the year in min-
utes and seconds.
As can be seen from this Irish example, the outer bor-
der of plate is engraved with a chapter ring containing
Roman numerals denoting the twelve hours and the
names of various foreign cities. This ring encloses sev-
eral slender bands of further engravings denoting the
months of the year, minutes and seconds, signs of the
Zodiac, as well as an inscription declaring the superior-
ity of a sun dial over a pendulum watch or clock.
The dial is set with a wrought-iron gnomon which casts
its shadow on the plate to indicate time. Beneath the
gnomon the plate is centered by a compass rose and
surrounded by Irish towns and cities positioned in
their relevant coordinates.

119
149 A 19TH CENTURY COLONIAL ANTHROPOMORPHIC
CARVED HARDWOOD CARVED FIGURE OF A MONKEY
IN BUTLER’S LIVERY,
standing with his arms outstretched holding a loose circular
€ 3,000 - 5,000
119
NIAL ANTHROPOMORPHIC
ARVED FIGURE OF A MONKEY
tretched holding a loose circular

120
150 A FINE PAIR OF WILLIAM IV CELESTIAL AND TERRESTRIAL GLOBES,
by Newton, Son and Berry, Chancery Lane, published 1838, on mahogany and brass mounted
stands, with turned baluster centre pillar, with spiral reeded carving on scroll form tripod with
circular compass undertiers. 38cm
€ 25,000 - 35,000
For years, Dutch cartographers had been at the forefront of geographical representation, but the 18th
century saw a strong increase in British map production, coinciding with a resurgence of global exploration.
-
curately map previously unknown lines of longitude. This ever increasing awareness meant that map makers
A desire to learn about the world, or at least the desire to appear learned, quickly spread through the
wealthier households of Britain, with well-to-do gentlemen purchasing globes to adorn the empty corners of
their homes. Behind the supply of these globes was John Newton (1759-1844), who, after being apprenticed
to Thomas Bateman, set up his own companying c.1780. Newton specialised in globes ranging from small
well into the 19th century. Despite several name changes, the company maintained its excellence in globe
creation, securing a prize at the 1851 Great Exhibition in London’s Crystal Palace.

121

122
152 AFTER CLAUDE MICHEL (CLODION),
FRENCH 19TH CENTURY,
of cherubs, modelled as the bird nester and
dog thief, each raised on beaded circular
base, signed, 32.5cm high
€ 500 - 800
122
152 AFTER
FRENC
of che
dog th
base, s
€ 500
151 AUGUSTE POITEVIN
A pair of rearing horses with Restraining Attendants
Bronzed metal, 60cm tall x 50cm wide
€ 2,000 - 4,000
The French sculptor Auguste Poitevin, a pupilo of Francois
Rude, seems to have been very attracted to English litera-
ture. His works include bronzes of Shakespeare, the English
romantic poet Lord Byron, and Walter Scott.
Byron wrote the epic poem ‘Mazeppa’ in 1819, based on
a legend about a Ukrainian Cosack, Ivan Mazeppa (1639–
1709). According to the poem, the young Mazeppa has a
at the Court of King John II Casimir Vasa. She was married
to a much older Count. In revenge, the Count tied Mazeppa,
naked, to a wild horse which he then set free. The poem
describes the traumatic journey of the hero strapped to the
-
spired Pushkin to write a poem ‘Poltava’ in response, as well
as a number of paintings, sculptures, and even an opera by
Tchaikovsky (composed 1881-83).

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153 AFTER ANDREA DEL VERROCCHIO
An equestrian statue of Bartolomeo Colleoni
Bronze, c.60cm high x 52cm wide
The original 15th Century monument by Verrocchio is located in Campo Santi Giovanni e Paolo
in Venice and stands at almost 4 meters excluding the pedestal it sits upon. Condottiero Bar-
tolomeo Colleoni had served as Captain General of the Republic of Venice for many years and
upon his death he left a large portion of his estate to Venice under the condition that a statue
was erected to honour him.
€ 2,000 - 3,000

124
154 A REGENCY GILTWOOD FRAMED CONVEX
WALL MIRROR,
of circular form, surmounted with interlocking dol-
phin and arrow cresting, the convex plate encircled
by reeded ebon slip, and surrounded by a row of
spheres, above foliate carved apron.
101cm high x 55cm wide
€ 800 - 1000
155 A GEORGE IV MAHOGANY FOLIO WHAT-NOT,
the reeded top with frieze drawer on turned tall col-
umns on platform base with drawer and short turned
legs with brass castors. 55.5cm square x 107cm high
€ 800 - 1,200

