IADA Yearbook 2008

The 43rd Irish Antique Dealers’ Association Fair Yearbook 2008-2009

24-28 September 2008 Main Hall, RDS, Ballsbridge, Dublin 4

The 43rd Irish Antique Dealers’ Association Fair Yearbook 2008-2009

PRODUCTION ROXANE MOORHEAD DESIGN HELEN GUNNING 091 638205 COVER GETTY IMAGES PRINT W&G BAIRD LTD, GREYSTONE PRESS, CAULSIDE DRIVE, ANTRIM, NORTHERN IRELAND

Tara’s Palace

The dolls House Museum • courtyard of Malahide castle

OPEN FROM APRIL TO OCTOBER 2008 MONDAY TO SATURDAY 10AM TO 4:30PM SUNDAYS FROM 1 TO 5PM CLOSED WEDNESDAYS CLOSED FOR LUNCH FROM 12:45 TO 2PM CALL 086 4056171

visit taraspalace.ie

THE DOLLS HOUSE MUSEUM ALSO AJOINS THE WORLD FAMOUS FRY MODEL RAILWAY

84 |

Introduction

9|

Presidents welcome

11 |

Bursary awards Ronald McDonnell Award and Louis O’Sullivan Award information

13 |

Obituary Karen Kiely-Staed

15 |

Members The directory

The Fair 2008 27 |

Introduction

28 |

Date Lines

29 |

Antique Lecture Series

31 |

Exhibition floor plan

32 |

The Exhibitors

18 |

The Irish Georgian Society Marking its fiftieth anniversary, Robert O'Byrne writes about the organisation's history and achievements

79 |

Celebrating 350 years of consumer protection Douglas Bennett’s fascinating account of the Dublin Assay Office

84 |

18 |

Recent Discovery: The Reconciliation by Sean Keating Dr Éimear O’Connor reveals the story of just one of a recently rediscovered group of several paintings

by Irish artist Seán Keating (1889-1977)

5 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Features

CONTENTS

7|

79 |

Oh, cheer up darling!

How were you to know it wasn’t an original?

Buy with confidence from a member of the Irish Antique Dealers’ Association Contact 01 679 4147 or 061 396409 email irantda@eircom.net

visit iada.ie

The Council PRESIDENT George H Stacpoole Main Street, Adare, Co Limerick Tel: 061 396 409 Fax: 061 396 733 Email: stacpoole@iol.ie VICE PRESIDENT Gerald Kenyon HON. SECRETARY Ian Haslam The Silver Shop, Powerscourt Centre, South William Street, Dublin 2 Tel: 01 679 4147 Fax: 01 679 4147 Email: ianhaslam@eircom.net HON. TREASURER Roxane Moorhead

The Irish Antique Dealers’ Association was formed by a small group of dealers from both North and South of Ireland in 1969. It is the only antique trade association in Ireland.

Today the membership consists of some 80 members, who are scattered all over Ireland. embers of the Association deal in a very wide range of objects and therefore there is a wide range of expertise to offer. Members of the Association have to abide by a stringent code of practice, which is overseen by the Council Members.

To become a member of the Association, applicants are strictly vetted before acceptance and their membership is renewed annually to

M

make certain that they maintain a high standard. It is essential to maintain confidence with the public that high standards are adhered to and also good relationships maintained with everyone interested in the antiques trade.

This fair is solely for members of the IADA and consequently a large proportion of the membership exhibiting at it, are showing the finest goods and many of these pieces relate to Ireland. Throughout the fair, lectures are given by members of the Association on a wide diversity of subjects. The IADA is a highly professional Association and it is certain that you can buy from or sell to a member of the Association with a great deal of confidence and understanding.

7 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

MEMBERS Grainne Pierse, Ib Jorgensen, Rupert MacHenry, Phyllis MacNamara, Rosemary Whelan, Niall Mullen, Kevin Chellar and Suzanne Macdougald

The Irish Antiques Dealers’ Association

This year the Irish Antique Dealers’ Association has redesigned its website (www.iada.ie) which now has much more information, including pictures of members stock. The site will be changed frequently so it is worth visiting on a regular basis. ntique Road Shows have always been a favourite with people. In July the Association had an enormously successful show at Farmleigh in Phoenix Park which attracted huge crowds. This show was arranged in conjunction with the OPW and many items of interest turned up to the delight of everyone. It is

A

the intention of the Association to hold Road Shows throughout the country. The next Road Show will be held in Belvedere House, Mullingar on Sunday 12 October. In conjunction with many of our events, we hold lecture series covering all aspects of collecting and we are very lucky to have a wonderful stable of lecturers on wide ranging subjects.

The lectures are always free of charge and well worth coming to if you get the opportunity.

W

George Stacpoole PRESIDENT

9 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

hile we are a trade association we do try and help enlighten people with our free lectures (see page 29).

Each year we award the Ronald McDonnell bursary for someone to further their studies in conservation and restoration and the Louis O’Sullivan bursary to help further peoples studies in decorative arts. (For further information on how to apply see page 11.)

WELCOME

Welcome to the 43rd Irish Antique Dealers’ Association Fair and our 2008-2009 yearbook.

The Ronald McDonnell Bursary

The Louis O’Sullivan Bursary

The Ronald McDonnell Bursary is awarded every September. The Bursary was founded

by Ronald and Doreen McDonnell, who had a shop in Kildare Street for many years, and he was a nephew of the famous dealer Henry Naylor. Ronald McDonnell was the founder President of the Irish Antique Dealers Association.

This bursary is worth €3,500 will be awarded to further understanding and appreciation of the Irish decorative arts of 18th, 19th, 20th centuries (furniture, paintings, metalwork, glass, porcelain, jewelley, textiles, etc.)

he objective of the bursary is to assist an Irish craftsperson of exceptional talent and commitment to undertake a specialised or advanced skill course at home or abroad to further their skill, study or career.

The bursary is worth €2,500. The areas of the bursary cover a wide variety of advance skills applicable to conservation and restoration of art objects in wood, stone, marble, metals, parquetry, needlework and tapestry, porcelain, glass, paper and similar specialised skills.

Since the foundation of the bursary, it has been awarded to a gilder, bookbinder, textile restorer, paper conservator, ceramic and related materials restorer.

T

he object of the bursary is to help the applicant with further studies of his or her work with a final result culmination in a publication or paper on the chosen subject which can be placed in a suitable publication or given at a suitable occasion.

T

11 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

For further information on the Bursaries contact: Irish Antique Dealers Association, Adare, Co Limerick 061 396409 or email: stacpoole@iol.ie

The Irish Antique Dealers Association awards two bursaries annually, The Ronald McDonnell Bursary and The Louis O’Sullivan Bursary. The closing dates for both bursaries are the 1st September 2009.

BURSARIES

To make an application for either the Ronald McDonnell or the Louis O’Sullivan bursaries, please send: – a detailed account as to why you need the funding – evidence of applicants experience and competence in research – curriculum vitae – names and addresses of two referees.

THE HUNT MUSEUM The Hunt Collection is an internationally important holding of some 2,000 original works of art and antiquity. The Collection has generously been donated by the Hunt family to the people of Ireland and is housed in Limerick’s elegant 18th century Custom House.

Something for everyone...

On display are objects from all periods of time, from the Stone Age to the twentieth century.

Each piece was selected by John and Gertrude Hunt according to the quality of its design, craftsmanship and artistic merit. Among the many important pieces in the collection are the personal seal of Charles I of England, the Mary Queen of Scots cross, a coin revered since the Middle Ages as being one of the ‘thirty pieces of silver‘ and a bronze horse by Leonardo da Vinci.

Open Monday to Saturday 10am to 5pm and Sunday 2pm to 5pm The Custom House, Rutland Street, Limerick T: 061 312833 E: info@huntmuseum.com

WWW.HUNTMUSEUM.COM

er uncle the New York Dealer Niall Smith and others called her affectionately after her win ‘Aunt Rose’, her mother was called ‘Lady Mental’ and three used to go off antiquing together.

Karen was the daughter of Jim and Satch Kiely, she had a brother Jerome and two sisters

H

Ruth and Hillary. She was educated in Cork.

Her great loves of her life were her husband Tom Staed and their two sons James and Jack.

Her mother Satch founded the antique business in Westport some twenty years ago and Karen helped to run this very special shop which was an eclectic mix of fascinating objects. When Satch sadly died Karen took over the running of the business with all the flair and acumen of her mother. She had a wonderful understanding of things Irish and especially bog oak and Killarney furniture.

With her great knowledge she decided to do a three year BA (Hons) Fine Arts Degree with the University of Southampton and on 7th June 2007 she passed her examinations which is quite remarkable achievement. She wrote her thesis on Killarney furniture.

Karen is missed by all that knew her and as was said by her brother in law at her funeral ‘She had wonderful flair, vision and a sense of fun and above all knew what she wanted, their was never any silence.’

13 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Everyone loves roses and Karen Kiely-Staed was absolutely no exception. As a student at Galway Regional Technical College in 1980 she won the title Miss Western Rose winning £500 which she said she would spend on a holiday in London and the remainder on her education. In one newspaper at the time of her award she was described as attractive and bashful, bashful because she declined at first to appear on an RTE spectacular ‘Keep It Country’ awards concert at Castlebar, she changed her mind and appeared in the end.

Bashful is perhaps not a word one would have associate with Karen, she certainly was one of the most delightful people.

O B I T U A RY

Karen Kiely-Staed

The Irish Antique Dealers’ Cork FORTLANDS ANTIQUES | 2

Fortlands, Charleville Principal: Mary O’Connor T: 063 81295

Limerick MOYCULLEN VILLAGE ANTIQUES | 7

Moycullen, Co Galway Principal: Maura Duffy T/F: 091 555303

MEMBERS

GEORGIAN ANTIQUES LTD | 2

Sandpit Cottage, Newtown, Ballyhea, Charleville Principal: Pat Jones M: 087 256 3721 By appointment only

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Main Street, Adare Principal: George Stacpoole T: 061 396409 F: 061 396733 E: stacpoole@io.ie www.georgestacpooleantiques.com www.thedealers.ie

LINDA’S ANTIQUES | 3

9 Cross Street, Galway Principals: Frank and Phil Greeley T: 091 562282 Home: 093 41461 E: info@tempo@iol.ie www.tempoantiques.com

Main Street, Kinsale Principals: Linda and Claire Walsh T: 021 477 4754

Kerry

LYNES AND LYNES | 1

FRAMEWORKS | 8

48A McCurtain Street, Cork Principal: Denis Lynes T: 021 4500982 M: 0872531580 E: info@lynesandlynes.com

37 New Street, Killarney Principal: Katie O’Connell T: 064 35791 www.frameworks.ie

MONA’S ANTIQUES | 1

Kildare

The Mall, Drougheda Principal: Hugo Greene T: 041 98 45656 M: 086 854 4933 www.greenesantiques.com

SEAN EACRETT ANTIQUES | 29

OLIVER WALSH ANTIQUE CLOCKS | 13

Abbey Street, Naas Principal: Sean Eacrett T: +353 (0)45 883682 E: info@ashgrovegroup.ie www.ashgrovegroup.ie

