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A collection of approximately fourteen 1930’s architects drawings relating to Esher, Surrey, to include Clare Hill Estate,The Meadway Estate, Paddocks Estate, Mole River Estate, Milbourne Lane, Littlewood Road, together with drawings relating to Oxshott, Surrey (Knott Park Estate), hand drawn and coloured, mostly 8 foot to 1 inch scale, circa 1933-39.
A collection of 20th Century items to include; plate set, brass eye glass, enamelled sewing kit, chopsticks, postcards, from Japan circa 1920's, a hand written recipe book, ration book, postcards, leather carving knife, Victorian mask/breathing filter/mystery object, a bag of marbles
TRADE CARD OF LAW,Goldsmith Jeweller and Watchmaker, No. 1 Sackville Street, Carlile Bridge, Dublin, with detailed view of the bridge and obelisks, shipping and the Customs House, “drawn and engraved by S. Close, Jan”, 115 x 160mmThis important record of the centre of Georgian Dublin, complete with figures and carriage is not recorded in Elmes/Hewson nor Bonar Law. Law was also a major retailer of silver and silver plate and his mark, as such, is commonly found, added to the hallmarks of contemporary silver smiths.
AN IRISH MID-19TH CENTURY ARBUTUS AND MARQUETRY INLAID DAVENPORT, the wavy gallery back inlaid with a harp and flanked by native animals, above a slopefront panel, with leather inset surrounded by a band of trailing shamrocks, with fitted interior, with arched panel doors to the side, enclosing various short drawers, with solid column supports, on platform base and castors. 101 cm high x 71 cm wide 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 present Davenport desk. 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.
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