NOTE.—According to official records, the Waterford Glass Houses closed down from 1750 to 1780, but there exists a good deal of glass traditionally made within this time, certainly having all the attributes of Waterford, and being fashioned in contemporary styles.
Portarlington: 1670.
One of the very earliest glass-houses was erected here on the Stannus property, but very little is known about it or its particular productions, and it closed down in a few years from lack of financial support. I believe drinking glasses were its chief output. We have a tumbler which was made here, and some wine glasses are still in existence.
Foreign workmen were employed in Ireland, particularly cutters, engravers, and gilders. Irish gilding almost stands alone. It isveryhard, and cannot be rubbed off in the usual way. When deliberately scraped off it leaves the glass underneath quite rough, consequently it has survived ordinary wear and tear almost intact. The process was chemical, and it is a great pity that more of it was not done. Very fine soft oil gilding was executed for some years, about 1786, by a German called Grahl.
The glass industry died out about 1896, Pugh, of Dublin, being the last maker of flint glass in Ireland. He is often credited with being the first to introduce "lustre" cutting, but the rare plate of the Cork Glass Cutters' Union, already referred to, shows that this decoration must have been done in Cork early in the nineteenth century, since it may be presumed that the pieces they have chosen as being representative of their own craft would be those most largely produced. The fine old jug in the centre, for instance, is a splendid specimen of "lustre" work. Some people, other than glass-cutters, refer to this as "pillar cutting"—quite a good description.
While on the subject of the workers, it will be of interest, in these days of high wages, to recall the remuneration paid to these artists in glass as recorded in the Dublin Museum. The founder received the princely sum of 7s. for his week's work, while the fireman only got 6s. The glass-maker himself (not the cutter or the engraver) was evidently a piece-worker, earning at most 50s. a week, and was doubtless a mighty wealthy man.
Plate III.DEVICE FOR STOPPERING BOTTLES AND OPENING PANS.From a drawing in the Author's possession.
Plate III.
DEVICE FOR STOPPERING BOTTLES AND OPENING PANS.
From a drawing in the Author's possession.
Naturally the extraordinary cheapness of fuel in Ireland was a great help to the owner of a glass-house, as wood was the chief thing he burnt. But late in the seventeenth century an Act was passed prohibiting the felling of trees for this purpose, so even in those early days manufacturers had their troubles. However, I do not think this interfered very much. If an Irishman wants a thing, it takes a great deal more than an Act of Parliament passed by the Englishmanon the other side of the waterto stop him.
As late as the nineteenth century, in my father's time, our village carpenter would come and buy a good-sized ash tree for 1s. 6d. Those not so well off freely helped themselves by the light of the moon. We do not bring people to justice in Ireland for little slips of that sort: we should have no time left to ourselves if we did.
Very simple and primitive were the instruments used by the glass-cutters. Speaking broadly, the artist (for hewasan artist) merely required revolving wheels, from 2 in. to 14 in. or 16 in. in diameter, sand, water, powdered pumice, and "putty powder," a mixture of whitening and other ingredients for polishing.
The wheels consisted of "mild steel" for cutting (many sizes), a "blue stone" wheel for smoothing, and one of very hard wood for polishing. Brush wheels were also employed.
The illustration of a very primitive glass-cutter's shed (from a drawing in my possession) will explain better than words how the work was done; the wheels were turned by the rough boards worked by the cutter's foot, while with his unerring hands he would perform marvellous feats of glass-cutting. Water and sand dripped slowly on to his wheel while he worked, generally from a flower-pot hung above.
He worked from a rough design on paper beside him, and this design he firstscratchedon the piece of glass with a sharp instrument. Much of the glass-cutting was doneoutsidethe glass-houses by men who had their cutting sheds in their own homes, as is shown in the illustration, and this accounts for the "individuality" of the work done. These men, dreamers and artists, were a "guild" with a very high ideal. The old Irish silversmiths also worked at home in a similar fashion, and, as all the world knows, executed the most perfect work.
In these days it is interesting to know that a strike ended the industry in Cork previous to 1840. Some English workmen came over and told the Cork men they were working too cheaply, though in fact they were much better off than those in England (where machinery was now well installed). The glass owners, who had become wealthy, but saw little prospects of retaining their fortunes under changed conditions, fought the men, and eventually closed down their factories.
Those in Waterford continued for some years later, and the last record of this town is in the catalogue of the London Exhibition of 1851, where Gatchell had some wonderful exhibits, including one centrepiece of forty pieces of glass for a banqueting table,no metal work of any kind being used in it.
In 1788 William Penrose made a celebrated service for their Majesties. And as early as 1729 beautiful deep green glass was made at Waterford.
Interesting and romantic were the tales told by the last of the hand glass-cutters, Barry Sheehan, who died a very old man in Cork in 1890. He knew all the old glass-cutters, was an artist and enthusiast, and always kept an old hand-cutting wheel at the back of his shop, a relic of a past age of inspired workers.