1 Forrest Hill, Drougheda Principal: Oliver Walsh T: 041 983 7789 M: 087 983 5025

Savoy Centre, Patrick Street, Cork Principal: Monica Noonan T: 021 427 8171 NIAMH O’MAHONY | 1

8 Winthrop Street, Cork Principal: Niamh O’Mahony T: 021 427 6599 M: 087 262 7498 SOUTHGATE FINE ART | 1

The Coach House, Dundanion, Blackrock Road, Cork Principal: Chris Southgate T: 021 4614320 F: 021 4359152

Donegal ANTIQUES AND ART GALLERY | 4

14

TEMPO ANTIQUES | 6

GEORGE STACPOOLE | 11

Carrick, Glencolmcille Principal: Rory Byrne T: 074 973 9885 E: ruairiobyrne@eircom.net

O’TOOLE ANTIQUES & DECORATIVE GALLERIES | 12

Upper William Street, Limerick Principal: Noel O’Toole T: 061 414490 F: 061 411 378 M: 087 255 0985/086 820 0181 E: shop@browserslimerick.com

Louth

Antrim JOHN CARROLL ANTIQUES | 20

82 Donegal Pass, Belfast Principal: John Carroll T: 048 90 238246 M: 078 0234 5529 By appointment only ROBERT CHRISTIE ANTIQUES | 27

20 Calhame Road, Straid, Ballyclare BT39 9NA Principal: Robert Christie T: 028 9334 1149 M: 07802 968 846 MACHENRY ANTIQUES | 21

GREENE’S ANTIQUE GALLERIES | 13

Mayo

SOLOMON FINE ART | 29

Rathmore, Naas Principal: Suzanne Macdougald T: 045 862940 F: 045 862941 M: Suzanne Macdougald 086 2301983 and Tara Murphy 086 8142380 E: info@solomonfineart.ie www.solomonfineart.ie

Northern Ireland

MAGUIRE ANTIQUES | 15

Connolly Street, Ballina, Principal: Martin Maguire T: 096 20074 M: 087 234 9564

1-7 Glen Road, Jordanstown, Whiteabbey, Newtownabbey B37 ORY Principal: Rupert MacHenry T: +44 (0)2890 862036 F: +44 (0)2890 853281 M: +44 (0)7831 135226 E: rupbertmachenry@ntworld.com PARVIS & MERIEL SIGAROUDINIA | 23

Mountain View House, 40 Sandy Lane, Ballyskeagh, Lisburn BT27 5TL Principals: Parvis and Meriel Sigaroudinia T: 048 90 621824 E: parvissig@aol.com info@parvis.co.uk www.parvis.co.uk

DAVID WOLFENDEN ANTIQUES | 22

219b Lisnevenagh Road, Antrim BT41 2JT T: +44 28 9442 9498 M: +44 (0)7768 128800 E: antiquewolfirl@aol.com www.davidwolfendenantiques.com

Derry PAUL CRANNY ANTIQUES | 24

Bank Square Gallery, 63 Maghera Street, Kilrea Principals: Paul and Susan Cranny T/F: 048 29 540279 M: +44 (0)780 270 8656 E: paulcrannyantiques@yahoo.co.uk

Down ADAM ANTIQUES & INTERIORS | 25

8 Main Street, Dundrum Principal: Eileen McGrillen T: 048 43751544 M: +44 (0)7711442515 E: seamusclare@hotmail.com THE NEWCASTLE ART GALLERY | 26

18-22 Main Street (upstairs) Newcastle BT33 0AD Principal: Denis Murphy T: 048 43723555

Meath GEORGE WILLIAMS ANTIQUES | 16

STRAFFAN ANTIQUES | 19

Dublin

Barberstown Cross, Straffan Principals: John and Marie Ryan T: 01 6274018 E: info@straffanantiques.com www.straffanantiques.com

See City and County map on the page 17 | 5

Kilkenny

The Annexe, Newcastle House, Kilmainhamwood, Kells Principal: George Williams T: 046 905 2740 M: 087 2529959 E: gwilliams@eircom.net

Tipperary

Book Dealers

ABBEY ANTIQUES | 17

Galway COBWEBS | 6

7 Quay Lane, Galway Principal: Phyllis MacNamara T: 091 564388 F: 091 564235 E: cobwebs@eircom.net www.cobwebs.ie

FINE ART ANTIQUES | 9

Ardra, Coolbawn, Castlecomer Principal: Paul Sturgess T: +44 (0)20866 84483 M: 086 877 5254 E: pv.sturgess@yahoo.co.uk

Laois

Upper Cahir Abbey, Cahir Principals: Michael and Celine Kennedy T: 052 41187 M: 087 2728844 E: celine@antiquewarehouse.ie www.theantiquewarehouse.ie

Wicklow CLANCY CHANDELIERS | 18

CONNAUGHT ANTIQUES | 6

SEAN EACRETT ANTIQUES | 10

9 Eyre Square, Galway Principal: Philip Maguire T: 091 567840 Home: 096 220598 M: 086 3850804 E: info@connaughtantiques.com

Ashgrove, Ballybrittas, Portlaoise Principal: Sean Eacrett T: 057 8626290 F: 057 8626298 E: info@ashgrovegroup.ie www.ashgrovegroup.ie

Villanova, Ballywaltrim, Bray Principals: Ger, Derek and Tommy Clancy T/F: 01 2863460 M: 087 2422838 E: info@clancychandeliers.com www.clancychandelier.com

CATHACH BOOKS LTD | 5

10 Duke Street, Dublin 2 Principal: David Cunningham T: 01 671 8676 F: 01 671 5120 E: info@rarebooks.ie DE BURCA RARE BOOKS | 5

27 Priory Drive, Blackrock, Co Dublin Principal: Eamon de Burca T: 01 288 2159 F: 01 283 4080 and 51 Dawson Street, Dublin 2 T: 01 671 9722 www.deburcararebooks.com

VANESSA PARKER RARE BOOKS/ROGER GRIMES | 28

The Old Thatched Cottage, Mulranny, Co Mayo Principals: Vanessa Parker and Roger Grimes T: 098 27823 M: 087 2339221 E: rogergrimes@eircom.net P & B ROWAN | 20

Carlton House, 92 Malone Road, Belfast BT9 5HP. Principals: Peter & Briad Rowan T: 048 90 666448 F: 048 90 663725 E: peter@pbrowan.thegap.com

COLERAINE

DERRY

Association

ANTRIM

24

LETTERKENNY

KILREA

DONEGAL

DERRY BALLYMENA LARNE

STRABANE

4 CARRICK

DONEGAL

27

22

TYRONE

BALLYCLARE

21

ANTRIM

20

COOKSTOWN OMAGH BALLYSHANNON

23

DUNGANNON

NEWTOWNABBEY

BELFAST

LISBURN PORTADOWN

BELMULLET ENNISKILLEN SLIGO

ARMAGH

15

ARMAGH

MONAGHAN

BALLINA

26

SLIGO NEWRY

LEITRIM

MULRANNY

14

KILKEEL

CAVAN

CARRICK-ON-SHANNON

CASTLEBAR

WESTPORT

DUNDALK

MAYO

CAVAN

BALLYHAUNIS

ARDEE

ROSCOMMON

16

LONGFORD

13

KELLS

LONGFORD

ROSCOMMON

LOUTH DROGHEDA

CLIFDEN TUAM

NAVAN MULLINGAR

7

TRIM

GALWAY

6

MOYCULLEN

WESTMEATH

ATHLONE

MEATH

5

GALWAY STRAFFAN

TULLAMORE

OFFALY BIRR

10

ATHY

WICKLOW

LAOIS

NENAGH

WICKLOW

9 11

ARKLOW

GOREY

TIPPERARY

LIMERICK

CASHEL TIPPERARY

2

KILKENNY

17

CHARLEVILLE

TRALEE

CARLOW

CAHIR

NEW ROSS

CLONMEL

ENNISCORTHY

WEXFORD

CARRICK-ON-SUIR DINGLE

WEXFORD WATERFORD

8 KILLARNEY

MALLOW

WATERFORD

FERMOY

TRAMORE

MILLSTREET

CAHERSIVEEN

DUNGARVAN

CORK

KERRY KENMARE

1

MACROOM

MIDLETON

CORK

COBH

BANDON BANTRY

3 KINSALE

CLONAKILTY SKIBBEREEN

CLOYNE

YOUGHAL

ROSSLARE

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

ADARE

LISTOWEL

15

THURLES

LIMERICK

KILKENNY

BALLYBUNION

RATHDRUM

CARLOW

DUNDRUM

CASTLECOMER

12

KILRUSH

BRAY

KILDARE

PORTLAOISE

KILKEE

18

KILDARE

ROSCREA

CLARE

DUBLIN

DUBLIN

NAAS

ENNISTYMON

ENNIS

19

29

LOUGHREA

MALAHIDE

25

MEMBERS

NEWCASTLE

MONAGHAN

28

PORTAFERRY

DOWN

FERMANAGH

Dublin City and County 12 RS

UAY GH Q BUR

W

LO

HE

BAC

UAY ND Q

ALK

O

PEA

RSE

OM

BE KEV

IN S

RK

MALAHIDE ALA

8

CITY

18 19 TALLAGHT AL

17 15

24 21

SHANKILL

ST

E ST

RI ON

AR

KIL D H

COURTVILLE ANTIQUES | 4

16 South Anne Street, Dublin 2 Principals: Hugh and Anne Iremonger T: 01 671 9523

Powerscourt Townhouse Centre, Dublin 2 Principal: Grainne Pierse T/F: 01 679 4042 E: courtville@eircom.net www.courtvilleantiques.com

ANTHONY ANTIQUES LTD | 21

BEAUFIELD MEWS ANTIQUES | 17

Woodlands Avenue, Stillorgan, Co Dublin Principal: Jill Cox T: 01 288 0375 F: 01 288 6945 E: beaumews@iol.ie www.antiques-ireland.ie LORCAN BRERETON | 7

29 South Anne Street, Dublin 2 Principal: Diarmuid Brereton T: 01 677 1462 F: 01 677 1125 JOHN CARROLL ANTIQUES | 1

Also Rogers & Carroll 54 Francis Street, Dublin 8 Principal: John Carroll T: 01 473 7408 M: 078 0234 5529 E: info@rogers.com www.rogersandcarroll.com

ME SQ R UA

20-21 South William Street, Dublin 2 Principals: James & Angela Oman and Rosemary Whelan T: 01 616 8991 F: 01 677 4846 E: oman@indigo.ie

JORGENSEN FINE ART | 10

ORIEL GALLERY | 11

29 Molesworth Street, Dublin 2 Principal: lb Jorgensen T: 01 661 9758 F: 01 661 9760 E: info@jorgensenfineart.com www.jorgensenfineart.com

