iada yearbook 2008
DESCRIPTION
Irish Antique Dealers Association Yearbook 2008TRANSCRIPT
Yearbook 2008-2009
The 43rd Irish Antique Dealers’ Association Fair
24-28 September 2008Main Hall, RDS, Ballsbridge, Dublin 4
Yearbook 2008-2009
The 43rd Irish Antique Dealers’ Association Fair
PRODUCTION ROXANE MOORHEAD DESIGN HELEN GUNNING 091 638205 COVER GETTY IMAGESPRINT W&G BAIRD LTD, GREYSTONE PRESS, CAULSIDE DRIVE, ANTRIM, NORTHERN IRELAND
visit taraspalace.ie
OPEN FROM APRIL TO OCTOBER 2008
MONDAY TO SATURDAY10AM TO 4:30PM
SUNDAYS FROM 1 TO 5PM
CLOSED WEDNESDAYS
CLOSED FOR LUNCH FROM 12:45 TO 2PM
CALL 086 4056171
THE DOLLS HOUSE MUSEUM ALSO AJOINS THEWORLD FAMOUS FRY MODEL RAILWAY
Tara’s PalaceThe dolls House Museum • courtyard of Malahide castle
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7 | Introduction
9 | Presidents welcome
11 | Bursary awardsRonald McDonnell Award and
Louis O’Sullivan Award information
13 | ObituaryKaren Kiely-Staed
15 | MembersThe directory
The Fair 2008
27 | Introduction
28 | Date Lines
29 | Antique Lecture Series
31 | Exhibition floor plan
32 | The Exhibitors
Features
18 | The Irish Georgian SocietyMarking its fiftieth anniversary, Robert O'Byrne writes about the organisation's history and achievements
79 | Celebrating 350 years of consumer protectionDouglas Bennett’s fascinating account of the Dublin Assay Office
84 | Recent Discovery: The Reconciliation by Sean KeatingDr Éimear O’Connor reveals the story of just one of a recently rediscovered group of several paintings
by Irish artist Seán Keating (1889-1977)
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79 |
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Contact 01 679 4147 or 061 396409 email [email protected]
visit iada.ie
Oh, cheer up darling!How were you to knowit wasn’t an original?
Buy with confidencefrom a member of the IrishAntique Dealers’ Association
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The Council
PRESIDENTGeorge H Stacpoole
Main Street, Adare, Co LimerickTel: 061 396 409 Fax: 061 396 733
Email: [email protected]
VICE PRESIDENTGerald Kenyon
HON. SECRETARYIan Haslam
The Silver Shop, Powerscourt Centre, South William Street, Dublin 2
Tel: 01 679 4147 Fax: 01 679 4147Email: [email protected]
HON. TREASURERRoxane Moorhead
MEMBERSGrainne Pierse, Ib Jorgensen,
Rupert MacHenry, Phyllis MacNamara,Rosemary Whelan, Niall Mullen,
Kevin Chellar and Suzanne Macdougald
The Irish Antique Dealers’ Association wasformed by a small group of dealers from bothNorth and South of Ireland in 1969. It is theonly antique trade association in Ireland.Today the membership consists of some 80members, who are scattered all over Ireland.
Members of the Association deal in a very wide range of objects andtherefore there is a wide range of
expertise to offer. Members of the Associationhave 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 acceptanceand their membership is renewed annually to
make certain that they maintain a high stan-dard. It is essential to maintain confidencewith the public that high standards areadhered to and also good relationships maintained with everyone interested in the antiques trade.
This fair is solely for members of the IADAand consequently a large proportion of themembership exhibiting at it, are showing thefinest goods and many of these pieces relate toIreland. Throughout the fair, lectures are givenby members of the Association on a wide diver-sity of subjects. The IADA is a highly profession-al Association and it is certain that you can buyfrom or sell to a member of the Association witha great deal of confidence and understanding.
The Irish Antiques Dealers’ Association
This year the Irish Antique Dealers’Association has redesigned its website(www.iada.ie) which now has much moreinformation, including pictures of membersstock. The site will be changed frequently so it is worth visiting on a regular basis.
Antique Road Shows have always beena favourite with people. In July theAssociation had an enormously suc-
cessful show at Farmleigh in Phoenix Parkwhich attracted huge crowds. This show wasarranged in conjunction with the OPW and
many items of interest turned up to the delight of everyone. It is
the intention of the Association to hold RoadShows throughout the country. The nextRoad Show will be held in Belvedere House,Mullingar on Sunday 12 October. In con-junction with many of our events, we holdlecture series covering all aspects of collectingand we are very lucky to have a wonderful stable of lecturers on wide ranging subjects.The lectures are always free of charge and wellworth coming to if you get the opportunity.
While we are a trade association wedo try and help enlighten peoplewith our free lectures (see page 29).
Each year we award the Ronald McDonnellbursary for someone to further their studiesin conservation and restoration and the LouisO’Sullivan bursary to help further peoplesstudies in decorative arts. (For further infor-mation on how to apply see page 11.)
George Stacpoole PRESIDENT
Welcome to the 43rd Irish Antique Dealers’ AssociationFair and our 2008-2009 yearbook.
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The Irish Antique Dealers Association awards two bursaries annually, The Ronald McDonnell Bursary and The Louis O’Sullivan Bursary. The closing dates for bothbursaries are the 1st September 2009.
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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 com-
petence in research
– curriculum vitae
– names and addresses
of two referees.
For further information
on the Bursaries contact:
Irish Antique Dealers
Association, Adare,
Co Limerick 061
396409 or email:
The Ronald McDonnell BursaryThe Ronald McDonnell Bursary is awardedevery 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 dealerHenry Naylor. Ronald McDonnell was thefounder President of the Irish Antique Dealers Association.
The 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 thebursary cover a wide variety of advance skillsapplicable 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 hasbeen awarded to a gilder, bookbinder, textilerestorer, paper conservator, ceramic and relat-ed materials restorer.
The Louis O’Sullivan BursaryThis bursary is worth €3,500 will be awardedto further understanding and appreciation ofthe Irish decorative arts of 18th, 19th, 20thcenturies (furniture, paintings, metalwork,glass, porcelain, jewelley, textiles, etc.)
The 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 orpaper on the cho-sen subject whichcan be placed in a suitable publica-tion or given at asuitable occasion.
THE HUNT MUSEUM
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: [email protected]
WWW.HUNTMUSEUM.COM
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 tothe people of Ireland and is housed in Limerick’s elegant 18th century Custom House.
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Everyone loves roses and Karen Kiely-Staedwas absolutely no exception. As a student atGalway Regional Technical College in 1980she won the title Miss Western Rose winning£500 which she said she would spend on aholiday in London and the remainder on hereducation. In one newspaper at the time ofher award she was described as attractive andbashful, bashful because she declined at firstto appear on an RTE spectacular ‘Keep ItCountry’ awards concert at Castlebar, shechanged her mind and appeared in the end.Bashful is perhaps not a word one would haveassociate with Karen, she certainly was one ofthe most delightful people.
Her uncle the New York Dealer NiallSmith and others called her affec-tionately after her win ‘Aunt Rose’,
her mother was called ‘Lady Mental’ and threeused to go off antiquing together.
Karen was the daughter of Jim and SatchKiely, she had a brother Jerome and two sisters
Ruth and Hillary. She was educated in Cork.Her great loves of her life were her husbandTom Staed and their two sons James and Jack.
Her mother Satch founded the antiquebusiness in Westport some twenty years agoand Karen helped to run this very special shop which was an eclectic mix of fascinatingobjects. When Satch sadly died Karen tookover the running of the business with all theflair and acumen of her mother. She had awonderful understanding of things Irish andespecially bog oak and Killarney furniture.With her great knowledge she decided to do a three year BA (Hons) Fine Arts Degree withthe University of Southampton and on 7thJune 2007 she passed her examinations which is quite remarkable achievement. She wroteher thesis on Killarney furniture.
Karen is missed by all that knew her and aswas said by her brother in law at her funeral‘She had wonderful flair, vision and a sense offun and above all knew what she wanted, theirwas never any silence.’