125
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157 A WILLIAM IV OAK AND POLLARD OAK
LIBRARY TABLE,
in the Gothic taste, the top (lacking leather scriver)
with canted corners above a moulded and arcaded
frieze, on double end support with Gothic tracery
brackets, on bar bases with double scrolled feet.
89 x 157cm
€ 2,000 - 3,000
156 A 19TH CENTURY GILTWOOD MIRROR,
of architectural form with triangular pediment, the
-
umns, raised on moulded pedestal base.
€ 500 - 700

126
The Laidlaw Family and Somerton House.
Somerton was a mid Georgian house which was enlarged by Sir George Brooke (from a branch of the Fermanagh family). Such was
be sold in 1911.
Clark, described in an American newspaper “as pretty a fair–haired violet-eyed Scotch lassie as ever wandered among the heather of
her native land”! Her father William Clark owned the Clark Thread Company (later Coates and Clark) with mills on the Passaic River and
employing some eight thousand people on a site of over one hundred and thirty acres in Newark, New Jersey. The Clark family mansion
still stands at 340 Mount Prospect Avenue, Newark .
In pursuit of their joint passion for horses and dogs, the Laidlaws moved to Ireland, renting Simmonscourt Castle, then Luttrellstown
-
as Rohan describes in his book ‘Confessions of a Dealer’ (1924), - “Dublin, of the early days of this century, was a happy hunting ground.
One could go down the quays most days and pick up something rare and beautiful.”
Turf Club from 1921 to 1923. Hunting, breeding and running of horses was taken to a high level as recorded by the equestrian artist,
Lynwood Palmer.
The personal assurances of W.T.Cosgrave ensured the Laidlaw family did not leave Ireland because of the anarchy of the Civil War. They
King at Castlegar, Co. Galway, 24/24 May 1988.

127
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128
158 AN IMPORTANT PAIR OF IRISH CARVED MAHOGANY SIDE TABLES,
of rectangular form with breccia marble tops, the deep aprons carved in low
relief with foliate scrollwork and crosshatching, pierced with large centered
shells on leaf caped cabriole legs with claw and ball feet.
76cm wide, 60cm deep, 78.5cm high
€ 30,000 - 50,000
To be sold by order of the Executors of the late Mrs. T.K. Laidlaw

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The Irish Library| 17th April 2019www.adams.ie Important Irish Art | 27th March 2019
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130
159 ATTRIBUTED TO RICHARD CARVER (C.1730-1791)
Elegant Fisherfolk on the Dargle below the Dahool
€ 30,000 - 50,000
Provenance: Private Collection, Ireland
The attribution given to Carver by the late Knight of Glin is on stylistic grounds following an examination in 2002.
The painting had been thought to have been by George Barret (c.1732 – 1784) who, along with numerous others
had painted this same view. Barret, under the patronage of Viscount Powerscourt had painted repeatedly in the
and James Coy, who ex-
hibited views of the Dargle and the Powerscourt Waterfall at the Society of Artists in 1772. It was also the subject
of an aquatint after Thomas Sautelle Roberts.
Carver, the younger, studied under his father Richard (d. 1754), a landscape painter from Waterford and also under
Robert West at the Dublin Society Schools. Strickland notes that he had a distinguished career as a scene painter
in Dublin and subsequently in London. ‘On the revival at Crow Street on 29th November, 1768 of the popular old
pantomime, a
This set painting was described as an ‘ Emily,
Countess of Kildare wrote in 1762 that
The present work is one of a number of known works depicting views on the Dargle, near Powerscourt, Co. Wick-
the brow of the nearest hillock to the right a small gazebo-like structure suggests that the setting is part of a land-
converse as they walk. One of these seems to point out the natural attractions of the scenery suggesting that they
the gazebo or pavilion above, somehow tames and civilizes the scene.
The painting is carefully and artfully composed. It is constructed from a series of diagonal and horizontal lines with
a strong central focus created by the recession of the landscape through the gorge and the carefully positioned
boulders at the very centre of the picture. These compositional devices, which could be seen as crudely schematic
in the hands of a lesser artist, are here subtly reinforced by the fall of the sunlight along the diagonal from upper
left to lower right and particularly by the glorious burst of sunlight which illuminates the vista glimpsed through

131

132132
160 A PAIR OF GEORGE IV INLAID ROSEWOOD
DOUBLE DROP LEAF SOFA TABLES,
the tops decorated with satinwood and ebon stringing, above twin frieze
drawers with starburst gilt mounted handles, raised on pillar side sup-
ports with outswept legs, brass toe caps and castors and arched stretcher.
97cm (folded) x 65cm
€ 8,000 - 12,000

