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GEORGE III PERIOD MAHOGANY SILVER TRUNKthe rectangular caddy moulded edged top, opening to a storage interior, above a simple body, furnished with brass carrying handles and a pierced armorial escutcheon, terminating on bun feet61 cm. high; 127 cm. wide; 54 cm. deep
NINETEENTH-CENTURY IRISH SILVER TABLEthe rectangular dished top, above a serpentine scallop shell centred apron, raised on acanthus leaf carved cabriole legs, terminating on claw feet. Provenance: Property of the late Elizabeth O_Kelly, formerly of The Dower House, Emo Court65 cm. high; 69 cm. wide; 32 cm. deep
MID-NINETEENTH-CENTURY IRON-BOUND OAK SILVER CHESTwith a fitted baize lined interior, bearing a label for R & S Garrard & Co., 25 Hay Market, London, Crown Goldsmiths, Silversmiths & JewellersProvenance: Property of the late Elizabeth O_Kelly, formerly of The Dower House, Emo Court37 cm. high; 47 cm. wide; 35 cm. deep
IRISH EIGHTEENTH-CENTURY PERIOD SILVER TABLE, CIRCA 1760 the rectangular dished top, above a conforming frieze and serpentine apron, centred by a scallop shell, raised on acanthus leaf carved cabriole legs, terminating on claw feet 67 cm. high; 77 cm. wide; 55 cm. deep
MID-NINETEENTH-CENTURY IRON-BOUND OAK SILVER CHESTthe hinged top enclosing a baize lined interior, bearing a label for Mappin Brothers, silversmiths 67{68} King William Street, {and 111 Regent Street, London}. Provenance: Property of the late Elizabeth O_Kelly, formerly of The Dower House, Emo Court30 cm. high; 69 cm. wide; 39 cm. deep
GEORGE III PERIOD MAHOGANY CHIPPENDALE SILVER TABLE, CIRCA 1780 the rectangular shaped top, below a pierced fretwork gallery rail, above a blind fretwork carved frieze, raised on pierced fretwork bracket headed square chamfered legs, terminating on block feet, with inset brass castors 74 cm. high; 86 cm. wide; 54 cm. deepThe importance of the silver table in the late eighteenth-century is stemmed from the prevailing social hierarchy, and as a focal point in the tea-making ritual of the period. Evolved from a tray for silver on a stand, they originated in England where they were popular amongst the elite.Silver tables were used to display the ceramic tea set and as a tea table when it was time to take tea. Tea drinking was a signifier of wealth and of good taste. Because of this, well-to-do families proudly displayed the trappings associated with the ritual. Like tea, ceramics imported from China (the only country to give its name to a product) were expensive, indeed, very expensive. In a classic example of form following function, the precious china was protected from falling off the edge by a fence-like gallery rail that ran around the rim of the tabletop: the swishing of ladies’ petticoats being a particularly high risk factor. Chinoiserie was a style that developed on foot of the influence of exotic porcelain, lacquerware, bronzes and other forms of applied and decorative arts imported from China and Japan. Such was the fascination that Europeans began to create their own fanciful interpretations of oriental styles and motifs. This new style, derived from the French word chinois (Chinese), became known as Chinoiserie.Thomas Chippendale, 1718 – 1779, interpreted oriental motifs and transformed them into fretwork and carved decoration in his Chinoiserie designs. In 1754 he published a book of his designs, titled The Gentleman and Cabinet Maker’s Director, for which he gained fame and renown. He was one of England’s finest furniture makers. Harewood House, near Leeds, in his native Yorkshire represented his biggest commission. He is buried beneath the National Gallery in London.
RICHARD ROTHWELL (IRISH, 1800-1868) Three quarter length portrait of James Wandesford Butler, 1st Marquess of Ormonde and 19th Earl of Ormonde (1774-1838) wearing the star and ribbon of the Order of St. Patrick Oil on canvas 150 x 115 cm.A Painter of portraits and genre scenes Richard Rothwell was born in Athlone. He entered the Dublin Society's school aged 14 where he was awarded a silver medal in 1820. He exhibited at the Royal Hibernian Academy between 1826 and 1829 having been elected an Associate of the RHA in 1823 and admission to full membership the following year. In 1829 he travelled to London and entered the studio of Sir Thomas Lawrence PRA (1769-1830). Laurence was the leading portrait painter of the age and upon his death, Rothwell was seen as his successor. Instead, 1831 he left for Italy to study the works of the Italian Masters remaining there until 1834.Upon his return to London he concentrated on genre scenes and exhibited these works at the Royal Academy. By 1847 he was back in Ireland and living in Rathfarnham. In 1854 he travelled to America but did not remain there long, returning to work in England. In 1862 he visited Paris, Brussels and Rome, where he exhibited his works with great success. He died in Rome in 1868 and is buried there in a grave beside the English Romantic poet John Keats. Throughout his life Richard Rothwell exhibited regularly at both the RA and at the RHA. Sir Edwin Landseer (1802-1873) commented to a friend ‘An artist has come from Dublin who paints flesh as well as the Old Masters’.
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2475480 item(s)/page