According to this great authority, "lustre cutting" was the most difficult of all, and very popular in Cork.
One old lady who lives in Cork, a sister of the late Mrs. Gatchell, who is nearly 100 years of age, has a set of chessmen in old Irish glass, and many children's toys and trumpets were made in her late husband's factory.
One of the glass-houses in Cork was owned by "honest Joe Romayne," one time M.P. for Cork, and another by a family named Foley, and the descendants of both of these people have some splendid pieces still.
Engraving was a different matter. This decoration was more often done by men (chiefly foreigners) who wandered round the country carrying with them a queer little box (one of which I have in my possession). A few delicate copper wheels were used outside the box, which were driven by a shaft, and two wheels inside. The handle was turned by a boy while the engraver worked.
2 glass stoppers (no.1 and no. 2)
Plate IV.ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN DUBLIN, 1795-1830.In the Graydon Stannus family collection. From a drawing in the Author's possession. (See also PlatesV.,VI., andVII.)
Plate IV.
ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN DUBLIN, 1795-1830.
In the Graydon Stannus family collection. From a drawing in the Author's possession. (See also PlatesV.,VI., andVII.)
Plate V.ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN DUBLIN, 1795-1830.In the Graydon Stannus family collection. From a drawing in the Author's possession. (See also PlatesIV.,VI., andVII.)
Plate V.
ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN DUBLIN, 1795-1830.
In the Graydon Stannus family collection. From a drawing in the Author's possession. (See also PlatesIV.,VI., andVII.)
Plate VI.ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN WATERFORD. 1815.In the Author's collection. From a drawing in the Author's possession. (See also PlatesIV.,V., andVII.
Plate VI.
ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN WATERFORD. 1815.
In the Author's collection. From a drawing in the Author's possession. (See also PlatesIV.,V., andVII.
Plate VII.ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN DUBLIN, 1820.In the Author's collection. From a drawing in the Author's possession. (See also PlatesIV.,V., andVI.)
Plate VII.
ONE FROM A SET OF FOUR PAIRS OF WALL-LIGHTS MADE IN DUBLIN, 1820.
In the Author's collection. From a drawing in the Author's possession. (See also PlatesIV.,V., andVI.)
Candle-lights became very popular during the early Adam period, and continued to be made for many years. Their conception was, I am sure, French in its origin. A great many were made in Ireland (especially advertised in Dublin), and they were permeated with Adam feeling—graceful and simple.
These lights fell into disuse when gas became popular, and were stowed away in boxes and cellars and lumber-rooms; while others, still less fortunate, were actually thrown away or sold to the ragman for a few shillings.
Of those I have unearthed, a great number are in varying degrees of bad and good condition, and it is most interesting, with the aid of some original drawings (which I am fortunate enough to possess), to reconstruct these lovely fittings to their original beauty (see PlatesIV.,V.,VI.,VII.). Out of about five or six broken lights I can generally reconstruct one pair.
In my determined search for these treasures, I find that the metal back plates which fitted on the wall and held the glass lights are in nine cases out of ten missing, and after puzzling over this fact for some time I discovered they were nearly always utilised by being left on the walls and the gas-pipe brought through them! In any case, all the metal mounts appear to have been removed from the branches, cups, etc., and I think they were probably taken off and used for various purposes by the "house-carpenter," or handy man, and held far more value for him than the discarded glass, which is now rapidly becoming priceless.
In one instance I lost the ferrule off the end of my whip, and one of our men said he'd "put it right." I noticed a fine bit of chased brass appear on it. I said, "Larry, where did you get that?" "Shure, me lady, it's off th' auld glass light that was tooken from t' hall"! And it was! Irishmen have natural instincts—they always know a good thing, and they can unerringly tell you if a person is "someone" or not!
There are many interesting things to be learnt about the drops which hang on chandeliers and table lights. The first and most surprising is that most of them, even those found on quite early Irish chandeliers, were made in England and France!Very few were manufactured in Ireland.
The genuine old Irish drops (so far as my personal observation and experience goes) were always round oralmondshaped. The most characteristic distinction between them and those made in other countries is that they are very flat when viewed sideways (see illustration No. 3,page 8), whereas the English and French come to a point in the centre—sometimes on one side, more often on both—not a sharp point, of course, but still a point (see illustration No. 4,page 8, which will make the difference quite clear). No. 1 (page 6) is a very rare specimen.
ORNAMENTAL DROPS.
ORNAMENTAL DROPS.