133
133

134
162 A GEORGE IV MAHOGANY CELLARETTE,
feet. 71 x 51 x 67cm tall
€ 2,000 - 3,000
16
161 STYLE OF ROMNEY
Portrait of a Young Lady, Half Length
€ 800 - 1,200

135
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163 A 19TH CENTURY MAHOGANY FRAMED TWIN CHAIR BACK SETTEE BY BUTLER OF
DUBLIN, STAMPED ‘M.BUTLER, 27 ABBEY ST, DUBLIN’,
the serpentine crest rail carved with acanthus leaves and scallop shells, above pierced vase shape
splats, with scroll bird head arms, with single drop-in seat upholstered in gold damask, raised on
shell capped legs and paw feet.
€ 3,000 - 5,000

136
165 A VICTORIAN BURR WALNUT VENEER
RECTANGULAR FOLDING TOP GAMES
TABLE, BY ROBERT STRAHAN OF DUBLIN,
C. 1860,
with moulded rim and raised on twin end pillar sup-
ports and cross stretcher on splayed legs. Stamped
STRAHAN and applied with trade label for Henry
Street and 5 Leinster Street, Dublin.
founded in 1776. Operating from premises in 10-11
Chancery Lane, by 1815 it was so successful that two
new workshops opened at 24-25 Henry Street and 5
Leinster Street in 1845. They displayed their work at
Dublin’s great industrial exhibition of 1853, where the
best examples of Irish design and manufacture were
continued to trade under the well-established family
name up until 1969.
€ 600 - 1,000
164 A SMALL GEORGE II IRISH GILTWOOD
MIRROR,
pediment and stylised feather crest, the frame carved
with foliate and wavy decoration, the carved apron
with conforming decoration. 93cm high x 49cm wide
€ 600 - 1,000

137
166 ALFRED ELMORE R.A (1815 - 1881)
The Fairest Rose
Oil on canvas, 53.5 x 44cm
Signed lower right
€ 2,000 - 3,000

138
169 A 19TH CENTURY MAHOGANY FRAMED
GOUT STOOL,
with hinged triple folding adjustment, upholstered in
blue cloth, raised on brass castors
€ 600 - 1,000
167 A PAIR OF REGENCY EBONISED, GILDED
AND GESSO WALL SCONCES,
surmounted by models of an eagle and with twin
candle branches and scrollwork
€ 500 - 800
168 AN ITALIAN MARQUETRY INLAID PEDESTAL,
OF CYLINDICAL SHAPE, 18TH/19TH
CENTURY,
the top 39 cm in diameter, 88 cm high
€ 800 - 1,200
167
€ 600 - 1,000

139
171 A 19TH CENTURY MAHOGANY FRAME TUB
WING BACK ARMCHAIR,
upholstered in green hide with brass studding and
loose squab cushion, raised on turned tapering legs
with castors
€ 1,500 - 2,000
170 GEORGE KNIGHT (19TH CENTURY)
Fishing Smacks in Coastal Landscape
A pair, oil on canvas, 40 x 59cm
Signed
€ 1,000 - 1,500
B
and
g legs

140
173 A LARGE 19TH CENTURY GILTWOOD SHIELD SHAPED MIRROR,
the frame carved with continuous leaf scrolls centred by an oval cartouche with sphere.
167 x 112cm
€ 1,500 - 2,000

141
174 AN EARLY 19TH CENTURY CARVED GILTWOOD SIDE TABLE,
the white marble top above a frieze extensively carved and centred by a human mask,
137 x 71cm
€ 3,000 - 5,000

142
175 A LARGE EBONISED AND GILT METAL
BRACKET CLOCK,
-
above pierced grills, with arched glazed panel door
enclosing a silvered and gilt metal dial with Arabic nu-
columns on plinth base and short feet,
€ 600 - 900
176 ALFRED BAYRE
Model of an Elephant Running
Bronze, 22.5cm high x 30cm wide,
Signed
€ 1,500 - 2,500

143
143
178 A REGENCY MAHOGANY DRUM TABLE,
of circular form with burgundy inset leather top, with
reeded and stepped rim above real and dummy draw-
central support with robust reeded triform legs with
square brass toe and castors
€ 1000 - 1500
177 A CARVED GILTWOOD FLORENTINE
MIRROR,
the rectangular glass plate contained within a Della
Robia frame, carved with fruit, leaves and ribbons.
60cm high, 51cm wide
€ 200 - 400

