CONTENTS
Page
Letter from Mr. Raghnall Ó Floinn
Director, National Museum of Ireland 1-2
Assessment of the Collection by Dr. Thomas Sinsteden 3-10
Letter from Mr Michael Kenny
Keeper (Retired), Art and Industrial Division, National Museum of Ireland 11-13
Introduction by Jennifer Goff
Curator of Furniture, Music, Science & the Eileen Gray Collection 14-16
The Silver Collection 17-122
To whom it may concern
The collection of Irish silver in the National Museum of Ireland is one of the highlights of the national collections and is one of the largest of its kind in the world. It represents over a century of judicious collecting by successive museum curators augmented by a small number of key donations by individuals and collectors.
The one hundred-odd pieces of Irish silver in the collection being offered and dating primarily to the eighteenth century is exceptional for a number of reasons: it complements the Museum’s existing holdings, it contains pieces by makers not already represented in the collections or includes pieces that otherwise augment and fill in key gaps in our holdings and are all of exceptional quality. It includes rare pieces of provincial silver, such as the early silver teapot by the Cork silversmith Thomas Lilly, as well as items of historical importance like the unique presentation trowel used to lay the foundation stone for the ill-fated Huguenot settlement at New Geneva, Co. Waterford.
Its acquisition would transform the National Museum of Ireland’s collection into the premier collection of its type, surpassing the Irish silver holdings of rival institutions such as the Victoria & Albert Museum in London and the San Antonio Museum, Texas. Collections of this quality are exceptionally rare and are not normally offered for sale collectively but are usually sold off as individual lots. The dispersal of this collection piecemeal either by private treaty or at auction would represent a great loss to the country. Its purchase and donation to the national collections would be a philanthropic gesture of the highest calibre, raising the national profile of the donor along with associated publicity if so desired.
Should the Museum acquire the collection from a donor, we would undertake to put the collection on exhibition at the National Museum of Ireland - Decorative Arts & History, Collins Barracks for a period of at least one year. The Museum would host a high-profile exhibition opening. The collection would be named after the donor/sponsor if so desired, but should the donor wish to remain anonymous, the Museum would respect this and anonymity is provided for in the donation process.
Yours sincerely,
Raghnall Ó Floinn
Director
National Museum of Ireland
ASSESSMENT OF A LARGE COLLECTION OF IRISH SILVER TO COMPLEMENT THE NATIONAL MUSEUM OF IRELAND AT COLLINS BARRACKS by Dr. Thomas Sinsteden
Several major collections of Irish silver exist in America, Ireland and England yet the Irish silver held by the National Museum of Ireland at Collins Barracks is the strongest of any collection in existence. However it is far from a complete representation of the work that emanated from an extraordinary gifted and prolific group of artisans, highly ranked on a world wide scale. These craftsmen were and are organised by the Goldsmiths Guild of Dublin from the time of Charles I till the present, a unique achievement in itself. The output of these craftsmen in the 18 th century was approximately 1 oz of silver per inhabitant per year, similar to leading cities of the world, such as London or Paris. In the 18 th century their work in Dublin represented about 2-5 % of Dublin’s GDP. In Cork the numbers were similar. For this reason alone their work should be well represented and with as few gaps as possible in an Irish public institution such as the National Museum.
Of the 100 lots described in the catalogue there are a number of items which would enhance the Museum’s collection considerably. There is work from several important Irish goldsmith’s workshops that are so far not represented in the Museum. There are several silver items documenting important Irish historical events, which should remain in Ireland and be viewable to the public. There are several items of unusual style for the period of manufacture and thus rare. There is silver commissioned by prominent Irish families with their arms engraved upon them, a characteristic that makes the collecting and preservation of old silver imperative as a historical record of cultures past.
1: Of particular delight to my appreciation of Irish silver is the strawberry dish by John Pennefather, hailing from a Tipperary family, working in Dublin in the early 18 th century, engraved with the Wexford/Kilkenny family arms of Boyse. Records show that Pennefather did not have a large workshop and thus it is not surprising that only a few items from his workshop have survived. Not far from where I sit now, hangs a painting by French artist Desportes, a still life flower piece with a silver dish just like this Irish one filled with strawberries. Of course dishes are used for whatever suits yet this oil painting of circa 1700 once owned by Mrs Firestone, justifies the name of strawberry dishes for these attractive scalloped dishes. They speak of a Huguenot origin. It did not take long for fashions to spread from the continent via England to Ireland nor did the challenge for the quality of Huguenot craftsmanship escape the Irish goldsmith.
2: Of the provincial silver in the collection special mention is directed at the small Cork plain bullet tea pot by Thomas Lilly. He is one of the earlier Cork silversmiths working much in the style and quality of his contemporary William Clarke. Irish bullet tea pots of the George I period are rare so to have one from Cork would fill a much needed gap in the Museums provincial collection. It is a pity that the teapot does not have a family crest but this lack is compensated since the pot is marked with Dublin hallmarks for 1723. Very few Cork or Limerick pieces were transported to Dublin for hallmarking in the first half of the 18 th century, so any provincial pieces surviving with Dublin hallmarks and provincial makers or sponsors marks are of great interest. It shows that the provincial towns did make an effort to abide by the hallmarking laws in spite of the considerable risk to transport the manufactured silver to Dublin and back. On a rare occasion one can also find the typical Sterling mark hinting that the Dublin Goldsmiths Company turned a blind eye to the provincial towns using their own system of quality control in defiance to the hallmarking laws which state that all silver wrought in Ireland was to be hallmarked in Dublin. It also shows that the provincial towns took great pride in their sterling standard. When one analyses Cork silver for metal content on average the silver content is more compliant to sterling standard than Dublin silver. This may reflect that Cork silver was mostly wrought from melted down coins rather than a mixture of bullion and recycled old silver so commonly practiced in Dublin.
3: Thomas Isack is a noteworthy Dublin goldsmith whose work is as yet not represented in the Museum collection. He signed his name as Thomas
Isack as warden of the company in 1745. Although his workshop was small and only worked for about ten years around the 1740’s his few surviving items are of high quality. The orange strainer is one of two known by Thomas Isack and this one has a contemporary crest for an as yet unidentified family. A large and of superb quality tankard in Danish style, so like the examples made by William Plummer of York in the late 17 th Century, shows that there was interest in creating revival styles in the mid-18 th century in Dublin.
4: A set of four William & Mary style columnar candlesticks by John Grayham are another interesting example of replicating a style that was fifty years out of date. These example are cast, as opposed to raised by repoussee work done in the William & Mary period, giving these candlesticks a heavier gauge yet they are finely finished, We know that fashions today have such a strong influence on our society that we have to have the latest. It was not much different in the 18 th century for those who could afford it. As with architecture, silver is a wonderful medium where one can follow the change of styles from the plain faceted silver of the Queen Anne period to the exuberance of the rococo to the dainty but classical lines of the Adams period. Occasionally revival periods take hold like in the mid-18 th century chinoiserie so popular in the 1680’s-once again became popular. Replicas of older styles have always been made and still are today.
5: A shaped circular salver, not of extraordinary craftsmanship but engraved with the arms of an extraordinary important Irish family. This salver is engraved with the arms of Caulfield impaling Hickman, for James Caulfield, 1st Earl of Charlemont, a man of significant historical importance to Ireland. Charlemont was a strong proponent for Irish manufacture and even supported the goldsmith trade. He was a learned man who went on the Grand Tour as a young man and as with other prominent English and Irish aristocrats was painted by Batoni. As a result of his travels James was particularly interested in architecture and commissioned William Chambers to design and build the Casino at the Marino in Dublin, one of the most idealistic buildings in Europe. The salver would complement the Charlemont medal cabinet now in the Hugh Lane Gallery on Parnell Square Dublin.
6: Another important, (however unpopular) political figure for Ireland, was Robert Peel, later British prime minister who was appointed chief secretary to the Lord Lieutenant in a “Post Union” Ireland that was struggling with Catholic Emancipation. His rather brutal constabulary, known as the “Peelers” kept order while Daniel O’Connell’ s elegant orations fired up the Catholic cause. As chief secretary to the Lord Lieutenant, Peel would have received a silver freedom box from Dublin Corporation, so to have one awarded by Trinity College Dublin is of special historical interest.
7: A fascinating relic of history is found on the presentation trowel dedicated to the New Geneva Plantation in Waterford. Unfortunately the inscription is rather worn but still readable and it can be freshened a little to make it more legible. As already mentioned the Earl of Charlemont promoted Irish manufacture and the New Geneva Planation was such a promotion to welcome skilled watchmakers from Switzerland to settle in Waterford to manufacture clocks and watches. Although considerable money was spent to initiate the plan, obviously to a stage were the first stone was laid with this trowel, the well-intentioned plan did not prosper.
8: A large Cork oval galley tea tray by John Nicholson circa 1794. Silversmiths from provincial towns did not see the demand for the manufacture of large silver items as was commissioned in Dublin, especially after the Act of Union. This was a time when exceptionally large and heavy silver items emanated from the Dublin workshops, possibly in response to a changing political climate where some investment in the precious metal was an added bonus and which added to the grandness of display. This oval tray with its fine floral swags and pierced border still makes a grand display and will complement the large circular salver by William Reynolds already held by the Museum. Only a handful of large salvers from Cork appear to have survived. The central engraved family arms and the inscribed gift on the reverse from Mrs. Sarah Creed to William Lane provides an important provenance, the Lane family being most probably the ancestors of the art collector Hugh Lane.
9: A fine Cork teapot by Stephen Walshe showing the influence of Dutch style on Cork fashions arising from its active international maritime trade. The fluted elongated apple-shape with a wasted lower half rising out of a spreading foot is similar to Dutch examples of the mid-18 th century. In England the inverted pear-shape, with its lower section wasting almost to a point and soldered to a spreading foot, was popular in the 1750’ s and 1760’ s. The use of the inverted pear shape spread to many different objects such as cream jugs, coffee pots, kettles, urns and punch bowls. However surviving inverted pear-shaped tea pots, both plain and decorated, are relatively sparse suggesting fewer were made. This may explain why no Irish example is represented in the Museum. Also in America this shape was popular and an example by Myer Myers, of New York, also shows stylized acanthus leaf decoration on the wasted lower section similar to the Walshe teapot.