Karen Kiely-Staed
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CorkFORTLANDS ANTIQUES | 2Fortlands, CharlevillePrincipal: Mary O’ConnorT: 063 81295
GEORGIAN ANTIQUES LTD | 2Sandpit Cottage, Newtown,Ballyhea, CharlevillePrincipal: Pat JonesM: 087 256 3721 By appointment only
LINDA’S ANTIQUES | 3Main Street, KinsalePrincipals: Linda and Claire WalshT: 021 477 4754
LYNES AND LYNES | 148A McCurtain Street, CorkPrincipal: Denis LynesT: 021 4500982 M: 0872531580E: [email protected]
MONA’S ANTIQUES | 1Savoy Centre, Patrick Street, Cork Principal: Monica NoonanT: 021 427 8171
NIAMH O’MAHONY | 18 Winthrop Street, CorkPrincipal: Niamh O’MahonyT: 021 427 6599 M: 087 262 7498
SOUTHGATE FINE ART | 1The Coach House, Dundanion,Blackrock Road, CorkPrincipal: Chris SouthgateT: 021 4614320 F: 021 4359152
DonegalANTIQUES AND ART GALLERY | 4Carrick, GlencolmcillePrincipal: Rory ByrneT: 074 973 9885E: [email protected]
DublinSee City and County map on the page 17 | 5
GalwayCOBWEBS | 67 Quay Lane, GalwayPrincipal: Phyllis MacNamaraT: 091 564388 F: 091 564235E: [email protected]
CONNAUGHT ANTIQUES | 69 Eyre Square, GalwayPrincipal: Philip MaguireT: 091 567840 Home: 096 220598M: 086 3850804E: [email protected]
MOYCULLEN VILLAGE ANTIQUES | 7Moycullen, Co GalwayPrincipal: Maura DuffyT/F: 091 555303
TEMPO ANTIQUES | 69 Cross Street, GalwayPrincipals: Frank and Phil GreeleyT: 091 562282 Home: 093 41461E: info@[email protected]
KerryFRAMEWORKS | 837 New Street, KillarneyPrincipal: Katie O’ConnellT: 064 35791 www.frameworks.ie
KildareSEAN EACRETT ANTIQUES | 29Abbey Street, Naas Principal: Sean EacrettT: +353 (0)45 883682 E: [email protected]
SOLOMON FINE ART | 29Rathmore, NaasPrincipal: Suzanne MacdougaldT: 045 862940 F: 045 862941M: Suzanne Macdougald 086 2301983 and Tara Murphy 086 8142380E: [email protected]
STRAFFAN ANTIQUES | 19Barberstown Cross, StraffanPrincipals: John and Marie RyanT: 01 6274018E: [email protected]
KilkennyFINE ART ANTIQUES | 9Ardra, Coolbawn, CastlecomerPrincipal: Paul SturgessT: +44 (0)20866 84483M: 086 877 5254E: [email protected]
LaoisSEAN EACRETT ANTIQUES | 10Ashgrove, Ballybrittas, PortlaoisePrincipal: Sean EacrettT: 057 8626290 F: 057 8626298E: [email protected]
LimerickGEORGE STACPOOLE | 11Main Street, AdarePrincipal: George StacpooleT: 061 396409 F: 061 396733E: [email protected]
O’TOOLE ANTIQUES &DECORATIVE GALLERIES | 12Upper William Street, LimerickPrincipal: Noel O’TooleT: 061 414490 F: 061 411 378M: 087 255 0985/086 820 0181E: [email protected]
LouthGREENE’S ANTIQUE GALLERIES | 13The Mall, DroughedaPrincipal: Hugo GreeneT: 041 98 45656 M: 086 854 4933www.greenesantiques.com
OLIVER WALSH ANTIQUE CLOCKS | 131 Forrest Hill, DroughedaPrincipal: Oliver WalshT: 041 983 7789 M: 087 983 5025
MayoMAGUIRE ANTIQUES | 15Connolly Street, Ballina, Principal: Martin MaguireT: 096 20074 M: 087 234 9564
MeathGEORGE WILLIAMS ANTIQUES | 16The Annexe, Newcastle House,Kilmainhamwood, KellsPrincipal: George WilliamsT: 046 905 2740 M: 087 2529959E: [email protected]
TipperaryABBEY ANTIQUES | 17Upper Cahir Abbey, CahirPrincipals: Michael and Celine KennedyT: 052 41187 M: 087 2728844E: [email protected]
WicklowCLANCY CHANDELIERS | 18Villanova, Ballywaltrim, BrayPrincipals: Ger, Derek and Tommy ClancyT/F: 01 2863460 M: 087 2422838E: [email protected]
AntrimJOHN CARROLL ANTIQUES | 2082 Donegal Pass, BelfastPrincipal: John CarrollT: 048 90 238246M: 078 0234 5529By appointment only
ROBERT CHRISTIE ANTIQUES | 2720 Calhame Road, Straid,Ballyclare BT39 9NAPrincipal: Robert ChristieT: 028 9334 1149M: 07802 968 846
MACHENRY ANTIQUES | 211-7 Glen Road, Jordanstown, Whiteabbey,Newtownabbey B37 ORYPrincipal: Rupert MacHenryT: +44 (0)2890 862036F: +44 (0)2890 853281M: +44 (0)7831 135226E: [email protected]
PARVIS & MERIELSIGAROUDINIA | 23Mountain View House, 40 Sandy Lane, Ballyskeagh, Lisburn BT27 5TLPrincipals: Parvis and Meriel SigaroudiniaT: 048 90 621824E: [email protected]@parvis.co.uk www.parvis.co.uk
DAVID WOLFENDENANTIQUES | 22219b Lisnevenagh Road,Antrim BT41 2JTT: +44 28 9442 9498M: +44 (0)7768 128800E: [email protected]
DerryPAUL CRANNY ANTIQUES | 24Bank Square Gallery, 63 Maghera Street, Kilrea Principals: Paul and Susan CrannyT/F: 048 29 540279M: +44 (0)780 270 8656E: [email protected]
DownADAM ANTIQUES & INTERIORS | 258 Main Street, DundrumPrincipal: Eileen McGrillenT: 048 43751544M: +44 (0)7711442515E: [email protected]
THE NEWCASTLE ART GALLERY | 2618-22 Main Street (upstairs)Newcastle BT33 0ADPrincipal: Denis MurphyT: 048 43723555
CATHACH BOOKS LTD | 510 Duke Street, Dublin 2Principal: David CunninghamT: 01 671 8676 F: 01 671 5120E: [email protected]
DE BURCA RARE BOOKS | 527 Priory Drive, Blackrock, Co DublinPrincipal: Eamon de BurcaT: 01 288 2159 F: 01 283 4080and 51 Dawson Street, Dublin 2 T: 01 671 9722 www.deburcararebooks.com
VANESSA PARKER RAREBOOKS/ROGER GRIMES | 28The Old Thatched Cottage,Mulranny, Co MayoPrincipals: Vanessa Parker and Roger GrimesT: 098 27823 M: 087 2339221E: [email protected]
P & B ROWAN | 20Carlton House, 92 Malone Road, Belfast BT9 5HP.Principals: Peter & Briad RowanT: 048 90 666448 F: 048 90 663725E: [email protected]
Northern Ireland
Book Dealers
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The Irish Antique Dealers’
ROSCOMMON
LEITRIM
LONGFORD
WESTMEATHGALWAY
OFFALY
CLARE
LIMERICK
KILKENNY
TIPPERARY
KERRYCORK
WATERFORD
KILDARE
WEXFORD
CARLOW
LAOIS
DUBLIN
MEATH
WICKLOW
DONEGAL
MONAGHAN
CAVAN
ARMAGH
DOWN
ANTRIM
DERRY
TYRONE
FERMANAGH
LOUTH
SLIGO
MAYO
KELLSDROGHEDA
ARDEE
NAVAN
TRIM
DUNDALK
NEWRY
DUNDRUM
NEWCASTLE
MOYCULLEN
GALWAY
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WESTPORT
MULRANNY
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2320
2721
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CASTLECOMER
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CAHIR
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KINSALE
CORK
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KILLARNEY8
ANTRIM
LISBURN
PORTAFERRY
PORTADOWN
KILKEEL
ARMAGH
MONAGHAN
ENNISKILLEN
CAVAN
LONGFORD
MULLINGAR
TULLAMORE
BIRR
ROSCREA
PORTLAOISE
CARLOW
NENAGH
ATHLONE
ROSCOMMON
CARRICK-ON-SHANNON
BALLYCLARE
LARNE
NEWTOWNABBEY
BELFAST
KILREA
COLERAINE
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COOKSTOWN
BALLYMENA
KILKENNY
CARRICK
SLIGO
DONEGAL
BALLYSHANNON
4
NAAS
STRAFFAN
BALLINA
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BRAYKILDARE
RATHDRUM
ARKLOW
GOREY
ENNISCORTHY
NEW ROSSCARRICK-ON-SUIR
WEXFORD
ROSSLARE
WATERFORD
TRAMORE
DUNGARVAN
YOUGHAL
CLONMEL
CASHEL
THURLES
TIPPERARY
ENNIS
ENNISTYMON
LOUGHREA
TUAM
CLIFDEN
CASTLEBAR
BALLYHAUNIS
BELMULLET
FERMOYMALLOW
MILLSTREET
MACROOM
BANTRY
KENMARE
CAHERSIVEEN
DINGLE
TRALEE
LISTOWEL
BALLYBUNION
KILKEE
KILRUSH
SKIBBEREEN
CLONAKILTY
BANDON
MIDLETON
CLOYNECOBH
WICKLOW
ATHY
DUBLIN
MALAHIDE
OMAGH
DUNGANNON
DERRYLETTERKENNY
STRABANE
CHARLEVILLE
ADARE
LIMERICK
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ANTIQUE PRINTS | 716 South Anne Street, Dublin 2Principals: Hugh and Anne IremongerT: 01 671 9523
ANTHONY ANTIQUES LTD | 21Showrooms (Deans Grange)Opening Time by appointmentT: 086/087 277 7222
ARCHITECTURAL CLASSICS | 13Princes Court, South Gloucester Street, Dublin 2T: 086 820 7700 F: 01 677 3318E: [email protected]
BEAUFIELD MEWS ANTIQUES | 17Woodlands Avenue, Stillorgan, Co DublinPrincipal: Jill CoxT: 01 288 0375 F: 01 288 6945E: [email protected]
LORCAN BRERETON | 729 South Anne Street, Dublin 2Principal: Diarmuid BreretonT: 01 677 1462 F: 01 677 1125
JOHN CARROLL ANTIQUES | 1Also Rogers & Carroll54 Francis Street, Dublin 8Principal: John CarrollT: 01 473 7408 M: 078 0234 5529E: [email protected]
MICHAEL CONNELL ANTIQUES | 158 Francis Street, Dublin 8Principal: Michael ConnellT: 01 473 3898 / 087 257 0150E: [email protected]
COURTVILLE ANTIQUES | 4Powerscourt Townhouse Centre, Dublin 2 Principal: Grainne PierseT/F: 01 679 4042E: [email protected]
MARIE CURRAN ANTIQUES Principal: Marie CurranT: 01 280 2631
DALY ANTIQUE SERVICES | 19Unit 15, Greenhills Business Park, Tallaght, Dublin 24T/F: 01 4516086 / 4516089M: 086 3853180 / 1716501
H DANKER | 710 South Anne Street, Dublin 2Principal: Joy DankerT: 01 677 4009 F: 01 677 4544E:[email protected]
L&W DUVALLIER Principal:William CroftonM: 00353 87 253 5313E:[email protected]
JOHN FARRINGTON ANTIQUES | 332 Drury Street, Dublin 2Principal: John FarringtonT: 01 679 1899E: [email protected]
GORRY GALLERY | 1020 Molesworth Street, Dublin 2Principals: James & Therese GorryT: 01 679 5319 F: 01 679 5319
THE JEWEL CASKET | 717 South Anne Street, Dublin 2Principal: Keith Cusack T: 01 671 1262
