WILLIAM NELSON
Tobermore, Londonderry
The 1901 Irish Census records William Nelson as a 35 year old, Co. Derry born Watchmaker. He is married to 30 year old, Co. Derry born Annabella. The couple have six children, Florence 10, Robert H. 9, Minnie 7, Annie 5, William 3, and James 2 years old. The family's religion was recorded as Church of Ireland, and they reside at 17, Tobermore Town.
The 1911 Irish Census records that William and Annabella have a further six children. In addition to those recorded in the 1901 census, there are Herbert 10, Margret 8, Lizzie 6, Ethel 4, Thomas 3, and Gertie, a baby. The census notes that the couple had been married for 21 years, and had eleven children, all living (although the two censuses record a total of twelve children, with James missing from the 1911 record). Their address is now recorded as 51, Tobermore Town.
Trev.
Those Working in Ireland From the Mid 19th and 20th Century
Re: Firms Working in Ireland in the Late 19th and 20th Centu
SAMUEL NELSON
Omagh, Co. Tyrone
The 1901 Irish Census records Samuel Nelson as a 54 year old. Co. Down born Watchmaker. He is married to 37 year old, Co. Derry born Margaret. The couple have five children, Martha 10, Samuel 9, Emily 7, Albert 5, and Armanella 3 years of age. All the children were born in Co. Tyrone. The family reside at 5.2, Castle Street, Omagh, and their religion recorded as Church of Ireland.
Samuel's wife, Margaret, is recorded as a widow in the 1911 Irish Census. That census notes that they were married for 31 years, had 12 children, of whom 7 were living.
Trev.
Omagh, Co. Tyrone
The 1901 Irish Census records Samuel Nelson as a 54 year old. Co. Down born Watchmaker. He is married to 37 year old, Co. Derry born Margaret. The couple have five children, Martha 10, Samuel 9, Emily 7, Albert 5, and Armanella 3 years of age. All the children were born in Co. Tyrone. The family reside at 5.2, Castle Street, Omagh, and their religion recorded as Church of Ireland.
Samuel's wife, Margaret, is recorded as a widow in the 1911 Irish Census. That census notes that they were married for 31 years, had 12 children, of whom 7 were living.
Trev.
Re: Firms Working in Ireland in the Late 19th and 20th Centu
AIDAN J. BREEN
Dublin
I asked Aidan if he would be kind enough to supply the website with his biography and he has done not only that, but also given us a marvellous insight in the Irish silversmithing trade from when he started in 1959, until the present day:
Early Days in the Silver Trade, my Memories
Mr Barnes got me my first job in M. H. Gill & Sons. Printers, Publishers, and Ecclessticial Art Metal Works at 56 Upper O’Connell Street Dublin. It was the summer of 1959 and I was 14 years of age. Mr Barnes or Ted as he was known to his peers was an English catholic and a friend of my aunt Bridie who came to Ireland after World War 2. He was a great friend and mentor to me in Gill’s.
While the Gills shop fronted onto O’Connell Street, the workshops were in Moore Lane at the back of the shop. The printing activity took place directly behind the shop while the building that housed the foundry, the carpentry & picture framing workshops, plus the silver shop was a little further down the lane from the printers. Across the lane was the brass shop that employed about thirty craftsmen and women. The brass shop manufactured altar railings, altar candlesticks, tabernacles, sanctuary lamps, thuribles for incense and candle shrine holders and a host of other liturgical articles.
I was based in the silver shop and swept the floors first thing every morning. My next job was to get the men in both the brass shop and silver shop their cakes and cigarettes and whatever else they needed. When this was done all of us who worked in the silvershop knelt down and said a decade of the rosary. After we said the rosary I made the tea for our 10 o’clock break.
The silver shop employed four silversmiths and an apprentice, a chaser, a polisher and a silver/ gold platter. In the small office attached to the workshop worked Mr Barnes and Mary Cleary. Mary was a burnisher her job entailed burnishing the gold plating on the sacred vessels with steel and agate tools and a soapy water solution. This made the gold gleam and also helped to give the gilding the capacity to stand up to the wear and tear that the liturgical vessels would be subjected to. Her father was the foreman of the silver shop and her brother John was also one of the silversmiths. Every item made in the silver shop was formed by hand raising.
The silvershop produced altar plate for use in the sacramental life of the Catholic Church. They included chalices for celebrating the Eucharist and cibiourms and patens for the distribution of Holy Communion. Monstrance’s for the exposition of the Blessed Sacrament in Benediction. Also pyxes for carrying the holy communion and stocks for the holy oils used for anointing the sick and dying and other blessings.
The repertoire of motifs in use in the workshop that were either engraved or chased on the altar plate included; Celtic interlacing the Wheat and Vine, the Pelican feeding her young by piercing her breast and feeding them her blood. The Lamb, the PAX sign. The Alpha & Omega, the IHS and of course the Cross in all its manifestations were all very popular motifs. All these symbols were akin to musical notes and were used in many different combinations to produce different designs. These designs were used to embellish the chalices and Monstrance’s and other sacred vessels where appropriate. The pyxes and oil stocks would be engraved if necessary. Even though I have seen photos of a Custos which is a standing Pyx heavily chased in the style mentioned above, made by Gunning’s.
At this time in Ireland and especially Dublin a lot of new churches were been built to serve the new parishes growing up in the new suburbs of the expanding cities. The architects who designed the churches also designed the church furnishings including the liturgical vessels.
Gills were famous for its Papal DeBurgo Chalice that was presented to Pope Pius XII in 1950 by Sean O’Kelly, President of Ireland to mark his pilgrimage to Rome. It was in the style of the famous DeBurgo-O’Malley chalice made in 1494 with the addition of a liner on the cup. The liner was chased with a mixture of pure Celtic peltra motifs and interlacing. The rest of the chalice was chased all over with the combinations of designs mentioned above. It was fabricated out of 18ct gold. Gills also made a bronze Monstrance for the newly opened Telefis Eireann (Irish National Television). It was in the shape of a Celtic cross with flat chased interlacing covering the four surfaces of the cross. It was made of bronze and not highly polished because they did not want too much reflection from it when it was been used in the televised Benediction program.