10 : A good quality salver from the workshop of Henry Waldron of Dublin. Henry appears only to have worked for a couple of years in mid-1750’s. He submitted his first package of silver as a free brother to the Goldsmith’s Hall for hallmarking on the 16 th July 1754 having trained under William Williamson. So far only two objects from his workshop are known.
11 : Silver from one of the most important houses and families in Ireland, the Conolly’s from Castletown House, Celbridge is not represented in the Museum. This small barrel-shaped bachelor tea pot from Michael Homer’s workshop in Dublin has the Conolly crest and would greatly enhance the Museum’s collection and possibly encourage the Museum to acquire more Castletown silver.
12 : Similarly, an oval meat dish with the arms of Wingfield of Powerscourt House county Wicklow, a family that is not represented in the Museum’s collection of silver. The dish is in a style attributed to Kandler, one of the talented brothers from Meissen, Germany who worked as a goldsmith in London. With its bold shell handles it was made popular by George Wickes who supplied many aristocratic families throughout England and Ireland with complete dinner sets in the 1730’s and 40’s. The almost complete surviving and thus unique example being the Earl of Kildare’s set from Carton and Leinster House. This meat dish emanated from the Dublin workshop of John Laughlin Snr. who also made more dishes and plates in this style to add to the Leinster set.
Dr Thomas Sinsteden MD graduated from Trinity College in 1976 (MD 1986)
He has published in The Silver Society Journal, Irish Arts Review and on a Texas private Collection; The Red McCombs, English & Irish Silver Collection.
Dr Thomas Sinsteden is a member of the Irish Plate Committee for the last 11 years and is the only non-Irish based member. Widely regarded as the world's leading active academic in the field of Irish Georgian silver, he has an encyclopaedic knowledge on the subject. He also knows the location of the best pieces of Irish silver both in private and public collections throughout the world and regularly helps organise trips for the top collectors to see them. He owns the largest archive on antique Irish Silver in private hands. Irish Silver Collection on offer to the National Museum
By Michael Kenny
The collection of Irish silver in the National Museum is one of the finest of its kind. Like most public collections it has been assembled through donation, purchase and, in earlier times, through long-term loan. It is therefore stronger in some areas than in others and it is one of the tasks of the museum curator to identify and address areas of weakness. A collection such as that of the National Museum is developed using a number of criteria such as design, function and geographical provenance. In terms of acquiring individual objects, the information required can generally be summed up under five headings - What, Who, Where, When, Why. The type and function of each piece is important, as is the name of the maker, the place where it was made, when it was made and the reason why it was made. In this way, our knowledge of the craft is enhanced, as is our knowledge of the social context in which items of silver grew or faded in popularity.
The significance of the material under consideration here is that it includes many high quality pieces which augment and enhance the existing collection under several – and in a few cases, all – of the headings noted above. It is principally domestic silver and the utensils help us to understand the food, drink and dietary habits of the social classes who bought and used them. The collection contains several rare and very beautiful examples of work by Cork and Limerick silversmiths. These include a bullet-shaped teapot by Thomas Lilly of Cork, 1723, an inverted pear-shaped teapot by Stephen Walshe of Cork, c.1750, a fine tea tray by John Nicholson of Cork, c.1794, and a punch ladle attributed to Caleb Cobeck of Limerick, c.1745. These are items of the highest importance. For example, bullet-shaped teapots from such an early date are quite rare, examples from Cork are rarer still and the known pieces of Thomas Lilly are few in number. Material of this calibre – Lilly was one of Cork’s finest silversmiths – seldom comes up for sale or auction. He is not represented in the Museum collection and the teapot would be a most desirable acquisition. The teapot by Stephen Walshe falls into the same category.
Some of the finest Dublin silversmiths, such as Thomas Bolton, David King, Robert Calderwood, Isaac d’Olier and Thomas Walker, are also represented. One of the most beautiful pieces is a strawberry dish dating to 1717, by John Pennyfather, who was associated with both Dublin and Kilkenny. Pennyfather is not represented in the National Museum collection. Another Dublin maker, Thomas Isack or Isaacs, is likewise absent. Those are the gaps that the curator seeks to fill, in order to provide both the public and the specialist researcher with the most comprehensive collection possible.
Many of the pieces carry family crests and coats of arms, which give them an additional historical, social and genealogical interest. Some of the more notable families whose crests are identifiable here include the Earl of Charlemont (Caulfield), Lord Barrymore (Barry), Viscount Powerscourt (Wingfield), Crosbie, High Sheriff of Kerry and Conolly of Castletown House.
The collection also includes several unique pieces of commemorative silver that are historical documents in their own right. These include the trowel used for the laying of the foundation stone of the New Geneva project in Waterford, 1784. Designed to house Swiss immigrant craftsmen from Geneva, the proposed town was to have included an assay office, but the project failed and the buildings were later taken over by the British army and converted into a barracks. It was to gain notoriety as a detention centre during the 1798 Rising. The trowel is, therefore, of major historical importance. Other items include a presentation box to Robert Peel from Trinity College in 1810 and the presentation trowel from the laying of the foundation stone of the Dublin city abattoir in 1880. All these objects tell stories, illustrating aspects of the social, economic and military history of Ireland.
The assemblage now being proposed for acquisition by the National Museum represents the fruits of many decades of shrewd collecting. In terms of design, function and provenance it is of a very high quality. Many of the pieces are extremely rare and the commemorative trowels and boxes are important historical artefacts. In terms of augmenting the holdings of the National Museum of Ireland, therefore, the offer represents a once in a lifetime opportunity to dramatically enhance its silver collection, for the benefit of the institution and the Irish public.
Michael Kenny
Keeper (Retired), Art and Industrial Division, National Museum of Ireland
10th September 2013
Michael Kenny is also a member of the plate committee of Ireland.
INTRODUCTION
Collection of Irish Silver by
Jennifer Goff Int B.A, M.A, Phd
Curator of Furniture, Music, Science & the Eileen Gray Collection
The National Museum of Ireland holds one of the largest collections of Irish silver in the world. It contains important pieces in both its archaeological and decorative arts collections which trace the development of the silversmith’s craft from the Viking age through to the present day. The archaeological collection is notably strong in examples of secular silver whereas the decorative arts collection contains some exceptional domestic and commemorative pieces. Parts of these national collections were inherited from earlier institutions, while others were acquired through purchases and generous donations overseen by successive generations of curators.
This provincial collection of silver represents a veritable anthology of Irish silver spanning the period from the early 18th century through to the late 19th century, ranging from the domestic and ceremonial – table wares and presentation pieces – to idiosyncratic pieces such as the 18th century cowrie shell nutmeg grater by John Nicholson. It also documents the story of domestic Irish silver between c1700 and c1900. It contains a number of important commemorative pieces such as the New Geneva Presentation Trowel by Robert Breading which was used in laying the foundation stone for the city of New Geneva, Co Waterford in 1784. Another presentation trowel in this collection commemorates the Dublin Public Abattoir in 1880, still with its original case. There is also a box, made by Aneas Ryan, which Trinity College Dublin presented to Robert Peel (Chief Secretary in Ireland and later British Prime Minister) in 1810.
In its entirety the collection closely documents the work of some of Ireland’s most accomplished silversmiths such as Thomas Bolton, David King, and Robert Calderwood. As with other trades, the craft of silver smithing was passed down from one generation to the next. This collection represents several generations of the same families of silversmiths including the Walker, Williamson, Townsend and West families from Dublin. Women smiths are represented in the collection by a rare work by Jane Daniel, an early plain George II bowl.
Some of the pieces, if displayed alongside their fellows in the National Museum of Ireland’s collection, will effectively show the stylistic development of an individual maker throughout their entire career such as William Williamson, William Townsend, George Hodder, and Robert Breading. Other makers in the collection are unrepresented in the National Collections such as John Pennyfather, Henry Waldron, Thomas Isaac, Theophilus Harvey, and Caleb Cobeck. The collection contains rare pieces of work by particular makers such as an early silver bowl by Thomas Sutton, a pair of George II candlesticks by Isaac D’Olier or a cake lifter by Arthur Murphy from 1808. Other forms not so far represented include sauce tureens, of which this collection has sets made by William Bond from 1786 and John Sherwin dating to 1801.
A number of pieces demonstrate not only a particular silversmith’s stylistic evolution but also clearly show how cultural and social tastes changed and those which prevailed. The collection contains four teapots and eight coffee pots. The addition of these pieces to the National Collections will effectively trace the development of tea and coffee drinking in Ireland in the 18th century. The collection also includes unusual flatware such as ice cream spades, cake lifters, grape scissors, asparagus tongs, potato and pickle forks as well as personal ephemera such as a pair of silver spectacles, a gentleman’s tobacco holder and a matchbox case.
All the principal styles of ornamentation and decoration are represented in this collection, ranging from Rococo, early to late Georgian, Classical, Neo- Classical and Regency designs. Some pieces have important armorial crests including a salver with the Charlemont Crest and a meat platter with the Powerscourt Crest.
With the foundation of the Company of Goldsmiths of Dublin in 1637, control over silversmiths was exercised, and pieces were hallmarked to guarantee quality. The fear of loss through sending precious metals to Dublin is shown in that silversmiths in centres such as Cork, Galway, Limerick, Kinsale and Waterford had their own official town marks. Silver centres, other than Dublin are also represented in this collection, with works by makers from Cork, Clonmel and Limerick. Cork pieces in this collection include a number of exceptional teapots – notably an unusual inverted pear- shaped teapot by Stephen Walshe from 1750 and a late 18th century teapot by John Warner.
From all of these viewpoints this is an invaluable collection of Irish silver of truly national significance. Individual pieces provide information on makers, locations, and stylistic developments. This collection is pertinent in terms of its value not only to Ireland’s social and cultural history but also in what it can contribute to the story of silver making in this country.
An Early William III Dublin Bread Plate or Communion
Plate by Thomas Bolton 1701
Diameter 24½ cm. Weight 10 oz
Totally plain of stepped circular form with a complete set of hallmarks to reverse.