JOHNSTON ANTIQUES | 169-70 Francis Street, Dublin 8Principals: Paul and Chris JohnstonT: 01 473 2384 F: 01 473 5020E: [email protected]
KEVIN JONES ANTIQUES | 165-66 Francis Street, Dublin 8Principal: Kevin JonesT: 01 454 6626 F: 01 454 5688
JORGENSEN FINE ART | 1029 Molesworth Street, Dublin 2Principal: lb JorgensenT: 01 661 9758 F: 01 661 9760E: [email protected]
GERALD KENYON ANTIQUES | 12M: 087 9081639E: [email protected]
THE LEINSTER GALLERY | 927 South Frederick Street, Dublin 2Principal: Loretta MeagherT: 01 679 0834 M: 086 828 8283E:[email protected]
PETER LINDEN | 15Rear 15 Georges Ave, Blackrock, Co DublinPrincipal: Peter LindenT: 01 288 5875 F: 01 283 5616E: [email protected]
THE MALAHIDE ANTIQUES SHOP | 2014 New Street, Malahide, Co DublinPrincipal: Frank DonnellanT: 01 8452900 F: 01 8324277E:[email protected]
MITOFSKY ANTIQUES | 188 Rathfarnham Road,Terenure, Dublin 6Principals: Laurence & Anne CitronT: 01 492 0033 F: 01 492 0188E: [email protected]
ROXANE MOORHEAD ANTIQUES | 16Principal: Roxane MoorheadT: 01 660 5165 / 086 814 7451E: [email protected]
MORRIN ANTIQUES | 2Principal: Kieran MorrinM: 086 245 6414By appointment only
NIALL MULLEN ANTIQUES | 1105 Francis Street, Dublin 8Warehouse by appointmentPrincipal: Niall MullenT: 01 4538948 M: 086 2575988E: [email protected]
NEPTUNE GALLERY | 22Shankill Castle, Shankill, Co DublinPrincipals: Charlotte andAndrew Bonor LawT: 01 282 2139 E: [email protected]
CYNTHIA O’CONNOR & CO LTD Principals: Sir Robert and Lady GoffT: 840 5045 Fax: 840 1220
OMAN ANTIQUES GALLERIES | 420-21 South William Street, Dublin 2Principals: James & Angela Omanand Rosemary WhelanT: 01 616 8991 F: 01 677 4846E: [email protected]
ORIEL GALLERY | 1117 Clare Street, Dublin 2Principal: Mark NultyT: 01 6763410 F: 01 6763410E: [email protected]
IRENE O’SULLIVAN By appointment T: 01 493 3589
O’SULLIVAN ANTIQUES | 143/44 Francis Street, Dublin 8Principals: Chantal O’SullivanT: 01 454 1143 F: 01 454 1156E: [email protected]
SANDYCOVE FINE ARTS | 2455 Glasthule Road,Sandycove, Co DublinPrincipal: Fiona O’ReillyT: 01 280 5956 M: 087 640 3688
ESTHER SEXTON ANTIQUES | 151 Francis Street, Dublin 8Principal: Esther SextonT: 01 473 0909 M: 086 1616166
THE SILVER SHOP | 423b Powerscourt TownhouseCentre, Dublin 2Principal: Ian HaslamT/F: 01 679 4147E: [email protected]
THROUGH THE LOOKING GLASS | 142 Salthill Place, Old Dunleary, Co DublinPrincipal: Anna ConnollyT: 01 280 6577 M: 086 814 0491
TIMEPIECE | 257-58 Patrick Street, Dublin 8Principals: Kevin and Carol ChellarT: 01 454 0744 F: 01 454 0774M: 087 226 0212E: [email protected]
J.W. WELDON | 555 Clarendon Street, Dublin 2Principals: James and Martin WeldonT: 01 677 1638E: [email protected]
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Dublin City and County
Book Dealers see page 14 CATHACH BOOKS LTD 10 Duke Street | 6 DE BURCA RARE BOOKS 51 Dawson Street | 8 27 Priory Drive, Blackrock | 15
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Tailors’ Hall, Dublin
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On July 23rd 1957, The Irish Times publishedthe following concise and courteous letter:
Sir, As the Georgian Society seems to have lapsed,has anyone any objection to my restarting it?Our aims are to bring the photographic recordsup to date, publish further volumes of theGeorgian Society’s books, and fight for thepreservation of what is left of Georgian architecture in Ireland. Yours, etc. Desmond Guinness, Carton, Maynooth, Co Kildare.’
The Georgian Society to which DesmondGuinness referred was an organisationestablished in 1908 with a specific pur-
pose: ‘To inspect and note the eighteenth cen-tury (or Georgian) architectural and decorativework which remains in Dublin, and to recordsuch work by means of sketches, measureddrawings, and photographs.’ The results of thisundertaking were published in a series of fivevolumes that appeared between 1909 and1913, the last of them dealing with countryhouses in Ireland. That first Georgian Societywas not dedicated to preservation and nor didit actively campaign for the preservation of his-
The IrishGeorgian Society
As the Irish Georgian Society marks its fiftieth anniversary, Robert O'Byrne writesabout the organisation's history and achievements over the past half-century.
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toric buildings. In fact, it took the view this wasan impossible task, the preface to Volume Onegloomily observing that most of 18th centuryDublin’s ‘monuments of a brilliant Society aredoomed to decay and disappearance.’
On the other hand, as envisaged by itsfounders Desmond and Mariga Guinness, theIrish Georgian Society was set up precisely toprevent such doom and disappearance. Theywere spurred into action by an incident attestingto the vulnerability of Ireland’s 18th century
architectural heritage. Thesame month DesmondGuinness’s letter appearedin The Irish Times, twosuperb houses on KildarePlace - only a matter ofyards from the Dail - weredemolished on the authori-sation of the Governmentwhich owned both build-ings. No. 2 Kildare Placehad been designed byRichard Castle and execut-ed after his death in 1751
by John Ensor; its neighbour was of a slightlylater date. Both buildings were in excellent con-dition and there was no absolutely reason fortheir destruction other than a disinclination onthe part of the State to maintain them. As a cor-respondent wrote in The Irish Architect andContractor, ‘in the year 1957 when financialstringency decrees that 50,000 of our peoplemust leave in order than our balance of pay-ments be preserved, our Government allows thewilful destruction of forty thousand pounds ofIrish public property which from a point ofview of history and tradition is priceless.’
Desmond Guinness remembers how thefirst he knew of the intended demolitionwas when, emerging from the adjacent
Shelbourne Hotel, he saw workmen removing theKildare Place houses’ roof slates. Immediately hewrote another letter to The Irish Times, proposingthat rather than being destroyed the housesshould be preserved and used to display properlythe neighbouring National Museum’s fine collec-tion of 18th century furniture, at the timesqueezed into a couple of rooms and ‘stacked asthough in a saleroom for lack of space.’ An edito-rial in the same edition of the newspaper con-curred with his suggestion and decried the official‘barbarous decision to destroy the two handsomehouses.’ And in his Cruiskeen Lawn Column,Myles na Gopaleen felt driven to ask whether theclearance of Kildare Place meant ‘that there is noregard by the State to what may be called thenation’s soul?’ It was all to no purpose. In August1957 the houses were taken down and an uglybrick wall erected in their place; half a centurylater it is there still.
Six months after this act of wanton destruc-tion, the Irish Georgian Society came into exis-tence, its date of establishment - February 21st1958 - specifically chosen to mark the fiftiethanniversary of that earlier organisation. Just as thelatter had reflected the interests and concerns of asmall group, so too did its successor. During the
As with any battle therehave been successes
and disappointments;Fitzwilliam Street, for
example, was lost but aftera long struggle that lastedfor most of the 1960s andbeyond, Mountjoy Square
was ultimately saved.
Damer House
early years there was little support and a fairamount of opposition to the Irish GeorgianSociety’s objectives. In many quarters Georgianarchitecture had long been perceived as nottruly Irish but something alien, tangible evi-dence of a foreign culture imposed upon thiscountry. Most citizens probably concurred withthe Minister of State quoted at the time of theKildare Place demolitions as saying, ‘I was gladto see them go. They stand for everything Ihate.’ Such views persisted for a long time. In1970 Tipperary County Council wished todemolish the early 18th Damer House in cen-tral Roscrea and replace it with a carpark. TheIrish Georgian Society volunteered to restorethe building and duly did so, meaning thatDamer House still stands today and helps toattract visitors to Roscrea. But even whenthe Society had completed its work a localcouncillor saw fit to denounce the buildingas a ‘bastion of British Imperialism’ onwhich public funds should not be squan-dered. Is it any surprise that in such a cli-mate so many significant properties, partof the nation’s collective heritage, the workof Irish builders and craftsmen, were wil-fully swept away?