When proposals for new jobs arrived in the workshop the foreman George Cleary would gather the other silversmiths, the polisher Christy Edwards and the chaser Bobby McGrath. This conference took place at a sturdy table where the drawings for all new work were first evaluated for pricing and to examine the feasibility of making the article in metal. I can still see and hear in my mind’s eye the great discussions that took place at the table. One comment in particular still sticks in my mind. “Ah sure you could not make this, these Architects know nothing about silversmithing.” This table was also the place where every item made in the workshop was given the once over to make sure everything was as it was supposed to be. The table was perfectly level and plum bob hung from the ceiling to make sure the article was straight.
It was also my job to bring and collect work from the out workers and specialist craftsmen and women scattered across the city. There were three different engravers used by Gills. Also a jewel case maker by the name of Jack Barclay, who custom made cases for the chalices/ciborium’s and monstrance’s I brought to him. He was a compassionate man and I was very fond of him. I loved going over to his workshop, where he would tell me to sit down and rest while he took measurements of the item. Then he would tell me stories of his time in the First World War when he served with the Black Watch a Scottish regiment. He also told me stories from the Táin and of CúChulainn’s amorous adventures with the opposite sex which he said they did not mention in the schools we all went to. The Dublin Assay Office was another port of call where I brought the silverware over in a green baize sack. The Assay Office is where all items of silver and gold manufactured in Ireland must by law be tested and hallmarked before they can be offered for sale.
We would get the odd order for a Bishops Pectoral cross which would be studded with jewels and sometimes other articles could be studded with jewels. These articles would be sent out to John Colgan the stone setter. The Pectoral Cross was the nearest we came to making Jewellery. As at that time in the precious metal trade silversmiths did not make Jewellery. A Jewellery maker would have been referred to as a goldsmith. Although silversmiths also worked in gold, the term goldsmith means in this sense someone who makes small work.
I helped around all the workshops and in the office. Mr. Barnes would get me to make new drawings of the various articles that were made in the workshop. I would pumice the brass hammered patens in the polishing shop to get the marks and scratches out, and scratch brush newly plated items.
John Wills was the picture framer; I would touch up any of the frames that were damaged in the making, using oil paints. I was good at this. John was the first man I met who had ever been to Spain. He would regale me in words and deeds with dramas about the bull fighters and the flamenco dancers he saw there.
Billy Dunne was the carpenter and the odd time I would go out on a job with him. Billy was one of the most intelligent if not the most intelligent man I have met in my life. He was as they say “out in “16 (he took part in the 1916 Rising as a young messenger). He was a bagpiper and a fluent Irish speaker and before Google, everybody from high up to low down, who had an unanswered question went to Billy for the answer, which he duly provided. His time sheets were works of art he had a beautiful copperplate hand. His one failing and it has been the failing of many a good man and women, was the drink. Beside Gills was a store house that held barrels of ale belonging to the Bass Carrington Brewery. Now the odd time when Billy was tempted to go in for a quick one, he would invariably come out the worst for the wear. As far as I can recollect he was met with forbearance and tact from all concerned.
When I was sixteen I was offered an apprenticeship as a chaser. Bobby McGrath was the chaser in Gill’s at this time. I jumped at the chance. My first job was chasing the tassels for the bottom of a sanctuary lamp. These sanctuary lamps were about 16” in dia. and had simple interlaced panels chased on them. When I started my apprenticeship Gills paid for my tuition at the College of art where I went at night. I was also allowed nay encouraged to make copies of pages from the Book of Kells and try to create original metalwork in the style of Irelands Golden Age.
Bobby left Gills to join the signals corps of the British Army and David Hickey the chaser at Gills before McGrath came back from England to work for the firm again, for a short time.
I worked away and at night when not attending the Art School I made oil paintings from post cards for a man called Joe Brennan who provided me with the cards. Joe was one of the salesmen in Gills shop and he paid me a pound for each one, it was not chickenfeed. I also loved to visit the museums and galleries. At this time the National Museum of Ireland had plaster cast replicas of the High Crosses on display in the foyer with pictures of other heritage sites around the walls I used to cycle to some of sites that were near.
The other silversmithing and Ecclesiastical art metal working firms operating in Dublin at this time were Gunning’s who was by far the biggest producer of sacred metalwork and they exported all over the world. One of their most famous pieces is the stunning Fatima Monstrance. Smyths off Wicklow Street were another firm. You had Matt Stanton on Dawson Street who made the iconic Sam Maguire Cup for Hopkins & Hopkins. And up the end of Harcourt Street was the Jewellery and Metal Company this was not considered a real silversmithing firm by the men I worked with.
I left Gills to go to work in Alwright & Marshals Silversmiths in Fade Street when I was eighteen. Allwrights as we called it was a lot different from Gills in the fact that it concentrated on domestic silverware as opposed to Ecclessticial ware. Even though the first thing I was shown when I went there were the patterns the firm made for their replica of the Cross of Cong. They did make the odd chalice as well. A feature of all these firms the craftsmen took an interest and great pride in the work that was produced by their firm. Alwrights was also different from Gills in the way the work was fabricated, they had spinners. A spinner forced a metal disk over a chuck on a lath to produce a form a whole lot quicker than one raised by hand.
Alwrights started out as Wakley & Wheeler an English firm and after Irish independence in 1922 they decided not to stay in the new state and in 1929 the owners left and sold the business to two of the workers , Johnny Alwright a silversmith and freedom fighter as I was informed, and Jock Marshall a Scots Presbyterian and a chaser. An unlikely partnership but a very successful one. When I arrived Johnny had departed to his eternal reward. His wife Elizabeth or Lizzie as she was known to all when she was not in earshot was the boss and ran the place ably assisted by Tony Marshall the foreman silversmith and another great friend to me.
The building we worked in was a part of the South City Markets complex, it was three stories high. The spinners were on the ground floor, the polishing & plating on the next floor, Lizzie’s office and the silver shop on the third floor. The silver shop was over an arcade and entrance to a meat factory, with a pillar holding up the entrance. This pillar would regularly get a belt by a lorry delivering product to the factory. Our workshop would rumble and shake, Working in the silver workshop was like working in a cathedral as from floor to ceiling it was about 24 feet high and one wall had Gothic style windows from wall to wall and from floor to ceiling.
Jock took me under his wing and gave me my head when I had not got a chasing job that was needed .When this happened he would tell me to cut up a piece of brass and chase a shield usually with a Celtic or Shamrock design. I was given the freedom to decorate it as I saw fit. We had a pile of these shields a foot or so high of various shapes and sizes. When the workshop got the call for a sports trophy one of the silversmiths rooted around in this pile until he found something that suited. It was the custom in Alwrights to take a plaster cast of all jobs we chased.