A Dublin Queen Anne Punch Bowl by Thomas Bolton 1705
Diameter 20 cm, Height 10 cm, Weight 20 oz
Punch Bowl by Thomas Bolton, circa 1705 with maker’s mark only to underside of base. His name is synonymous with Irish silver. Regarded by many as the most important silversmith Ireland every produced. He was warden, master and assay master for the Goldsmith’s guild and he even became Lord Mayor of Dublin in 1716. Bolton Street in Dublin is named after him. This particular piece is plain, almost hemispherical with an applied moulded rim on stepped raised foot. Beautiful patination and lovely in the hand. This bowl is nearly identical in design to one that Thomas Bolton made in 1696 and which was mass reproduced by the American firm Tuttle Silver Company of Boston.
George I (1714-1727) A Dublin George I Large Tazza by David King 1715
Diameter 32.5 cm, Height 8.5cm, Weight 34. oz 16 dwts
A large plain salver with moulded border on trumpet foot. The centre is finely engraved with arms of Waller impaling Jocelyn for Samuel Waller of Newport Co. Tipperary who married Anne, daughter to Thomas Jocelyn (brother to the Lord Chancellor of Ireland, Robert Jocelyn 1 st Earl of Roden). Few of these large servers, popular in the list half of the 18 th century in Ireland, have survived.
Fully hallmarked underneath with scratch weight of 35=9. Trumpet foot marked with harpcrowned.
A Dublin George I Cup by Robert Smith 1715
Height 17cm and Weight 21oz 4dwts Typical bell shaped form, standing on a central circular foot with two handles and a central band. Smith was warden from 1700-03 and master of the goldsmiths guild in 1705. The cup bears the family coat of arms of Swettenham and the motto "ex Sudore Vultus” which roughly translates “ from sweat or toil comes beauty”. The opposite side of the cup engraved with a crest.
A Cork George I Pair of Tazzae by William Clarke 1715
13 cm Wide by Height 4 1/2 cm. Weight 10 oz 14 dwts
A Cork George I Pair of crested Tazzae by William Clarke 1715, marked on the front with WC sterling WC, and weighing 333 grams, dimensions 13 cm wide by 4 1/2 cm high. The arms are those of the Earls of Barrymore, Fota Island Cork, probably James Barry 4th Earl. Lt Col in the army of King William III 1688; Col, 13th Regiment of Foot 1702-15; commanded a regiment under Lord Galway in Spain, where he was taken prisoner after the English defeat at Almanza 1707; Brig General 1707; Maj General 1709; Lieut General 1710/11; Member of Parliament (Tory) for Stockbridge 1710-13 and 1714-15 and for Wigan 1715-27 and 1734-47; Privy Councillor [I] 1713/4; arrested on suspicion of treason 1715
A Rare Set of Twelve Pistol Handled Knives circa 1715
Length 24 cm
Of Typical form with steel blades and bearing twin crests.
A George I Dublin Strawberry Dish by John Pennyfather
1717
Diameter: 91/2", Weight 15.8 oz.; Scratch weight of 16=2=12
A fine plain 20 fluted strawberry dish with scalloped rim engraved contemporary central arms. Although not the earliest recorded Irish strawberry dish its association with Kilkenny through its maker, John Pennyfather makes this a particularly interesting piece of Irish silver. The Pennyfather family settled in Tipperary and became landowners in Co. Kilkenny. John appears to have lived in Kilkenny before being apprenticed in Dublin as a goldsmith. The Pennyfathers were landowners in Co Kilkenny, and it is fairly clear that John was living in the city in 1703. In 1699 Kilkenny City records note
"To pay Mr John Pennifather £7.4.4 due to him for repairing the scabbard of the King's sword."
In 1703 he was Master of the Hammermen. Bennett records that from 1704-1721 John Pennyfather was a freeman of Dublin Goldsmiths Company.The City records note that in 1705 he was asked whether he intended to reside again within the city. And the following year it noted "Mr John Pennefather is removed with his family to the city of Dublin."- Courtesy Edward Law. The first record of having silver assayed in Dublin is from 1706. By 1710 he appears to have returned to Kilkenny. Unfortunately the Goldsmith’s Company assay records are missing from 1715 to 1724. It is quite possible he sent silver to be hallmarked from Kilkenny to Dublin during that period. The centre engraved with baroque coat-of-arms of Boyse, Bannow, County Wexford. Nathaniel Boyse married Francis daughter of Samuel Helsham of Kilkenny. A communion cup and alms plate 1681 inscribed ‘Samuel Helsham and James Tasker, churchwarden’ survive. (Sweeney #405). i
A Dublin George I Slop Bowl by Thomas Sutton 1717
Diameter 18 cm, Height 10.5 cm, Weight 14 oz 17dwts
A plain bowl with a slightly everted rim strengthened with an applied plain molding and supported by shallow moulded foot. The arms within a contemporary engraved baroque cartouche may be for Wilson. Marked underneath with harpcrowned, date letter for 1717 and maker’s mark of Thomas Sutton. This shape and size is frequently seen in Chinese Ming and Kangxi period porcelain predating this bowl. These bowls were used at the tea table for the discarded remains of the teacup giving them their name ‘slop bowl’ The bowls would of course also have been used to hold or serve anything suitable at the table demonstrating silver’s broad utility while remaining impressively decorative.
A Dublin George I Tazza by Joseph Walker 1717
22 1/2 cm Diameter by , Height 6 1/2 cm. Weight 15 oz 3 dwts
A Dublin George I Tazza with original armorial and scratch weight of 15:15. Fully marked to reverse and foot marked with Harp and 576 scratched to inside of foot. Motto " Sacrificium Deo C'or Contritum ".
A Small Dublin George I Bowl by Joseph Walker 1715
Diameter 10 cm Wide by, Height 5 1/2 cm . Weight 3 oz 10 dwts
A Dublin George I Plain Small Bowl by Thomas Walker 1719
12 cm diameter of bowl by 7cm diameter of foot. Weight 6 oz 3 dwts
Scratch weight of 6"14 1/2. Fully hallmarked to base under foot. A Pair of Dublin George I Diamond Faceted Candlesticks
by David King c 1720
Height 15.5 cm, Diameter of base 9.75 cm, Weight 19 oz 10 dwts A Fine Pair of Dublin George I Candlesticks on diamond faceted bases by David King circa 1720. This style of faceted bases on candlesticks shows another trend that took hold in Ireland from around 1715 to 1735 and now more Irish ones appear to survive than English. No date letter, marked on the sockets and in the wells of the bases. Earliest Known Cork George I Bullet Teapot by Thomas
Lilly 1723
Height 13 ½ cm and Weight 12 oz
This plain elegant silver teapot weighs 12 troy ounces and is 5 1/4 inches long and is proof that Cork enjoyed the so called ‘China drink’ tea from the early 1720’s. This example is stamped with the makers mark twice to base by Thomas Lilly and it also bears Dublin Hallmarks for 1723. The lid is part marked with the corresponding crowned harp. Thomas Lilly was possibly one of the finest of the early Cork Silversmiths and yet less than a dozen pieces by him are known to have survived all of which are fantastic quality.
Dublin George I Bowl by David King 1723
Diameter 16 3/4 cm by Height 11 cm. Weight 14oz 16 dwts
Plain circular bowl of tapering form with corked rim and on a stepped circular foot. Fully hallmarked underneath and with a scratch weight of 18oz 5½ dwts.
A Dublin George I Bowl by Mathew Walker 1724
Diameter 15cm by Height 8 ½ cm. Weight 10 0z 4 dwts
Of Plain circular form on stepped collet foot and with a scratch weight 12'1. Fully hallmarked to base under foot.
Rare Set of Four Early Dublin George I Candlesticks by
Unidentified maker 1726
Height 16 cm by 9 ½ cm Diameter. Scratch weight of 11: 17, 11: 12 ½, 11: 11 ½ and 11: 17.
Sets of four George I Irish candlesticks are very hard to find. The unusual shape of cantered corners separate these sticks from their more common diamond faceted base counterparts. Fully hallmarked in wells, and part marked on sconces. The makers mark is poorly struck but with a crown above it, possibly for Peter Racine or John Ravenscroft or Philip Kingsley.
A Fine Dublin George I Coffee Pot by David King 1727
Height 23 ½ cm and scratch Weight of 25:12 David King was located in Dublin’s Skinner Row. He was apprenticed to John Cuthbert in 1681 and nine years later became a freeman. He was a warden and master of the Guild, and was elected on the Common Council City of Dublin in 1714, the same year he became Sheriff. Dublin’s King Street is named after him. He died in 1737. Marked on the side near handle and part marked on the lid with the harp. Totally plain of tapering cylindrical shape, weighing 26 troy ounces including wooden handle and with a scratch weight 25:12. It is 23 ½ cm tall . A Dublin George I Lemon Strainer 1727
Length 24 ½ cm and Weight 4 oz 12 dwts
The lemon strainer has an evented lip above a hemispherical bowl pierced with concentric round holes and plain flat shaped opposing handles for resting on the rim of a small punch bowl or cup. Marked under each handle with an extremely well preserved crisp harpcrowned and the date letter h for 1726/27 with a harpcrowned between piercings on the underside of the bowl. A scratch weight of 4=16 engraved under one handle. No crests and no makers mark.
George II 1727-1760 A Dublin George II Plain crested Oval Spoon Tray by
William Williamson 1728
Length 18 cm. Weight 2 oz 13 dwts
With a moulded border centrally engraved with an unidentified crest. Marked underneath with harpcrowned, date letter, maker’s mark and engraved scratch weight 2=19. Only a handful of Irish spoon trays from this period survive. 18 cm long, weight 83 grams.
A Dublin George II Rare Rectangular Salver by William
Williamson 1728
Length 37 cm by 29 1/2 cm Wide. Weight 45 oz 1 dwt
The rarest form of salver to find in Irish Silver. A totally plain salver standing on four bracket feet and with a lavish armorial to centre. Fully hallmarked to reverse.