Though much remains thanks tothe efforts of the Irish GeorgianSociety, it is easy to forget how
much has been lost over the past halfcentury, very often like the Kildare Placehouses through acts of breathtakingvandalism. In 1946, for example, theLand Commission which had alreadydivided up the Hazlewood estate in Co Sligo sought a buyer for the house,a superlative Palladian building datingfrom the 1730s. A condition of thesale was that the new owner shoulddemolish Hazlewood, remove all materials and level the site.(Curiously, the house somehow
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survived this threat and is now scheduled forrestoration). At the end of the following decade,not long after the Irish Georgian Society wasfounded, Elizabeth Bowen, one of this country’sfinest novelists of the 20th century, finally gaveup the fruitless struggle to maintain her familyhome, Bowen’s Court in Co Cork. She sold it toa local man in the belief that the house, a fineexample of mid-18th century design, wouldcontinue to be cherished. Within two years herformer home had been pulled down. ‘It was a
clean end,’ she later observed. ‘Bowen’s Courtnever lived to be a ruin.’
Over the past half century one clear function ofthe Society has been to argue on behalf of thisunder-appreciated aspect of Ireland’s architecturalhistory, to explain that Georgian buildings belongto everyone and to show how even houses createdfor a particular caste at one moment in thenation’s history are still showcases of Irish crafts-manship. Today there is a far greater appreciationof our architectural heritage than was formerly the
Lower Fitzwilliam Street Demolitions
Castletown House
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case, just as the value of this heritage in encourag-ing tourism is now widely understood. But thatwas not always the case. Desmond Guinnesswrote in the Irish Georgian Society’s Spring 1960Bulletin, ‘We are the only country in Europe thathas not yet developed its architecture as a touristasset.’ Right from the start, the Society arguedthat the nation’s Georgian buildings should becherished not merely for their inherent beautybut as a valuable asset in the business of attractingvisitors to Ireland. Nobody, after all, has evertravelled here to admire our dormer bungalowsand suburban housing estates. It has always beenapparent that the majority of tourists coming tothis country appreciate Ireland’s exceptional her-itage of 18th century architecture. In fact for along time the only people who seemed not toappreciate it were the State’s own citizens.
In the fight to save that architecture, the IrishGeorgian Society has played a central role.Beginning with the Conolly Folly in 1962 it
has sometimes assumed responsibility for thepreservation of a building or monument when noother individual or body showed an inclinationto do so. Alternatively it has led campaigns topreserve entire areas under threat such asDublin’s Lower Fitzwilliam Street or MountjoySquare. As with any battle, there have been suc-cesses and disappointments; Fitzwilliam Street,for example, was lost but after a long strugglethat lasted for most of the 1960s and beyond,Mountjoy Square was ultimately saved. It isentirely thanks to the Society’s efforts thatimportant buildings still stand today, not leastCastletown House, Ireland’s earliest and finestPalladian mansion. In 1965 this marvellousbuilding and its demesne were sold to developerswho showed no interest in preserving the housebut planned to build commuter homes on theestate. However, in 1967 Desmond Guinnessbought Castletown and the surrounding 120acres and, under the auspices of the IrishGeorgian Socity, established the Castletown
50 Mountjoy Squarebefore restoration
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Grotesque wall paintingfrom the Long Gallery,Castletown, Cellridge.c1774-1776
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Foundation to restore and preserve this property.Following an intense programme of restorationwork voluntarily undertaken by members of theSociety, the house was first opened to the publicthat year and has remained so ever since.
The same is also true of Roundwood, Co Laois; Damer House, Co Tipperary; andDoneraile Court, Co Cork. These are just threeof the houses which the Irish Georgian Societyhelped to save, just as it did the Tailors’ Halland St Catherine’s Church, two 18th centurybuildings in central Dublin that, but for theorganisation’s intervention, would otherwisenow be no more than a memory. It is easy toforget that during the 1960s and 70s there wasremarkably little interest in Georgian architec-ture, leading to rampant destruction not just ofimportant country houses but also whole areasof the capital. In more recent years, the Societyhas demonstrated equal tenacity in monitoringpotentially pernicious developments duringIreland’s economic boom and in advising bothcentral and local government on the creationand implementation of legislation to preservethe nation’s architectural heritage. Today’s betterlaws and attitudes towards this aspect of thenational culture are due in no small part to thepioneering work of the Irish Georgian Society.Equally, it can also take some credit for theimproved standards of scholarship that nowpertain in the fields of Irish art and architec-ture, and for a much better approach to historicbuilding restoration than was once the case.Today the Society achieves its aims through aConservation Grants Programme in which itsponsors major conservation projects; throughthe Conservation Advice Programme in whichits promotes traditional building skills; througha Publication and Scholarship Programme inwhich it publishes the Society’s journal IrishArchitectural and Decorative Studies; andthrough the Buildings at Risk Programme inwhich it campaigns for important buildingsthat are threatened by neglect or development.
The long, hard fight to rescue Ireland’sGeorgian architecture from desuetudeand destruction has taken a great deal
of time, effort and money. All these were, andcontinue to be, voluntarily provided by privateindividuals. The Irish Georgian Society is anindependent body that has never been in receiptof State funding but instead reliant on the gen-erosity of its members and supporters, especiallythose in the United States who have beenunstinting in their donations. Without them, the Society would never have been able to realiseits ambitions and it is, therefore, indebted toeveryone who has provided assistance of any kindover the past fifty years. The present anniversaryoffers an opportunity to reflect on how much has been achieved since 1958 and to congratulatethose responsible. But while circumstances inIreland have improved enormously over the inter-vening period, it would be a mistake to imaginethat the Irish Georgian Society’s work is nowdone. In the first year of its existence, its Bulletinexpressed concern over the fate of Vernon Mounton the outskirts of Cork City. Dating from the1780s and thanks to its matchless painted interi-ors deservedly described as a ‘charming cottage-palace’, the house and surrounding wooded parkof 30 acres had been put on the market. A noteto Desmond Guinness written in November1958 by the auctioneers handling the sale com-mented, ‘we believe that those who are interestedrequire it for demolition purposes. This webelieve to be a crime.’ In 2008 Vernon Mountremains at risk and, like the Kildare Place houseshalf a century ago, its loss would still constitute acrime. The Society has been leading a campaignto ensure future generations will have the oppor-tunity to appreciate Vernon Mount’s irreplaceablebeauty. While this house, and others like it,remain at risk then the Irish Georgian Societywill continue to perform an important role.
Robert O’Byrne’s History of the Irish GeorgianSociety will be published in October.
During the1960s and 70s there wasremarkably little interest inGeorgian archi-tecture, leadingto rampantdestruction notjust of importantcountry housesbut also wholeareas of the capital.
OPEN
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DUBLIN’S GEORGIAN HOUSE MUSEUMPRESENTED BY ELECTRICITY SUPPLY BOARD AND THE NATIONAL MUSEUM OF IRELAND
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The 43rd Irish Antique Dealers’ Association Fair24 to 28 September 2008Main Hall RDS Ballsbridge Dublin 4
Fair Preview Wednesday 24 September | 5pm to 9pm
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
Only genuine antiques and works of art areallowed into the Fair, with strict regulationsgoverning the date, description and the amountof restoration permitted. These regulations areenforced by panels of Vetting Committees,the members of which are drawn from bothwithin and outside the Fair. Conclusions by these Committees can sometimes be matters of opinion, albeit learned ones, butthe knowledge and experience of the IrishAntique Dealers’ Association is the equal ofany in the world. Potential buyers have thisconfidence in the authenticity of their pur-chases. The illustrations on the following pageshave been submitted by exhibitors and mem-bers as examples of the type of antique or workof art in which they deal and the items illustrat-ed are not necessarily on view at the Fair.
A 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 ofthe articles purchased. Neither the Irish AntiqueDealers’ Association, the Council and VettingCommittees of the Irish Antique Dealers’ Fairnot the publishers of the Yearbook in any wayhold themselves responsible for, or warrantthe genuineness or age of any article exhibitedat the Fair, or illustrated. Visitors and readers
are requested to note that all articles exhibitedhave been submitted for inspection to theVetting Committees appointed to ensure that,as far as possible, the items conform to the reg-ulations laid down for the conduct of the Fair.
VettingThe Irish Antique Dealers Association Fairsare strictly vetted for quality and authenticity.The Irish Antique Dealers Association and the vetters do not in any way hold themselvesresponsible for the genuineness of any item,nor the veracity of any descriptive label, visitorsare advised that every reasonable attempt hasbeen made to ensure that exhibits are fairworthy and comply with the Irish AntiqueDealers Association vetting guide lines andcode of practice.