144
179 A 19TH CENTURY AMBOYNA AND BRASS
MOUNTED CHIFFONIER,
the raised superstructure with mirrored back, brass
gallery rail and columns, above bowfront to, over four
brass grille panel doors, raised on platform base.
184cm wide, 125cm high, 42cm deep
€ 3,000 - 5,000

145
180 A GEORGE IV ROSEWOOD DRUM TABLE,
by Mack William and Gibton, the circular top with tooled leather inset, above
frieze drawers, raised on turned baluster centre pillar and triform base and bun
feet. 150cm diameter, stamped with makers mark, 74cm high
€ 4,000 - 6,000

146
181 AN IRISH GEORGE II SECRETAIRE BOOKCASE, ATTRIBUTED TO CHRISTOPHER HEARN OF
DUBLIN,
the broken pediment and scroll rosette terminals, centred by carved eagle, above twin mirrored
panel doors enclosing a shelved interior and two short drawers, on a kneehole base with single
long frieze secretaire drawer, above an arrangement of short drawers and three recessed central
drawers, all with brass drop handles and lock plates, raised on shaped bracket feet. 245cm high,
104cm wide, 58cm deep
€ 15,000 - 20,000
The 18th century secretaire cabinet was renowned for being a highly functional item of furniture.
Usually housed in apartment bedrooms it served a variety of purposes as a clothes-chest, writing
bureau, dressing table and cabinet for storage of books. Placed within ladies’ dressing rooms they
room. However, as John Hardy notes “those provided for the gentlemen’s libraries or studies were
generally more sombre and architectonic, especially during George II’s reign, when the enthusiasm
for ‘Roman’ architecture was combined with a fashion for mahogany”.
This ‘fashion for mahogany’ was instigated in part after the abolition of the American timber tax in
1721. It created a favourable market for an increase in the importation of the wood from the West
Indies. As a material it became synonymous with the Irish cabinet-markers craft. The combination
of ‘Palladian’ architectural features particularly in the scroll-pediments and robust pedestal bases
This secretaire cabinet is part of a group of very similar pieces which have been attributed to Chris-
topher Hearn of Dublin. A cabinetmaker and joiner, Hearn opened his business on Fishamble Street
in June 1753. A comparable example can be found in the drawing room of Newbridge House, Co.
Dublin. The cabinet was recorded by Lady Elizabeth Cobbe in her accounts book in 1764, for a sum
of £11.17.6. While the item is not stamped with a maker’s name, Hearn had supplied considerable
amounts of furniture to Newbridge House at that time. Another example of the cabinet, although on
this occasion without glazed panel doors, discovered in the attic of Adare Manor, Co. Limerick is now
currently housed in the collection of the V&A Museum.
See The Knight of Glin and James Peil, , London and New Haven: Yale University Press,
, Irish Art’s
Review, vol. 12, 1996, pp.168-9

147
www.adams.ie The Irish Library| 17th April 2019www.adams.ie

148
184 A PAIR OF BRASS 1940’S ITALIAN
DESK LAMPS
€ 500 - 700
182 A BRASS FRAMED CURB FENDER, 19TH CENTURY,
poker rest, supported by winged horses. 140cms wide
€ 1,500 - 2,500
183 A SET OF SIX EARLY 20TH CENTURY
BARRISTER WIG AND GOWN
ROTATING HANGERS/HOLDERS,
each with beech wood handles topped with a central
brass hook and two brass arms, each 41.5 cm high
€ 300 - 500

149
149
185 A PAIR OF EARLY 20TH CENTURY DEEP
CLUB ARMCHAIRS,
upholstered in brown leather, on castors
€ 2,000 - 3,000
EEP
rs

150
187 PAUL HENRY RHA
‘IRELAND THIS YEAR’,
LONDON, MIDLAND AND SCOTTISH
RAILWAY TRAVEL POSTER,
framed and mounted against canvas.
102cm high x 63cm wide
€ 400 - 600
186 A PAIR OF FRENCH BRONZE
SIX LIGHT CANDELABRA,
in the rococo taste, 53 cm high
€ 800 - 1,200

151
188 A PAIR OF TAN-LEATHER UPHOLSTERED
CLUB ARMCHAIRS,
c.1930, each with padded back and seat,
with outscrolling arms on tapering block feet
€ 800 - 1,200