All the chandeliers and lights made for my family had in every case these Irish drops, being, of course, special orders.When seen on a chandelier it is remarkablehow much more graceful the Irish drops look; they are softer, more richly facetted, smoother, and, of course, deeper in colour. The large pendants (see illustrations Nos.2, 5, 6, 7) for ornaments and stars for chandeliers were manufactured in an interesting way. They were made inladles, designed to the required outline and size, with a long handle (see illustrationbelow). The ladle was dipped in the pot of molten glass, withdrawn full, and after being allowed to cool slightly until the glass had set, tipped out into a "dry" furnace (known as a lehr) for some hours; by that time the glass was hard and fit to be facetted by hand.
In Italy and Spain I have watched the glass-makers at much the same work, but in these instances the glass was made in cut moulds, so that the glass waspressedinto a pattern while hot, and not cut afterwards.
The illustrations are of Irish ornaments in my possession on family chandeliers, and vary in length from 5 in. to 8½ in.
BLOW-PIPE AND LADLES (one shown side view). USED IN MAKING STARS AND ORNAMENTAL PENDANTS.
BLOW-PIPE AND LADLES (one shown side view). USED IN MAKING STARS AND ORNAMENTAL PENDANTS.
Irish glass, more especially Waterford, of the typical period, may be distinguished from contemporary English glass and foreign and modern fakes of all nationalities by a number of characteristics which may be grouped under the headings of Weight, Colour, Resilience, Feeling to the Touch, and Ring. Let me take these one by one.
Irish glass is generally very heavy, though there are exceptions to this rule, markedly in the blown specimens from about 1735 to 1750, which are extremely light. These pieces were never cut, but either engraved only or left perfectly plain. They can be distinguished from foreign pieces of similar weight, as they never show the little specks of sand in the metal peculiar to the latter. On the other hand, air-bubbles often appear in the Irish glass, which were caused by the faulty stirring of the molten metal. These are sometimes so minute that they appear like sand specks to the naked eye, and it is only possible definitely to identify them as bubbles by the use of a magnifying glass.
All old Irish glass has a peculiar depth of tone, but the early glass of Cork, Waterford, and Dublin is especially distinguished in this quality. Its steel or grey-blue tone is unique. In this respect there is very little difference between the wares from the three places, as they are all characterised by the same mysterious grey colour (supposed to be caused by impure ingredients). It should be remembered that the factories in all three localities obtained their materials for glass-making from the same sources, and that the workmen employed in them frequently passed from one to another, so that, theoretically, the metal produced in the three towns should be practically identical. There are, however, tangible differences in at least a portion of the glass emanating from the various localities. Thus I have noticed that some Cork glass has a decided yellowish tinge which Waterford never has. On the other hand, Waterford glass is often distinguished by a peculiar cloudy bloom covering the metal, which can be rubbed off, but will assuredly return. This "bloom" must not be confused with the milkiness found in decanters, etc., which is caused by wine or water being allowed to remain in them for long periods. It is quite different: a soft bloom, exactly like that on grapes, the same colour, or even darker, than the glass, and often will be found forming a beautiful band of rainbow hue running round the piece it adorns. I do not know, for certain, the cause of this appearance, but it probably originates in some atmospheric action on the lead in the metal. It is only found on very early dark pieces, and its possession may be regarded not only as an additional charm of the piece so characterised but also as a proof of its authenticity. These pieces are most interesting, but are not always appreciated asthey should be. Some time ago I parted with a magnificent Waterford bowl, beautifully toned in this manner, only to find a week later that it had been chemically polished clear and bright, leaving it with not a tithe of its pristine beauty.
These distinctions of tone and colour which I have ventured to point out are by no means universal, so that a piece which does not possess them must not be rejected as spuriousmerely on this account. Sometimes it is impossible to say from what county a piece came, and this has led experts to refer to the products supposed to emanate from the Cork or Waterford factories as "Munster glass." Even this term is not broad enough, however, for it fails to include the pieces turned out by the Dublin factories, and these are nearly as likely to be mistaken for Cork or Waterford wares, as the two latter are likely to be mistaken for each other.The blue-grey tinge popularly regarded as exclusively associated with Waterford glass is quite an erroneous means of identification, as most of the pieces I have come across, actually impressed with the mark "Cork Glass Co.," were of this tint.Dublin glass, before 1800, was very dark in colour, and the very early pieces are almost black.
It is very frequently suggested that the chemical action of the air on old Irish glass may have something to do with the mystery of its unique coloration; and, strange as it may seem, it is an undoubted fact that glass does change its tone with the slow lapse of years. I believe this to be specially so with Irish glass which has remained a long time in Ireland; and the existence of such phenomena is borne out by the effect that the atmosphere of Ireland has on old white marble. It may be argued that, should this be the case, the coloration of Irish glass may be caused entirely by the atmospheric conditions under which it is kept, and owe nothing to its local peculiarities of manufacture. This theory, however, cannot be substantiated,as English glass does not appear to be affected by Irish atmosphere to anything like the same degree as the native metal. I have frequently seen old Irish dessert services and chandeliers in which individual pieces which had been broken had been replaced by facsimiles made in England. These replaced pieces, however early their origin, do not appear to have changed colour in the least, and because of this can be readily singled out among their fellows of native manufacture.