75 years or over for furniture, metalwork and architectural fittings
Pre 1950 for prints and photography
Pre 1950 for glass, china, clocks, silver, jewellery, lighting, carpets and works of art
Pre 1970 for paintings, drawings and etchings
Contemporary pieces are allowed to be shown but must be of exceptional quality
TH
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TH
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Thursday 25 September
A History of Precious JewelsDouglas Bennett | at 2pm
The Production and Consumption of Glass in Georgian IrelandAnna Moran | at 4pm
Friday 26 September
The Appeal of Mosaics and Pietre Dure Decoration on Eighteenth and Nineteenth Century FurnitureRoxane Moorhead | at 2pm
Alice MaherContemporary Irish ArtWilliam Gallagher | at 4pm
Saturday 27 September
Collecting Irish PrintsBrian Lalor | at 2pm
Irish Chimney PiecesPatrick Pilkington | at 4pm
AntiqueLecture
SeriesAll are welcome to these free lectures
Held in the RDS lecture theatre
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20 Connaught Antiques21 Frameworks23 John Carroll Antiques
23a Parvis & Meriel Sigaroudinia23c Abbey Antiques
24 Straffan Antiques24a Johnston Antiques
27 Anthony Antiques28 Mitofsky Antiques
29 Paul Cranny Antiques30 Georgian Antiques31 Oliver Walsh Antique Clocks
31a George Stacpoole Antiques32 Solomon Gallery33 H.Danker Antiques34 The Silver Shop36 Jorgensen Fine Art37 Oman Antique Galleries
40 Sean Eacrett Antiques41 Oriel Gallery42 O’Sullivan Antiques 47 Moycullen Village Antiques48 The Neptune Gallery49 Irish Antique & Period Properties50 The Heritage Council
All information correct at time of press
1 George Williams Antiques2 John Farrington Antiques3 Esther Sexton Antiques
3a Rory Byrne Antiques4 Robert Christie Antiques
4a Daly Antique Services Ltd5 Morrin Antiques
5a, 23b Newcastle Art Gallery6 Marie Curran Antiques7 Adam Antiques
7a Through The Looking Glass8 Clancy Chandeliers9 MacHenry Antiques
9a Hunt Museum9b Irish Georgian Society10 Noel O’Toole Antiques11 Traditional Antique Restoration12 Leinster Gallery
12a Greene’s Antiques Galleries13 David Wolfenden Antiques
14a Courtville Antiques14b Cobwebs14c Timepiece
15 Lynes & Lynes15a Martin Maguire Antiques15b Vanessa Parker Rare Books
16 Michael Connell Antiques18 J.W. Weldon
18a L & W Duvallier19 Niall Mullen Antiques
HOSPITALITYAREA
ENTRANCE
192021
2827
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GRAINNE PIERSE
POWERSCOURT TOWNHOUSE CENTRE,
SOUTH WILLIAM STREET, DUBLIN 2
TELEPHONE: 01 679 4042
FACSIMILE: 01 670 6877
EMAIL: [email protected]
WWW.COURTVILLEANTIQUES.COM
COURTVILLEA N T I Q U E S
Unusual 1920's diamond andquartz cat's eye spider brooch
Rare 1920's platinum and diamond polar bear brooch
on diamond icycles
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ssociation Fair
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A N T I Q U E C L O C K STIMEPIECE
Specialists in fine clocks since 1983Prop: Kevin & Carol Chellar
French Directoire Portico. c1790Chatenay, Versailles
French Empire Portico. c1810
French Empire Portico c1800 Chopin, Paris
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57-58 Patrick Street, Dublin 8Telephone 01 4540774 Mobile 087 2260212
www.timepiece.ie
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Ormolu and SevresPorcelain c1870
Marti, Paris
Ormolu and Sevres Porcelain c1870
Miroy-Requier, Paris
Ormolu, Marble and Crystal Garniture c1900
Gilt Bronze Empire Chariot c1810
Bronar and Coc1810
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Ormolu and Marbleminiature timepiece
c1890
Gilt and PatinatedBronze c1825
Blondeau, Paris
Gilt and PatinatedBronze c1795
Mahogany bracket clock signed McMasterDublin c1850
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Scottish Doric Column LCMcMillan c1860
Ormolu Rococo Cartel c1880
57-58 Patrick Street, Dublin 8Telephone 01 4540774 Mobile 087 2260212
www.timepiece.ie
Grey Marble and OrmoluGarniture c1880
Mahogany Irish LC Gaskin of Dublin c1825
Fagioli and Company London c1835
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A rare George I Dublin Silver Chocolate Pot by Thomas Walker 1717
L&W Duvallier17th & 18th Century Irish Silver
Mobile: +353 (0)87 253 5313Email: [email protected]
Viewing by appointment
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(top) A Historically important large DublinGeo 111 salver by John Laughlin 1770 withoriginal amorial of Lord Charlimont withscratch weight of 44 ounces
(left) A Dublin Geo 11 Salver by Henry Waldron. c.1745, weighing 32 ounces and 12 inches in diametre
(right) A fine pair of Dublin Geo 11 waiters by John Williamson 1736
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S TA N D 2 8
Artists from L'Ecole de ParisHenri Hayden (1883-1970) ‘Hamlet in the Village’ Oil on canvas. Signed. 50cm x 61cm.
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8 Rathfarnham Road, Terenure, Dublin 6Tel 00 353 (0)1 492 0033 Mob 00 353 (0)87 246 1418 Fax 00 353 (0)1 492 0188
Email: [email protected] www.mitofskyantiques.com
J Muller (Ebeniste) &PE SAÏN (1904-1995)
A very fine green lacqueredarmoire of small propor-tions. Made in France c.
1950-60. Front panelsdecorated with stylisticjudas trees and winged
feathered creatures. Twoside columns a top with
gilt metal mounts. Open-ing to four lacquered
shelves. 170cm high x170cm wide x 50cm deep.
TheSilverShop
Portrait miniature of Henry Hutchinson, Jeweller of Dame Streetby Charles Byrne of Dublin. Hand written details on reverse
'Henry Hutchinson Jeweller Dublin Sept. 7th 1794'. Byrne wasemployed by Hutchinsons Jewellers in the 1790's.
Powerscourt Townhouse Centre, South William Street, Dublin 2Tel/Fax: 01 679 4147 Email: [email protected]
www.silvershopdublin.com
Portrait miniature of a gentleman purported to be the Duke ofNewcastle 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.
Portrait miniature of Margaret, Countess of Donoughmore possibly by Mrs Mee. Hon Margaret Gardiner, was the daughterof 1st Viscount Mountjoy. She married Sir John Hely Hutchinson,
3rd Earl of Donoughmore of Knocklofty in 1822.
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Jorgensen Fine ArtIrish, English &
Continental Paintings
29 Molesworth Street, Dublin 2
Tel: 01 661 9758/9Fax: 01 661 9760
Email: [email protected]
www.jorgensenfineart.comColin Middleton RHA (1910-1983) Girl with a Sunflower Oil on canvas, 24”x18”
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7 QUAY LA N E, GA LWAY 091 564388
www.cobwebs.ie
Antique & Fine Jewels
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44 MacHenryA N T I Q U E S
Rupert MacHenry, 1 Glen Road, Jordanstown, Whiteabbey, Newtownabbey, Co Antrim BT37 0RYT: +44 (0)28 9086 2036 F: +44 (0)28 9085 3281 M: +44 (0)7831 135226 E: [email protected]
A go
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ish m
ahog
any j
ardi
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e / b
ooks
tand
by W
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Gib
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Dub
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182
7. N
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the o
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105 Francis Street, Dublin 8 • warehouse by appointment T: 01 453 8948 M: 086 257 5988 E: [email protected]
A unique Art Deco seven piece library suite made from spectacular amboyna wood c1930
A four door display cabinet
A pair of similar low bookcases
A pair of console tables
A square centre tablewith canted corners
A semi eliptical shaped two door cabinet
WWW.NIALLMULLENANTIQUES.COM
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9 Eyre Square, Galway Telephone 091 567840 Mobile 086 3850803 Email: [email protected]
Open Monday to Saturday 10 am to 5.30 pm
www.connaughtantiques.com
A very fine Regency rosewood sidetable, c1820 (71.5" w 37.5" h 17"d).
A superb French mantle clock with two five light candelabras.
Movement signed ‘Vincenti & Cie’.
CONNAUGHTANTIQUES
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Period and reproduction chandeliersbought and sold. Professional cleaning,restoration and hanging service.
Villanova, Ballywaltrim,Bray, Co Wicklow
Tel/Fax: 01 2863460Mobiles: (Ger) 087 242 2838 and (Derek) 086 3612083Email: [email protected]
www.clancychandeliers.com
CLANCY CHANDELIERS
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The Newcastle Art GalleryFine Art Dealers in Irish, English and Continental Art
18 to 22 Main Street (upstairs), Newcastle, Co Down, Northern Ireland BT33 0ADTelephone 048 4372 3555
Artist in his Studio
Israel Zohar(born 1945)
Oil on canvas 32” x 32”
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The Oriel Gallery�Est.1968�
17 Clare Street, Dublin 2Tel/Fax: + 353 1 6763410 Email: [email protected]
www.theoriel.com
Specialists in traditional & modern Irish art
Daniel O’Neill, Portrait
Paul Henry, Village in the WestPaul Henry, An Ulster Farm
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.
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A George I walnut and mahogany cabinetwith panelled and moulded doors and carved swan
neck pediment. The interior fitted 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, IrelandTel: 00 353 1 4732384Fax: 00 353 1 4735020
Email: [email protected]
www.johnstonantiques.net
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Bank Square Gallery, 63 Maghera Street, Kilrea, Co Derry BT51 5QL
Tel/Fax: (048) 2954 0279 Mob: +44 7802 708656Email: [email protected]
PAUL CRANNYANTIQUES
A stunning watercolour portrait of the granddaughter of the Austrian Chancellor by Hirschenhauser 1935.