An Early Dublin George II Coffee Pot by William
Williamson 1729
Height 23 ½ cm by Length 19cm by 11cm Wide. Weight 25 oz
It has an original coat of arms to the side inside a florid cartouche and is fully hallmarked to the side near the handle. It measures 9.25 inches tall by 7.5 inches from handle to spout and is 4 3/8 inches in diameter across the base. It has a lovely straight spout together with a domed lid which is very rare and unusual combination in Irish silver. This form of coffee pot is much more prevalent in English pots of the same period. The lid is part marked with the harp. The wooden handle is attached to the body by a cast silver scrolled terminal to the base of the handle and a scroll and drop detailed terminal to the top. It weighs 25 ounces including the wooden handle and has got a beautiful colour and patination. The only other Irish Coffee Pot of this form known is one made in Cork by Anthony Semirot 1715 illustrated on page 49 of Cork Silver and Gold , Four Centuries of Craftsmanship by John R. Bowen and Conor O’Brien. A Pair of Dublin George II Candlesticks by Robert
Calderwood 1735
Height 17 cm, Width of base 10 cm, Weight 21oz 13 dwts
A pair of circular based candlesticks with depressed centres, known as wells to catch the candle drippings. It was almost by convention that the Dublin Goldsmiths Company struck the hallmarks in the well prior to 1740 and from then on the side of the base. Because the wells suffered more from cleaning than other parts of the candlesticks the marks are frequently rubbed. They have the mark of the rather poorly cut harpcrowned found on some of the finest Irish wrought silver. In 1735 Thomas Brown the seal cutter or punch cutter was replaced by Mr Standish and this harpcrowned punch may have been his first attempt. These candlesticks do not have a date letter but do have the same harpcrowned as on an identical set by John Hamilton with the date letter Q. Again almost by convention the Dublin Goldsmith’s Company failed to strike date letters on most (except for flatware) of the wrought silver brought in for hallmarking between 1730 and 1770. Flatware was predominantly fully hallmarked including date letters. Nozzles marked with Hibernia. Numbered 1 and 2 under base. A Dublin George II Salver by John Williamson 1736
Diameter 28cms. Weight 19 oz 15dwts
Engraved with contemporary berainesque engraving centred by the King arms, on three feet. This particular style of engraving only lasted in Ireland for about seven years during the 1730's. The shaped border is an unusually feature which you rarely see in Irish silver. This piece of silver is in Ref. Gurr Johns Inventory 1914 p.70, £23:10 Provenance: Rockingham House.
A George II Dublin Lemon Strainer by Thomas Isaacs
1736
Diameter 25 cm. Weight 4 oz 7 dwts
With shaped lug handles, one engraved with a contemporary dragon's head crest. Hallmarked on each handle and also on centre of bowl.
A Dublin George 11 Salver by Thomas Walker 1737
17 cm Diameter. Weight 8 oz 9dwts . Salver on three feet and original armorial with the Arms of Ussher, Galway.
Dublin George II Pair of Tazzae by Alexander Browne 1737
15½ cm Diameter by Height 4 cm. Weight 13 oz 13 dwt. They have scratch weights of 7: 15 1/2 and 7: 12 respectively and are crested to the centre. The arms are those of Butler of Glengall.
A Dublin George II Mug by Alexander Brown 1740
Height 11½ cm by 7½ cm Wide. Weight 8 oz 8 dwts Plain on a small circular collet foot and with scratch weight 9' 2".
A Dublin George II Mug by Thomas Walker circa 1740
11 cm High by 7½ cm Diameter. Weigh t9 oz 2dwts Plain on stepped foot and with original armorial and marked on side near handle. A Dublin George II Cream Jug by Thomas Williamson
circa 1740
Height 11cm. Weight 6 oz
A George II helmet-shaped cream jug on three typically Irish lion headed snake entwined legs with paw feet. The plain jug with a slightly later unidentified crest and motto has an applied moulded mid-rib and leaf- capped scroll handle.
Pair of Cork George II Waiters by George Hodder circa
1745
Diameter 17 ½ cm. Weight 17oz 10 dwts Totally plain on three feet and shaped circular undulating border interspersed with scroll-work. Marked GH and Sterling to reverse.
A Fantastic Chased Pair of Dublin George II Salt Cellars
by Robert Calderwood circa1745
Heavy pair of salt cellars on three masked knuckled feet and gilded interiors. Crested and hallmarked to bases and with scratch weights of 6 oz 4 dwts and 5 oz 16dwts.
Dublin George II Cream Jug by Andrew Goodwin c. 1745
13 cm Length from lip to handle, by 7cm Wide, by Height 11 cm . Weight 5 oz 18 dwts
Dublin George II Cream Jug by William Townsend 1745
11cm Length from lip to handle, by 6 ½ cm Wide, by Height 11 ½ cm . Weight 4 oz 3dwts An Exceptionally Large Dublin George II Salver by
Thomas Walker 1745
Wide 54.7 cm. Weight 185 oz. 4 dwt Shaped circular and on four leaf-capped pad feet, the rim cast with shells and foliage, alternating with putto masks, finely engraved with a coat-of- arms within putto, animal mask and scroll mantling, marked underneath, further engraved with a scratch weight '188 oz=15 d'
The arms are those of Pole of Aldenham Abbey, co. Hereford. Possibly the finest plain Irish Salver of this size ever made. Provenance Sir Edward Marshall Hall, K.C. (1858-1927). Sir Edward Marshall Hall, K.C. deceased; Christie's, London, 23 June 1927, lot 86 £334 to the Goldsmiths and Silversmiths.
A Dublin George II Small Bowl by Jane Daniel c. 1745
12 cm Diameter by Height 7 ½ cm. Weight 5 oz 16 dwts
A plain circular bowl with flared rim and sitting on a central collet foot. Crested to the front and struck with makers mark underneath. Jane Daniel was a female silversmith who took over her husband’s business when he died.
Rare Provincial Punch ladle by C.C (possibly for Caleb
Cobeck of Limerick) circa 1745
37 cm Long and 6¾ cm Width of bowl.
Deep circular bowl with a silver stem attached with a tear drop socket. It has a turned fruit wood handle. Lovely patination and great marks to the back of bowl.
A Dublin George II Salver by Bartholomew Mosse 1749
43cm Diameter. Weight 76 oz 8dwts This is the largest piece known to have been made by this silversmith. On four feet with shell, bacchic putto mask, leaf and scroll-cast rim and fully hallmarked underneath. Struck with makers mark twice. The arms are those of Maxwell impaling Montgomery, for Robert Maxwell (died 1769) of Finnebrogue, Co. Down and his second wife Mary daughter of William Montgomery of Grey Abbey, Co. Down whom he married in 1749 .
A Dublin George II Salver by Henry Waldron c 1745 Shaped circular undulating border interspersed with bold scrolling foliage raised on three leaf-capped scroll feet. Central arms, engraved within foliage and rocaille cartouche, are of Crosbie impaling Crosbie, for James Crosbie of Ballyheigue Castle, Tralee, high sheriff of co. Kerry, who married circa 1751, his cousin Mary, daughter of Pierse Crosbie. Items with Henry Waldron mark rarely come on the market and only a handful have been documented.Diameter 30.5 cm, Height 4 cm, Weight 32 oz 7dwts.
A Pair of Dublin George II Waiters by James Wilme 1740 Shaped circular undulating border interspersed with scroll-work. Marked underneath with makers mark, Hibernia and harpcrowned and no date letter.. Centrally engraved with the arms of Meade, Earls of Clanwilliam. Diameter 17 cm, Weight 19 oz 18 dwts and engraved with Scratch Weight 10=13 and 11=1
A Pair of Dublin George II Waiters by Andrew Goodwin
and George Cartwright c. 1740 Pair of Waiters with shaped undulating borders interspersed with scroll-work. Centrally engraved crests. Both marked underneath with harprcowned and hibernia and no date letter. One marked with Andrew Goodwin’s mark and the other Andrew Goodwin and George Cartwright, circa 1740. Diameter 15 cm, Weight 17 oz 9 dwts.
A Small Dublin George II Silver-gilt Bowl and Cover 1749
Height 10 cm by 9 cm Wide. Weight 5oz 5 dwts
The Bowl and Cover crested to lid and base circa 1749. Hallmarked to base and on the rim of lid. Only about eight of these examples exist in Irish silver which are much more prevalent in English silver of the same time period.
An Inverted Cork Pear-shaped Teapot by Stephen Walshe 1750
Height 15cm. Weight 23 oz 2dwts including wooden handle
This particular example, possibly unique in Cork silver, is the only known teapot of this inverted pear shape with this type of decoration. For a similar plain example by William Reynolds circa 1755 see page 73 Cork Silver and Gold by John R. Bowen and Conor O’Brien.The lobed compressed-baluster body with stylised fans and husks, applied with a turned-wooden leaf-capped loop handle, the hinged cover with conforming decoration and disc finial, raised on circular foot. Stamped to the base with Walshe, SW and Sterling, and with scratch weight of 23”02.
DUBLIN GEORGE II CANDLESTICKS NOZZLES WITH MARK OF ISSAC D'OLIER CIRCA 1750
Height 24 cm. Weight 52 oz 3dwts
Each baluster on square stepped base, the fluted stems terminate in spool-shaped sockets, with detachable reeded nozzles, the bases and one detachable nozzle engraved with a crest, each marked on base, sockets and nozzles.
A Cork George II Mug by George Hodder circa 1750
Height 10 ¾ cm by 12 ¾ cm Wide. Weight 9 oz 5 dwts
Of baluster form with double scrolled handle on a stepped foot and is marked GH and Sterling to base. George Hodder was a freeman in 1745 and died in 1771. A Freeman was allowed to produce silver and sell their wares from a premises to the general public. Hodder was possibly the finest of the Cork silversmiths of this period. He became Lord Mayor of Cork in 1754, following in his grandfather’s footsteps who happened to be the first Protestant man to hold this civic office.
A Dublin George II Salver with original armorial by William Townsend 1752
Width 37cm. Weight 35 oz 8 dwts
With a scratch weight of 37"3. Marked on reverse and on three scrolling feet and with a border interspersed with human masks.
A Plain Dublin George II Sauceboat by William Williamson II 1752-54
23½ cm Long by 11 cm Wide by 14 cm Height to handle, Weight 13 oz 10 dwts.
Totally plain with wavy rim on three shell feet and with s and c scrool handle. Fully hallmarked to base.
A Dublin George II Salver by Michael Fowler 1754
Diameter 35 1/3 cm. Weight 38 oz 12 dwts
Shaped-circular form with a moulded and applied border of shell and scroll motifs, raised on four scroll feet embellished with acanthus leaves, the centre flat chased with an outer band of trailing foliage and panels of hatching, later engraved with presentation inscription
"Joseph Booth Esqr in token of my Esteem Edward Tisdall 30th March 1821",
reverse engraved "39.10". The Gore-Booths of Lissadell House in County Sligo were synonymous with the poet William Butler Yeats.