Irish glass is far tougher and stronger than any other, hence its wonderful survival even when in constant use. It takes a severe blow to break it, or even chip it, and I have seen solid pieces fall on a hard floor without being any the worse, beyond "singing" loudly. It has a wonderful elasticity, and actually bounces in a way that I have never found in any other glass. Some time ago the ring securing a large and valuable chandelier to the ceiling of one of my rooms gave way, with the result that the chandelier fell to the ground from a height of twelve or fifteen feet. It was, of course, broken with the fall from such a height, but the centre pendant, a large solid lump of lead glass, weighing 9 lbs., had not been shattered in the least,though the force of the fall had flattened its point.
Irish glass does not feel harsh or cold like most English or foreign, but gives a sense of soft warmth to the touch. There is something of the same distinction as between porcelain and earthenware, though not nearly to such a marked extent. One has to acquire a knowledge of it by experience; and though the tyro may at first perceive little or no variation between the feel of Irish and English glass, if he will cultivate his sense of touch by handling authenticated pieces of both varieties, he will soon find that there is a small but perfectly distinguishable difference between them.
I must make special mention of the ring of Irish glass, as this is an important point. All British glass has a clear, definite, bright ring, but to anyone with a musical ear it will be interesting to listen to the peculiar throb in Irish glass, not so much a ring as a rich throb, sometimes (particularly in large pieces) like a vibrato between two notes. I do not say that you get this in all Irish glass, only in the greater part of it.
No one, for instance, would expect a candlestick to ring or a salt-cellar, or a thick shallow piece heavily cut. Jugs, as a rule, also have a special dislike to displaying their voices, so, naturally, people must use their discernment.
This peculiar ring of Irish glass is not to be found in glass of alien origin. The foreign copies are quite different. Sometimes they will not ring at all, especially the wine glasses; the better ones give a sound of sorts, but it is very dead, and, if carefully listened to, the note is never true, just a little flat, quite unlike the "singing Waterford."
These are innumerable, and belong to all periods, old and modern, since Irish glass first became popular.
No glass in the world has been so much copied, and none has, in the long run, stood out so successfully in defying the faker. This constitutes one of the great attractions of Irish glass to the collector, for though many imitations of it have been made of sufficient excellence to deceive the inexperienced and unwary, it cannot be copied sufficiently well to deceive the connoisseur.
The finest reproductions from France, Belgium, Holland, and even Germany, all fail in colour and texture, though some of the cutting is exceedingly clever.
At the present moment there is an enormous amount of spurious glass on the market, and some time ago a lot of remarkable copies were in circulation. They were the best that have yet appeared, especially the urns and candlesticks, andnumbersfell into the hands of the unwary. One special weakness, however, was very noticeable—the colour fell in the tall pieces, leaving the tops whiter than the bases.
Plate VIII.WATERFORD BOWL OF RARE BEAUTY.7½ in. high, 12 in. diam. Engraved with escutcheon of the WINDE family (Chamberlain to H.R.H. Princess Sophia, sister to George III.). Probably a Christening Bowl.Walter Harding collection.
Plate VIII.
WATERFORD BOWL OF RARE BEAUTY.
7½ in. high, 12 in. diam. Engraved with escutcheon of the WINDE family (Chamberlain to H.R.H. Princess Sophia, sister to George III.). Probably a Christening Bowl.
Walter Harding collection.
A REMARKABLE CONE-SHAPED BOWL IN TWO PARTS.12 in. high, base 8 in.;circa1770. No duplicate.Originally in the Author's and now in the Walter Harding collection.
A REMARKABLE CONE-SHAPED BOWL IN TWO PARTS.
12 in. high, base 8 in.;circa1770. No duplicate.
Originally in the Author's and now in the Walter Harding collection.
At the present moment some very clever reproductions from Bohemia are arriving in England, but they are very light and have a peculiarpink tinge, which is more specially noticeable in the larger pieces.
As has already been pointed out, nearly all Irish glass is heavy, and a very large proportion of the modern fakes fail to attain the required weight. A marked exception to the general rule of weight is to be found in Irish blown specimens, produced from about 1735 to 1750, which were very light, and only engraved or quite plain,never cut. The faker frequently forgets the latter point. When, however, he remembers it, and produces plain or engraved pieces similar to the Irish, there is yet another point of distinction. The Irish pieces often show air-bubbles, but never the little specks of sand which, as I have already said, almost invariably appear in the metal peculiar to foreign glass.
The most important distinction between Irish glass and foreign imitations is to be found in their colours, and in this respect it is the early glass of Cork, Waterford, and Dublin that defies the copyist more than any other. Its steel or grey-blue tone stands alone, although, alas, imitations artificially coloured with thin cobalt and ultramarine have been, and in all probability will continue to be, sold as the genuine article. In the analysis of Irish glass there is no trace of cobalt.