BY APPOINTMENT ONLY
Telephone 086 2456414Email: [email protected]
KIERANMORRIN
A N T I Q U E S
Mid 19th Century German carved walnut and veneered cabinet
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Patrick Hennessy (1915-1980) View from the
Artist’s Studio, Portugal Oil on canvas 35” x 25”
S o l o m o n F i n e A r t
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n a a s
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t e l e p h o n e : + 3 5 3 4 5 8 6 2 9 4 0
f a c s i m i l e : + 3 5 3 4 5 8 6 2 9 4 1
m o b i l e : 0 8 6 2 3 0 1 9 8 3 / 0 8 6 8 1 4 2 3 8 0
i n f o @ s o l o m o n f i n e a r t . i e
w w w. s o l o m o n f i n e a r t . i e
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David Wolfenden AntiquesEstablished 1984
The Home of Fine Antiques
219b Lisnevenagh Road, Antrim BT41 2JTTel +44 (0) 28 9442 9498 Mob +44 (0) 7768 128800Email: [email protected]
Specialising in Quality Antique rosewood, walnut, mahogany furniture
Quality Victorian Mahogany Antique Console Table c1850
57ins x 22ins x 37ins table topTotal height 51.5ins
The Antique Warehouse,Upper Cahir Abbey,Cahir, Co Tipperary
Tel: 052 41187
WWW.THEANTIQUEWAREHOUSE.IE WWW.FRENCHCOUNTRYINTERIORS.IE
Abbey Antiques & French Country InteriorsShowing a large selection of Antique, Art Deco and French painted furniture and objets d’art
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58 Francis Street, Dublin 8
Telephone +353 1 473 3898
Mobile +353 87 257 0150
Email [email protected] ‘Duty’ An unusual and large French bronze, 34” x 15”, signed Rancoulte (Earnest Rancoulte 1870 - 1915)
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A William IV Mahogany Console table with a pair of exquisitely carved winged Griffins supporting a frieze with
egg and dart moulding under a marble top. Circa 1830 52" wide, 25" deep, 38" high
ESTHER SEXTON A N T I Q U E S
51 Francis Street, Dublin, IrelandTelephone 014730909 Mobile 086 1616 166
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GeorgianAntiques LTD
� C O R K �
Specialising in Georgian & Regency furnitureC O N T A C T P A T J O N E S 0 8 7 2 5 6 3 7 2 1
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GeorgeStacpoole
Adare, Co Limerick
Telephone 061 396 409 Facsimile 061 396 733 Email [email protected] www.thedealers.ie
Antiques & Fine ArtPicture Framing
Belleek frog lily pad paperweight. Impressed and markedwith 1st period mark
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Specialising in Silver from 1850 onwards and Collectables
Telephone 01 280 2631
MARIECURRAN
ANTIQUES
A pair of Irish silver candlesticks Dublin 1943
Anthony Antiques
E X M O L E S W O R T H S T R E E TE S T A 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
EXHIBITOR AT THE IRISH ANTIQUE DEALERS FAIR RDS
AND MAJOR IRISH ANTIQUES FAIRS
SHOWROOMS DEANSGRANGE BY APPOINTMENT
MOBILES 086 OR 087 2 777 222EMAIL ANTHONYANTIQUESOCEANFREE.NET
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JW WELDONFine diamond jewellery
& early Irish silver
55 Clarendon Street, Dublin 2Telephone 01 677 1638A very rare Limerick Coffee pot,
by Joseph Johns c.1740-45
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20 Calhame Road, Ballyclare, Co. Antrim, BT39 9NATel +44 28 9334 1149 Mob: +44 7802 968 846Email: [email protected]
Fine 19th Century Sheraton Revival Carlton House Desk. Constructed in mahogany with various
inlays, in very original condition, 54 inches wide.
ROBERTCHRISTIE ANTIQUES
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OLIVERWALSH
A N T I Q U EC L O C K S
1 Forest Hill, Drogheda, Co Louth
Telephone 087 9835025 / 041 9837789
Email [email protected]
www.oliverwalshantiqueclocks.com
Superb Irish Mahogany Brass Dial,Longcase Clock by Thomas Cahill,
Waterford, circa 1770
Irish Mahogany Brass Dial Longcase Clock by Francis Kerr, Monaghan, circa 1750/1760
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Specialists in Irish and Antique Silver and Jewellery
10 South Anne Street, Dublin 2Tel 01 6774009 Fax 01 6774544 Email [email protected]
Open Monday to Saturday 9:30-5:30
www.hdanker.com
Antique Dealers
H DANKER
S TA N D 1 5 A
Connolly Street, Ballina, Co MayoTelephone 096 20074 Mobile 087 234 9564
MARTIN MAGUIRE
ANTIQUES
Life
-siz
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in b
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Dav
id W
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The
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1.A fine mid Victorian
rosewood centre table withsuperb urn shape base.
A pair of Victorian burrwalnut side cabinets.
S T R A F F A N A N T I Q U E S S T O C K A N E X T E N S I V E C O L L E C T I O N O F
1 8 T H A N D 1 9 T H C E N T U R Y F I N E A N T I Q U E F U R N I T U R E .
Barberstown Cross, Straffan, Co KildareTelephone 01 6274018 Email [email protected]
Open Tuesday to Saturday 10am to 6pm and Sunday 2pm to 6pm
www.straffanantiques.com
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.
320cm wide 253cm high 51cm deep
O U R E M P H A S I S I S O N Q U A L I T Y. W E W E L C O M E Y O U R V I S I T.
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MOYCULLEN VILLAGE ANTIQUES
Moycullen, GalwayTel/Fax: 091 555303 Mob: 086 8235976
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
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L Y N E S & L Y N E S
SHOWROOMS48a McCurtain Street, Cork
T: 021 4500982 M: 087 2531580 E: [email protected]
A fine pair of satinwood sidetables with marquetry inlay by James Hicks of Dublin.
Circa 1900
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MAIN OFFICE Upper William Street, Limerick SHOWROOMS & WAREHOUSE St. Josephs Street, Limerick
Telephone 061 414490 Facsimile 061 411378 Mobile 087 2550985 Email [email protected]
BY APPOINTMENT ONLY
A Regency mahogany writingtable with ebony string inlay
A Regency rosewood & brass inlaid sofa table
NOEL O’TOOLE ANTIQUES
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SPECIALISTS IN 20TH CENTURY& CONTEMPORARY IRISH ART
27 South Frederick Street, Dublin 2
Tel: +353 (0)1 679 0834
Email: [email protected]
www.leinstergallery.com
Tony O’Malley HRHA (1913-2003) Self Portrait 1985, oil on board, 19.5” x 16”
LeinsterG a l l e r y
S TA N D 1
The Annexe, Newcastle House,Kilmainhamwood, Kells, Co Meath
Tel: 046 9052740 Mob: 087 252 9959Email: [email protected]
www.georgian-antiques.com
BY APPOINTMENT
Restoration and gilding carried out for clients in our own workshops.
GeorgeWilliams
ANTIQUES
Life
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ure
in b
ronz
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Dav
id W
illim
as-E
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The
title
is Ja
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1.
Specialising in 18th & 19th century Irish and English furniture and paintings
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A Georgian gilt wood four compartment overmantle mirror.
Circa 1790. Height: 23" Width: 59"
Proprietor: Anna Connolly
2 Salthill Place (beside Purty Kitchen),
Dunlaoghaire, Co Dublin
Telephone 01 2806577 & 086 8140491
ThroughThe Looking Glass
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Parvis and Meriel SigaroudiniaMountainview House, 40 Sandy Lane, Ballyskeagh, Lisburn, BT27 5TL, Northern Ireland
T: 0044 28 90 621824 M: 0044 7801 347358E: [email protected]
www.parvis.co.uk
PARVISGALLERYOriental Carpets and TextilesBronze Sculpture
Jenn
y 11
, life
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in b
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avid
Will
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ADAM ANTIQUES & INTERIORS
8 Main Street, Dundrum, Co Down
Telephone 048 437 51 544 Mobile +44 7711442515
Email [email protected]
A large c1890 oil on board of three cherubs on a cloud in a gilt frame withswag and ribbon decoration acquired from The ‘Lola Baxter’ estate in England
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MalahideA N T I Q U E S H O P
14 New Street,Malahide, Co Dublin
Telephone 01 8452900
Open Monday to Saturday or by appointment
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George's Avenue, Blackrock, Co Dublin, Ireland Tel: +353-1-2885875
www.peterlinden.com
Consultant and stockist of carefully selected examplesCleaning, restoration, valuation
Open Tuesday to Saturday 10.30 to 17.00 or by appointmentPLEASE PHONE BEFORE YOU CALL OUT
Antique & Exceptional Oriental Rugs & Carpets
PETER LINDEN
19th
C Ka
zak p
rayer
rug
At Select Interiors, 65/66 Francis Street, Dublin 8Telephone Dublin 01 454 1806 & Navan 046 902 258Mobile 086 8381256
SEANCARPENTERPolishing & Antique Restoration
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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 dayAidan 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 ExhibitionsBrett 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
Galleries open Tuesday to Saturday 3pm to 9pm & Sunday 1pm to 5pm.
Dining nightly & Sunday lunch; weddings and garden parties.
Woodlands Avenue, Stillorgan, Co. Dublin (off the N11 at Stillorgan)
Tel: 01 2880375 Email: [email protected]
www.beaufieldmews.com
Open day Saturday 27th September 2008. Come and explore.Mid-November, Art and Sculpture Christmas Exhibition.
All are WelcomeArthur Armstrong 1924 - 1996
'Cutting the Corn' Oil on canvas
Jill Cox, IADA member
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Dublin silver‘Celtic Revival’
teapot by Edmund
Johnson dated1927
Pair of Art Nouveau vases
Boxed set of 6 gilded and enamelled coffee spoons
dated London 1923
Victorian diamond and amethyst holbien
French cluster ring with2.12ct of diamond set in18kt white gold
Tempo Antiques9 Cross Street, Galway
Tel/Fax: 091 562282
Mobile: 087 9696835
www.tempoantiques.com
.COM
ROXANE MOORHEAD A N T I Q U E S
Valuations for insurance & probateSpecialist advisor on period furnishings
for the home & office
BY APPOINTMENT ONLYT: 01 660 5165 or 086 814 7451 E: [email protected]
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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 theentitlement of its citizens to all necessary and reasonable guilds guaranteed by law. These mer-chant or trade guilds were important, as theywere responsible for the regulation of commerce.They were formed to set standards of workman-ship and to teach apprentices the mysteries (fromLatin ‘misterium’= trade, business, occupation) of their craft. These trade guilds dominated thecommercial and political life of Dublin for thenext six and a half centuries until 1841. Guildmembers were eligible to vote in municipal andparliamentary elections.
The granting of CatholicEmancipation in 1829 ledto a demand for reform ofcivic government and underthe Municipal CorporationReform (Ireland) Act of1840 the trade guilds werestripped of their role in thegovernment of the city andmost of the guilds woundup their operations. TheGuild of All Saints or theCompany of Goldsmith’swas the only survivor and this is their story, beingthe original consumer protection association,which has survived to the present day.