17 Clare Street, Dublin 2 Principal: Mark Nulty T: 01 6763410 F: 01 6763410 E: oriel@eircom.net www.theoriel.com

GERALD KENYON ANTIQUES | 12

IRENE O’SULLIVAN

M: 087 9081639 E: mark@kenyonantiques.com www.kenyon-antiques.com

By appointment T: 01 493 3589 O’SULLIVAN ANTIQUES | 1

THE LEINSTER GALLERY | 9

27 South Frederick Street, Dublin 2 Principal: Loretta Meagher T: 01 679 0834 M: 086 828 8283 E:art@leinstergallery.com www.leinstergallery.com Rear 15 Georges Ave, Blackrock, Co Dublin Principal: Peter Linden T: 01 288 5875 F: 01 283 5616 E: lindorient@hotmail.com www.peterlinden.com

Principal: Marie Curran T: 01 280 2631

THE MALAHIDE ANTIQUES SHOP | 20

14 New Street, Malahide, Co Dublin Principal: Frank Donnellan T: 01 8452900 F: 01 8324277 E:findonnellan@eircom.net

DALY ANTIQUE SERVICES | 19

Unit 15, Greenhills Business Park, Tallaght, Dublin 24 T/F: 01 4516086 / 4516089 M: 086 3853180 / 1716501

MITOFSKY ANTIQUES | 18

8 Rathfarnham Road, Terenure, Dublin 6 Principals: Laurence & Anne Citron T: 01 492 0033 F: 01 492 0188 E: info@mitofskyartdeco.com

H DANKER | 7

10 South Anne Street, Dublin 2 Principal: Joy Danker T: 01 677 4009 F: 01 677 4544 E:contact@hdanker.com www.hdanker.com

ROXANE MOORHEAD ANTIQUES | 16

Principal: Roxane Moorhead T: 01 660 5165 / 086 814 7451 E: roxanemoorhead@gmail.com

L&W DUVALLIER

Principal:William Crofton M: 00353 87 253 5313 E:duvallier@hotmail.com JOHN FARRINGTON ANTIQUES | 3

GORRY GALLERY | 10

58 Francis Street, Dublin 8 Principal: Michael Connell T: 01 473 3898 / 087 257 0150 E: ellconn@eircom.net

20 Molesworth Street, Dublin 2 Principals: James & Therese Gorry T: 01 679 5319 F: 01 679 5319

Book Dealers see page 14 CATHACH BOOKS LTD 10 Duke Street

55 Glasthule Road, Sandycove, Co Dublin Principal: Fiona O’Reilly T: 01 280 5956 M: 087 640 3688 ESTHER SEXTON ANTIQUES | 1

51 Francis Street, Dublin 8 Principal: Esther Sexton T: 01 473 0909 M: 086 1616166 THE SILVER SHOP | 4

23b Powerscourt Townhouse Centre, Dublin 2 Principal: Ian Haslam T/F: 01 679 4147 E: ianhaslam@eircom.net www.silvershopdublin.com THROUGH THE LOOKING GLASS | 14

2 Salthill Place, Old Dunleary, Co Dublin Principal: Anna Connolly T: 01 280 6577 M: 086 814 0491 TIMEPIECE | 2

MORRIN ANTIQUES | 2

MICHAEL CONNELL ANTIQUES | 1

43/44 Francis Street, Dublin 8 Principals: Chantal O’Sullivan T: 01 454 1143 F: 01 454 1156 E: info@osullivanantiques.com www.osullivanantiques.com SANDYCOVE FINE ARTS | 24

PETER LINDEN | 15

MARIE CURRAN ANTIQUES

32 Drury Street, Dublin 2 Principal: John Farrington T: 01 679 1899 E: farrington711@hotmail.com

OMAN ANTIQUES GALLERIES | 4

Principal: Kieran Morrin M: 086 245 6414 By appointment only NIALL MULLEN ANTIQUES | 1

105 Francis Street, Dublin 8 Warehouse by appointment Principal: Niall Mullen T: 01 4538948 M: 086 2575988 E: niallmullenantiques@gmail.com www.niallmullenantiques.com

57-58 Patrick Street, Dublin 8 Principals: Kevin and Carol Chellar T: 01 454 0744 F: 01 454 0774 M: 087 226 0212 E: timepieceireland@eircom.net www.timepieceantiqueclocks.com J.W. WELDON | 5

55 Clarendon Street, Dublin 2 Principals: James and Martin Weldon T: 01 677 1638 E: antiques@weldonsofdublin.com

| 6 DE BURCA RARE BOOKS 51 Dawson Street | 8 27 Priory Drive, Blackrock | 15

17 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

22

RTH ST

ANTIQUE PRINTS | 7

Princes Court, South Gloucester Street, Dublin 2 T: 086 820 7700 F: 01 677 3318 E: info@architecturalclassics.com

14

ESWO

11

ST

RT

ST STEPHEN’S GREEN

ARCHITECTURAL CLASSICS | 13

16

MOL

NO

Showrooms (Deans Grange) Opening Time by appointment T: 086/087 277 7222 DUBLIN 23

10

DAWSO

7

9 NASSAU

N ST

ST

6

TON

M ST

ST

T

20

ENDO N ST

WILL IA

CLAR

DRUR Y ST

YO

5

Principals: Sir Robert and Lady Goff T: 840 5045 Fax: 840 1220

65-66 Francis Street, Dublin 8 Principal: Kevin Jones T: 01 454 6626 F: 01 454 5688

KEVIN JONES ANTIQUES | 1

ER

CO

4

GRA F

T HE

AUNGIER ST

1

PATRICK ST

IS S NC

FRA

GEO

2

3

EET

TRINITY COLLEGE PARK

WE ST

RGE’S ST

ST

STR

CYNTHIA O’CONNOR & CO LTD

MEMBERS

ME DA

COLLEGE ST

Shankill Castle, Shankill, Co Dublin Principals: Charlotte and Andrew Bonor Law T: 01 282 2139 E: abl@nep.ie

69-70 Francis Street, Dublin 8 Principals: Paul and Chris Johnston T: 01 473 2384 F: 01 473 5020 E: johnstonantiques@ireland.com www.johnstonantiques.net

TOWNSEND ST

MERCHANTS QUAY

NEPTUNE GALLERY | 22

17 South Anne Street, Dublin 2 Principal: Keith Cusack T: 01 671 1262 JOHNSTON ANTIQUES | 1

UP RM

ORM

13

THE JEWEL CASKET | 7

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Tailors’ Hall, Dublin

18

As the Irish Georgian Society marks its fiftieth anniversary, Robert O'Byrne writes about the organisation's history and achievements over the past half-century.

The Irish Georgian Society Sir, As the Georgian Society seems to have lapsed, has anyone any objection to my restarting it?

Our aims are to bring the photographic records up to date, publish further volumes of the Georgian Society’s books, and fight for the preservation of what is left of Georgian architecture in Ireland.

Yours, etc.

Desmond Guinness, Carton, Maynooth, Co Kildare.’

he Georgian Society to which Desmond Guinness referred was an organisation established in 1908 with a specific purpose: ‘To inspect and note the eighteenth century (or Georgian) architectural and decorative work which remains in Dublin, and to record such work by means of sketches, measured drawings, and photographs.’ The results of this undertaking were published in a series of five volumes that appeared between 1909 and 1913, the last of them dealing with country houses in Ireland. That first Georgian Society was not dedicated to preservation and nor did it actively campaign for the preservation of his-

T

19 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

On July 23rd 1957, The Irish Times published the following concise and courteous letter:

Damer House

by John Ensor; its neighbour was of a slightly later date. Both buildings were in excellent condition and there was no absolutely reason for their destruction other than a disinclination on the part of the State to maintain them. As a correspondent wrote in The Irish Architect and Contractor, ‘in the year 1957 when financial stringency decrees that 50,000 of our people must leave in order than our balance of payments be preserved, our Government allows the wilful destruction of forty thousand pounds of Irish public property which from a point of view of history and tradition is priceless.’ esmond Guinness remembers how the first he knew of the intended demolition was when, emerging from the adjacent Shelbourne Hotel, he saw workmen removing the Kildare Place houses’ roof slates. Immediately he wrote another letter to The Irish Times, proposing that rather than being destroyed the houses should be preserved and used to display properly the neighbouring National Museum’s fine collection of 18th century furniture, at the time squeezed into a couple of rooms and ‘stacked as though in a saleroom for lack of space.’ An editorial in the same edition of the newspaper concurred with his suggestion and decried the official ‘barbarous decision to destroy the two handsome houses.’ And in his Cruiskeen Lawn Column, Myles na Gopaleen felt driven to ask whether the clearance of Kildare Place meant ‘that there is no regard by the State to what may be called the nation’s soul?’ It was all to no purpose. In August 1957 the houses were taken down and an ugly brick wall erected in their place; half a century later it is there still.

Six months after this act of wanton destruction, the Irish Georgian Society came into existence, its date of establishment - February 21st 1958 - specifically chosen to mark the fiftieth anniversary of that earlier organisation. Just as the latter had reflected the interests and concerns of a small group, so too did its successor. During the

D

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

20

toric buildings. In fact, it took the view this was an impossible task, the preface to Volume One gloomily observing that most of 18th century Dublin’s ‘monuments of a brilliant Society are doomed to decay and disappearance.’

On the other hand, as envisaged by its founders Desmond and Mariga Guinness, the Irish Georgian Society was set up precisely to prevent such doom and disappearance. They were spurred into action by an incident attesting to the vulnerability of Ireland’s 18th century architectural heritage. The same month Desmond Guinness’s letter appeared in The Irish Times, two superb houses on Kildare Place - only a matter of yards from the Dail - were demolished on the authorisation of the Government which owned both buildings. No. 2 Kildare Place had been designed by Richard Castle and executed after his death in 1751

As with any battle there have been successes and disappointments; Fitzwilliam Street, for example, was lost but after a long struggle that lasted for most of the 1960s and beyond, Mountjoy Square was ultimately saved.

early years there was little support and a fair amount of opposition to the Irish Georgian Society’s objectives. In many quarters Georgian architecture had long been perceived as not truly Irish but something alien, tangible evidence of a foreign culture imposed upon this country. Most citizens probably concurred with the Minister of State quoted at the time of the Kildare Place demolitions as saying, ‘I was glad to see them go. They stand for everything I hate.’ Such views persisted for a long time. In 1970 Tipperary County Council wished to demolish the early 18th Damer House in central Roscrea and replace it with a carpark. The Irish Georgian Society volunteered to restore the building and duly did so, meaning that Damer House still stands today and helps to attract visitors to Roscrea. But even when the Society had completed its work a local councillor saw fit to denounce the building as a ‘bastion of British Imperialism’ on which public funds should not be squandered. Is it any surprise that in such a climate so many significant properties, part of the nation’s collective heritage, the work of Irish builders and craftsmen, were wilfully swept away?

T

21

2 Kildare Place

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

hough much remains thanks to the efforts of the Irish Georgian Society, it is easy to forget how much has been lost over the past half century, very often like the Kildare Place houses through acts of breathtaking vandalism. In 1946, for example, the Land Commission which had already divided up the Hazlewood estate in Co Sligo sought a buyer for the house, a superlative Palladian building dating from the 1730s. A condition of the sale was that the new owner should demolish Hazlewood, remove all materials and level the site.