Some copies of an almost emerald green have changed hands in good faith as Waterford glass. How could green be produced from lead oxide, potash, soda, and silica?—for this is the analysis of an early piece of Waterford "pot metal" glass of the dark grey hue.
The multitude of fakes on the market bears testimony to the increasing demand for Irish glass.
During the last six years, those members of the public who have a knowledge of glass have realised more and more the value of the genuine Irish article, which, of course, is due to the fact that it cannot be copied sufficiently well to deceive the connoisseur. The direct outcome of this is a steady increase in the market value, and rare specimens, which were made at from 25s. to £4, now readily fetch anything from £10 to £400; in fact, a single piece sold recently for £750, and a beautiful bowl passed through my hands at £550; while only a few months ago a chandelier was sold at an Irish auction for £1,218.
Magnificent specimens of Irish glass have found their way into English collections, as will be seen by the plates shown in this book. Photographs of most of the well-known pieces in the Dublin Museum, and in private Irish houses, havealready been reproduced in various publications; but the accompanying photographs are of exceptional specimens, taken exclusively fromEnglishcollections, and a very large number of them has passed through my own hands.
It is absolutely impossible to become a sound judge of Irish glass without years of experience, and, above all, without the constant actual handling of pieces of all dates and descriptions, consequently the genuine Irish dealer who has lived amongst it all his life has a very great pull with regard to actual knowledge.
So many specimens were made to order, and were therefore of special shape and cutting, that it is very difficult for the uninitiated to recognise a piece as being of any certain factory or period, and he is naturally mystified when he tries to classify such pieces into more or less well-known categories. For instance, an ancestor of mine had in his possession an early deep coloured bowl, cover, and stand of exceptional quality, made about 1750. His son, in 1790, had it cut in "flat diamonds" (a cutting then much in vogue), the result being a specimen of early dark "wavy" glass, adorned with the beautiful cutting of forty years later, and this is onlyoneinstance of many which could be quoted.
Great quantities of Irish glass were made, and the official Irish records show that large numbers of pieces were exported to America, Spain, Portugal, and the West Indies, etc. Many of our finest specimens were also taken to Holland, where they found a permanent home,and were extensively copied by the foreign glass-makers.
France was very keen on Irish glass, and I have unearthed there some very lovely and absolutely genuine specimens, especially wall-lights and chandeliers.
Needless to say, a very big trade was done by the glass-houses direct with old Irish families, who gave large orders for glass-ware, ranging from single pieces to complete table services, of which few records appear to have been kept.
A large amount of Irish glass was made and put by, uncut, as Irish families (especially those who lived near the glass-houses) preferred to choose their own cuttings from drawings, so as to have something different from their neighbours. This accounts for the number of uncut pieces still to be found in various parts of Ireland, especially thick finger-bowls, which were, undoubtedly, made in great quantities to await orders.
The following plates give some idea of the beautiful pieces of glass which have left Ireland, but there are magnificent specimens still there, which will probably never be placed on the market—pieces as poetic in design as their owners are in mind; pieces that will live for the sons and heirs to love and cherish with the manyother treasures of Ireland's finest periods, long after Sinn Feiners have ceased their endeavours to destroy all that is best and loveliest in the old country.
At the time of writing this, I find an enormous amount of spurious "Irish" glass on the market, and I take this opportunity of warning all collectors and dealers (many of whom are my friends) to be exceedingly careful. It is essential that all lovers of Irish glass should keep their collections pure, and some of these fakes are so clever that dealers will have to exercise the greatest vigilance and care if they are to avoid the ignominy of having pieces which they have sold in good faith returned to them as "wrong." At the present time, all the best known dealers in Irish glass are trusted by their customers, and their advice is taken without question. It is in the best interests of their great profession that this sense of confidence should remain.
In conclusion, I should like to add that I hope this book—written, as it is, at the request of many lovers of Irish glass—may be a real help to the novice, and assist him to distinguish between the "true" piece and the forgery.
STAR FROM A CHANDELIER.
STAR FROM A CHANDELIER.
STAR FROM A CHANDELIER.
THE STANNUS CREST, ENGRAVED ON A WATERFORD BOWL, 1790.(SeePlate XVI.)
THE STANNUS CREST, ENGRAVED ON A WATERFORD BOWL, 1790.
(SeePlate XVI.)
Photos by Hana
Plate IX.
Waterford Bowl,circa1783. 8 in. by 10 in. Very flat diamond cutting, on three feet carved as paws. This bowl, which is one of the finest the author has ever seen, is exceptionally notable from the fact that the pontil has beenworked up into an ornamentinstead of being broken off.In the collection of Commander Swithinbank.