Celebrating 350 Years of Consumer Protection The Craft Guilds of Western Europe were associations of artisans founded forthe mutual benefit of their members and standardisation of their crafts. Fromthe 11th century onward, they flourished amid the great cities of Europe. Douglas Bennett
Testing platinum on an atomic absorption spectrometer
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To understand the workings of the assay officeand the precious metal trade it is requisite thatwe should turn back the pages of history to1555, in which year the Guild of All Saints,whose charter – the date is unknown – hadallegedly been burned, applied to the commonCouncil of the City of Dublin for recognition as a guild. They were ordered to bring a truecopy of their charter before the Mayor andSheriffs when they would be given recognitionunder the common seal of the city. This was
granted in April 1557, it was not a new charter it was merely a recognitionthat the original was inexistence before the fireand entitled the companyto the same privileges asthe other fraternities andguilds of the city but an
insertion was included to the effect that theMayor of Dublin for the time being should haveoversight and correction of their orders as oftenas he should think expedient. It also stated thatnone should be admitted to the fraternity exceptthey be of ‘English name and blode.’ The guildwas obviously dissatisfied with this state ofaffairs as it had not the same control over itstradesmen as other guilds.
In London the Company of Goldsmith’s hadcomplete charge of all matters relating to assayand the Dublin equivalent must have felt that
they were entitled to the same privileges. The year1637 found them petitioning the King requestingthat they, the Guild of All Saints might be incor-porated by royal charter. Their petition wasreceived with favour and on 22nd December1637, a charter was granted by Charles 1. Withthe granting of this new charter the Goldsmith’s’Company and the assay office were put on asound foundation. The assay office was openedin February 1638 and the first piece was hall-marked on 6th April of that year.
Legislation governing the compulsory testingand hallmarking of precious metals applies to the present day. The word hallmark, now oftenused figuratively to mean a mark or indication of excellence, originally referred to the officialmarks used at Goldsmith’s Hall by the assayoffice for marking the standard of gold and silver. The charter states that no master was to give his workman any gold or silver to bewrought below the recognised English standard‘as oftentimes they are accustomed to do’ themaster to be punished if caught doing so. Thecompany was given the power to supervise theassaying of all gold and silver throughout thewhole Kingdom of Ireland and if any personfound selling goods with intent to deceive thepublic (ie not hallmarked or below required stan-dard) these goods were to be ‘broke’ and the man-ufacturer, trader and workman to be punished.Every goldsmith and silversmith in any town inIreland was to be bound by the rules of the char-ter. The charter prescribed the standard for goldand silver wares as being twenty-two carats forgold and 11oz and 2 dwt for silver. It also pre-scribed two marks for silver the harp crowned and the goldsmith’s proper mark. Pure silver is too soft to make durable vessels that combinelightness with stability of form. This defect canhowever be overcome by alloying the metal with a small amount of base metal usually copper.
The proportion of silver in these alloys is habit-ually stated in parts of real or pure silver per 1,000parts of alloy. This is referred to as standard silverthe fineness of which is .925 parts of silver in1,000 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 measurementwhich derives its name from the town of Troyes in France where it was first used in Europe andwhich measurement was probably brought toEngland by Henry V about 1420 after the signingof the famous treaty of Troyes. It later replaced the Tower pound in 1526 for weighing gold and
The assay office wasopened in February 1638
and the first piece washallmarked on 6 April
of that year.
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silver. The Tower pound an English weight basedon the barley grain: 1 Tower pound = 7,200tower grains = 5,400 troy grains. 1 Tower ounce= 600 tower grains = 450 troy grains. The Troyweight was also a complicated measurement of24 grains=1 pennyweight (dwt). 20dwt=1oz.12oz = l lb. Today the metric gram is used toweigh all precious metals. 1oz Troy = 31.1 gram.
The harp crowned is the fineness mark showing the standard of qualityrequired in law, in the charter it is
referred to as the King’s Majesty’s Stamp. Thiswas applied on all precious metals until 2002.The charter already mentioned ruled that thepunch of the artificer must be impressed oneach item of manufacture. This was usuallydone before the item was sent to the Hall fortesting. It consisted of a metal die with themaker’s initials cut in reverse. Each tradesmanhad to register their punch or mark with theMaster and Wardens at the assay office where it was recorded in the workbook for referenceand identification. This served the dual purposeof enabling the manufacturer of a specific itemto be established and, more importantly, ofidentifying an offender whose plate was not up to legal requirements. This mark is referredto in the charter as the Goldsmith’s propermark. Together with the harp crowned and themaker’s mark a date letter was used from 1638although there was no provision in the charterfor this mark. No doubt it was adopted to keepa proper record and had the advantage of estab-lishing 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 Actimposed a duty of 6d per ounce on all gold andsilver wares manufactured and imported intoIreland on or after 25 March 1730 to be paidby the makers or workers thereof respectivelyand with it the Dublin Guild of Goldsmith’sordered that a punch of Hibernia of oval shape
Hallmark 1836. Showingmakers punch James Le Bas,
date letter Q 1836 HarpCrown, fineness mark,
hibernia, sovereigns headWMIV Duty Stamp
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be applied with the othermarks to all gold and silverto denote that the dutyhad been paid. It was paidat the assay office when thearticles were collected hav-ing been hallmarked.
A new Act of Parliament(47 George 111 session 2chapter 15) was passed in 1807 ordering that theSovereign’s head should bestruck on all silver wroughtin Ireland to denote pay-ment of duty and that‘every person who shall sellor make any gold or silverplate in Ireland, shall obtaina licence for that purposefrom the Commissioners of Inland Excise and Taxesin Ireland.’ The Sovereign’shead had already been inuse on English and Scottish
silver since 1784 and this Act brought Dublinmarks into line with the other assay offices. TheSovereign’s head was first used silver on 10August 1807. The duty which came into exis-tence in 1730 at the rate of 6d an ounce, reached1s an ounce by 1805 and 1s/6d by 1842 wasabolished in 1890 thus ending a very sore griev-ance with the silver trade which had lasted forover 160 years. With the introduction of theSovereign’s head the punch of Hibernia becameobsolete as a duty stamp but the Company ofGoldsmith’s decided to keep it as the city mark of Dublin. For the first time·since hallmarkingcommenced the Company of Goldsmith’s intro-duced a special mark in 1966 to commemoratethe golden jubilee of the Rising of 1916 in theform of An Cladheamh Solais (The Sword ofLight). This was stamped on all Irishmade articlesof gold and silver, other than jewellery andwatchcases, assayed during the year 1966.
To commemorate the historic significance of the decision of the Irish people to join theEuropean Community on 1 January 1973 theCompany authorised a special mark in the formof the Glenisheen Collar to be put on all articlesof Irish-made gold and silver, other than jew-ellery and watchcases, manufactured during theperiod 1 January to 31 December 1973. WithIreland joining the European Union, platinumwas classified as a precious metal and thereforehad to be assayed and hallmarked together withgold and silver, this requirement applies to thepresent day. Again a special mark taken from the shield of the Coat of Arms of the Company of Goldsmith’s to commemorate the 350thanniversary of the founding of the Companywas commissioned for 1987 and a further com-memorative hallmark in 1988 to denote DublinCity Millennium year, both with the sameomissions as in 1966 and 1973.
During the long period of the Company’sexistence its powers have been extendedseveral times by Act of Parliament and
Government Order to meet changing conditions.In 2002 the European Commission broughtpressure to bear on member states to amend their national legislation when seven new stan-dards were added to the existing Irish standardsof fineness. The following changes were madeand these represent the most commonly usedstandards in the EU. Gold an additional twostandards 990 and 999: silver an additional twostandards 800 and 999: platinum an additionalthree standards 850, 900 and 999.
Since 2002 the Irish assay office in line with theother EU offices now assay and hallmark Gold:375, 585, 750, 916.6, 990, 999 parts of gold per1,000 Silver: 800, 925, 958.4, 999 parts of silverper 1,000 Platinum: 850, 900, 950, 999 parts ofplatinum per 1,000. There is also a gold standard833.40 on the statute book but this is not usedmuch nowadays and 416.70 used mainly by Irishmanufacturers selling to the USA.
Alphabet cycle 1942-1967 showing 1966
commemorative mark
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The assay mastertogether with a staff of 35 are employedguaranteeing the public the quality of the preciousmetal being sold in Ireland
The official mark of the Irish assay officesince 2002 is the Hibernia. After a long battleto retain it the harp crowned is no longer thefineness mark and has been replaced with theabove numerals in an oval surround. The threecompulsory symbols are the maker’s mark, theHibernia stamp and the fineness (purity) mark.The old traditional marks may be applied byprior arrangement but are no longer part of the recognised hallmark.
The assay office and Goldsmith’s Hall hadsince 1709 been located at Werburgh Streetopposite Hoey’s Court but on the 22 August1810 Mr. Johnston of the Board of Worksreported that the present building was in a stateof collapse and a new building would have tobe erected. The Guild decided to ask the Dukeof Richmond, Lord Lieutenant to get the gov-ernment to finance a new building. His replywas that he, “cannot feel justified in grantingpublic money for this purpose.” On the 26September 1810 the Master was empowered to take the dwelling house of Mr. Henry Gowerat 22 Golden Lane providing he gets possessionthereof which must be on or before the 25March next. After refurbishment the Companymoved there in January 1812. The Hall inWerburgh Street was sold by public auction in 1812 for £155 to James Raverty Esq.
In 1838 the Company of Goldsmith’s andthe assay office moved to the basement of theCustom House which was burnt down in 1921but fortunately most of the records and archivesurvived and these have recently been restoredby the Delmas Conservation Bindery atArchbishop Marsh’s Library. After operating at several temporary premises the Companyaccepted an offer from the Free StateGovernment of the canteen building of theShip Street Barracks. On the 26 June 1925 theGovernor General, Timothy Michael Healy KCat a special luncheon stated, “I declare theseoffices open for assaying and marking of goldand silver.”