(Curiously, the house somehow

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

22 Lower Fitzwilliam Street Demolitions

Castletown House

survived this threat and is now scheduled for restoration). At the end of the following decade, not long after the Irish Georgian Society was founded, Elizabeth Bowen, one of this country’s finest novelists of the 20th century, finally gave up the fruitless struggle to maintain her family home, Bowen’s Court in Co Cork. She sold it to a local man in the belief that the house, a fine example of mid-18th century design, would continue to be cherished. Within two years her former home had been pulled down. ‘It was a

clean end,’ she later observed. ‘Bowen’s Court never lived to be a ruin.’

Over the past half century one clear function of the Society has been to argue on behalf of this under-appreciated aspect of Ireland’s architectural history, to explain that Georgian buildings belong to everyone and to show how even houses created for a particular caste at one moment in the nation’s history are still showcases of Irish craftsmanship. Today there is a far greater appreciation of our architectural heritage than was formerly the

case, just as the value of this heritage in encouraging tourism is now widely understood. But that was not always the case. Desmond Guinness wrote in the Irish Georgian Society’s Spring 1960 Bulletin, ‘We are the only country in Europe that has not yet developed its architecture as a tourist asset.’ Right from the start, the Society argued that the nation’s Georgian buildings should be cherished not merely for their inherent beauty but as a valuable asset in the business of attracting visitors to Ireland. Nobody, after all, has ever travelled here to admire our dormer bungalows and suburban housing estates. It has always been apparent that the majority of tourists coming to this country appreciate Ireland’s exceptional heritage of 18th century architecture. In fact for a long time the only people who seemed not to appreciate it were the State’s own citizens. n the fight to save that architecture, the Irish Georgian Society has played a central role.

Beginning with the Conolly Folly in 1962 it has sometimes assumed responsibility for the preservation of a building or monument when no other individual or body showed an inclination to do so. Alternatively it has led campaigns to preserve entire areas under threat such as Dublin’s Lower Fitzwilliam Street or Mountjoy Square. As with any battle, there have been successes and disappointments; Fitzwilliam Street, for example, was lost but after a long struggle that lasted for most of the 1960s and beyond, Mountjoy Square was ultimately saved. It is entirely thanks to the Society’s efforts that important buildings still stand today, not least Castletown House, Ireland’s earliest and finest Palladian mansion. In 1965 this marvellous building and its demesne were sold to developers who showed no interest in preserving the house but planned to build commuter homes on the estate. However, in 1967 Desmond Guinness bought Castletown and the surrounding 120 acres and, under the auspices of the Irish Georgian Socity, established the Castletown

50 Mountjoy Square before restoration

I

23 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Grotesque wall painting from the Long Gallery, Castletown, Cellridge. c1774-1776

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

24

he long, hard fight to rescue Ireland’s Georgian architecture from desuetude and destruction has taken a great deal of time, effort and money. All these were, and continue to be, voluntarily provided by private individuals. The Irish Georgian Society is an independent body that has never been in receipt of State funding but instead reliant on the generosity of its members and supporters, especially those in the United States who have been unstinting in their donations. Without them, the Society would never have been able to realise its ambitions and it is, therefore, indebted to everyone who has provided assistance of any kind over the past fifty years. The present anniversary offers an opportunity to reflect on how much has been achieved since 1958 and to congratulate those responsible. But while circumstances in Ireland have improved enormously over the intervening period, it would be a mistake to imagine that the Irish Georgian Society’s work is now done. In the first year of its existence, its Bulletin expressed concern over the fate of Vernon Mount on the outskirts of Cork City. Dating from the 1780s and thanks to its matchless painted interiors deservedly described as a ‘charming cottagepalace’, the house and surrounding wooded park of 30 acres had been put on the market. A note to Desmond Guinness written in November 1958 by the auctioneers handling the sale commented, ‘we believe that those who are interested require it for demolition purposes. This we believe to be a crime.’ In 2008 Vernon Mount remains at risk and, like the Kildare Place houses half a century ago, its loss would still constitute a crime. The Society has been leading a campaign to ensure future generations will have the opportunity to appreciate Vernon Mount’s irreplaceable beauty. While this house, and others like it, remain at risk then the Irish Georgian Society will continue to perform an important role.

T

Robert O’Byrne’s History of the Irish Georgian Society will be published in October.

During the 1960s and 70s there was remarkably little interest in Georgian architecture, leading to rampant destruction not just of important country houses but also whole areas of the capital.

25 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Foundation to restore and preserve this property.

Following an intense programme of restoration work voluntarily undertaken by members of the Society, the house was first opened to the public that year and has remained so ever since.

The same is also true of Roundwood, Co Laois; Damer House, Co Tipperary; and Doneraile Court, Co Cork. These are just three of the houses which the Irish Georgian Society helped to save, just as it did the Tailors’ Hall and St Catherine’s Church, two 18th century buildings in central Dublin that, but for the organisation’s intervention, would otherwise now be no more than a memory. It is easy to forget that during the 1960s and 70s there was remarkably little interest in Georgian architecture, leading to rampant destruction not just of important country houses but also whole areas of the capital. In more recent years, the Society has demonstrated equal tenacity in monitoring potentially pernicious developments during Ireland’s economic boom and in advising both central and local government on the creation and implementation of legislation to preserve the nation’s architectural heritage. Today’s better laws and attitudes towards this aspect of the national culture are due in no small part to the pioneering work of the Irish Georgian Society.

Equally, it can also take some credit for the improved standards of scholarship that now pertain in the fields of Irish art and architecture, and for a much better approach to historic building restoration than was once the case.

Today the Society achieves its aims through a Conservation Grants Programme in which it sponsors major conservation projects; through the Conservation Advice Programme in which its promotes traditional building skills; through a Publication and Scholarship Programme in which it publishes the Society’s journal Irish Architectural and Decorative Studies; and through the Buildings at Risk Programme in which it campaigns for important buildings that are threatened by neglect or development.

OPENING TIMES TUE - SAT 10am–5pm | SUN 12pm–5pm | MON CLOSED FOR BOOKINGS CONTACT T: +353-1-702 6165 F: +353-1-702 7796 E: numbertwentynine@esb.ie W: www.esb.ie/numbertwentynine 29 Fitzwilliam St. Lr., Dublin 2, Ireland | ENTRY FEE APPLIES

DUBLIN’S GEORGIAN HOUSE MUSEUM

PRESENTED BY ELECTRICITY SUPPLY BOARD AND THE NATIONAL MUSEUM OF IRELAND

The 43rd Irish Antique Dealers’ Association Fair 24 to 28 September 2008 27

Main Hall RDS Ballsbridge Dublin 4

Open Hours Thursday 25 September | noon to 9pm Friday 26 September | noon to 9pm Saturday 27 September | noon to 7pm Sunday 28 September | 11am to 6pm

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Fair Preview Wednesday 24 September | 5pm to 9pm

75 years or over for furniture, metalwork and architectural fittings

THE FAIR

Pre 1950 for prints and photography

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

28

Pre 1950 for glass, china, clocks, silver, jewellery, lighting, carpets and works of art Only genuine antiques and works of art are allowed into the Fair, with strict regulations governing the date, description and the amount of restoration permitted. These regulations are enforced by panels of Vetting Committees, the members of which are drawn from both within and outside the Fair. Conclusions by these Committees can sometimes be matters of opinion, albeit learned ones, but the knowledge and experience of the Irish Antique Dealers’ Association is the equal of any in the world. Potential buyers have this confidence in the authenticity of their purchases. The illustrations on the following pages have been submitted by exhibitors and members as examples of the type of antique or work of art in which they deal and the items illustrated are not necessarily on view at the Fair.

Pre 1970 for paintings, drawings and etchings Contemporary pieces are allowed to be shown but must be of exceptional quality

are requested to note that all articles exhibited have been submitted for inspection to the Vetting Committees appointed to ensure that, as far as possible, the items conform to the regulations laid down for the conduct of the Fair.

Vetting

ll exhibits except for special loans, are for sale and in the interest of security, no exhibit will be allowed out of the Fair without a full and accurate description of the articles purchased. Neither the Irish Antique Dealers’ Association, the Council and Vetting Committees of the Irish Antique Dealers’ Fair not the publishers of the Yearbook in any way hold themselves responsible for, or warrant the genuineness or age of any article exhibited at the Fair, or illustrated. Visitors and readers

A

The Irish Antique Dealers Association Fairs are strictly vetted for quality and authenticity.

The Irish Antique Dealers Association and the vetters do not in any way hold themselves responsible for the genuineness of any item, nor the veracity of any descriptive label, visitors are advised that every reasonable attempt has been made to ensure that exhibits are fair worthy and comply with the Irish Antique Dealers Association vetting guide lines and code of practice.

All are welcome to these free lectures Held in the RDS lecture theatre

Thursday 25 September A History of Precious Jewels Douglas Bennett | at 2pm

The Production and Consumption of Glass in Georgian Ireland Anna Moran | at 4pm

Friday 26 September The Appeal of Mosaics and Pietre Dure Decoration on Eighteenth and Nineteenth Century Furniture Roxane Moorhead | at 2pm

Alice Maher Contemporary Irish Art William Gallagher | at 4pm

Saturday 27 September Collecting Irish Prints Brian Lalor | at 2pm

THE FAIR

Antique Lecture Series

Irish Chimney Pieces

29

Patrick Pilkington | at 4pm

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

1 2 3 3a 4a 5 5a, 23b 6 7

7a 8 9 9a 9b 10 11 12 12a 13

7a

Through The Looking Glass Clancy Chandeliers MacHenry Antiques Hunt Museum Irish Georgian Society Noel O’Toole Antiques Traditional Antique Restoration Leinster Gallery Greene’s Antiques Galleries David Wolfenden Antiques

8

9a

9

14a 14b 14c 15 15a 15b 16 18 18a 19

9b

Courtville Antiques Cobwebs Timepiece Lynes & Lynes Martin Maguire Antiques Vanessa Parker Rare Books Michael Connell Antiques J.W. Weldon L & W Duvallier Niall Mullen Antiques

10 11

29 27

30

28 31a

24a

12

31

47

32 42

6

13

23b

34 24

33

HOSPITALITY AREA

23c 40

41

5a

ENTRANCE 14a 37

36

14c 14b

23a

Main Hall

7

12a

23

18a 21

20

18

15b

19 16

5

48

15

15a 49

20 21 23 23a 23c 24 24a 27 28

Connaught Antiques Frameworks John Carroll Antiques Parvis & Meriel Sigaroudinia Abbey Antiques Straffan Antiques Johnston Antiques Anthony Antiques Mitofsky Antiques

4

3A

29 30 31 31a 32 33 34 36 37

3

Paul Cranny Antiques Georgian Antiques Oliver Walsh Antique Clocks George Stacpoole Antiques Solomon Gallery H.Danker Antiques The Silver Shop Jorgensen Fine Art Oman Antique Galleries

2

1

40 41 42 47 48 49 50

50

Sean Eacrett Antiques Oriel Gallery O’Sullivan Antiques Moycullen Village Antiques The Neptune Gallery Irish Antique & Period Properties The Heritage Council All information correct at time of press