Jimmy Martin and Tommy Sharkey were two other chasers I worked alongside in Alwrights. Jimmy would regularly recite Molly Bloom’s solilqualy from Ulysses, he was a theatre buff. Tommy was renowned for been able to write the Lord’s Prayer with a pencil on the back of a stamp.
A lot of the articles produced in Alwrights were decorated with Celtic design. These included replicas of the Ardagh Chalice in many forms including tea sets. The Dunvegan tea set based on a medieval Maguire chalice that ended up in Dunvegan Castle on the Isle of Skye Scotland. The Carroll tea set was also chased with interlacing. Salvers with interlaced borders were also a popular item. As I browse the antique shops today I can see lots of silver plate that was made in Alwright & Marshalls. If you see something with the Weirs or Wests hallmark its odds on it was made in Alwrights. Joe Dalton the polisher and platter related to me the story of how one of the young West’s sons was apprenticed to Jock as a chaser. He was a bit of a playboy and tragically was killed driving a fast sports car. Weirs also had some kind of special relationship with Alwrights; Sydney Booth Weirs representive was around so often he was like a member of the staff.
Tony Marshall once told me that in the old days the chasers worked on the ground floor and there was beer on draft in the workshop to make it attractive for the chasers to stay in the workshop.
In 1965 the Second Vatican Council concluded. It was to usher in sweeping changes to the liturgy that changed the architecture of the churches as well as changing the rubrics regarding the composition of materials that could be used for scared vessels, for instance the cup had to be made of silver and gilt inside. After the Vatican II a chalice could be made of ceramics or non-precious metal. By 1968 there were no silversmiths working in Gill’s, Gunning’s, Smyth’s, or for that matter Stanton’s.
Gunnings had transformed itself into a company called Royal Irish Silver and they moved from Fleet Street in what is now the fashionable Temple Bar area of Dublin, out to the Glasnevin Industrial Estate. I left Allwrights and went to work there in 1969. At one stage there were 120 employed there. There were six of us chasers and an apprentice working in our own wooden building. On a Monday morning it was the custom of the company to burst into song with.
“What will we do with the drunken chaser?
What will we do with the drunken chaser?
Put him in the pitch pot till he’s sober
Put him in the pitch pot till he’s sober
Earlie in the morning.”
The money was great in Royal Irish and the work was interesting. But I could not in all honesty say it was my favorite place to work. As far as I can remember we made very little Celtic style silver plate with the exception of Celtic salvers, it was mostly reproductions of Georgian silver. The Dairy Maid Tea service was the most popular and bestselling piece. All the people who worked in the silver trade at that time were members of The National Union of Gold Silver & Allied Trades an English trade union. Such were the contradictions in Ireland at that time.
The trade was organized along clear lines of demarcation with a silversmith confining himself to what was considered a silversmiths work, for example he would not polish or chase, and likewise a chaser would not polish or do silversmithing. It made some sense because a lot of the skills were very specialized.
However when I left Royal Irish after two years I went to work in Irish Silver Ltd. situated off Meath Street in an area known as the Liberties of Dublin. The workshop was an eighteenth century converted Quaker Meeting House building. The men agreed that I could move across the lines of demarcation because there was not enough chasing to keep a chaser employed for forty hours a week. I am very grateful to them for that. We made a fair number of Celtic style articles of silver plate and the signature Celtic piece would have been a rose bowl with pierced Celtic zoomorphic cover.
Irish Silvers proximity to St. Patrick’s Cathedral gave me the opportunity to visit the cathedral on my lunch break. Where I used to love looking at and studying the many memorials that adorned the walls, a number which were beautifully engraved brass plaques featuring Celtic interlacing.
While working in Irish Silver due to a three day work week I had started making Jewellery purely by accident. A friend had asked me to make him a Celtic cross and between one thing and another I started to get more requests for Jewellery. I had no formal training in Jewellery making apart from my chasing and repousse skills and the silversmithing skills I picked up in Irish Silver. I was well able to saw pierce because as a child I used to do fretwork with the encouragement of my father who was a joiner.
From the time I started working I have always done what we call nixers, or working in my spare time for other companies. In Gills I had my paintings. When I worked in Alwrights, Paddy Malone one of the silversmiths introduced me to Lionel Mitchel an antique dealer specializing in brass artefacts of every variety. I used to help him restore the decorated brass surrounds on Georgian Fire Places and the brass dials on Grandfather Clocks as well as well as anything that was needed. Incidentally Lionel did not encourage me to make Jewellery; he actually discouraged me, telling me “not to prostitute myself”. He thought it would better for me to concentrate on chasing. But when did I ever listen to anyone.
In 1978 this all resulted in me deciding to go out on my own and set up my own workshop doing what I knew best. Contract chasing and repousse work for the trade and making Jewellery using motifs I knew and loved namely, Celtic designs. At this time I had been married to Mary for the last seven years and we had our two children Ciarán & Gráinne. I was our only source of income.
In 1979 I went to what is now known as Showcase, the trade fair held in the Royal Dublin Society in Ballsbridge, Dublin, back then it was known as National Crafts Trade Fair. When I started to show there, Pat Flood was the only other jeweler showing Celtic Jewellery. As well as wholesaling his Jewellery Pat had a retail outlet in the Powerscourt Town House shopping centre in the city center.
I sold well at this fair. In Ireland in the nineteen eighties gold & silver Celtic Jewellery was considered high fashion and was bought by the great and the good. Over the years I got great orders at this fair for my Celtic Jewellery, including a substantial one in the nineteen eighties from Mervyn's, a department store in San Francisco. And a terrific order from the Discovery Channel in the nineteen ninety’s. I am delighted to report that it is becoming very fashionable again. That said I have always had a market for my Celtic Jewellery.
I was also delighted to reestablish contact with Alwright & Marshals and to again do their chasing. And one of the jobs that gave me great pleasure was a Dish Ring (a particularly Irish form of silverware) I chased to celebrate Tony Marshal’s fifty years of service with the firm.
George Bellew was another silversmithing firm I done chasing for. One of these jobs was what, a few of us referred to as, “Sons of Sam”. These were miniature Sam Maguire’s and I could not count the number made. I made Celtic Design patterns for embellishing book covers and the Rivers of Ireland heads based on figure sculptures from Dublin’s Custom House on the river Liffey, that were used for spoon handles.