152
191 A FRENCH GILT BRASS OVAL MANTLE CLOCK,
marked J. Neill & Co. Paris, with four bevelled glass
plates, white enamel dial, inked with Roman numerals
and blued steel hands, 29cm high
€ 300 - 500
189 A 19TH CENTURY METAMORPHIC
LIBRARY CHAIR / STEPS IN THE
MANNER OF A.W.N. PUGIN,
the open rail back decorated with pierced
detail.
€ 400 - 600
190 A VICTORIAN QUATREFOIL SHAPED
CONVERSATION SEAT,
with plush burgundy velvet upholstery, on turned legs
with castors. 131cm wide
€ 600 - 1,000

153
193 A PAIR OF FRENCH SILVERED
BOULETTE TABLE LAMPS,
-
ed column and stylised drip tray base, 56 cm high
€ 500 - 700
192 A PROVINCIAL WALNUT CANTEBURY,
19th century, of rectangular form, of bobbin-turned
design, with central divisions, open under-tier
and surmounted with carrying handle.
55 cm wide, 84 cm high
€ 200 - 300
194 A PAIR OF 19TH CENTURY BLACK FOREST
CARVED SIDE CHAIRS,
each carved from naturalistic design, with pierced
backs formed as scrolling branches, panelled seat,
on curvilinear legs, joined by cross stretcher,
103 cm high
€ 600 - 800

154
196 ANTONI AUSTEN (POLISH, 19TH
CENTURY)
Sailing boats ashore
Oil on canvas, 41.5 x 33.5cm
Signed lower right
€ 500 - 800
195 PHILIP RIDEOUT (1850 - 1920)
Coaching scenes,
A pair, Oil on panel. 13 x 22cm
Each signed and dated 1890 lower right
€ 300 - 500

155
198 ATTRIBUTED TO AUGUSTE
EDOUART (FRENCH, 1789 - 1861)
Set of three silhouettes in maple frames ‘Huntsman
and Hounds’ ‘Hunting (2)’
Each 23 x 32cm
Edouart was a widely travelled silhouettist who
worked for many years in Dublin and Cork, later
travelling to the USA.
See Crawford Art Gallery’s exhibition of silhouettists
who worked in the Cork area.
€ 400 - 600
197 PHILIP RIDEOUT (1850 - 1920)
A coach and four crossed by a hunt
Oil on panel, 18 x 37cm
Signed lower right
€ 200 - 400

156
198A A FINE VICTORIAN EBONISED AND MOTHER OF PEARL INLAID TILT-TOP TABLE
encircled by gilt leaf banding on a lobed centre coloumn and spreading triform base. 77cm diameter,
73cm high.
€ 500 - 800

157
199 A SET OF TEN VICTORIAN LIBRARY CHAIRS
The balloon shaped backs and seats upholsterd
legs with front castors.
€ 1,500 - 2,000

158
200 A WILLIAM IV BURR OAK CHIFFONIER,
the raised superstructure with carved scroll side sup-
ports, the shaped rectangular top above single frieze
drawer, above recessed twin glazed cabinet doors
and turned column supports, raised on bracket base.
121cm high, 109cm wide
€ 1,000 - 1,500
200
199A GASPARE GABRIELLI (ITALIAN 1770 - 1828)
Figures by a river in mountain landscape
Watercolour, 25 x 35cm
Signed and dated 10th June 1816 and inscribed verso
‘Drawing by G. Gabrielli of Rome in Dublin 10th June 1816, Del
Vecchio’
€ 600 - 1,000

159
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202 AN IRISH ROSEWOOD DWARF
BOOKCASE BY MACK, WILLIAMS &
GIBTON,
the rectangular top with inset oval lid opening to
reveal compartment, above two-tier open shelf space
to each side of a central partition, with turned spindle
gallery side supports, raised on short turned tapering
feet and brass castors. 79cm high, 66cm wide, 39cm
deep
€ 2,000 - 4,000
201 JAMES LODER OF BATH
(1784-1860)
A Terrier Ratting
Oil on panel, 23 x 30cms
Signed lower left
€ 600 - 800

160
204 AN EARLY 19TH CENTURY CHINESE
EXPORT LACQUERED AND GILT
WORK TABLE,
of canted rectangular form, with moulded top, the en-
and foliate gilt decoration, the hinged top opening
spools, raised on turned trestle supports and cross
stretcher, on carved feet in the form of dragon heads.
67cm wide x 46cm deep x 77cm high
€ 600 - 800
203 AN EARLY 19TH CENTURY CHINESE EXPORT
LACQUERED AND GILT DAVENPORT DESK,
landscape and foliate gilt decoration, the sloped top
divisions, above recessed kneehole space and four
side drawers to each side, on ropetwist supports and
carved gilt dragon head feet,. 86cm high x 63.5cm
wide
€ 800 - 1,200

Adams The Irish Library Wednesday 17th April 2019

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