A Dublin George II Coffee Pot by James Warren 1755
Height 25 ¾ cm by 9 cm Wide by 24 cm Length from handle to spout. Weight 29 oz 17 dwts
An elaborately chased coffee pot with tucked in base showing typical Irish whimsical chasing. On one side showing two birds kissing and the other a putti astride a shell holding a trident all amongst scrolls, shells, flowers and fish. Marked one side near handle with JW script, harpcrowned, Hibernia and no date letter for circa 1755. Unfortunately several workshops in Dublin submitted plate for hallmarking in the 1750’s and 1760’s with initials JW. As a result it is difficult to determine whose JW this belongs too. Candidates are John Wilme Snr., John Wilme Jnr. and James Warren. The arms engraved within the rococo cartouche are half removed which may well reflect a change, such as a death or divorce on the female side. Provenance : John O'Reilly, Fine Art Show Rooms, 6 September 1967 A Dublin George II Sugar Bowl by John Wilme Jnr c. 1755
Diameter 16½ cm, Height 8½ cm, Weight 11oz 6dwts
A deep fluted almost straight sided sugar bowl with a bold everted rim decorated with applied cast and chased floral work. The upper inside of the bowl is decorated with the recognizable Irish flat- chased floral-work within each flute. This type of decoration is commonly seen on Irish soup ladles of this period. Another typical Irish feature on this bowl are the three quirky female headed cast legs with scroll and shell feet. Marked underneath with makers mark JW script for John Wilme Jnr. or James Warren and hallmarks without date letter circa 1755.
A Set of Four Dublin George II Candlesticks by William Townsend circa 1755
11cm Wide by Height 24 cm. Combined Weight 81 oz
A set of four cast shell-work corners on shaped square bases and vertical fluted stems with notches at mid-section. A band of gadrooning on lower part of sockets fitted with four marked nozzles.Crested to bases and scounces. Hallmarked to bases, scounces and capitals. Typical of the time period and of superior gauge and condition. They weigh 617, 624,637 and 635 grams respectively or nearly 81 troy ounces.
A Dublin George II Beer Jug by William Townsend circa 1755
Height 24 cm by 12 cm Wide and Length of spout over handle is 20 cm. Weight 30 oz 6 dwts
The beer jug is totally plain and baluster in shape and is marked at the side near the handle. It has a leaf capped scroll handle, drop bead spout, and is on a spreading circular foot.
A Large Dublin George II chased Sauceboat by Samuel Walker circa 1755
22.5 cm Length over handle by Height 13.5 cm by 11 cm Wide. Weight 11oz 19 dwts. With Punched beaded rim and sitting on three human masked knuckled feet and s and c scrool handle. Crested and fully hallmarked to base.
Dublin George II Large Sauceboat by Samuel Walker circa 1755
Height 11cm by 12 cm Wide. Weight 12 oz 16 dwts Fully marked underneath and on three masked knuckled feet and with s and c scroll handle. A Pair of Dublin George II Graduate Nesting Beakers by Robert Calderwood circa 1755
Height of taller beaker is 8cm. Diameter 9cm, Weight 4oz 18dwts. Smaller Height is 7 ½ cm, Diameter 9 ½ cm Weight 3 oz 18 dwts
Straight sided with slightly flared lip and engraved with a winged lion armorial. Hallmarked to base with RC harp and hibernia.
George III (1760-1820)
An Extremely Heavy George III Dublin Coffee Pot by William Townsend 1764
Height 31 cm. Weight 41 oz 8 dwts
The body of the pot is heavily chased and it has a spout modeled as the head of a mythical bird with mane and scales. Elaborately decorated and sitting on a central circular foot and has an artichoke finial. A Dublin George III Coffee pot by James Warren c 1765
Height 25 cm by Width 10 cm by 22cm length of handle to spout. Weight 30 oz 10 dwts including handle Of baluster form chased with birds, palm trees, waterfalls, scrolls and foliage on moulded foot the scrolling cast spout with female mask to base, the stepped cover with pineapple finial, double scroll wooden handle. Engraved with the arms and crest of Waller, the crest being a walnut tree with the Royal Coat of Arms of France hanging from it.
The crest had just been a walnut tree until 1415, when at the battle of Agincourt Edmound de Waller took the Duke of Orleans prisoner. He kept him prisoner for 24 years when he finally ransomed him back and hung the Royal coat of Arms of France from his tree to commemorate the event. Scratch weight 29 oz 7 dwts to base.
Provenance : The John Rowan Collection ,acquired by S.J. Shrubsole , than sold to an anonymous Private Collection . A Dublin George III oval shell handled serving dish by John Laughlin circa 1765
Length 35½ cm by 24½ cm Wide, Weight 26 oz 8 dwts
These attractive oval shell-handled and ribbon-tied reeded bordered serving dishes were made popular by Charles Kandler in London. He was influenced by a style used by the Meissen factory in porcelain. Since Charles Kandler’s brother, Joachim was a senior modelist at the Meissen factory it is no surprise to find that at least in this case, a design in porcelain preceded the design in silver. Several other Irish sets exist and it’s not uncommon to find the remains of earlier hallmarks on these pieces, telling us that, as fashions changed the older dishes where remodelled to the new fashion. Many of these type of dishes where refashioned by Laughlin, father and son but some were refashioned by Robert Calderwood. This dish is engraved with the arms of Wingfield, for Richard, 3rd Viscount Powerscourt, of Powerscourt House Dublin and Powerscourt, Enniskerry, co. Wicklow.
A Dublin George III Fine Set of Four Candlesticks by John Graham circa 1770
Height 18½ cm, Weight 39 oz 16 dwts
The candlesticks are in the style of the William & Mary period with vertical fluted shafts and gadrooned octagonal bases. The columns cast in halves and the bases separately, are of a heavier gage than usually found in the William & Mary period and thus in excellent condition with no splits or worn through parts. It is very rare to find mid to late 18 th century Irish silver copied from an older style. One is reminded of the plate at Trinity College Dublin were inscribed two handled cups were commissioned in the old style at a similar time when these candlesticks were made to revive the memory of the original cups donated in the late 17 th and early 18 th century but subsequently sold to raise money. Each candlestick is engraved with a crest, probably that of Ellliot. Two of the candlesticks show a baron's coronet above the crest, suggesting that of Sir Gilbert Elliot, 1751-1814, viceroy of Corsica, created in 1797 Baron Minto of Minto, co. Roxburgh, envoy extraordinary to Vienna in 1779, president of the Board of Control 1806, governor general of Bengal, created 1813 Viscount Melgund & Earl of Minto.
Dublin George III Plain sauceboat by Michael Walsh circa 1770
22cm Long by 11 1/2 cm Wide by Height 13 cm. Weight 14 oz 5 dwts
Crested and with makers mark struck 3 times to base. Identical pair in the San Antonio Museum in Texas, USA.
A Pair of Dublin George III Waiters by William Townsend circa 1770
Diameter 16 ½ cm. Weight 15 oz 19 dwts
Totally plain on three hoof feet and with original armorial and scratch weights 8: 6 and 8: 4 respectively. The arms are those of O'Brien impaling ????.
A Dublin Circular Salver by John Laughlin circa 1770
Diameter 36 cm, Weight 41 oz 9dwts
A historically important plain salver with gadrooned border finely engraved with the arms of Caulfield impaling Hickman for James Caulfield, 4th Viscount and 1st Earl of Charlemont. James married on 2nd July 1768 Mary, daughter of Thomas Hickman, Brickhill Co. Clare.
James 1st Earl was ‘a genuine whig and patriot’ and fought bravely for Ireland’s cause in the Irish House of Parliament. He was a scholar and collector of art and architecture and left a legacy few can match in Ireland. He built Charlemont House in Dublin, now appropriately housing the Lane Collection of Art and the architectural masterpiece, the Marino Casino on the Malahide Road, designed by William Chambers. His portrait by Pompeo Batoni, done while on the Grand Tour in Rome in the late 1750’s, now hangs at the Yale Centre of British Art, Paul Mellon Collection.
It is likely that this salver was commissioned for his marriage to Mary.
A Rare Dublin George III Duty Dodger Cream Jug circa 1770
Height 8 ½ cm, Width 6 ½ cm by 11 ½ cm length from handle to spout. Weight 6 oz 7dwts.
Of barrel shaped by the previously unknown maker A*I. Duty Dodgering was the practice of reusing old pieces of hallmarked silver and soldering them into the bases of the newly made items or simply submitting a smaller piece of silver (for example a counter dish and placing a coffee pot on it afterwards) and using this piece to place in larger pieces thereby avoiding the tax of 6d per ounce.
A Pair of Two Handled Cups & Covers by John Lloyd Dublin 1771
Height 37cm by 30cm Width over handles. Scratch Weights of 63 1/2 oz 8dts and 60 oz 4dwts A large pair of two handled cups 7 covers with variant arms of Alcock of Wilton Castle, Enniscorthy. These are the same arms as on a pair of large salvers by Thomas Jones 1778 and retailed by Anastasia Flemming of Waterford with the inscription “Gift of the Corporation of Waterford to Henry Alcock, Major 1778, for supplying the poor in the City at his own expense with provisions during that time of great Scarcity”. (Sold at Slane Castle, Sotheby’s 28 November 1978, lot 316, £3900) These cups with the spiral fluting to their lower half and spiral fluting to the upper part of the covers closely resemble a pair of cups made by Thomas Jones, Dublin and retailed by Anastasia Flemming of Waterford, finely engraved with a similar inscription to Henry Alcock. They are now housed in the Bishops Palace in Waterford. The cups by John Lloyd must have been part of the commission from the City of Waterford but for some reason not delivered to Anastasia Flemming who would have commissioned the engraving of the Waterford arms and inscription to Alcock. These cups also have a retail mark, this time of John Karr of Dublin and a scratch weight 63 1/2 = 8 and 60=4. The lids are struck three times with makers mark only. 37cm high by 30cm wide over handles. Weight 61=16 and 59=3 respectively.
Dublin George III Armorial Salver by John Lloyd 1774
43 ½ cm Diameter by Height 6cm. Weight 69 oz 18dwts
Fully struck with hallmarks to reverse and maker’s mark struck twice and with original armorial to the centre on claw and ball feet.