Basil Clancy’s Ogham Crafts was also another firm I worked for. I particularly remember the Whiskey Measures and Bookmarks I chased with” Man Bites Dog” logo. This was a design showing an interlaced man biting a dog and decorated Donal Foleys humorous column that ran in the Irish Times from 1971 to 1981. This was sold through the Irish Times General Services an adjunct to the Irish Times. At this time they also sold my Jewellery and silver boxes. These boxes were inspired by the sculptured stones from the Irish country side that ranged from the Stone Age to the Early Medieval period.
Jim Byrne was also a man I done chasing for; making patterns, one that sticks out was a chased portrait of P.H.Pearse, the leader of the 1916 Rising. I also chased strawberry dishes with scenes of Dublin. He once commissioned me to make an exact replica on a Corget as the Glenasheen Collar, unfortunely not in gold but in copper that was gilt. He had his shop on Dawson Street back then; he is now in South Anne St.
One of my most popular pieces of Jewellery was Noah’s Ark, based on a design from a High Cross at Killary Co. Meath. It featured a stylized boat, the ark with two faces peeping out and the dove of peace perched on top with the olive branch. I made it in brooches, pendants, and paperknife’s. The paperknife’s I sold to the Dept. of Foreign Affairs for use as gifts. I made a large one in copper for the Glencree Peace and Reconciliation Center as a wall hanging. The piece was very popular because of its association with peace much sought after in Ireland at that time because of turmoil created by the Provisional IRA’s campaign of terror. This all changed when the now disgraced Allied Irish Bank paid a small fortune to a British company to design a new logo which, guess what, came up with a variation of the design I had been using. I got in touch with them and explained my connection with the design, as a sop they ordered about a dozen paperknife’s. But as a piece of Jewellery that was the end of that. AIB ruined the design for me but about twenty eight years later they along with a number of other banks ruined this proud country.
My good friends Des Taffe and Michael Hilliar are another two silversmiths I have worked for. Michael is the creator of the famous History of Ireland range of Jewellery. I worked with Des when he came to Alwrights alone with another silversmith and two polishers via Staunton’s in a marriage arranged by Weir’s. Des would have been well acquainted with the Dunvegan Tea set and amazingly Des was commissioned some years later by the” Maguire” (the Chief of the Maguire clan) to make an exact replica of the Dunvegan Cup. The “Maguire” considered this cup to be a Chalice associated with the Maguire family and Des Taffe delivered the finished Chalice to the National Museum of Ireland in the last few years. Michael and Des both worked together when Weir’s reopened Matt Staunton’s old workshop on Dawson Street in 1972 under the name of Dublin Silver.
The silversmiths James Mary Kelly and Dessie Byrne were two silversmiths I have had the pleasure of working with. I chased the Celtic knotwork on the two replicas of the Liam MacCarthy Cup, this is the trophy presented to the winners of the All-Ireland Hurling Championship. It was a real treat to be involved in this work as the original was made by Edmond Johnson of whose work I am a big fan. Ollie Ennis chased the first Sam Maguire for Des Byrne and I chased the most recent one. The Sam Maguire Cup is presented to the winners of the All-Ireland Gaelic Football Championship.
I have always been inspired by the heritage of Ireland including the work of James Joyce. Which led to the Dublin Assay Office commissioning me to follow my heart’s desire and make a piece for their collection. I chose to make a two foot high silver sculpture based on Joyce’s masterpiece Ulysses. Its Moorish style tower with two smaller towers on top of the largest one set in a bed of blooms. The two smaller towers are decorated by flat chasing with my idea of Moorish interlacing and the main tower has eighteen chased and repoussed panels representing the 18 episodes of Ulysses, spiraling up the Tower. Each panel is decorated with my take on the episode. James Joyce was a great fan of the Book of Kells and it inspired him in the writing of Ulysses.
In conclusion looking back I have had a very hit and miss life and career and would certainly not consider myself a role model for anyone, except maybe how not to do it. But having said all that I have had a very interesting and enjoyable time. My work has allowed me the privilege of meeting extremely talented and interesting people. Among whom it must be said is Steve Walker.
I have no intention of quitting the work I do and have ideas for making a few large pieces of silver. One of which is a vessel celebrating Joyce’s Finnegans Wake, the other is theTáin, featuring the exploits of CúChulainn.
©Aidan Breen
In 2005 Ronald Le Bas, Assay Master of Dublin Assay Office , commissioned Aidan to make a piece for the Assay Offices collection. Below is a link to a 25 minute video in which Aidan explains the inspiration and the story behind his masterpiece, 'The Ulysses Tower' and the techniques he used in its manufacture:
The Ullysses Tower - Aidan J. Breen
The maker's mark of Aidan J. Breen that is registered with the Dublin Assay Office:
AJB
Our thanks to Aidan for sharing these details with us.
Trev.
Dublin
I asked Aidan if he would be kind enough to supply the website with his biography and he has done not only that, but also given us a marvellous insight in the Irish silversmithing trade from when he started in 1959, until the present day:
Early Days in the Silver Trade, my Memories
Mr Barnes got me my first job in M. H. Gill & Sons. Printers, Publishers, and Ecclessticial Art Metal Works at 56 Upper O’Connell Street Dublin. It was the summer of 1959 and I was 14 years of age. Mr Barnes or Ted as he was known to his peers was an English catholic and a friend of my aunt Bridie who came to Ireland after World War 2. He was a great friend and mentor to me in Gill’s.
While the Gills shop fronted onto O’Connell Street, the workshops were in Moore Lane at the back of the shop. The printing activity took place directly behind the shop while the building that housed the foundry, the carpentry & picture framing workshops, plus the silver shop was a little further down the lane from the printers. Across the lane was the brass shop that employed about thirty craftsmen and women. The brass shop manufactured altar railings, altar candlesticks, tabernacles, sanctuary lamps, thuribles for incense and candle shrine holders and a host of other liturgical articles.
I was based in the silver shop and swept the floors first thing every morning. My next job was to get the men in both the brass shop and silver shop their cakes and cigarettes and whatever else they needed. When this was done all of us who worked in the silvershop knelt down and said a decade of the rosary. After we said the rosary I made the tea for our 10 o’clock break.