31 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

4A

EXHIBITORS

4

George Williams Antiques John Farrington Antiques Esther Sexton Antiques Rory Byrne Antiques Robert Christie Antiques Daly Antique Services Ltd Morrin Antiques Newcastle Art Gallery Marie Curran Antiques Adam Antiques

A N T I Q U E S

Rare 1920's platinum and diamond polar bear brooch on diamond icycles

GRAINNE PIERSE POWERSCOURT TOWNHOUSE CENTRE, SOUTH WILLIAM STREET, DUBLIN 2

ST

TELEPHONE: 01 679 4042

A

FACSIMILE: 01 670 6877

N

EMAIL: COURTVILLE@EIRCOM.NET

D 14

WWW.COURTVILLEANTIQUES.COM

at The 43rd Irish Antique Dealers’ Association Fair

Unusual 1920's diamond and quartz cat's eye spider brooch

EXHIBITOR

C O U RT V I L L E

A

EXHIBITORS

S TA N D 1 4 C

TIMEPIECE ANTIQUE CLOCKS Specialists in fine clocks since 1983 Prop: Kevin & Carol Chellar

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

32

French Empire Portico. c1810 French Directoire Portico. c1790 Chatenay, Versailles

French Empire Portico c1800 Chopin, Paris

Ormolu, Marble and Crystal Garniture c1900

Ormolu and Sevres Porcelain c1870 Miroy-Requier, Paris

EXHIBITORS

Gilt Bronze Empire Chariot c1810

33 Bronar and Co c1810

57-58 Patrick Street, Dublin 8 Telephone 01 4540774 Mobile 087 2260212

www.timepiece.ie

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Ormolu and Sevres Porcelain c1870 Marti, Paris

EXHIBITORS

S TA N D 1 4 C

Gilt and Patinated Bronze c1795

Ormolu and Marble miniature timepiece c1890

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

34

Gilt and Patinated Bronze c1825 Blondeau, Paris

TIMEPIECE ANTIQUE CLOCKS

Mahogany bracket clock signed McMaster Dublin c1850

Fagioli and Company London c1835

EXHIBITORS

Scottish Doric Column LC McMillan c1860 Mahogany Irish LC Gaskin of Dublin c1825

35 Ormolu Rococo Cartel c1880

57-58 Patrick Street, Dublin 8 Telephone 01 4540774 Mobile 087 2260212

www.timepiece.ie

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Grey Marble and Ormolu Garniture c1880

EXHIBITORS

S TA N D 1 8 A

L&W Duvallier 17th & 18th Century Irish Silver

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

36

Mobile: +353 (0)87 253 5313 Email: duvallier61@hotmail.com Viewing by appointment

A rare George I Dublin Silver Chocolate Pot by Thomas Walker 1717

(top) A Historically important large Dublin Geo 111 salver by John Laughlin 1770 with original amorial of Lord Charlimont with scratch weight of 44 ounces

(right) A fine pair of Dublin Geo 11 waiters

by John Williamson 1736

EXHIBITORS

(left) A Dublin Geo 11 Salver

by Henry Waldron. c.1745, weighing 32 ounces and 12 inches in diametre

37 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

EXHIBITORS

S TA N D 2 8

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

38

Artists from L'Ecole de Paris Henri Hayden (1883-1970) ‘Hamlet in the Village’ Oil on canvas. Signed. 50cm x 61cm.

EXHIBITORS

J Muller (Ebeniste) & PE SAĂ?N (1904-1995) A very ďŹ ne green lacquered armoire of small proportions. Made in France c.

1950-60. Front panels decorated with stylistic judas trees and winged feathered creatures. Two side columns a top with gilt metal mounts. Opening to four lacquered shelves. 170cm high x 170cm wide x 50cm deep.

39 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

8 Rathfarnham Road, Terenure, Dublin 6 Tel 00 353 (0)1 492 0033 Mob 00 353 (0)87 246 1418 Fax 00 353 (0)1 492 0188 Email: info@mitofskyantiques.com www.mitofskyantiques.com

EXHIBITORS

S TA N D 3 4

The Silver Shop Powerscourt Townhouse Centre, South William Street, Dublin 2 Tel/Fax: 01 679 4147 Email: ianhaslam@eircom.net

www.silvershopdublin.com

Portrait miniature of Margaret, Countess of Donoughmore possibly by Mrs Mee. Hon Margaret Gardiner, was the daughter of 1st Viscount Mountjoy. She married Sir John Hely Hutchinson, 3rd Earl of Donoughmore of Knocklofty in 1822.

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

40

Portrait miniature of Henry Hutchinson, Jeweller of Dame Street

by Charles Byrne of Dublin. Hand written details on reverse 'Henry Hutchinson Jeweller Dublin Sept. 7th 1794'. Byrne was employed by Hutchinsons Jewellers in the 1790's.

Portrait miniature of a gentleman purported to be the Duke of Newcastle by Margaret Bingham, Countess of Lucan. Signed.

This is after a miniature by Samuel Cooper (c.1608-1672) originally in the collection of the Duke of Portland.

S TA N D 3 6

Irish, English & Continental Paintings

EXHIBITORS

Jorgensen Fine Art

41

Tel: 01 661 9758/9 Fax: 01 661 9760 Email: info@jorgensenfineart.com

Colin Middleton RHA (1910-1983) Girl with a Sunflower Oil on canvas, 24”x18”

www.jorgensenfineart.com

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

29 Molesworth Street, Dublin 2

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

EXHIBITORS S TA N D 2 1

42

S TA N D 1 4 B

7 Q UAY L A N E , G A LWAY 091 564388 www.cobwebs.ie

EXHIBITORS

Antique & Fine Jewels

43 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

44

A good Irish mahogany jardinière / bookstand by Williams & Gibton, Dublin. c 1827. Note: the oval panel in the top lifts out to reveal a metal lined jardinière.

EXHIBITORS

S TA N D 9

MacHenry ANTIQUES

Rupert MacHenry, 1 Glen Road, Jordanstown, Whiteabbey, Newtownabbey, Co Antrim BT37 0RY T: +44 (0)28 9086 2036 F: +44 (0)28 9085 3281 M: +44 (0)7831 135226 E: rupert.machenry@ntlworld.com

S TA N D 1 9

A square centre table with canted corners

A pair of similar low bookcases

A semi eliptical shaped two door cabinet

A pair of console tables

EXHIBITORS

A four door display cabinet

45

105 Francis Street, Dublin 8 • warehouse by appointment T: 01 453 8948 M: 086 257 5988 E: niallmullenantiques@gmail.com

WWW.NIALLMULLENANTIQUES.COM

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

A unique Art Deco seven piece library suite made from spectacular amboyna wood c1930

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

EXHIBITORS S TA N D 1 2 A

46

S TA N D 2 0

9 Eyre Square, Galway Telephone 091 567840 Mobile 086 3850803 Email: info@connaughtantiques.com Open Monday to Saturday 10 am to 5.30 pm

www.connaughtantiques.com

47 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

A very fine Regency rosewood side table, c1820 (71.5" w 37.5" h 17"d).

A superb French mantle clock with two five light candelabras.

Movement signed ‘Vincenti & Cie’.

EXHIBITORS

CONNAUGHT ANTIQUES

EXHIBITORS

S TA N D 8

CLANCY CHANDELIERS Period and reproduction chandeliers bought and sold. Professional cleaning, restoration and hanging service.

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

48

Villanova, Ballywaltrim, Bray, Co Wicklow Tel/Fax: 01 2863460 Mobiles: (Ger) 087 242 2838 and (Derek) 086 3612083 Email: info@clancychandeliers.com

www.clancychandeliers.com

S TA N D 5 A & 2 3 B

EXHIBITORS 49

The Newcastle Art Gallery Fine Art Dealers in Irish, English and Continental Art 18 to 22 Main Street (upstairs), Newcastle, Co Down, Northern Ireland BT33 0AD Telephone 048 4372 3555

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Artist in his Studio Israel Zohar (born 1945) Oil on canvas 32” x 32”

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

EXHIBITORS S TA N D 2

50

S TA N D 4 1

EXHIBITORS

The Oriel Gallery Est.1968

Specialists in traditional & modern Irish art

THE IRISH ANTIQUE DEALERS’ ASSOCIATION FAIR 2008 We are delighted to be exhibiting Paul Henry, JB Yeats, Percy French, Daniel O’Neill, Evie Hone and many others at this year’s show.

51

Paul Henry, An Ulster Farm

17 Clare Street, Dublin 2 Tel/Fax: + 353 1 6763410 Email: oriel@eircom.net

www.theoriel.com

Paul Henry, Village in the West

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Daniel O’Neill, Portrait

EXHIBITORS

S TA N D 2 4 A

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

52

A George I walnut and mahogany cabinet with panelled and moulded doors and carved swan neck pediment. The interior ďŹ tted with a secretaire,pigeon holes and drawers.Circa 1735. 43" wide, 22" Deep, 91" High Illustrated in'English Furniture' by RW Symonds. Published 1929

69/70 Francis Street, Dublin 8, Ireland Tel: 00 353 1 4732384 Fax: 00 353 1 4735020 Email: johnstonantiques@ireland.com

www.johnstonantiques.net

S TA N D 2 3

EXHIBITORS 53 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

EXHIBITORS

S TA N D 2 9

S TA N D 5

PAUL CRANNY

ANTIQUES

Mid 19th Century German carved walnut and veneered cabinet

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

54

A stunning watercolour portrait of the granddaughter of the Austrian Chancellor by Hirschenhauser 1935.