A Pair of Dublin George III Waiters by John Lloyd 1775
18 ½ cm Diameter. Weight 21 oz 6dwts Plain waiters with original armorials to the centre on three hoof feet and fully hallmarked to reverse including date letter.
A Dublin George III Coconut Cup by John Lloyd circa 1775
Height 14cm by 9 cm Wide. On a silver stemmed foot with bright-cut decoration and marked underneath. Small crack to side of coconut.
A Dublin George III Mug-shaped Tankard by Joseph Jackson 1775
Height 15 ½ cm by Length17 ½ cm by 13 ½ cm Wide cm Weight 20 oz 15 dwts
With original armorial to the front and fully hallmarked to the side. A truly unique piece of silver not only due to its large size but also its shape.
A Classical Dublin Chased Coffee Pot by John Lloyd 1774 A chased baluster coffee pot with a cast curved spout ¾ covered with flutes raised on a high and narrow circular foot with a hinged domed similarly chased lid with bud finial. The body is chased in classical style with swags of drapery supported by medallion heads which resemble theologians of the renaissance more than Roman Emperors. The arms of Blake, Galway are engraved within a bay leaf wreath. It has a height of 12 1/2 inches by 9 1/2 inches length of handle over spout and has a crest and armorial and weighs 32 oz including wooden handle.
A plain baluster coffee pot by John Lloyd Dublin c.1775 On a high beaded circular foot with a cast curved spout decorated with flutes and a domed hinged cover with cone finial. Engraved with unidentified arms. Marked on side near handle and on lip of lid but without date letters. Height 33 cm, weight 33” 3 troy ounces.
A Dublin George III Spoon Tray by Charles Townsend 1775
Length 20 cm by 10 cm Wide. Weight 3 oz 12 dwts
Of oval form with initials to the centre and wavy rim. Floral decoration and hallmarked to the front.
A Cork George III Cup by John Warner circa 1775
Height 15.9cm by 19cm Wide. Weight 16 oz 18 dwts
Plain with scroll handles and raised on a reeded edged foot and hallmarked JW and Sterling. John Warner was apprenticed to the Cork Silversmith William Reynolds in 1768. He became a freeman in 1775 and as is mentioned as having a premises in North Main Street in 1787. He died in 1810. A Dublin George III Heavy Bowl by Matthew West 1778
18 cm Wide by Height 12 cm. Weight of 26 oz 17 dwts
Fully hallmarked to base and with a scratch weight of 29" oz 17 dwts. It has an unusual crest to the interior and sits on a central circular stepped foot. Possibly the finest piece made by Mathew West who was a good commercial silversmith and a prolific producer of three footed sugar bowls and sauceboats.
A Cork George III Soup Ladle by Daniel McCarthy 1780
Length 37 cm by 10 cm Diameter of bowl Weight 5oz 6dwts
Struck three times with DMC overstriking John Nicholoson
A Limerick George III Hook handled Soup Ladle by Philip Walsh circa 1775
Length 40 cm by 4 cm Wide . Weight 5 oz 10 dwts
Crested on the front and stamped PW Sterling PW A Dublin George III Bachelor Tea Pot by Michael Homer 1780
Height 11 cm, Weight 7 oz 15 dwts
A small barrel-shaped teapot with an upper and lower band of bright- work. A flat-top removable lid with wooden baluster finial and straight tapering spout. Body engraved with a crest that may be for Connoly of Castletown House, Celbridge. Fully hallmarked to base and part marked to the lid.
A Cork Coffee Pot by Michael McDermott circa 1780
Height 33 cm .Weight 33 oz 3 dwts
A partially fluted baluster coffee pot with a cast curved and leaf decorated spout raised high on a fluted and gadrooned circular base. The upper part of the narrow neck is chased with a band of spiral fluting resembling drapery under a domed spirally fluted hinged lid with bud finial. This rare impressively large coffee pot with its bold spiral fluting is a considerable statement for a provincial town. It reminds us that Cork at that time was an important trading centre gaining its prosperity through its excellent harbor geographically strategically placed between the Continent, England and the Americas. Michael McDermott was one of the more talented and prolific goldsmiths following in the footsteps of George Hodder. His workshop was on Main Street under the ‘Sign of the Naked Boy and Scales’ and flourished from 1750’s to 1780’s.
A Cork Tea Pot by John Warner circa 1780
Length 31 cm, Weight 18 oz
The oval teapot is decorated with upper and lower bands of bright-cut work. A straight tapering spout rises from the lower band. The hinged domed cover is also decorated with bands of bright-cut work and topped with a silver capped wooden pinecone finial.
A Limerick George III Bright-cut Sugar Tongs by Patrick Connell circa 1780
Length 12 ½ cm by 3 cm Wide. Weight 1 oz 1dwts Struck with PC to the inside of either arm and with shell bowls.
A Dublin George III Bright-cut Asparagus Tongs by Issac D'Olier circa 1785
Length 27 cm Width 5 cm. Weight 6 oz 17 dwts Crested and struck with harp, hibernia and makers mark. The NEW GENEVA Presentation Trowel by Robert Breading 1784
“The First Stone of New Geneva by his majesty's King George the Third as for the oppressed gentleman was laid by his Right Honourable James Cuffe superintendant General of his Majesty's Board of Works in Ireland on the 4 day of June 1784.”
The only piece of silver known which was used to lay the foundation stone for a city which was commissioned by Royal charter but was never built in the British Empire.The trowel was used to lay the foundation stone for New Geneva which was a city especially built to accommodate the huguenots from Geneva Switzerland who were being persecuted by the ruling classes.
The city was going to have the second Irish assay office. This is remarkable as the cities like Cork, Limerick and Galway which were making silver since the late 1600's were not allowed to have one. The trowel was used for the laying of the foundation stone of New Geneva, Co. Waterford. A new town laid out to designs by James Gandon, architect for the settling in Ireland of a colony of immigrants from Geneva. Designs for individual houses by William Gibson survive in the National Library of Ireland dated May 1783. The foundation stone was laid on July 8 th 1784 according to Dr Edward McParland but the project was soon abandoned and the buildings erected became a barracks, some ruins of which survive. James Cuffe was Baron Trawley http://www.waterfordmuseum.ie/exhibit/web/Display/article/202/1/?lan g=en Collecting Irish Silver by Douglas Bennet page 204 recounts the whole story in all its folly best.
Geneva Barracks in County Waterford, Ireland, was a barracks created in 1783 by converting a settlement which had been created for an 18th century colony (New Geneva) of disaffected citizens of Geneva. Built near Passage East, the colony was commissioned by the Irish Parliament and approved by British Royalty. After the Genevans abandoned their plans to settle in Waterford, the colony became a British military barracks which gained notoriety as a deadly holding centre for rebel prisoners during and after the 1798 rebellion. Today, the only remains of New Geneva are its ruined walls in a grassy field.
In 1782, the governing Protestant Ascendancy in Ireland achieved a measure of self-rule under the English crown by the granting of an Irish Parliament. The subsequent scrapping of the previous trade restrictions imposed by London and which had largely provoked the call for a parliament in Dublin led to a wave of grandiose plans for the economic and cultural development of Ireland. One such plan was for the formation of a colony of artisans and intellectuals to stimulate trade. In 1782, a failed rebellion against the ruling French and Swiss alliance led to a wave of Genevan refugees in Europe. As artisans, they were valued for their knowledge and skills and were invited to settle in their thousands in Ireland. A site in county Waterford was quickly acquired for the anticipated arrivals and named New Geneva, reflecting the origin of the first settlers. James Gandon the celebrated Architect was commissioned to prepare a plan for the town which would have been almost rectangular in shape with a vast shallow crescent 2,700 ft long overlooking Waterford Estuary. A rectangular site for a church was to be positioned at each end of the crescent which was to be backed by streets and terraces of houses. A central square was to have been overlooked by a central church with an apse and was surrounded by terraces of houses which were said to have been 'under construction'. There were to be two other open squares, one to the south overlooked by the Academy with the Market in the south west corner of the city. Another courtyard to the north was to be overlooked by the Town Hall. A Prison or Hospital was to be located at the north west corner of the city. the city has many similarities with the French city of Richelieu. The Barracks wall which exists today bears little resemblance to this ambitious plan. The original James Gandon drawing of the proposed city still exists.
Military Barracks
However, the colony quickly collapsed. Although a vast sum of money, £50,000, was allocated to the project, the Genevans insisted that they should be represented in the Irish parliament but govern themselves under their own Genevan laws. The project was abandoned when this proposal could not be agreed upon and the site was eventually taken over by the government who began to transform the settlement into a military base. Barracks were built to house companies of militia newly raised following the outbreak of war between revolutionary France and Britain in 1793. The militia's purpose was to complement the regular forces stationed across the estuary in county Wexford at Duncannon fort and to protect nearby Passage East in the event of French invasion. By 1798 the barracks was capable of holding almost 2,000 soldiers.
1798 rebellion: prison
The outbreak of the United Irish rebellion in May 1798 achieved its greatest success in county Wexford and for a time county Waterford was threatened. However, the rebel defeat at New Ross on 5 June prevented the breakout of Wexford rebels and discouraged Waterford rebels from taking to the field. The barracks then became a temporary holding centre for rebels and never held less than 1,000 prisoners by the summer of 1798. The prison at Geneva barracks quickly became notorious for its atrocious conditions and ill treatment of prisoners. P.M. Egan describes Geneva and the story related by Mary Muldoon in his 1895 book "Guide to Waterford":
Upon closer examination finding, as it is alleged, the remains of the blood of the numerous heads which were stuck on these walls, spoken of as still to be observed, the interest attached to the place becomes rather intense. Going among the peasantry of the neighbourhood, we were not long in having our ears regaled with the almost breathless and weird tale of Mary Muldoon.
'Well, 'avourneen, a fine young man who drove into the barracks in '98, and made join the sogers. The poor fellow didn't like the iday of goin' agin his own kith and kin, and maybe someday rise a gun to shoot of 'em. So he asked the officer, was there nothing to keep him but the high wall built all round. The officer, jokin' I suppose, said if he got over that wall he'd give him his liberty. So would that, he made one spring, and up on the wall wud him . Well wasn't that officer a bad fellow, he up wud his gun and shot the poor boy on the wall, and many a day after his poor mother, a widow, came to see where his blood was spilt on the same wall, where it remains to the present day'.