The silver shop employed four silversmiths and an apprentice, a chaser, a polisher and a silver/ gold platter. In the small office attached to the workshop worked Mr Barnes and Mary Cleary. Mary was a burnisher her job entailed burnishing the gold plating on the sacred vessels with steel and agate tools and a soapy water solution. This made the gold gleam and also helped to give the gilding the capacity to stand up to the wear and tear that the liturgical vessels would be subjected to. Her father was the foreman of the silver shop and her brother John was also one of the silversmiths. Every item made in the silver shop was formed by hand raising.
The silvershop produced altar plate for use in the sacramental life of the Catholic Church. They included chalices for celebrating the Eucharist and cibiourms and patens for the distribution of Holy Communion. Monstrance’s for the exposition of the Blessed Sacrament in Benediction. Also pyxes for carrying the holy communion and stocks for the holy oils used for anointing the sick and dying and other blessings.
The repertoire of motifs in use in the workshop that were either engraved or chased on the altar plate included; Celtic interlacing the Wheat and Vine, the Pelican feeding her young by piercing her breast and feeding them her blood. The Lamb, the PAX sign. The Alpha & Omega, the IHS and of course the Cross in all its manifestations were all very popular motifs. All these symbols were akin to musical notes and were used in many different combinations to produce different designs. These designs were used to embellish the chalices and Monstrance’s and other sacred vessels where appropriate. The pyxes and oil stocks would be engraved if necessary. Even though I have seen photos of a Custos which is a standing Pyx heavily chased in the style mentioned above, made by Gunning’s.
At this time in Ireland and especially Dublin a lot of new churches were been built to serve the new parishes growing up in the new suburbs of the expanding cities. The architects who designed the churches also designed the church furnishings including the liturgical vessels.
Gills were famous for its Papal DeBurgo Chalice that was presented to Pope Pius XII in 1950 by Sean O’Kelly, President of Ireland to mark his pilgrimage to Rome. It was in the style of the famous DeBurgo-O’Malley chalice made in 1494 with the addition of a liner on the cup. The liner was chased with a mixture of pure Celtic peltra motifs and interlacing. The rest of the chalice was chased all over with the combinations of designs mentioned above. It was fabricated out of 18ct gold. Gills also made a bronze Monstrance for the newly opened Telefis Eireann (Irish National Television). It was in the shape of a Celtic cross with flat chased interlacing covering the four surfaces of the cross. It was made of bronze and not highly polished because they did not want too much reflection from it when it was been used in the televised Benediction program.
When proposals for new jobs arrived in the workshop the foreman George Cleary would gather the other silversmiths, the polisher Christy Edwards and the chaser Bobby McGrath. This conference took place at a sturdy table where the drawings for all new work were first evaluated for pricing and to examine the feasibility of making the article in metal. I can still see and hear in my mind’s eye the great discussions that took place at the table. One comment in particular still sticks in my mind. “Ah sure you could not make this, these Architects know nothing about silversmithing.” This table was also the place where every item made in the workshop was given the once over to make sure everything was as it was supposed to be. The table was perfectly level and plum bob hung from the ceiling to make sure the article was straight.
It was also my job to bring and collect work from the out workers and specialist craftsmen and women scattered across the city. There were three different engravers used by Gills. Also a jewel case maker by the name of Jack Barclay, who custom made cases for the chalices/ciborium’s and monstrance’s I brought to him. He was a compassionate man and I was very fond of him. I loved going over to his workshop, where he would tell me to sit down and rest while he took measurements of the item. Then he would tell me stories of his time in the First World War when he served with the Black Watch a Scottish regiment. He also told me stories from the Táin and of CúChulainn’s amorous adventures with the opposite sex which he said they did not mention in the schools we all went to. The Dublin Assay Office was another port of call where I brought the silverware over in a green baize sack. The Assay Office is where all items of silver and gold manufactured in Ireland must by law be tested and hallmarked before they can be offered for sale.
We would get the odd order for a Bishops Pectoral cross which would be studded with jewels and sometimes other articles could be studded with jewels. These articles would be sent out to John Colgan the stone setter. The Pectoral Cross was the nearest we came to making Jewellery. As at that time in the precious metal trade silversmiths did not make Jewellery. A Jewellery maker would have been referred to as a goldsmith. Although silversmiths also worked in gold, the term goldsmith means in this sense someone who makes small work.
I helped around all the workshops and in the office. Mr. Barnes would get me to make new drawings of the various articles that were made in the workshop. I would pumice the brass hammered patens in the polishing shop to get the marks and scratches out, and scratch brush newly plated items.
John Wills was the picture framer; I would touch up any of the frames that were damaged in the making, using oil paints. I was good at this. John was the first man I met who had ever been to Spain. He would regale me in words and deeds with dramas about the bull fighters and the flamenco dancers he saw there.
Billy Dunne was the carpenter and the odd time I would go out on a job with him. Billy was one of the most intelligent if not the most intelligent man I have met in my life. He was as they say “out in “16 (he took part in the 1916 Rising as a young messenger). He was a bagpiper and a fluent Irish speaker and before Google, everybody from high up to low down, who had an unanswered question went to Billy for the answer, which he duly provided. His time sheets were works of art he had a beautiful copperplate hand. His one failing and it has been the failing of many a good man and women, was the drink. Beside Gills was a store house that held barrels of ale belonging to the Bass Carrington Brewery. Now the odd time when Billy was tempted to go in for a quick one, he would invariably come out the worst for the wear. As far as I can recollect he was met with forbearance and tact from all concerned.
When I was sixteen I was offered an apprenticeship as a chaser. Bobby McGrath was the chaser in Gill’s at this time. I jumped at the chance. My first job was chasing the tassels for the bottom of a sanctuary lamp. These sanctuary lamps were about 16” in dia. and had simple interlaced panels chased on them. When I started my apprenticeship Gills paid for my tuition at the College of art where I went at night. I was also allowed nay encouraged to make copies of pages from the Book of Kells and try to create original metalwork in the style of Irelands Golden Age.
Bobby left Gills to join the signals corps of the British Army and David Hickey the chaser at Gills before McGrath came back from England to work for the firm again, for a short time.
