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Lot 227
A '19th century' mahogany kneehole desk or dressing table, three-quarter gallery centred by a rectangular tablet, slightly oversailing top above a shallow frieze drawer and cupboard to niche, flanked by further cupboards, inlaid with oval batwing paterae and outlined throughout with boxwood stringing, ogee bracket feet, 93cm high, 109cm wide (alterations)
Lot 177
A LATE 19TH CENTURY WALNUT FLAT-TOP 'WOOTON PATENT' TWIN PEDESTAL ROTARY DESK, the rectangular top inset with compartmented brown leather scriber, above central frieze drawer with teardrop knob handles, flanked by two short drawers, above swing-out cupboards opening to reveal fitted shelving and pigeon holes, the entire decorated with stained geometric panels, raised on outset plinth base. 143cm wide, 78cm deep, 77cm highIllustrated in the catalogue of Wooten's Patent Cabinet and Secretaries and Rotary Office Desks, 1876, Wooten Desk Company, Indianapolis, Indiana.
Lot 215
A FINE VICTORIAN KILLARNEY WORK DAVENPORT DESK OF EXHIBITION SIZE AND QUALITY, the slope front decorated in typical style and featuring ferns and oval vignette of the Swiss Cottage, the panelled sides, with ovals of monastic towers, harps and hounds and an eagle on the obverse all within bands of trailing shamrocks, the twin door cupboard front featuring Ross Castle, Jerpoint enclosing four fitted drawers and having carved bog oak column supports, with continuous trailing shamrocks carved in low relief. 85cm wide x 70cm deep x 108cm tall The Killarney Woodwork IndustryBy the middle of the 18th Century Killarney and its hinterland was emerging as a 'tourist centre'. Early visitors related their experiences of awesome lakes, mountains and wildlife in guidebooks and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. Roughly 30 years before the arrival of the railroad, enterprising men such as Jeremiah O'Connor established factories for the production of handcrafted souvenirs such as chessboards, snuffboxes, card cases - even jewellery. The items were made from a variety of beautiful local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainsides surrounding the Lakes of Killarney. Arbutus and bog oak were used prolifically and became particular to the Killarney wares. As mementos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the Davenport desk illustrated. The images were largely taken from a book of engravings 'Ireland: Its Scenery, Character &c' (1841) by Mr and Mrs S. C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer. The depiction of wreaths, shamrock, rose and thistle together symbolised the union of Ireland with England, Scotland and Wales. It is possible that producers obtained the notion for such souvenir articles from other tourist resorts such as Tunbridge Wells in Kent as there are records of similar items being manufactured earlier than those at Killarney. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, sofas and cabinets aimed at the gentry, both locally and nationally/internationally. Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufacture a fine arbutus cabinet and desk as a gift for Queen Victoria and many of the manufacturers both gifted and sold pieces to members of the royal family giving further status to the wares. The decline in production of Killarney woodwork came in the late 1800s. The lack of innovation in design and competitive pricing from outside manufacturers assisted in the demise of the industry. The production of items in bog oak lasted longer than that of arbutus but by the early 1900s Killarney was better known for its lace than its woodwork. Now only woodwork museums in Kerry and the items themselves remain.
Lot 214
A VICTORIAN KILLARNEY WORK SHAPED CIRCULAR SNAP-TOP TEA TABLE, the inlaid arbutus wood decorated with boxwood plaques depicting Killarney views and with sprays of ferns raised on centre triple pillar supports and a triangular platform base, on similarly decorated carved paw feet. 71cm diameterThe Killarney Woodwork IndustryBy the middle of the 18th Century Killarney and its hinterland was emerging as a 'tourist centre'. Early visitors related their experiences of awesome lakes, mountains and wildlife in guidebooks and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. Roughly 30 years before the arrival of the railroad, enterprising men such as Jeremiah O'Connor established factories for the production of handcrafted souvenirs such as chessboards, snuff boxes, card cases - even jewellery.The items were made from a variety of beautiful local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainside surrounding the Lakes of Killarney. Arabutus and bog oak were used prolifically and became particular to the Killarney wares. As momentos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the Davenport desk illustrated.The images were largely taken from a book of engravings 'Ireland: Its Scenery, Character and History' (1841) by Mr and Mrs S.C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer.The depiction of wreaths, shamrock, rose and thistle together symbolised the union of Ireland with England, Scotland and Wales. It is possible that producers obtained the notion for such souvenir articles from other tourist resorts such as Tunbridge Wells in Kent as there are records of similar items being manufactured earlier than those at Killarney. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, sofas and cabinets aimed at the gentry, both locally and nationally/internationally.Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufacture a fine arbutus cabinet and desk as a gift for Queen Victoria and many of the manufacturers both gifted and sold pieces to members of the royal family giving further status to the wares. The decline in production of Killarney woodwork came in the late 1800s. The lack of innovation in design and competitive pricing from outside manufacturers assisted in the demise of the industry. The production of items in bog oak lasted longer than that of arbutus but by the early 1900s Killarney was better known for its lace than its woodwork. Now only woodwork museums in Kerry and the items themselves remain.
Lot 207
A GEORGE III MAHOGANY RECTANGULAR LIBRARY DESK ATTRIBUTED TO GILLOWS OF LANCASTER, the hinged top folding to reveal a double adjustable drawing table, above a pull-out secretaire, with fall front false drawer fascia, the interior with hinged lift top compartment, inlaid and painted with ovals and letter pairs V X and W Y etc., above a cupboard base with fitted deep drawers. 124cm wide x 69cm deepThis handsome example of Georgian library furniture closely follows the pattern that Gillows produced in 1782 designed by Richard Gillow to a commission from his brother Robert, and is most likely to have been made by that firm. They called it a writing or library table 'of New Construction and Plan of our Invention'. It was the most expensive piece of furniture that the firm had made to date and they guarded its design, insisting it could only be sold to 'gentlemen'.They stressed the quality of the wood, the arrangement of internal drawers with lettered compartments and the double-ratcheted top enabling writing to be done standing up, if desired, and other 'innovations', most of which are present in the current lot.
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