In recent years the building proved to be too small for an ever-expanding businessand two years ago the assay office moved
into temporary premises across the street whilethe Office of Public Works built an extensionto the existing building. In 2008 the Companyof Goldsmith’s and the assay office moved backto a state of the art building. The assay officeemploys a full time staff of 35 headed by anassay master, while the assistant assay master, a highly qualified scientist supervises one of thefinest laboratories for testing metals in Europe.The main purpose of Goldsmith’s Hall is tohouse the assay office where all gold, silver andplatinum are assayed and hallmarked. To thisend the assay master together with a staff of 35 are employed guaranteeing the public thequality of the precious metal being sold inIreland. The assay office has been carrying outthis work for 370 years making them the origi-nal consumer protection organisation.
Loading a muffel withcupels into the furnace
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The Reconciliation(1914) by Seán Keating
is reproduced by kindpermission of the
Keating Estate and by kind permission ofthe private owner. The
image remains copyrightof the Keating Estate.
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The rediscovery came about as a result of mydoctoral research which took me all over theworld on the trail of information and knowledgeabout the man who became known as ‘Keating’.The painting to which this article refers arguablysignalled the beginning of Keating’s career as aprofessional artist, and at the same time, it offersjust a brief but tantalising glimpse into a longlost and forgotten past.
Keating was born in Limerick city in1889, the eldest of eleven children, sevenof whom survived into adulthood. Even
in his early years Keating showed artistic promiseand in 1907 at the age of eighteen, he enteredthe Limerick Municipal Technical Science and
Art School to train to become an art teacher and artist. Keating worked hard at the school,winning several prizes and successfully attractingthe attention of William Orpen (1878-1931),former star pupil of the Dublin MetropolitanSchool of Art and of the Slade School of Art in London. Orpen had an extremely successfulstudio practice in London and he visited theDublin Metropolitan School of Art, his formeralma mater, from 1902 until 1914 on a part-timebasis to teach anatomy and portraiture. He was,in essence, a celebrity who, owing to his earlyand continuing success, garnered the admirationof his students. To any young student with ambi-tion in those years, the Dublin MetropolitanSchool of Art was the place to be and in 1911
RECENTDISCOVERY:
The Reconciliation by Seán KeatingDr Éimear O’Connor reveals the story of just one of a recently rediscoveredgroup of several paintings by Irish artist Seán Keating (1889-1977).
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Keating was awarded a small scholarship whichoffered him the opportunity to do just that.Keating left Limerick and never again returned to live in his native city. He entered the DublinMetropolitan School of art to study to becomeboth an art teacher and an artist. By 1913Keating’s parents and siblings had also moved to Dublin, setting up home initially in Ranelagh
before finally settling in Rathmines.
As a student at theDublin MetropolitanSchool of Art Keating wastaught by several membersof the staff and Orpen washis teacher for anatomy andportraiture. The atmosphereat the school was extraordi-narily competitive and stu-
dents submitted work for internal and externalcompetitions. One of the most coveted prizes wasoffered annually by the RDS and was known asthe Taylor Award. In the months leading up tothe competition a panel of judges set the titlesunder which students were permitted to entertheir 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 developthe theme. The title of the painting was TheReconciliation. That the artist chose to repre-sent a moment of reconciliation after an initialappeal for mercy was indicative of the type of picture that Keating continued to makethroughout his career.
The painting illustrates a group of three, twoof whom are in deep discussion with the girl inthe coral hat, perhaps seeking for her to makereconciliation for some misdemeanour. Quitewhat she has done is unclear, perhaps she hasargued, come home late, or borrowed the furcoat she is wearing without permission. Thereseems to be a slightly unapologetic, even defiantlook on her face as her accusers or confessorsseek to appeal to her. The painting is very muchinfluenced by Orpen, particularly in the creationof the intimate compositional balance and use ofcolour. Even the rendition of fur and the textureof the materials in the painting are evidence of Orpen’s strict training, although perhapsinformed and enhanced by Keating’s youthspent among the fabrics of his mother’s dress-making business. The setting of this particularreconciliation is made more intimate for thepeople illustrated by the inclusion of a wonder-fully decorative screen which acts to balance thecolour and composition, while also closing offthe rest of the room, thereby gathering thegroup in an intimate, if troubled moment. It is as if the artist knew his models well, and wastherefore, complicit in the conspiracy to obtainsome type of reconciliation. He did know themwell and the painting offers an opportunity toreveal a little of the story of Keating’s siblings.
Keating had six siblings, three of whom, Paul,Mary Frances and Vera, are featured in TheReconciliation. Paul trained for the priesthoodat All Hallows College in Dublin, after whichhe was transferred to Brisbane in Australia. Heis seen in his priestly clothing in Keating’s paint-ing, but little did anyone know in 1914 that in
It is as if the artistknew his models
well, and was there-fore, complicit inthe conspiracy to
obtain some type ofreconciliation.
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1919 Paul was to die in the influenza epidemicthat swept through Australia. There is only oneother known image of Paul by Keating, paintedc.1918 and now in a private collection. Of thetwo women, Mary Frances is seated to the left.In later years she spent time abroad refining herskills as a cookery expert. On her return MaryFrances became a well-known and successfulcookery editor, frequently publishing articles inIrish newspapers. Vera, who wears the fur coat,coral hat and the unapologetic gaze, trained as a teacher in Dublin and after some years spentteaching in England she was the one member ofthe family to return to live and work in Limerick.Keating utilised Mary Frances and Vera as modelsin many of his paintings until he married in 1919after which his wife May was frequently featured.
The analysis of a painting can revealmany fascinating insights and althoughThe Reconciliation features three of
Keating’s siblings, it hints at the presence of yet another. The decorative screen in the back-ground of the image, which is a vital composi-tional element in the work, was brought backfrom a trip abroad in 1914 by another brotherwhose story is as interesting as the rest. Claudeleft home in Limerick at an illegally young ageto join the British army. At the end of the FirstWorld War a moratorium was offered to armypersonnel who had been underage when enlist-ing 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 briefperiod at Baggot Street Hospital in Dublinbefore joining the British Navy where he had an
A photograph of Keating, which is adetail from a self-portrait, is repro-
duced by kind permission of theKeating Estate. The image remains
copyright of the Keating Estate.
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extremely successful career culminating in theaward of CBE in 1948. There are several portraitsof Claude Keating in private collections. Thescreen, which featured embroidered Chinese silk on a wooden frame, was sold in the late1980s. Of Keating’s remaining siblings, Josephfeatures as one of the models in Men of the
West (1915) and in por-traits that remain in privatecollections. Claudia, theyoungest Keating sibling,was still a child when the family moved toDublin. She read science in University CollegeDublin, eventually specialis-
ing in botany. She taught for a number of yearsat a third level institution in Manchester beforeretiring to the family home in Rathmines.Again, Claudia features in work that remains in private collections.
Keating won first prize for TheReconciliation when it was shown at the Taylor Award Exhibition at the
RDS in 1914. He received fifty pounds whichwas a large sum of money at that time. He com-pleted his studies at the Dublin MetropolitanSchool of Art the same year and in 1915, morethan likely with the benefit of his winnings fromThe Reconciliation, he left Ireland to work as a studio assistant to William Orpen in London.Keating returned to Dublin in 1916 and the fol-lowing year he exhibited the iconic Men of theWest at the Royal Hibernian Academy annualexhibition. That was the first painting that located
and mediated Keating’s belief in a cultural revolu-tion that would in turn drive political change inthe manner inculcated by many before him. As aresult, Keating was launched into a controversialcareer that lasted over seventy years. In the mean-time, William Orpen did not return to teach atthe Dublin Metropolitan School of Art after 1914and whether or not Keating’s work should remainso closely linked by art historians and critics withhis mentor is a matter for serious debate ratherthan presumption.
When first completed The Reconciliation wasto become a poignant family record, particularlyin the light of Paul’s untimely death. Arguably,given the amount of prize money that Keatingreceived, it was also the painting that helped tolaunch his career. When the RDS Taylor AwardExhibition closed and the excitement had dieddown, Keating gave The Reconciliation to hismother and for two generations it remained onthe walls of the family home, a witness to lifeunfolding. Yet, as often happens, in the ensuingeighty odd years since the painting was exhibited,and owing simply to the pace of life and indeeddeath, the origin, meaning and importance of thework had been forgotten. More recently and for-tuitously The Reconciliation became part of a pri-vate collection and owing to a confluence of cir-cumstances it has now been reacquainted with itsown extraordinary story.
Copyright © Éimear O’Connor July 2008.
Dr Éimear O’Connor is completing a book on thelife and work of Seán Keating. She can be contact-ed at [email protected]
Keating won first prizefor The Reconciliation
when it was shown at theTaylor Award Exhibition
at the RDS in 1914.
HistoryMr. David La Touché purchased the Estate in 1764. La Touché then Governor of the newly established Bankof Ireland extended the house and renamed it ‘Marlay’having married Elizabeth Marlay, daughter of the RightRev. George Marlay, Bishop of Dromore.
Regency Walled GardenThe 4.5-acre Walled Gardens, which were provided underthe Great Gardens of Ireland Restoration Programme are designed and planted in an authentic Regency style. The ornamental section boasts an extensive display of periodplants, ranging from herbaceous borders to shrub beds.
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Georgian HouseThe 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 Adamesqueplasterwork, with its large windows providing a panoramicview of the Dublin Mountains, and an impressive oval room,its plasterwork containing musical motifs attributed toJames Wyatt The house was fully restored within the last 10 years. The house is available to hire for suitable privatefunctions e.g. weddings, corporate events, etc.
SituatedWest of Rathfarnham and Dundrum Villages, off theGrange Road, Rathfarnham. Alternative access off theM50 at Dundrum exit, in the direction of Rathfarnham.
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