I worked away and at night when not attending the Art School I made oil paintings from post cards for a man called Joe Brennan who provided me with the cards. Joe was one of the salesmen in Gills shop and he paid me a pound for each one, it was not chickenfeed. I also loved to visit the museums and galleries. At this time the National Museum of Ireland had plaster cast replicas of the High Crosses on display in the foyer with pictures of other heritage sites around the walls I used to cycle to some of sites that were near.
The other silversmithing and Ecclesiastical art metal working firms operating in Dublin at this time were Gunning’s who was by far the biggest producer of sacred metalwork and they exported all over the world. One of their most famous pieces is the stunning Fatima Monstrance. Smyths off Wicklow Street were another firm. You had Matt Stanton on Dawson Street who made the iconic Sam Maguire Cup for Hopkins & Hopkins. And up the end of Harcourt Street was the Jewellery and Metal Company this was not considered a real silversmithing firm by the men I worked with.
I left Gills to go to work in Alwright & Marshals Silversmiths in Fade Street when I was eighteen. Allwrights as we called it was a lot different from Gills in the fact that it concentrated on domestic silverware as opposed to Ecclessticial ware. Even though the first thing I was shown when I went there were the patterns the firm made for their replica of the Cross of Cong. They did make the odd chalice as well. A feature of all these firms the craftsmen took an interest and great pride in the work that was produced by their firm. Alwrights was also different from Gills in the way the work was fabricated, they had spinners. A spinner forced a metal disk over a chuck on a lath to produce a form a whole lot quicker than one raised by hand.
Alwrights started out as Wakley & Wheeler an English firm and after Irish independence in 1922 they decided not to stay in the new state and in 1929 the owners left and sold the business to two of the workers , Johnny Alwright a silversmith and freedom fighter as I was informed, and Jock Marshall a Scots Presbyterian and a chaser. An unlikely partnership but a very successful one. When I arrived Johnny had departed to his eternal reward. His wife Elizabeth or Lizzie as she was known to all when she was not in earshot was the boss and ran the place ably assisted by Tony Marshall the foreman silversmith and another great friend to me.
The building we worked in was a part of the South City Markets complex, it was three stories high. The spinners were on the ground floor, the polishing & plating on the next floor, Lizzie’s office and the silver shop on the third floor. The silver shop was over an arcade and entrance to a meat factory, with a pillar holding up the entrance. This pillar would regularly get a belt by a lorry delivering product to the factory. Our workshop would rumble and shake, Working in the silver workshop was like working in a cathedral as from floor to ceiling it was about 24 feet high and one wall had Gothic style windows from wall to wall and from floor to ceiling.
Jock took me under his wing and gave me my head when I had not got a chasing job that was needed .When this happened he would tell me to cut up a piece of brass and chase a shield usually with a Celtic or Shamrock design. I was given the freedom to decorate it as I saw fit. We had a pile of these shields a foot or so high of various shapes and sizes. When the workshop got the call for a sports trophy one of the silversmiths rooted around in this pile until he found something that suited. It was the custom in Alwrights to take a plaster cast of all jobs we chased.
Jimmy Martin and Tommy Sharkey were two other chasers I worked alongside in Alwrights. Jimmy would regularly recite Molly Bloom’s solilqualy from Ulysses, he was a theatre buff. Tommy was renowned for been able to write the Lord’s Prayer with a pencil on the back of a stamp.
A lot of the articles produced in Alwrights were decorated with Celtic design. These included replicas of the Ardagh Chalice in many forms including tea sets. The Dunvegan tea set based on a medieval Maguire chalice that ended up in Dunvegan Castle on the Isle of Skye Scotland. The Carroll tea set was also chased with interlacing. Salvers with interlaced borders were also a popular item. As I browse the antique shops today I can see lots of silver plate that was made in Alwright & Marshalls. If you see something with the Weirs or Wests hallmark its odds on it was made in Alwrights. Joe Dalton the polisher and platter related to me the story of how one of the young West’s sons was apprenticed to Jock as a chaser. He was a bit of a playboy and tragically was killed driving a fast sports car. Weirs also had some kind of special relationship with Alwrights; Sydney Booth Weirs representive was around so often he was like a member of the staff.
Tony Marshall once told me that in the old days the chasers worked on the ground floor and there was beer on draft in the workshop to make it attractive for the chasers to stay in the workshop.
In 1965 the Second Vatican Council concluded. It was to usher in sweeping changes to the liturgy that changed the architecture of the churches as well as changing the rubrics regarding the composition of materials that could be used for scared vessels, for instance the cup had to be made of silver and gilt inside. After the Vatican II a chalice could be made of ceramics or non-precious metal. By 1968 there were no silversmiths working in Gill’s, Gunning’s, Smyth’s, or for that matter Stanton’s.
Gunnings had transformed itself into a company called Royal Irish Silver and they moved from Fleet Street in what is now the fashionable Temple Bar area of Dublin, out to the Glasnevin Industrial Estate. I left Allwrights and went to work there in 1969. At one stage there were 120 employed there. There were six of us chasers and an apprentice working in our own wooden building. On a Monday morning it was the custom of the company to burst into song with.
“What will we do with the drunken chaser?
What will we do with the drunken chaser?
Put him in the pitch pot till he’s sober
Put him in the pitch pot till he’s sober
Earlie in the morning.”
The money was great in Royal Irish and the work was interesting. But I could not in all honesty say it was my favorite place to work. As far as I can remember we made very little Celtic style silver plate with the exception of Celtic salvers, it was mostly reproductions of Georgian silver. The Dairy Maid Tea service was the most popular and bestselling piece. All the people who worked in the silver trade at that time were members of The National Union of Gold Silver & Allied Trades an English trade union. Such were the contradictions in Ireland at that time.
The trade was organized along clear lines of demarcation with a silversmith confining himself to what was considered a silversmiths work, for example he would not polish or chase, and likewise a chaser would not polish or do silversmithing. It made some sense because a lot of the skills were very specialized.
However when I left Royal Irish after two years I went to work in Irish Silver Ltd. situated off Meath Street in an area known as the Liberties of Dublin. The workshop was an eighteenth century converted Quaker Meeting House building. The men agreed that I could move across the lines of demarcation because there was not enough chasing to keep a chaser employed for forty hours a week. I am very grateful to them for that. We made a fair number of Celtic style articles of silver plate and the signature Celtic piece would have been a rose bowl with pierced Celtic zoomorphic cover.