Bank Square Gallery, 63 Maghera Street, Kilrea, Co Derry BT51 5QL Tel/Fax: (048) 2954 0279 Mob: +44 7802 708656 Email: paulcrannyantiques@yahoo.co.uk

KIERAN MORRIN ANTIQUES

BY APPOINTMENT ONLY

Telephone 086 2456414 Email: kieranmorrin@eircom.net

S TA N D 3 2 Patrick Hennessy (1915-1980) View from the Artist’s Studio, Portugal Oil on canvas 35” x 25”

EXHIBITORS 55

rathmore naas co kildare ireland telephone: +353 45 862940 facsimile: +353 45 862941 mobile: 086 2301983 / 086 8142380 info@solomonfineart.ie w w w. s o l o m o n f i n e a r t . i e

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Solomon Fine Art

S TA N D 2 3 C

& French Country Interiors

The Antique Warehouse, Upper Cahir Abbey, Cahir, Co Tipperary Tel: 052 41187

Showing a large selection of Antique, Art Deco and French painted furniture and objets d’art

WWW.THEANTIQUEWAREHOUSE.IE

WWW.F RENCHCOUNTRYINTERIO RS.IE

S TA N D 1 3

David Wolfenden Antiques Established 1984

56

The Home of Fine Antiques

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

EXHIBITORS

Abbey Antiques

Specialising in Quality Antique rosewood, walnut, mahogany furniture

219b Lisnevenagh Road, Antrim BT41 2JT Tel +44 (0) 28 9442 9498 Mob +44 (0) 7768 128800 Email: antiquewolfirl@aol.com www.davidwolfendenantiques.com

Quality Victorian Mahogany Antique Console Table c1850 57ins x 22ins x 37ins table top Total height 51.5ins

S TA N D 1 6

EXHIBITORS 57

Telephone +353 1 473 3898 Mobile +353 87 257 0150 Email ellconn@eircom.net

‘Duty’

An unusual and large French bronze, 34” x 15”, signed Rancoulte (Earnest Rancoulte 1870 - 1915)

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

58 Francis Street, Dublin 8

EXHIBITORS

S TA N D 3

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

58

ESTHER SEXTON ANTIQUES

51 Francis Street, Dublin, Ireland Telephone 014730909 Mobile 086 1616 166

A William IV Mahogany Console table with a pair of exquisitely carved winged GriďŹƒns supporting a frieze with egg and dart moulding under a marble top. Circa 1830 52" wide, 25" deep, 38" high

S TA N D 3 0

Georgian Antiques LTD C O R K

Specialising in Georgian & Regency furniture C O N TA C T PAT J O N E S 0 8 7 2 5 6 3 7 2 1

S TA N D 3 1 A

Antiques & Fine Art Picture Framing

EXHIBITORS

George Stacpoole

59

Adare, Co Limerick Telephone 061 396 409 Facsimile 061 396 733 Email stacpoole@iol.ie www.stacpooleantiques.com www.thedealers.ie

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Belleek frog lily pad paper weight. Impressed and marked with 1st period mark

EXHIBITORS

S TA N D 2 7

S TA N D 6

Anthony Antiques

MARIE CURRAN ANTIQUES

EX MOLESWORTH STREET E S TA B L I S H E D 1 9 6 3

A superb French mahogany, ormolu mounted, Vernis Martin style secretaire/bonheur du jour, in the manner of Millet of Paris.

Circa 1870

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

60

EXHIBITOR AT THE IRISH ANTIQUE DEALERS FAIR  RDS AND MAJOR IRISH ANTIQUES FAIRS

A pair of Irish silver candlesticks Dublin 1943

Specialising in Silver from 1850 onwards and Collectables

SHOWROOMS DEANSGRANGE

BY APPOINTMENT MOBILES 086 OR 087 2 777 222 EMAIL ANTHONYANTIQUESOCEANFREE.NET

Telephone 01 280 2631

S TA N D 1 8

Fine diamond jewellery & early Irish silver

EXHIBITORS

JW WELDON

61

55 Clarendon Street, Dublin 2 Telephone 01 677 1638

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

A very rare Limerick Coffee pot,

by Joseph Johns c.1740-45

EXHIBITORS

S TA N D 4

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

62

ROBERT CHRISTIE ANTIQUES 20 Calhame Road, Ballyclare, Co. Antrim, BT39 9NA Tel +44 28 9334 1149 Mob: +44 7802 968 846 Email: robertchristie@btconnect.com S TA N D 3 A

Fine 19th Century Sheraton Revival Carlton House Desk. Constructed in mahogany with various inlays, in very original condition, 54 inches wide.

S TA N D 3 1

EXHIBITORS

OLIVER WALSH ANTIQUE CLOCKS

63

Irish Mahogany Brass Dial Longcase Clock by Francis Kerr, Monaghan, circa 1750/1760

Superb Irish Mahogany Brass Dial, Longcase Clock by Thomas Cahill, Waterford, circa 1770

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

1 Forest Hill, Drogheda, Co Louth Telephone 087 9835025 / 041 9837789 Email oliverjameswalsh@eircom.net www.oliverwalshantiqueclocks.com

S TA N D 3 3

MARTIN MAGUIRE

ANTIQUES

A fine mid Victorian rosewood centre table with superb urn shape base.

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

64

A pair of Victorian burr walnut side cabinets.

Life-size sculpture in bronze by David Willimas-Ellis. The title is Jane 11.

EXHIBITORS

S TA N D 1 5 A

H DANKER Antique Dealers Specialists in Irish and Antique Silver and Jewellery 10 South Anne Street, Dublin 2 Tel 01 6774009 Fax 01 6774544 Email contact@hdanker.com

Open Monday to Saturday 9:30-5:30 Connolly Street, Ballina, Co Mayo Telephone 096 20074 Mobile 087 234 9564

www.hdanker.com

S TA N D 2 4

A fine William IV mahogany breakfront bookcase with moulded cornice adjustable shelves enclosed by arched glazed doors with carved lotus leaf and scroll capitals, The base is enclosed by paneled doors, intercepted by turned and fluted columns.

EXHIBITORS

STRAFFAN ANTIQUES STOCK AN EXTENSIVE COLLECTION OF 18TH AND 19TH CENTURY FINE ANTIQUE FURNITURE.

65

320cm wide 253cm high 51cm deep

E M P H A S I S I S O N Q U A L I T Y.

WE

W E L C O M E Y O U R V I S I T.

Barberstown Cross, Straffan, Co Kildare Telephone 01 6274018 Email info@straffanantiques.com Open Tuesday to Saturday 10am to 6pm and Sunday 2pm to 6pm

www.straffanantiques.com

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

OUR

EXHIBITORS

S TA N D 1 5

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

66

LY N E S & LY N E S A fine pair of satinwood side tables with marquetry inlay

by James Hicks of Dublin.

Circa 1900

SHOWROOMS 48a McCurtain Street, Cork T: 021 4500982 M: 087 2531580 E: info@lynesandlynes.com S TA N D 4 7

MOYCULLEN VILLAGE ANTIQUES Late 19th century writing bureau with step inlaid interior

by Butler, Dublin

Matching pair of Irish victorian rosewood pole screens by Strahan of Dublin c1860

Moycullen, Galway Tel/Fax: 091 555303 Mob: 086 8235976

S TA N D 1 0

A Regency mahogany writing table with ebony string inlay

A Regency rosewood & brass inlaid sofa table

EXHIBITORS

NOEL O’TOOLE ANTIQUES

67

BY APPOINTMENT ONLY

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

MAIN OFFICE Upper William Street, Limerick SHOWROOMS & WAREHOUSE St. Josephs Street, Limerick Telephone 061 414490 Facsimile 061 411378 Mobile 087 2550985 Email shop@browsers.ie

S TA N D 1

Leinster Gallery SPECIALISTS IN 20TH CENTURY & CONTEMPORARY IRISH ART

George Williams A NTIQ UE S

Specialising in 18th & 19th century Irish and English furniture and paintings

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

68

Restoration and gilding carried out for clients in our own workshops.

Tony O’Malley HRHA (1913-2003) Self Portrait 1985, oil on board, 19.5” x 16”

27 South Frederick Street, Dublin 2 Tel: +353 (0)1 679 0834 Email: art@leinstergallery.com www.leinstergallery.com

BY APPOINTMENT

The Annexe, Newcastle House, Kilmainhamwood, Kells, Co Meath Tel: 046 9052740 Mob: 087 252 9959 Email: gwilliams@eircom.net

www.georgian-antiques.com

Life-size sculpture in bronze by David Willimas-Ellis. The title is Jane 11.

EXHIBITORS

S TA N D 1 2

S TA N D 7 A

A Georgian gilt wood four compartment overmantle mirror.

EXHIBITORS

Through The Looking Glass

Circa 1790. Height: 23" Width: 59"

69

2 Salthill Place (beside Purty Kitchen), Dunlaoghaire, Co Dublin Telephone 01 2806577 & 086 8140491

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Proprietor: Anna Connolly

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

70

PARVIS GALLERY Oriental Carpets and Textiles Bronze Sculpture Parvis and Meriel Sigaroudinia Mountainview House, 40 Sandy Lane, Ballyskeagh, Lisburn, BT27 5TL, Northern Ireland T: 0044 28 90 621824 M: 0044 7801 347358 E: parvissig@aol.com

www.parvis.co.uk S TA N D 7

ADAM ANTIQUES & INTERIORS 8 Main Street, Dundrum, Co Down Telephone 048 437 51 544 Mobile +44 7711442515 Email seamusclare@hotmail.com A large c1890 oil on board of three cherubs on a cloud in a gilt frame with swag and ribbon decoration acquired from The ‘Lola Baxter’ estate in England

Jenny 11, life-size sculpture in bronze by David Williams-Ellis.

EXHIBITORS

S TA N D 2 3 A

S TA N D 4 2

EXHIBITORS 71 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

EXHIBITORS S TA N D 1 5 B

72 S TA N D 4 0

Malahide ANTIQUE SHOP

Open Monday to Saturday or by appointment

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

14 New Street, Malahide, Co Dublin Telephone 01 8452900

73

19th C Kazak prayer rug

PETER LINDEN

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

74

SEAN CARPENTER Polishing & Antique Restoration At Select Interiors, 65/66 Francis Street, Dublin 8 Telephone Dublin 01 454 1806 & Navan 046 902 258 Mobile 086 8381256

Antique & Exceptional Oriental Rugs & Carpets George's Avenue, Blackrock, Co Dublin, Ireland Tel: +353-1-2885875

www.peterlinden.com Consultant and stockist of carefully selected examples Cleaning, restoration, valuation

Open Tuesday to Saturday 10.30 to 17.00 or by appointment PLEASE PHONE BEFORE YOU CALL OUT

Jill Cox, IADA member

Beaufield Mews is a legend in Ireland. The oldest and most progressive Antique Shop & Restaurant, and now with newly renovated restaurant, granite faced formal entrance courtyard & romantic floral gardens, all displaying Art and Sculpture.

A real treat.

Sculpture by leading Irish sculptors of the day Aidan Lambert (Silver), Sandra Bell, Helen O’Connell, Elizabeth O’Kane, Anthony Scott, Jackie McKenna, Richie Healy and others.

Always a good stock of 19th century Irish Artists Letitia Hamilton, Harry Kernoff, Arthur Armstrong, Richard Kingston and many others.

Living Art & Sculpture Exhibitions Brett McEntaggart, Olivia Hayes, Janetta Mellet, Gay O'Neill, Bob Ryan, Tom Ryan, Maria Simonds Gooding, Jacqui Holohan and others.

COLLECTORS ITEMS Irish Silver and early Irish Glass

Woodlands Avenue, Stillorgan, Co. Dublin (off the N11 at Stillorgan) Tel: 01 2880375 Email: jbcox@indigo.ie www.antiques-ireland.ie www.beaufieldmews.com

Arthur Armstrong 1924 - 1996 'Cutting the Corn' Oil on canvas

Open day Saturday 27th September 2008. Come and explore.

Mid-November, Art and Sculpture Christmas Exhibition.

All are Welcome

75 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Galleries open Tuesday to Saturday 3pm to 9pm & Sunday 1pm to 5pm.

Dining nightly & Sunday lunch; weddings and garden parties.

Victorian diamond and amethyst holbien

Boxed set of 6 gilded and enamelled coffee spoons dated London 1923

Tempo Antiques Pair of Art Nouveau vases

9 Cross Street, Galway Tel/Fax: 091 562282 Mobile: 087 9696835 info@tempoantiques.com www.tempoantiques.com

French cluster ring with 2.12ct of diamond set in 18kt white gold .COM

Dublin silver ‘Celtic Revival’ teapot

by Edmund Johnson dated 1927

ROXANE MOORHEAD I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

76

AN T IQUES

Valuations for insurance & probate Specialist advisor on period furnishings for the home & office

BY APPOINTMENT ONLY T: 01 660 5165 or 086 814 7451 E: roxanemoorhead@gmail.com

Celebrating 350 Years of Consumer Protection The Craft Guilds of Western Europe were associations of artisans founded for the mutual benefit of their members and standardisation of their crafts. From the 11th century onward, they flourished amid the great cities of Europe.