Waterford Bowl,circa1783. 8 in. by 10 in. Very flat diamond cutting, on three feet carved as paws. This bowl, which is one of the finest the author has ever seen, is exceptionally notable from the fact that the pontil has beenworked up into an ornamentinstead of being broken off.In the collection of Commander Swithinbank.
Waterford Bowl,circa1783. 8 in. by 10 in. Very flat diamond cutting, on three feet carved as paws. This bowl, which is one of the finest the author has ever seen, is exceptionally notable from the fact that the pontil has beenworked up into an ornamentinstead of being broken off.
In the collection of Commander Swithinbank.
Waterford Flower Bowl, 12 in. high. Heavy early glass, finely cut, with castellated edge.Circa1783.In the collection of Commander Swithinbank.
Waterford Flower Bowl, 12 in. high. Heavy early glass, finely cut, with castellated edge.Circa1783.In the collection of Commander Swithinbank.
Waterford Flower Bowl, 12 in. high. Heavy early glass, finely cut, with castellated edge.Circa1783.
In the collection of Commander Swithinbank.
Waterford Canoe-shaped Bowl, deep colour and rare shape; 1783. 10 in. high, 14 in. wide.In Viscount Furness's collection.
Waterford Canoe-shaped Bowl, deep colour and rare shape; 1783. 10 in. high, 14 in. wide.In Viscount Furness's collection.
Waterford Canoe-shaped Bowl, deep colour and rare shape; 1783. 10 in. high, 14 in. wide.
In Viscount Furness's collection.
An exceptionally large"Turnover" Cork Bowl, on heavily domed base; early. Flat cutting. 12 in. high.In the collection of Mrs. Rea.A similar example is in the Walter Harding collection.
An exceptionally large"Turnover" Cork Bowl, on heavily domed base; early. Flat cutting. 12 in. high.In the collection of Mrs. Rea.A similar example is in the Walter Harding collection.
An exceptionally large"Turnover" Cork Bowl, on heavily domed base; early. Flat cutting. 12 in. high.
In the collection of Mrs. Rea.
A similar example is in the Walter Harding collection.
Plate X.
Rare heavily chiselledChristening Bowl. Irish, 1760. 26 in. across.In the Author's collection.
Rare heavily chiselledChristening Bowl. Irish, 1760. 26 in. across.In the Author's collection.
Rare heavily chiselledChristening Bowl. Irish, 1760. 26 in. across.
In the Author's collection.
Munster Glass Bowl.10 in. by 11 in.Circa1780. Heavily but beautifully cut.In the collection of Mrs. Hall.
Munster Glass Bowl.10 in. by 11 in.Circa1780. Heavily but beautifully cut.In the collection of Mrs. Hall.
Munster Glass Bowl.10 in. by 11 in.Circa1780. Heavily but beautifully cut.
In the collection of Mrs. Hall.
"Pinched" Sided Bowlon round domed foot. 11 in. wide, 8 in. high.In Mr. Henderson's collection.
"Pinched" Sided Bowlon round domed foot. 11 in. wide, 8 in. high.In Mr. Henderson's collection.
"Pinched" Sided Bowlon round domed foot. 11 in. wide, 8 in. high.
In Mr. Henderson's collection.
Waterford Orange Bowl.16 in. by 7½ in. Unusually large.Circa1790.In Major Pope's collection.
Waterford Orange Bowl.16 in. by 7½ in. Unusually large.Circa1790.In Major Pope's collection.
Waterford Orange Bowl.16 in. by 7½ in. Unusually large.Circa1790.
In Major Pope's collection.
Plate XI.
Very large earlyIrish Moulded Bowl. It rings exactly like a bell. Deep coloured and very soft glass. No duplicate known. Date 1760.In Mrs. Rea's collection.
Very large earlyIrish Moulded Bowl. It rings exactly like a bell. Deep coloured and very soft glass. No duplicate known. Date 1760.In Mrs. Rea's collection.
Very large earlyIrish Moulded Bowl. It rings exactly like a bell. Deep coloured and very soft glass. No duplicate known. Date 1760.
In Mrs. Rea's collection.
A wonderful early"Pinched" Bowl, showing the remarkable "rainbow" band of faint colour running round the body. The foot is square and moulded in a "dome." Note that the waste metal running from the square base has not been cut away, proving that this piece, for some reason unknown, has been left unfinished. There is no trace of "milkiness" about this bowl. The small one (3 in. high) beside it is a traveller's sample, made this minute size for convenience in carrying about.In the Author's collection.
A wonderful early"Pinched" Bowl, showing the remarkable "rainbow" band of faint colour running round the body. The foot is square and moulded in a "dome." Note that the waste metal running from the square base has not been cut away, proving that this piece, for some reason unknown, has been left unfinished. There is no trace of "milkiness" about this bowl. The small one (3 in. high) beside it is a traveller's sample, made this minute size for convenience in carrying about.In the Author's collection.