Most prisoners held who were not sentenced to death and executed were transported to Australia or pressed into the Royal Navy. However, emissaries of the King of Prussia were first allowed to select the fittest men from among the prisoners to serve in his armed forces in part payment for services rendered by his Hessians in suppressing the rebellion. Thomas Cloney, one of the rebel leaders at the battles of Three Rocks, New Ross and Foulksmills endured confinement at New Geneva while under sentence of death which was later commuted to exile by Lord Cornwallis. He claimed that the scars of the manacles put on him during his time in New Geneva were visible decades later. The barracks gradually fell into disuse in the years following the end of the Napoleonic wars and were finally closed in 1824. Today not one wall of the Genevan buildings remains intact but the low ruins remain overrun with long grass. A Cork George III Hip Flask crested and initialled by Gibson of Cork circa 1785
Height 21 cm by 10 cm Wide.
Marked with Gibson Sterling Gibson to base and crested to cup and initialled to cap. Glass body inside a leather cover. Ex Westroppe Collection Height of cup 10 cm high by 10 cm long by 5 1/2 cm wide.
Cork George III Rare Cowrie Shell Nutmeg Grater by John Nicholson circa 1785
Length 4 cm by 3 cm Wide. Weight 16 dwts
Marked IN and Sterling and initialled RH to base.
A Pair of Dublin Sauce Tureens & Covers, John Sherwin 1801 A pair of plain classical styled sauce tureens and covers. Oval-shaped with simple reeded lop handles raised on narrow necked rising oval foot. The domed fitting covers are topped with a cast urn finial. This classical shape, with its origins in Egyptian pottery, was made popular in the British Isles following the enthusiastic return of both British and Irish “Grand Tour” travellers. In particular it was Robert Adam who published his own classical designs and incorporated them into his architectural work, found both in England and Ireland. The lids are engraved with an unidentified crest. Length 26 cm over handles, Height 22.5 cm and Weight 40 oz 6 dwts.
A Pair of Dublin Sauce Tureens & Covers, William Bond 1786 A similar pair but earlier pair of classical styled sauce tureens with simple reeded loop handles but on a lower rising oval foot compared to the pair by John Sherwin made some 15 years later. Similar to coffee pot the fashion of raising them higher developed over time.
Fortunately for 1788 detailed assay records at the Dublin Goldsmiths Company survive and show that William Bond had 4 sauce tureens and covers hallmarked that year. It was probably much the same number for 1786.
One lid replaced, marked John Smith circa 1850. Length 25.3 cm over handles, Height 15 cm and Weight 36 oz 6dwts .
A Pair of Dublin George III Breakfast Entree Dishes by Robert Breading retailed by Wests 1808 crested and lids and bases numbered 1 and 2, handles numbered 2 and 4. Dimensions 18 cm long by 13 cm across by 9cm to handle and weighing 871grams.
This pair was originally from a set of four. Perhaps unique for their size. The particular dish which was served in them still remains a mystery.
An Exceptionally Large Cork Galley Tea Tray by John Nicholson circa 1794
Length 61cm, by 38 cm Wide, Weight 86 oz.
For provincial Irish silver this tea tray is exceptionally large at 24” by 15”. It is oval shaped with a vertically pierced galley border. The floor of the tray is finely engraved with an elegant outer band of floral swirls bound by inner band of floral festoons. The centre is engraved with the arms of Chatterton impaling Lane. James Chatterton, keeper of State Papers in Ireland, married Rebecca, daughter of Abraham Lane of Cork around 1790. His son, General Sir James Charles Chatterton, born 1794, sat in Parliament as MP for Cork from 1831 to 1835 and 1849 to 1852. He served a long military career and was active in the Peninsular war and at Waterloo. On Queen Victoria’s request he carried the grand banner at the Duke of Wellingtons funeral. Marked underneath with ‘Sterling’ struck between the maker’s mark struck twice. Also inscribed “The gift of Mrs Sarah Creed to her nephew William Lane”. William Lane is possibly a relative of Rev. James William Lane of Cork, father to Hugh Lane of the Lane Gallery in Charlemont House, Dublin. See also the Charlemont salver in this collection.
A Matched Pair of Oval Trays, Michael Homer & Dennis Fray, Dublin 1786-90
Length 53 cm Combined Weight 106 oz 15 dwts
A large matched pair of George III Oval trays with raised reeded rims, engraved with a outer band of wrigglework and central arms in an oval cartouche of floral swags and supported by four reeded bracket feet.
The arms are for Smyth of Ballynatray, Youghal, Co Waterford. The Smyth’s were for generations High Sherriffs of Youghal following Sir Percy Smyth gallant service in the 1641 rebellion. Ballynatray House was built 1795-7 by Grice Smyth on the foundation of the old castle and later passed to the Ponsonby family, the Earls of Bessborough. The house has recently undergone a magnificent restoration (ballynatray.com).
One tray marked by Michael Homer, Dublin 1790, the other by Dennis Fray, Dublin 1786.
A Dublin George III Pair of Bright-cut Loving Cups by Mathew West 1791
19cm Length over handles by Height 16 cm and Weight 28 oz 13 dwts
Marked at top near handles. Inscription to base reads "A token of gratitude from Elizabeth D'Estere to her kind friend George Lillies ".
A Dublin George III Lesser Flagon by John West 1800
Height 28 cm by Length form handle over spout 27 cm Wide 17 cm Weight 66 oz 5dwts
Totally plain with domed lid and slightly tapering shape. Fully hallmarked to the top near handle.
A Highly Important Box Awarded by Trinity College to Robert Peel 1810
Height 2.8 cm by Length 8.7cm by 5 ½ cm Wide. Weight 4 oz 12 dwts
A Highly Important Dublin Box, 1810 by Aneas Ryan. Hinged lid engraved with the Coat of Arms of Robert Peel within a leaf border awarded to him by Trinity College. On October 6 1812 the board ordered that the honorary degree of LLD (Letters of Law Degree) be presented to Robert Peel Esq, Chief Sectary to the Lord Lieutenant in a silver box. The sides engraved with clover and oak leaves, the base engraved with the Coat of Arms of Trinity College. The interior gilded 2.8 x 8.7 x 5.5cm 143grams.
Peel at the age of 21 was elected MP unopposed for the Irish rotten borough of Cashel, County Tipperary which had only 24 eligible voters at the time. The two sponsors for his election were his father (who had bought the seat) and the Chief Secretary for Ireland, Sir Arthur Wellesley, the future Duke of Wellington. Over the next 25 years the Duke of Wellington and Robert Peel's career would be constantly merging. In 1810 British Prime Minister Spencer Perceval allowed Peel to make his maiden speech, to second the reply to the king's speech which was such a sensation, it was described by Charles Abbot the than Speaker of the house , as "the best first speech since that of William Pitt." When Lord Liverpool became prime minister in May 1812, Peel was appointed as chief secretary for Ireland. In his new post Peel attempted to bring an end to corruption in Irish government. He tried to stop the practice of selling public offices and the dismissal of civil servants for their political views. At first Peel also attempted to end those aspects of government that gave preference to Protestants over Catholics. Peel to maintain order in Ireland wanted to rule by the existing law, but disorders in June 1814 were so bad that he revived partially the repealed Insurrection Act of 1807. He also established the peace preservation force, members of which were called ‘Peelers’: subsequently this force became the Royal Irish Constabulary.
To maintain the protestant ascendancy there were those in parliament who favoured Catholic Emancipation: they included most of the Whigs and a few Tories led by Canning and Wellesley. Vansittart and Castlereagh, who were Cabinet members favoured Catholic Emancipation, as did Vesey Fitzgerald, the Irish chancellor of the Exchequer, and Charles Kendal Bushe, the Solicitor-General. Peel opposed all Catholic claims for emancipation and, for his trouble, was nicknamed 'Orange Peel' by Daniel O'Connell in May 1813.In 1814 Peel decided to suppress the Catholic Board, an organisation started by O'Connell.
Their enmity was so great that Peel challenged O'Connell to a duel, and the pair agreed to go to Ostend to fight the duel in August 1815, but it never took place since O'Connell was arrested as soon as he arrived in London.
A Dublin George III Large Two-Handled Tray by Robert Breading 1805
. Length 64 1/2 cm by 34 1/2 cm Wide. Weight 120 oz
With gadroon borders and original crested armorial. Large trays although abundant in English silver are very hard to find in Irish Silver. The perfect plainness of the tray together with symmetry of the armorial would be in keeping with the design of the time period of 1800-1820.
A Dublin George III Cake Lifter by Arthur Murphy 1808
Length cm Wide cm. Weight 7 oz 5 dwts Crested and fully hallmarked to bottom and part marked to top.
Dublin George III Silver-Gilt Fiddle and Thread pattern Ice Cream Spades by Richard Williams 1811
Length 21 cm by 5½ cm Wide. Weight 4oz 16 dwts
Of typical form fully hallmarked to reverse and retailed by West A Swing handled Bread Basket by William Nowlan Dublin 1820
Height 28 cm by 36 cm Diameter. Weight 53 oz 5 dwts.
A bread or fruit basket with 10 finely chased panels on a similar chased 10 panel trumpet foot. The notched swing handle rises with two caryatid figures from of the hinge. The chasing showing fruits and flowers and an eagle is of exceptional quality. Although quite different in style the quality compares to that seen in the 1740’s. Clearly a very talented chaser worked in Dublin in the 1820’s. His work is more frequently found on finely chased salvers of this period. The arms engraved within a finely chased cartouche are for Blakeney impaling Keane. A Dublin George III Grape Scissors by I.S. 1817
Length 18 1/2 cm. Weight 3oz 11dwts Of typical form with vine leaf decorated handles and fully hallmarked to reverse
A Fiddle Pattern Dublin George III Crested Potato Folk by Samuel Neville 1825
Length 34 ½ cm by 6 ½ cm Wide. Weight 4 ozs 12 dwts 95 % of Potato Folks that are on the market today are made from clapped out spoons with thin bowls. They were then sent to the silversmith to cut tines into the bowls so they could be used as a potato folk rather than a spoon. A usual give away is the price. If one comes across a folk for under a €1,000 it is normally wrong. Potato Folks should cost between €2,500 - € 3,500 euro depending on style and decoration .