Douglas Bennett

The granting of Catholic Emancipation in 1829 led to a demand for reform of civic government and under the Municipal Corporation Reform (Ireland) Act of 1840 the trade guilds were stripped of their role in the government of the city and most of the guilds wound Testing platinum up their operations. The on an atomic absorption spectrometer Guild of All Saints or the Company of Goldsmith’s was the only survivor and this is their story, being the original consumer protection association, which has survived to the present day.

79 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Craft guilds entered Ireland in the turbulent period of post Anglo-Norman settlement. In the charter of 1192 given to the City of Dublin

by Prince John, Lord of Ireland, we discover the entitlement of its citizens to all necessary and reasonable guilds guaranteed by law. These merchant or trade guilds were important, as they were responsible for the regulation of commerce.

They were formed to set standards of workmanship and to teach apprentices the mysteries (from Latin ‘misterium’= trade, business, occupation) of their craft. These trade guilds dominated the commercial and political life of Dublin for the next six and a half centuries until 1841. Guild members were eligible to vote in municipal and parliamentary elections.

To understand the workings of the assay office and the precious metal trade it is requisite that we should turn back the pages of history to 1555, in which year the Guild of All Saints, whose charter – the date is unknown – had allegedly been burned, applied to the common Council of the City of Dublin for recognition as a guild. They were ordered to bring a true copy of their charter before the Mayor and Sheriffs when they would be given recognition under the common seal of the city. This was granted in April 1557, it was not a new charter it was merely a recognition that the original was in existence before the fire and entitled the company to the same privileges as the other fraternities and guilds of the city but an insertion was included to the effect that the Mayor of Dublin for the time being should have oversight and correction of their orders as often as he should think expedient. It also stated that none should be admitted to the fraternity except they be of ‘English name and blode.’ The guild was obviously dissatisfied with this state of affairs as it had not the same control over its tradesmen as other guilds.

The assay office was opened in February 1638 and the first piece was hallmarked on 6 April of that year.

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

80

n London the Company of Goldsmith’s had complete charge of all matters relating to assay and the Dublin equivalent must have felt that they were entitled to the same privileges. The year 1637 found them petitioning the King requesting that they, the Guild of All Saints might be incorporated by royal charter. Their petition was received with favour and on 22nd December 1637, a charter was granted by Charles 1. With the granting of this new charter the Goldsmith’s’ Company and the assay office were put on a sound foundation. The assay office was opened in February 1638 and the first piece was hallmarked on 6th April of that year.

I

Legislation governing the compulsory testing and hallmarking of precious metals applies to the present day. The word hallmark, now often used figuratively to mean a mark or indication of excellence, originally referred to the official marks used at Goldsmith’s Hall by the assay office for marking the standard of gold and silver. The charter states that no master was to give his workman any gold or silver to be wrought below the recognised English standard ‘as oftentimes they are accustomed to do’ the master to be punished if caught doing so. The company was given the power to supervise the assaying of all gold and silver throughout the whole Kingdom of Ireland and if any person found selling goods with intent to deceive the public (ie not hallmarked or below required standard) these goods were to be ‘broke’ and the manufacturer, trader and workman to be punished.

Every goldsmith and silversmith in any town in Ireland was to be bound by the rules of the charter. The charter prescribed the standard for gold and silver wares as being twenty-two carats for gold and 11oz and 2 dwt for silver. It also prescribed two marks for silver the harp crowned and the goldsmith’s proper mark. Pure silver is too soft to make durable vessels that combine lightness with stability of form. This defect can however be overcome by alloying the metal with a small amount of base metal usually copper.

The proportion of silver in these alloys is habitually stated in parts of real or pure silver per 1,000 parts of alloy. This is referred to as standard silver the fineness of which is .925 parts of silver in 1,000 parts of alloy, or in weight 11oz 2dwt in every Troy pound (12oz). Therefore in every 12oz. of silver there are 18dwt of alloy. Silver was weighed by the Troy scale, a measurement which derives its name from the town of Troyes in France where it was first used in Europe and which measurement was probably brought to England by Henry V about 1420 after the signing of the famous treaty of Troyes. It later replaced the Tower pound in 1526 for weighing gold and

silver. The Tower pound an English weight based on the barley grain: 1 Tower pound = 7,200 tower grains = 5,400 troy grains. 1 Tower ounce = 600 tower grains = 450 troy grains. The Troy weight was also a complicated measurement of 24 grains=1 pennyweight (dwt). 20dwt=1oz.

12oz = l lb. Today the metric gram is used to weigh all precious metals. 1oz Troy = 31.1 gram. he harp crowned is the fineness mark showing the standard of quality required in law, in the charter it is referred to as the King’s Majesty’s Stamp. This was applied on all precious metals until 2002.

The charter already mentioned ruled that the punch of the artificer must be impressed on each item of manufacture. This was usually done before the item was sent to the Hall for testing. It consisted of a metal die with the maker’s initials cut in reverse. Each tradesman had to register their punch or mark with the Master and Wardens at the assay office where it was recorded in the workbook for reference and identification. This served the dual purpose of enabling the manufacturer of a specific item to be established and, more importantly, of identifying an offender whose plate was not up to legal requirements. This mark is referred to in the charter as the Goldsmith’s proper mark. Together with the harp crowned and the maker’s mark a date letter was used from 1638 although there was no provision in the charter for this mark. No doubt it was adopted to keep a proper record and had the advantage of establishing an actual time of manufacture.

The date letter, with the other two marks, was made statuary by an Act of Parliament in 1729 (3 George 11 chapter 3). This Act imposed a duty of 6d per ounce on all gold and silver wares manufactured and imported into Ireland on or after 25 March 1730 to be paid by the makers or workers thereof respectively and with it the Dublin Guild of Goldsmith’s ordered that a punch of Hibernia of oval shape

T

81 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

Hallmark 1836. Showing makers punch James Le Bas, date letter Q 1836 Harp Crown, fineness mark, hibernia, sovereigns head WMIV Duty Stamp

Alphabet cycle 19421967 showing 1966 commemorative mark

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

82

be applied with the other marks to all gold and silver to denote that the duty had been paid. It was paid at the assay office when the articles were collected having been hallmarked.

A new Act of Parliament (47 George 111 session 2 chapter 15) was passed in 1807 ordering that the Sovereign’s head should be struck on all silver wrought in Ireland to denote payment of duty and that ‘every person who shall sell or make any gold or silver plate in Ireland, shall obtain a licence for that purpose from the Commissioners of Inland Excise and Taxes in Ireland.’ The Sovereign’s head had already been in use on English and Scottish silver since 1784 and this Act brought Dublin marks into line with the other assay offices. The Sovereign’s head was first used silver on 10 August 1807. The duty which came into existence in 1730 at the rate of 6d an ounce, reached 1s an ounce by 1805 and 1s/6d by 1842 was abolished in 1890 thus ending a very sore grievance with the silver trade which had lasted for over 160 years. With the introduction of the Sovereign’s head the punch of Hibernia became obsolete as a duty stamp but the Company of Goldsmith’s decided to keep it as the city mark of Dublin. For the first time·since hallmarking commenced the Company of Goldsmith’s introduced a special mark in 1966 to commemorate the golden jubilee of the Rising of 1916 in the form of An Cladheamh Solais (The Sword of Light). This was stamped on all Irishmade articles of gold and silver, other than jewellery and watchcases, assayed during the year 1966.

To commemorate the historic significance of the decision of the Irish people to join the European Community on 1 January 1973 the Company authorised a special mark in the form of the Glenisheen Collar to be put on all articles of Irish-made gold and silver, other than jewellery and watchcases, manufactured during the period 1 January to 31 December 1973. With Ireland joining the European Union, platinum was classified as a precious metal and therefore had to be assayed and hallmarked together with gold and silver, this requirement applies to the present day. Again a special mark taken from the shield of the Coat of Arms of the Company of Goldsmith’s to commemorate the 350th anniversary of the founding of the Company was commissioned for 1987 and a further commemorative hallmark in 1988 to denote Dublin City Millennium year, both with the same omissions as in 1966 and 1973. uring the long period of the Company’s existence its powers have been extended several times by Act of Parliament and Government Order to meet changing conditions.

In 2002 the European Commission brought pressure to bear on member states to amend their national legislation when seven new standards were added to the existing Irish standards of fineness. The following changes were made and these represent the most commonly used standards in the EU. Gold an additional two standards 990 and 999: silver an additional two standards 800 and 999: platinum an additional three standards 850, 900 and 999.

Since 2002 the Irish assay office in line with the other EU offices now assay and hallmark Gold: 375, 585, 750, 916.6, 990, 999 parts of gold per 1,000 Silver: 800, 925, 958.4, 999 parts of silver per 1,000 Platinum: 850, 900, 950, 999 parts of platinum per 1,000. There is also a gold standard 833.40 on the statute book but this is not used much nowadays and 416.70 used mainly by Irish manufacturers selling to the USA.

D

Loading a muffel with cupels into the furnace

n recent years the building proved to be too small for an ever-expanding business and two years ago the assay office moved into temporary premises across the street while the Office of Public Works built an extension to the existing building. In 2008 the Company of Goldsmith’s and the assay office moved back to a state of the art building. The assay office employs a full time staff of 35 headed by an assay master, while the assistant assay master, a highly qualified scientist supervises one of the finest laboratories for testing metals in Europe.

The main purpose of Goldsmith’s Hall is to house the assay office where all gold, silver and platinum are assayed and hallmarked. To this end the assay master together with a staff of 35 are employed guaranteeing the public the quality of the precious metal being sold in Ireland. The assay office has been carrying out this work for 370 years making them the original consumer protection organisation.

I

The assay master together with a staff of 35 are employed guaranteeing the public the quality of the precious metal being sold in Ireland

83 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

The official mark of the Irish assay office since 2002 is the Hibernia. After a long battle to retain it the harp crowned is no longer the fineness mark and has been replaced with the above numerals in an oval surround. The three compulsory symbols are the maker’s mark, the Hibernia stamp and the fineness (purity) mark.

The old traditional marks may be applied by prior arrangement but are no longer part of the recognised hallmark.