Irish Silvers proximity to St. Patrick’s Cathedral gave me the opportunity to visit the cathedral on my lunch break. Where I used to love looking at and studying the many memorials that adorned the walls, a number which were beautifully engraved brass plaques featuring Celtic interlacing.
While working in Irish Silver due to a three day work week I had started making Jewellery purely by accident. A friend had asked me to make him a Celtic cross and between one thing and another I started to get more requests for Jewellery. I had no formal training in Jewellery making apart from my chasing and repousse skills and the silversmithing skills I picked up in Irish Silver. I was well able to saw pierce because as a child I used to do fretwork with the encouragement of my father who was a joiner.
From the time I started working I have always done what we call nixers, or working in my spare time for other companies. In Gills I had my paintings. When I worked in Alwrights, Paddy Malone one of the silversmiths introduced me to Lionel Mitchel an antique dealer specializing in brass artefacts of every variety. I used to help him restore the decorated brass surrounds on Georgian Fire Places and the brass dials on Grandfather Clocks as well as well as anything that was needed. Incidentally Lionel did not encourage me to make Jewellery; he actually discouraged me, telling me “not to prostitute myself”. He thought it would better for me to concentrate on chasing. But when did I ever listen to anyone.
In 1978 this all resulted in me deciding to go out on my own and set up my own workshop doing what I knew best. Contract chasing and repousse work for the trade and making Jewellery using motifs I knew and loved namely, Celtic designs. At this time I had been married to Mary for the last seven years and we had our two children Ciarán & Gráinne. I was our only source of income.
In 1979 I went to what is now known as Showcase, the trade fair held in the Royal Dublin Society in Ballsbridge, Dublin, back then it was known as National Crafts Trade Fair. When I started to show there, Pat Flood was the only other jeweler showing Celtic Jewellery. As well as wholesaling his Jewellery Pat had a retail outlet in the Powerscourt Town House shopping centre in the city center.
I sold well at this fair. In Ireland in the nineteen eighties gold & silver Celtic Jewellery was considered high fashion and was bought by the great and the good. Over the years I got great orders at this fair for my Celtic Jewellery, including a substantial one in the nineteen eighties from Mervyn's, a department store in San Francisco. And a terrific order from the Discovery Channel in the nineteen ninety’s. I am delighted to report that it is becoming very fashionable again. That said I have always had a market for my Celtic Jewellery.
I was also delighted to reestablish contact with Alwright & Marshals and to again do their chasing. And one of the jobs that gave me great pleasure was a Dish Ring (a particularly Irish form of silverware) I chased to celebrate Tony Marshal’s fifty years of service with the firm.
George Bellew was another silversmithing firm I done chasing for. One of these jobs was what, a few of us referred to as, “Sons of Sam”. These were miniature Sam Maguire’s and I could not count the number made. I made Celtic Design patterns for embellishing book covers and the Rivers of Ireland heads based on figure sculptures from Dublin’s Custom House on the river Liffey, that were used for spoon handles.
Basil Clancy’s Ogham Crafts was also another firm I worked for. I particularly remember the Whiskey Measures and Bookmarks I chased with” Man Bites Dog” logo. This was a design showing an interlaced man biting a dog and decorated Donal Foleys humorous column that ran in the Irish Times from 1971 to 1981. This was sold through the Irish Times General Services an adjunct to the Irish Times. At this time they also sold my Jewellery and silver boxes. These boxes were inspired by the sculptured stones from the Irish country side that ranged from the Stone Age to the Early Medieval period.
Jim Byrne was also a man I done chasing for; making patterns, one that sticks out was a chased portrait of P.H.Pearse, the leader of the 1916 Rising. I also chased strawberry dishes with scenes of Dublin. He once commissioned me to make an exact replica on a Corget as the Glenasheen Collar, unfortunely not in gold but in copper that was gilt. He had his shop on Dawson Street back then; he is now in South Anne St.
One of my most popular pieces of Jewellery was Noah’s Ark, based on a design from a High Cross at Killary Co. Meath. It featured a stylized boat, the ark with two faces peeping out and the dove of peace perched on top with the olive branch. I made it in brooches, pendants, and paperknife’s. The paperknife’s I sold to the Dept. of Foreign Affairs for use as gifts. I made a large one in copper for the Glencree Peace and Reconciliation Center as a wall hanging. The piece was very popular because of its association with peace much sought after in Ireland at that time because of turmoil created by the Provisional IRA’s campaign of terror. This all changed when the now disgraced Allied Irish Bank paid a small fortune to a British company to design a new logo which, guess what, came up with a variation of the design I had been using. I got in touch with them and explained my connection with the design, as a sop they ordered about a dozen paperknife’s. But as a piece of Jewellery that was the end of that. AIB ruined the design for me but about twenty eight years later they along with a number of other banks ruined this proud country.
My good friends Des Taffe and Michael Hilliar are another two silversmiths I have worked for. Michael is the creator of the famous History of Ireland range of Jewellery. I worked with Des when he came to Alwrights alone with another silversmith and two polishers via Staunton’s in a marriage arranged by Weir’s. Des would have been well acquainted with the Dunvegan Tea set and amazingly Des was commissioned some years later by the” Maguire” (the Chief of the Maguire clan) to make an exact replica of the Dunvegan Cup. The “Maguire” considered this cup to be a Chalice associated with the Maguire family and Des Taffe delivered the finished Chalice to the National Museum of Ireland in the last few years. Michael and Des both worked together when Weir’s reopened Matt Staunton’s old workshop on Dawson Street in 1972 under the name of Dublin Silver.
The silversmiths James Mary Kelly and Dessie Byrne were two silversmiths I have had the pleasure of working with. I chased the Celtic knotwork on the two replicas of the Liam MacCarthy Cup, this is the trophy presented to the winners of the All-Ireland Hurling Championship. It was a real treat to be involved in this work as the original was made by Edmond Johnson of whose work I am a big fan. Ollie Ennis chased the first Sam Maguire for Des Byrne and I chased the most recent one. The Sam Maguire Cup is presented to the winners of the All-Ireland Gaelic Football Championship.
I have always been inspired by the heritage of Ireland including the work of James Joyce. Which led to the Dublin Assay Office commissioning me to follow my heart’s desire and make a piece for their collection. I chose to make a two foot high silver sculpture based on Joyce’s masterpiece Ulysses. Its Moorish style tower with two smaller towers on top of the largest one set in a bed of blooms. The two smaller towers are decorated by flat chasing with my idea of Moorish interlacing and the main tower has eighteen chased and repoussed panels representing the 18 episodes of Ulysses, spiraling up the Tower. Each panel is decorated with my take on the episode. James Joyce was a great fan of the Book of Kells and it inspired him in the writing of Ulysses.
