The weave structure of the window upholstery, on both the north and west windows, is known as ‘Gobelin gauze’ and resembles tapestry.
The upholstery on both windows consists of an outer gilt wood pelmet, tails, valance and curtains.
The upholstery is believed to have been installed for the visit of the English Queen Victoria to Muckross in 1861.
Light levels in this room are kept low in order to protect these delicate textiles.
Untitled:
Landscape with rocky outcrop and trees to left of centre. A track way in foreground curves behind the outcrop. Moundtains are visible in background.
Artist: Probably Mary Balfour Herbert.
Chest of drawers, with wooden drawer pulls and turned feet. The substrate is of pine with a mahogany veneer. Mid to late Victorian (c.1850-1901) in date.
Low easy chair, on mahogany turned legs with castors. A low chair such as this would have been used by a gentleman for sitting on while he laced up his boots.
This chair is upholstered in blue silk.
This three door, nine drawer, mahogany wardrobe has applied treble-arched and reeded decoration.
Probably 19th century in date.
Here, in the Gentleman’s Dressing, the valet laid out his master’s clothes and assisted him while dressing.
This tall, narrow, mahogany shaving stand with mirror was used by the gentleman for shaving.
Low easy chair, with turned mahogany legs on castors. A low chair such as this would have been used by the gentleman for sitting on while he laced up his boots.
Probably mid-19th century in date.
The compact, metal hip bath required less water than an ordinary bath. This was of great advantage at a time when water had to be carried up and down stairs from the Basement.
This is a marble and mahogany wash stand, complete with basin and jug. The basin was emptied by allowing the water to flow down into the ewer underneath.
This Edwardian, mahogany, Sheraton-style wardrobe has a broken pediment and is decorated with marquetry panels of satinwood.
The Sheraton Style is named after the famous cabinet-maker Thomas Sheraton, who lived between 1751 and 1806.
This Louis XVI-style bonheur du jour or lady’s writing desk is decorated with a satinwood geometric mosaic of wooden pieces or parquetry. The door of the centre lockable cabinet is decorated with an elliptical porcelain plaque, depicting a seated male and standing woman in profile. On either side of this centre cabinet is a triple-drawer block. A smaller elliptical plaque separates the two drawers in the lower part of the desk. it depicts a flying putti or winged infant with an arrow. The legs are decorated with ormolu mounts and are tapered.
This mahogany wash table has a white marble top and up-stand, barley sugar twist legs and sleigh-type feet.
The toilet ware is Spode.
In 1770, Josiah Spode opened the Spode pottery factory in Stoke-on-Trent, England, with a mortgage of £500. Working in partnership with his son Josiah Spode II the business prospered. Although under new ownership since 2009, Spode collections still continue to be produced today.
This mahogany, half-tester bed has turned and carved finials on the bedposts. The foot board is decorated with some applied floral motifs, while the canopy is of green chintz fabric. The bed is probably early 19th century in date.
The word ‘tester’ derives from the Latin word ‘testa’ meaning head. A half-tester bed is different to a four poster bed in that only the headboard is attached to the canopy.
A bell-pull to summon a servant hangs to the left of the bed.
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This Victorian (c.1837-1901) three-piece maple room divider is decorated with decoupage panels.
Decoupage (French: découpage) is the art of decorating an object by gluing paper and card cut-outs to a surface, together with other decorative elements. The surface is then sealed with varnish or lacquer.
The craft of decoupage originated in France during the 17th century.
One of a pair of Victorian (1837-1901), mahogany wall shelves, with oriental influences.
Plain, mahogany, cheval mirror on tapered sabre legs that terminate in brass castors. Probably dates to the Regency period, c. 1811-1820.
Cheval or dressing mirrors originated in France in the late 18th century. These free-standing mirrors are hinged within a frame, which allows them to tilt and pivot to provide different viewing angles.
Usually found in bedrooms or dressing-rooms, the name ‘cheval’ comes from the French for ‘horse.’ Like that animal, cheval mirrors are capable of standing on their own four feet.
This is a circular, mahogany, centre table. The sides of the table top are decorated with a pierced, geometric pattern, which is mirrored in the up-stand of the X-shaped lower tier. The table has colonnaded legs on castors for easy of movement. Probably 19th century in date.
This small, mahogany wardrobe has two doors set over two drawers. The fine, circular decoration on the turned legs, coupled with the turned ring decoration running along the top edge, hint at a possible Scottish origin. Early 19th century in date.
Rural scene with, in centre ground, a stone bridge over flowing water. A woman and donkey are passing over the bridge, while a man approaches it from right. A cabin, with smoke rising from its chimney, is visible to left. Distant mountains in background.
Artist: Mary Balfour Herbert of Muckross House (1817-1893). .
Watercolour
67 x 34.2 cm
Framed: 88 x 55 cm
Hilly, mountainous, rural landscape, with two small cabins and figures to right of track-way in central foreground. In lower left a stone wall runs diagonally away from the viewer. Probably dated to c. 1900.
Artist: Richard Henry Albert Willis.
Born in Dingle, Co. Kerry in July 1853. He moved to Cork as a child and was apprenticed there, c. 1869, to architect Arthur Hill.
Willis attended Cork School of Art as well as the National Art Training School in South Kensington, London. Between 1882 and 1892 Willis held the post of Headmaster of Manchester School of Art. Willis exhibited at the Royal Academy London from 1882 to 1899. He died in 1905 and is buried in Rathcormac, Co. Cork.
Oil on Canvas
66 x 34.2 cm
Framed: 88 x 55.5 cm
This work depicts part of the cloisters at Muckross Abbey, with just a glimpse of its famous yew tree. It is dated 1892.
The friary of Irrelagh, as Muckross Abbey was originally known, is mentioned in the Annals of the Four Masters, which were compiled in the 1630s. According to this source, the friary was founded in 1340. However, it is likely that it was actually founded a century later, in the 1440s. Following a turbulent history, the friary became part of the Muckross Estate during the 18th century
Artist: (Charles) Hamilton Aide. Born in Paris in 1826, Aide was a highly accomplished musician, writer and artist. He died in London in 1906.
Gouache on paper
35 x 48 cm
Framed: 50 x 63 cm
Portrait of Maud Bowers Bourn Vincent (1883-1929), wife of Arthur Rose Vincent (above).
Artist: Signed and dated by John L. Sargent, 1915.
Charcoal drawing. This is a photographic reproduction of the original.
Framed: c. 49 x 43 cm
Artist: Robert Hunter. Born in Ulster, where he was active between c. 1750 and c. 1803.
Oil on Canvas.
c. 102 x 77 cm
Framed: c. 112 x 86 cm
Rural landscape scene. Left foreground, girl in red, carrying a water jug is depicted on stepping stones crossing a stream. A man in right middle ground is reaping corn with church/castle in background. Two men, one on a white horse are depicted at center.
Artist: Possibly George Chester, 1813-1897.
Oil on Canvas.
c. 106 x 153 cm
Framed: c.139 x 186 cm
Artist: Alan Steward RSA (1865-1951). Born in Edinburgh, Alan Steward’s work can be found in Holyrood Palace, Edinburgh.
Oil on Canvas
c. 86 x 64 cm
Framed: c. 124 x 100 cm
May represent Cassandra prophesising the future of Rome.
Artist: Henry Tresham. Born in Dublin c. 1750, died in London 1814.
Oil on Canvas
c. 137 x 186 cm
Framed: c. 154 x 21 cm