A Unique Set of Three Clonmel Spoons by Theophilus Harvey circa 1810
Length 24 cm. Weight 6 oz 3 dwts
The only known pieces to exist by this maker. Fiddle Patten, crested to the front and marked TH Sterling to reverse.
A Pair of William IV Dublin Spectacles 1830
Length of arms extended 15.3cm by Height 2 ½ cm by 10 ½ cm Wide. Weight 10 dwts
Marked with the harp and duty mark for 1830, E. & G. Solomon's Patent, conventional form.
Victoria (1836-1901)
A Dublin Victorian Hip Flask by Henry Flavelle 1839
Height 18 cm by 9 cm Wide and Weight 12 oz 4 dwts. Initialled and with a detachable silver gilt base and cover.
Dublin Victorian Hip Flask by Henry Flavelle 1853
Height 18 ½ cm by 6 ½ cm Wide by Length 11 ½ cm. Weight 18 oz 13 dwts Leather case with strap, initialled E.T.C. Fully hallmarked to base cup and marked to top. An Unusual Victorian Bright-cut engraved Cheroot Holder by Henry Flavelle 1850
Length 13 ½ cm by 6 ½ cm Wide. Weight 4 oz 18 dwts
It has a Vase with flowers to one side and an inscription to the other. "Carson Bxeboart from his friend & classmate Maurice Caine".
A Dublin Victorian two compartment Vesta case by John Teare 1853
Length 5 cm by 3 cm Wide . Weight 14 dwts A Dublin Victorian Butter Dish by John Smyth 1865
Height 9cm by 13 ½ cm Wide and Weight 14 troy ounces.
Retailed by West & Sons marked on the side with a full set of hallmarks and part marked to the lid.
An Extremely Interesting and Historically Important Presentation Trowel used to lay the foundation stone for the Dublin Public Abattoir in 1880 by Samuel Le Bas in its original case from Donegans of 32 Dame street
Length 38 cm by 12 cm Wide. Weight 11oz 9 dwts
The trowel is fully hallmarked to the front and the inscription reads:
This trowel was used on the 1st day of November 1880 by his Excellency Earl Cowper KC Lord Lieutenant. On the occasion of his laying the Foundation Stone of the Public Abattoir for the Corporation of Dublin. The Right Hon. E Dwyer Gray MP Lord Mayor, Parke Neville Esq CE, Joseph Kelly contractor.
The story behind the public abattoir built at an estimated cost of £15,000 and the people mentioned on the trowel is an extremely interesting and amusing one. The public abattoir located in Blackhorse Lane near Prussia Street became something of a public joke in the city, the licensed victuallers
boasting that they actually boycotted it due to the rent they would have had to pay while waiting for their stock being prepared and dressed. In 1880 Dublin, there existed a large number of private slaughter houses who had been granted temporary licenses in 1851. Dublin Corporation had built the public abattoir in the hope of abolishing all these private slaughter houses but it was placed a few yards outside the city limits on county land and as a result private slaughter houses refused to surrender the temporary licenses of 1851. Even after the city limits were expanded the only way for Dublin Corporation to close each one of the private slaughter houses was through acquisition. By 1916 of the 170 victuallers in existence only 50 used the public abattoir and the remainder used their private counter parts. Of the 3000 to 4000 animals slaughtered per week only about 25 per cent travelled a few meters from the cattle market to the public abattoir across the road. While the rest of the animals meandered through Dublin to the private slaughter houses which sometimes were located in residential districts such as, Moore Street, Townsend Street, Chatham Street, Francis Street, Westland Row, Thomas street, Dorset Street, etc. Besides the noise of the cattle and drovers, the problem of excrement and traffic congestion was sometimes lifted by the occasional dash for freedom made by one of these beasts. As was the occasion in 1908 when a lone bull made his bid for freedom by escaping from a yard in Sir John Rogerson’s Quay and made his way up to Kingsbridge Train Station before first visiting a few shop windows on the way. The bull than followed the tracks to Inchicore only stopping at Ballyfermot Bridge where it charged head long onto an oncoming train while been hotly pursued by mounted police. The only advantage of the existence of these slaughter houses was to fast track the process of updating Dublin’s sewage system. Public health and water provision was very close to the heart of the than Lord Mayor of Dublin Edmund Dwyer Gray M.P. who is mentioned on the trowel.
Edmund Dwyer Gray (29 December 1845 – 27 March 1888) was an Irish newspaper proprietor, politician and MP in the House of Commons of the United Kingdom of Great Britain and Ireland. He was also Lord Mayor and later High Sheriff of the City of Dublin and became a strong supporter of Charles Stewart Parnell.
Early life and family
Gray was born on 29 December 1845 in Dublin, the second son of Sir John Gray and his wife Anna Dwyer. After receiving his education, he joined his father in managing the Freeman's Journal , the oldest nationalist newspaper in Ireland. When his father died in 1875, Gray took over proprietorship of the Journal , and his family's other newspaper properties such as the Belfast Morning News and the Dublin Evening Telegraph .[2]
In 1868, Gray saved five people from drowning in a wrecked schooner at Killiney Bay, an action for which he received the Tayleur Fund Gold Medal for bravery from the Royal Humane Society. By coincidence, the rescue was witnessed by his future wife, Caroline Agnes, who he would meet shortly afterwards. Agnes was the daughter of Caroline Chisholm (an English humanitarian renowned for her work in female immigrant welfare in Australia), and although Gray was descended from a Protestant family, he converted to Catholicism to marry her in 1869. The couple had one son, Edmund Dwyer-Gray, who would take over from his father as proprietor of his newspapers and would go on to become Premier of Tasmania.
Political Career
From 1875 to 1883, Gray served as a member of Dublin Corporation, and in 1880 served a term as Lord Mayor of Dublin. Unusually for an Irish nationalist politician, Gray was very much focused on urban rather than rural affairs, and like his father was heavily involved in public health and water provision for Dublin . He also promoted reform in the municipal health system.
Gray unsuccessfully ran for his father's seat of Kilkenny City at Westminster in the 1875 by-election that followed Sir John Gray's death. He won a later by-election in 1877, becoming a Member of Parliament representing Tipperary for the Home Rule League. At the 1880 general election, he won the seat of Carlow County. At the 1885 election, as a member of the Irish Parliamentary Party, he won representation of both Carlow and the new constituency of Dublin St Stephen's Green, and chose to represent the latter.
Memorial portrait as published in the Weekly Freeman shortly after Gray's death
Memorial cartoon as published in Parnell's United Ireland newspaper shortly after Gray's death.
He was imprisoned for six weeks in 1882 for remarks made in the Freeman's Journal with regard to the composition of the jury in the case of a murder trial. (Gray was actually "High Sheriff of the City of Dublin" at the time of his imprisonment, and – because of the conflict of office – was taken into custody by the city coroner.)The defendant in the case in question was later hanged.
A heavy drinker and asthma sufferer, Gray died aged 42 after a short illness on 27 March 1888, and was buried at Glasnevin Cemetery.
His son later became the 29 Premier of Tasmania in Australia from 11 June to 18 December 1939.
Francis Thomas de Grey Cowper, 7th Earl Cowper KG, PC, DL (11 June 1834 – 18 July 1905), known as Viscount Fordwich from 1837 to 1856, was a British Liberal politician. He was Lord Lieutenant of Ireland from 1880 to 1882. Cowper entered the House of Lords on his father's death in 1856 and served under William Ewart Gladstone as Captain of the Honourable Corps of Gentlemen-at-Arms (Government Chief Whip in the House of Lords) from 1871 to 1874 and as Lord Lieutenant of Ireland from 1880 to 1882. He became a Knight of the Garter in 1865 and was admitted to the Privy Council in 1871.
Neville Parke (1812- 1886) Dublin city engineer, 1851-1886. Parke - or Park - Neville was born in Dublin in 1812, the eldest surviving son of ARTHUR NEVILLE. He was articled to CHARLES VIGNOLES and also served a pupilage to WILLIAM FARREL. He joined his father's land surveying business and from 1845 until 1851 held the post of City Land Surveyor for Dublin jointly with his father. In 1851 he competed successfully for the new office of City Engineer and Local Surveyor, later designated City and Waterworks Engineer. Probably the most important of his many achievements during his thirty-five-year tenure of the office - which included repaving the streets and reconstructing the sewerage system - was the execution of the Vartry water works scheme. In the latter part of his career his chief preoccupation was the introduction of a main drainage system for the city, which was the subject of a Royal Commission in 1879. Although Neville requested leave of absence from work in 1881 on account of poor health, he remained at his post until the end of his life. On holiday in the autumn of 1886 he visited several English cities to look at public baths and wash-houses, but was evidently ill when he returned to Dublin at the beginning of October. He nevertheless continued to carry out his duties until two days before his death, which took place at his house in Pembroke Road on 30 October 1886. He was survived by a widow. SPENCER HARTY succeeded him in the post of city engineer. Neville's pupils and assistants included SAMUEL GORDON FRASER , JOHN PANSING and RICHARD WALTER WALSH.
Joseph Kelly was a building contractor and proprietor of the City Saw Mills in Thomas Street. He bought the Emorville Estate which was across the road from Portobello Gardens in Dublin 8 around the mid 1860’s. He built houses in this area for the upwardly mobile middle classes of the time. He later obtained the contract for the building of the Public Abattoir at an estimated cost of £15,000.
A Dublin Victorian combined pickle fork and spoon by West & Sons 1882
Length 30 ½ cm. Weight 1 oz 8 dwts Province ex-Westroppe.
Dublin George V Large Cup and Cover by Edmund Johnson 1908, (Copy of the Thomas Bolton Dunstable cup in Trinity College Dublin.
Height 60cm by 19 ½ cm Wide. Weight 66 oz
A Rare Art Deco Cork Tea Pot by William Egan 1933
Length 25 cm by Height 13 cm by 16 1/2 cm Wide. Weight 17 oz 19dwts including wooden handle
Fully hallmarked to side and part-marked to lid. Art deco design started in France in the 1920’s and quickly spread internationally in the 30’s and 40’s. Due to the small number of silversmiths working in Ireland at this time very little true art deco silver survives. Examples of this type of design in Irish silver are few and to find such a beautiful example from Cork is exceptional.