The assay office and Goldsmith’s Hall had since 1709 been located at Werburgh Street opposite Hoey’s Court but on the 22 August 1810 Mr. Johnston of the Board of Works reported that the present building was in a state of collapse and a new building would have to be erected. The Guild decided to ask the Duke of Richmond, Lord Lieutenant to get the government to finance a new building. His reply was that he, “cannot feel justified in granting public money for this purpose.” On the 26 September 1810 the Master was empowered to take the dwelling house of Mr. Henry Gower at 22 Golden Lane providing he gets possession thereof which must be on or before the 25 March next. After refurbishment the Company moved there in January 1812. The Hall in Werburgh Street was sold by public auction in 1812 for £155 to James Raverty Esq. In 1838 the Company of Goldsmith’s and the assay office moved to the basement of the Custom House which was burnt down in 1921 but fortunately most of the records and archive survived and these have recently been restored by the Delmas Conservation Bindery at Archbishop Marsh’s Library. After operating at several temporary premises the Company accepted an offer from the Free State Government of the canteen building of the Ship Street Barracks. On the 26 June 1925 the Governor General, Timothy Michael Healy KC at a special luncheon stated, “I declare these offices open for assaying and marking of gold and silver.”

The Reconciliation (1914) by Seรกn Keating is reproduced by kind permission of the Keating Estate and by kind permission of the private owner. The image remains copyright of the Keating Estate.

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

84

RECENT DISCOVERY:

The Reconciliation

by Seán Keating Dr Éimear O’Connor reveals the story of just one of a recently rediscovered group of several paintings by Irish artist Seán Keating (1889-1977).

eating was born in Limerick city in 1889, the eldest of eleven children, seven of whom survived into adulthood. Even in his early years Keating showed artistic promise and in 1907 at the age of eighteen, he entered the Limerick Municipal Technical Science and

K

Art School to train to become an art teacher and artist. Keating worked hard at the school, winning several prizes and successfully attracting the attention of William Orpen (1878-1931), former star pupil of the Dublin Metropolitan School of Art and of the Slade School of Art in London. Orpen had an extremely successful studio practice in London and he visited the Dublin Metropolitan School of Art, his former alma mater, from 1902 until 1914 on a part-time basis to teach anatomy and portraiture. He was, in essence, a celebrity who, owing to his early and continuing success, garnered the admiration of his students. To any young student with ambition in those years, the Dublin Metropolitan School of Art was the place to be and in 1911

85 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

The rediscovery came about as a result of my doctoral research which took me all over the world on the trail of information and knowledge about the man who became known as ‘Keating’.

The painting to which this article refers arguably signalled the beginning of Keating’s career as a professional artist, and at the same time, it offers just a brief but tantalising glimpse into a long lost and forgotten past.

Keating was awarded a small scholarship which offered him the opportunity to do just that.

Keating left Limerick and never again returned to live in his native city. He entered the Dublin Metropolitan School of art to study to become both an art teacher and an artist. By 1913 Keating’s parents and siblings had also moved to Dublin, setting up home initially in Ranelagh before finally settling in Rathmines.

As a student at the Dublin Metropolitan School of Art Keating was taught by several members of the staff and Orpen was his teacher for anatomy and portraiture. The atmosphere at the school was extraordinarily competitive and students submitted work for internal and external competitions. One of the most coveted prizes was offered annually by the RDS and was known as the Taylor Award. In the months leading up to the competition a panel of judges set the titles under which students were permitted to enter their work. In 1914 one of those titles was ‘an appeal for mercy’. Keating submitted this particular painting with a title that referenced the requirements of the panel, but that gave him more imaginative space in which to develop the theme. The title of the painting was The Reconciliation. That the artist chose to represent a moment of reconciliation after an initial appeal for mercy was indicative of the type of picture that Keating continued to make throughout his career.

It is as if the artist knew his models well, and was therefore, complicit in the conspiracy to obtain some type of reconciliation.

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

86

The painting illustrates a group of three, two of whom are in deep discussion with the girl in the coral hat, perhaps seeking for her to make reconciliation for some misdemeanour. Quite what she has done is unclear, perhaps she has argued, come home late, or borrowed the fur coat she is wearing without permission. There seems to be a slightly unapologetic, even defiant look on her face as her accusers or confessors seek to appeal to her. The painting is very much influenced by Orpen, particularly in the creation of the intimate compositional balance and use of colour. Even the rendition of fur and the texture of the materials in the painting are evidence of Orpen’s strict training, although perhaps informed and enhanced by Keating’s youth spent among the fabrics of his mother’s dressmaking business. The setting of this particular reconciliation is made more intimate for the people illustrated by the inclusion of a wonderfully decorative screen which acts to balance the colour and composition, while also closing off the rest of the room, thereby gathering the group in an intimate, if troubled moment. It is as if the artist knew his models well, and was therefore, complicit in the conspiracy to obtain some type of reconciliation. He did know them well and the painting offers an opportunity to reveal a little of the story of Keating’s siblings.

Keating had six siblings, three of whom, Paul, Mary Frances and Vera, are featured in The Reconciliation. Paul trained for the priesthood at All Hallows College in Dublin, after which he was transferred to Brisbane in Australia. He is seen in his priestly clothing in Keating’s painting, but little did anyone know in 1914 that in

1919 Paul was to die in the influenza epidemic that swept through Australia. There is only one other known image of Paul by Keating, painted c.1918 and now in a private collection. Of the two women, Mary Frances is seated to the left.

In later years she spent time abroad refining her skills as a cookery expert. On her return Mary Frances became a well-known and successful cookery editor, frequently publishing articles in Irish newspapers. Vera, who wears the fur coat, coral hat and the unapologetic gaze, trained as a teacher in Dublin and after some years spent teaching in England she was the one member of the family to return to live and work in Limerick.

Keating utilised Mary Frances and Vera as models in many of his paintings until he married in 1919 after which his wife May was frequently featured. he analysis of a painting can reveal many fascinating insights and although The Reconciliation features three of Keating’s siblings, it hints at the presence of yet another. The decorative screen in the background of the image, which is a vital compositional element in the work, was brought back from a trip abroad in 1914 by another brother whose story is as interesting as the rest. Claude left home in Limerick at an illegally young age to join the British army. At the end of the First World War a moratorium was offered to army personnel who had been underage when enlisting and Claude took the opportunity to train as a doctor in the College of Surgeons in Dublin.

He graduated in 1924 and worked for a brief period at Baggot Street Hospital in Dublin before joining the British Navy where he had an

A photograph of Keating, which is a detail from a self-portrait, is reproduced by kind permission of the Keating Estate. The image remains copyright of the Keating Estate.

T

87 I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

extremely successful career culminating in the award of CBE in 1948. There are several portraits of Claude Keating in private collections. The screen, which featured embroidered Chinese silk on a wooden frame, was sold in the late 1980s. Of Keating’s remaining siblings, Joseph features as one of the models in Men of the West (1915) and in portraits that remain in private collections. Claudia, the youngest Keating sibling, was still a child when the family moved to Dublin. She read science in University College Dublin, eventually specialising in botany. She taught for a number of years at a third level institution in Manchester before retiring to the family home in Rathmines.

Again, Claudia features in work that remains in private collections.

Keating won first prize for The Reconciliation when it was shown at the Taylor Award Exhibition at the RDS in 1914.

I A DA Y E A R B O O K 2 0 0 8 - 2 0 0 9

88

eating won first prize for The Reconciliation when it was shown at the Taylor Award Exhibition at the RDS in 1914. He received fifty pounds which was a large sum of money at that time. He completed his studies at the Dublin Metropolitan School of Art the same year and in 1915, more than likely with the benefit of his winnings from The Reconciliation, he left Ireland to work as a studio assistant to William Orpen in London.

Keating returned to Dublin in 1916 and the following year he exhibited the iconic Men of the West at the Royal Hibernian Academy annual exhibition. That was the first painting that located

K

and mediated Keating’s belief in a cultural revolution that would in turn drive political change in the manner inculcated by many before him. As a result, Keating was launched into a controversial career that lasted over seventy years. In the meantime, William Orpen did not return to teach at the Dublin Metropolitan School of Art after 1914 and whether or not Keating’s work should remain so closely linked by art historians and critics with his mentor is a matter for serious debate rather than presumption.

When first completed The Reconciliation was to become a poignant family record, particularly in the light of Paul’s untimely death. Arguably, given the amount of prize money that Keating received, it was also the painting that helped to launch his career. When the RDS Taylor Award Exhibition closed and the excitement had died down, Keating gave The Reconciliation to his mother and for two generations it remained on the walls of the family home, a witness to life unfolding. Yet, as often happens, in the ensuing eighty odd years since the painting was exhibited, and owing simply to the pace of life and indeed death, the origin, meaning and importance of the work had been forgotten. More recently and fortuitously The Reconciliation became part of a private collection and owing to a confluence of circumstances it has now been reacquainted with its own extraordinary story.

Copyright © Éimear O’Connor July 2008.

Dr Éimear O’Connor is completing a book on the life and work of Seán Keating. She can be contacted at eimear.oconnor7@gmail.com

Marlay Demesne 18th Century House and Regency Walled Garden History Mr. David La Touché purchased the Estate in 1764.

La Touché then Governor of the newly established Bank of Ireland extended the house and renamed it ‘Marlay’ having married Elizabeth Marlay, daughter of the Right Rev. George Marlay, Bishop of Dromore.

Regency Walled Garden The 4.5-acre Walled Gardens, which were provided under the Great Gardens of Ireland Restoration Programme are designed and planted in an authentic Regency style. The ornamental section boasts an extensive display of period plants, ranging from herbaceous borders to shrub beds.

At the centre of the garden is the Orangery, which together with the Head Gardener’s house, arbour and water features combine to create a distinctive atmosphere.

Open

Georgian House

Admission to each

The oldest part of the house is over 300 years old. The main house dates from the 18th Century and boasts a very fine bow-ended ballroom with elaborate Adamesque plasterwork, with its large windows providing a panoramic view of the Dublin Mountains, and an impressive oval room, its plasterwork containing musical motifs attributed to James Wyatt The house was fully restored within the last 10 years. The house is available to hire for suitable private functions e.g. weddings, corporate events, etc.

Situated West of Rathfarnham and Dundrum Villages, off the Grange Road, Rathfarnham. Alternative access off the M50 at Dundrum exit, in the direction of Rathfarnham.

Marlay House is open to visitors by appointment

Adult €3.00, Children & OAPs €2.00, Family €6.50

Facilities Craft centre with extensive retail units, coffee shop and toilet facilities200 acres of parkland incorporating sports pitches, adventure playground, model railway (Saturday afternoons) woodland nature trails and lakeside walks.

Contact Dun Laoghaire Rathdown County Council, County Hall, Marine Road, Dun Laoghaire, Co Dublin Telephone 00 353 1 205 4899 ext 4446 (parks department) ext 3851 (Marlay House) Email parks@dlrcoco.ie www.dlrcoco.ie

Irish Antique Fairs Fantastic display of unique items all under one roof from leading Irish antique dealers. See a vast range of jewellery, furniture, paintings, prints, silver, glass, rare books, ceramics, mirrors, clocks, lighting, carpets, rugs and objets d'art.

Dublin Antiques & Fine Art Fair 28-30 November 2008 RDS, Ballsbridge, Dublin 4

Irish International Antiques & Contemporary Art Fair 20-22 March 2009 RDS, Ballsbridge, Dublin 4

Irish Antique Dealers’ Association Fair 24-27 September 2009

For further information contact Louis O'Sullivan, Irish Fairs on 01 285 9294

RDS, Ballsbridge, Dublin 4