A wonderful early"Pinched" Bowl, showing the remarkable "rainbow" band of faint colour running round the body. The foot is square and moulded in a "dome." Note that the waste metal running from the square base has not been cut away, proving that this piece, for some reason unknown, has been left unfinished. There is no trace of "milkiness" about this bowl. The small one (3 in. high) beside it is a traveller's sample, made this minute size for convenience in carrying about.
In the Author's collection.
Shallow diamond-cutWaterford Revolving Centre Dish, 18 in. by 6 in. The glass all fits together without any metal mounting.Circa1783.In the Hon. Mrs. York's collection.
Shallow diamond-cutWaterford Revolving Centre Dish, 18 in. by 6 in. The glass all fits together without any metal mounting.Circa1783.In the Hon. Mrs. York's collection.
Shallow diamond-cutWaterford Revolving Centre Dish, 18 in. by 6 in. The glass all fits together without any metal mounting.Circa1783.
In the Hon. Mrs. York's collection.
Plate XII.
Rare specimen ofCork Glass Orange Bowl,circa1790. 14 in. long, 8½ in. high.Originally in the Author's collection; now in the Walter Harding collection.
Rare specimen ofCork Glass Orange Bowl,circa1790. 14 in. long, 8½ in. high.Originally in the Author's collection; now in the Walter Harding collection.
Rare specimen ofCork Glass Orange Bowl,circa1790. 14 in. long, 8½ in. high.
Originally in the Author's collection; now in the Walter Harding collection.
Finely cutWaterford Bowl,circa1790. 13 in. long, 9 in. high.In Viscount Furness's collection.
Finely cutWaterford Bowl,circa1790. 13 in. long, 9 in. high.In Viscount Furness's collection.
Finely cutWaterford Bowl,circa1790. 13 in. long, 9 in. high.
In Viscount Furness's collection.
Plate XIII.
Early Cork"Pillar" Bowl.In Viscount Furness's collection.
Early Cork"Pillar" Bowl.In Viscount Furness's collection.
Early Cork"Pillar" Bowl.
In Viscount Furness's collection.
LargeBowlof exceptional shape, colour, and cutting. Knopped stem.Circa1785.In the Author's family collection.
LargeBowlof exceptional shape, colour, and cutting. Knopped stem.Circa1785.In the Author's family collection.
LargeBowlof exceptional shape, colour, and cutting. Knopped stem.Circa1785.
In the Author's family collection.
Plate XIV.
Curious specimen of earlyIrish Glass, engraved. Of a beautiful deep colour. The stand is of Irish bog-oak, Celtic carving, the Irish wolfhound being very carefully executed. 18 in. high.In the collection of Commander Swithinbank.
Curious specimen of earlyIrish Glass, engraved. Of a beautiful deep colour. The stand is of Irish bog-oak, Celtic carving, the Irish wolfhound being very carefully executed. 18 in. high.In the collection of Commander Swithinbank.
Curious specimen of earlyIrish Glass, engraved. Of a beautiful deep colour. The stand is of Irish bog-oak, Celtic carving, the Irish wolfhound being very carefully executed. 18 in. high.
In the collection of Commander Swithinbank.
Plate XV.
LargeTwo-handled Posset Bowl, 18 in. high. Possibly as early as 1750. Irish.In the collection of Mrs. Hall.Rare heavy, dark, plainOgee Bowl, 11 in. by 11 in. Irish,circa1760.In the collection of Mr. Robert Frank.
LargeTwo-handled Posset Bowl, 18 in. high. Possibly as early as 1750. Irish.In the collection of Mrs. Hall.Rare heavy, dark, plainOgee Bowl, 11 in. by 11 in. Irish,circa1760.In the collection of Mr. Robert Frank.
LargeTwo-handled Posset Bowl, 18 in. high. Possibly as early as 1750. Irish.In the collection of Mrs. Hall.
Rare heavy, dark, plainOgee Bowl, 11 in. by 11 in. Irish,circa1760.In the collection of Mr. Robert Frank.
Plate XVI.
Strawberry and Fan Cut Bowl, 8 in. high. Made at Waterford in 1790, and bearing the Stannus crest, finely engraved.In the Author's collection.Waterford Bowl and Basin, cut all over with large, flat double stars. 11 in. by 12 in.Circa1783.In Mr. Wild's collection.Two-handled Cup and Cover, heavy clear glass. 4 in. high.Circa1780. Dublin (copy of Bristol, but much heavier).In Mrs. Day's collection.]
Strawberry and Fan Cut Bowl, 8 in. high. Made at Waterford in 1790, and bearing the Stannus crest, finely engraved.In the Author's collection.Waterford Bowl and Basin, cut all over with large, flat double stars. 11 in. by 12 in.Circa1783.In Mr. Wild's collection.Two-handled Cup and Cover, heavy clear glass. 4 in. high.Circa1780. Dublin (copy of Bristol, but much heavier).In Mrs. Day's collection.]
Strawberry and Fan Cut Bowl, 8 in. high. Made at Waterford in 1790, and bearing the Stannus crest, finely engraved.In the Author's collection.
Waterford Bowl and Basin, cut all over with large, flat double stars. 11 in. by 12 in.Circa1783.In Mr. Wild's collection.
Two-handled Cup and Cover, heavy clear glass. 4 in. high.Circa1780. Dublin (copy of Bristol, but much heavier).In Mrs. Day's collection.]
A giant"Turnover" Round Bowl and Dish. Bowl, 12 in. wide; dish, 20 in. Waterford,circa1815.In Mrs. Rea's collection.
A giant"Turnover" Round Bowl and Dish. Bowl, 12 in. wide; dish, 20 in. Waterford,circa1815.In Mrs. Rea's collection.
A giant"Turnover" Round Bowl and Dish. Bowl, 12 in. wide; dish, 20 in. Waterford,circa1815.
In Mrs. Rea's collection.
Octagonal Deep "Step" Cut Waterford Dish, 12 in.Circa1825. A very unusual specimen.In Mrs. Oliver's collection.
Octagonal Deep "Step" Cut Waterford Dish, 12 in.Circa1825. A very unusual specimen.In Mrs. Oliver's collection.
Octagonal Deep "Step" Cut Waterford Dish, 12 in.Circa1825. A very unusual specimen.
In Mrs. Oliver's collection.
Plate XVII.
Set of"Step" Cut Disheswith fan handles. Waterford,circa1820.In the collection of Mrs. Hall.
Set of"Step" Cut Disheswith fan handles. Waterford,circa1820.In the collection of Mrs. Hall.
Set of"Step" Cut Disheswith fan handles. Waterford,circa1820.
In the collection of Mrs. Hall.
Pair ofBanqueting Tazze, Munster glass of about 1790-1810. Made of heavy dark glassin one piece, with a heavily domed foot, and finely cut in slash and diamonds. They are 13 in. high, and weigh 32 lbs. each.In the collection of Mrs. Hall.
Pair ofBanqueting Tazze, Munster glass of about 1790-1810. Made of heavy dark glassin one piece, with a heavily domed foot, and finely cut in slash and diamonds. They are 13 in. high, and weigh 32 lbs. each.In the collection of Mrs. Hall.
Pair ofBanqueting Tazze, Munster glass of about 1790-1810. Made of heavy dark glassin one piece, with a heavily domed foot, and finely cut in slash and diamonds. They are 13 in. high, and weigh 32 lbs. each.
In the collection of Mrs. Hall.
Plate XVIII.
EarlyIrish"Posset Bowl," probably 1730. Heavy glass of a beautiful dark colour.In Mrs. Rea's collection.
EarlyIrish"Posset Bowl," probably 1730. Heavy glass of a beautiful dark colour.In Mrs. Rea's collection.
EarlyIrish"Posset Bowl," probably 1730. Heavy glass of a beautiful dark colour.
In Mrs. Rea's collection.
LargeIrish Urn,circa1795.In Mr. R. Philipson's collection.
LargeIrish Urn,circa1795.In Mr. R. Philipson's collection.
LargeIrish Urn,circa1795.
In Mr. R. Philipson's collection.
Waterford "Canoe" Shaped Bowl, on scroll base, 1790. 14 in. long, 9 in. high.In the Author's family collection.
Waterford "Canoe" Shaped Bowl, on scroll base, 1790. 14 in. long, 9 in. high.In the Author's family collection.
Waterford "Canoe" Shaped Bowl, on scroll base, 1790. 14 in. long, 9 in. high.
In the Author's family collection.
Plate XIX.
A beautifulWaterford Salad Bowl,circa1785. 12 in. diam., 5 in. high.In Colonel Fitzgerald Stannus's collection.
A beautifulWaterford Salad Bowl,circa1785. 12 in. diam., 5 in. high.In Colonel Fitzgerald Stannus's collection.
A beautifulWaterford Salad Bowl,circa1785. 12 in. diam., 5 in. high.
In Colonel Fitzgerald Stannus's collection.
One of a pair of heavyUrns, very early Dublin. 12 in. high.In Mr. Hugh Weguelin's collection.A rareFinger Bowl, marked "Dublin," very dark colour and soft glass. An early piece.In Mr. Robert Frank's collection.
One of a pair of heavyUrns, very early Dublin. 12 in. high.In Mr. Hugh Weguelin's collection.A rareFinger Bowl, marked "Dublin," very dark colour and soft glass. An early piece.In Mr. Robert Frank's collection.
One of a pair of heavyUrns, very early Dublin. 12 in. high.In Mr. Hugh Weguelin's collection.
A rareFinger Bowl, marked "Dublin," very dark colour and soft glass. An early piece.In Mr. Robert Frank's collection.