In conclusion looking back I have had a very hit and miss life and career and would certainly not consider myself a role model for anyone, except maybe how not to do it. But having said all that I have had a very interesting and enjoyable time. My work has allowed me the privilege of meeting extremely talented and interesting people. Among whom it must be said is Steve Walker.
I have no intention of quitting the work I do and have ideas for making a few large pieces of silver. One of which is a vessel celebrating Joyce’s Finnegans Wake, the other is theTáin, featuring the exploits of CúChulainn.
©Aidan Breen
In 2005 Ronald Le Bas, Assay Master of Dublin Assay Office , commissioned Aidan to make a piece for the Assay Offices collection. Below is a link to a 25 minute video in which Aidan explains the inspiration and the story behind his masterpiece, 'The Ulysses Tower' and the techniques he used in its manufacture:
The Ullysses Tower - Aidan J. Breen
The maker's mark of Aidan J. Breen that is registered with the Dublin Assay Office:
AJB
Our thanks to Aidan for sharing these details with us.
Trev.
Re: Firms Working in Ireland in the Late 19th and 20th Centu
T. GRAVES & Co.
3, Talbot Street, and 36, Henry Street, Dublin
T. Graves & Co. appear to have been in business from around the end of WWI until around the start of WWII.
Yesterday Messrs. Graves & Co., Jewellers, Talbot Street, Dublin, as a result of their premises having been burgled four times in twelve months published their decision " to discontinue business until proper police regulations are forthcoming. "
Source: Irish Bulletin - 14th January 1920
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3, Talbot Street, and 36, Henry Street, Dublin
T. Graves & Co. appear to have been in business from around the end of WWI until around the start of WWII.
Yesterday Messrs. Graves & Co., Jewellers, Talbot Street, Dublin, as a result of their premises having been burgled four times in twelve months published their decision " to discontinue business until proper police regulations are forthcoming. "
Source: Irish Bulletin - 14th January 1920
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
CLASSIC TROPHIES Ltd.
Dawson Street, Dublin
Classic Trophies Ltd. was established in 1962 by Dermot O’Rorke.
In 1996 the business relocated to Dun Laoghaire where it traded for over 15 years. In April 2011, the business, now styled Premier Presentations & Awards, moved to its new office and retail unit in South City Business Park, Tallaght, Dublin 24.
Trev.
Dawson Street, Dublin
Classic Trophies Ltd. was established in 1962 by Dermot O’Rorke.
In 1996 the business relocated to Dun Laoghaire where it traded for over 15 years. In April 2011, the business, now styled Premier Presentations & Awards, moved to its new office and retail unit in South City Business Park, Tallaght, Dublin 24.
Trev.
Re: Firms Working in Ireland in the Late 19th and 20th Centu
NELSON BROTHERS, later, FRANCIS NELSON & SON Ltd.
42, Castle Street, Sligo
Nelson Brothers were noted as the makers of the Mayor of Sligo's chain in 1882, it is still in use today. The inscription on the reverse side of the medallion reads: “Presented principally by Bernard Collery, Mayor of Sligo, 1882, and former mayors”. In addition to the contribution of Mayor Bernard Collery, fifteen former mayors each contributed a link to the chain. The chain is of 18ct gold and weighs 15.5 ounces. It consists of 18 shields, each surmounted by a shamrock with a gold medallion hung from the centre shield. On the reverse of each shield the name and year of office of each Mayor who added a link is inscribed. One side of the medallion has a beautifully worked enamel of the Borough Arms with the inscription of Corporation of Sligo 1612 around its edge.
See: http://www.sligolibrary.ie/sligolibrary ... t%2012.pdf
Francis Nelson & Son, Ltd. - Sligo - 1949
The 1901 Irish Census records Francis Nelson as a 60 year old, Omagh, Tyrone born Jeweller, Hardware Merchant and J.P.. He is married to 70 year old, Sligo born, Hannah. They have three Assistants living in, James Fegan 29, Frederick Henderson 23, and Lloyd Noble 19 years of age. They reside at 29, Castle Street, Sligo and have one other live-in servant. The couple's religion was recorded as Church of Ireland.
Francis Nelson is recorded as 72 years old in the 1911 Irish Census. He is now a widower and described as a Hardware Merchant. James Fegan is recorded as a 'Visitor' and described as a Hardware Manager, no doubt of Francis's business. Another name of interest recorded in the census is Thomas Chambers, a 14 year old Apprentice. The census notes that Francis has four children of whom all are living. The address for this census was recorded as 16 Castle Street, Sligo.
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42, Castle Street, Sligo
Nelson Brothers were noted as the makers of the Mayor of Sligo's chain in 1882, it is still in use today. The inscription on the reverse side of the medallion reads: “Presented principally by Bernard Collery, Mayor of Sligo, 1882, and former mayors”. In addition to the contribution of Mayor Bernard Collery, fifteen former mayors each contributed a link to the chain. The chain is of 18ct gold and weighs 15.5 ounces. It consists of 18 shields, each surmounted by a shamrock with a gold medallion hung from the centre shield. On the reverse of each shield the name and year of office of each Mayor who added a link is inscribed. One side of the medallion has a beautifully worked enamel of the Borough Arms with the inscription of Corporation of Sligo 1612 around its edge.
See: http://www.sligolibrary.ie/sligolibrary ... t%2012.pdf
Francis Nelson & Son, Ltd. - Sligo - 1949
The 1901 Irish Census records Francis Nelson as a 60 year old, Omagh, Tyrone born Jeweller, Hardware Merchant and J.P.. He is married to 70 year old, Sligo born, Hannah. They have three Assistants living in, James Fegan 29, Frederick Henderson 23, and Lloyd Noble 19 years of age. They reside at 29, Castle Street, Sligo and have one other live-in servant. The couple's religion was recorded as Church of Ireland.
Francis Nelson is recorded as 72 years old in the 1911 Irish Census. He is now a widower and described as a Hardware Merchant. James Fegan is recorded as a 'Visitor' and described as a Hardware Manager, no doubt of Francis's business. Another name of interest recorded in the census is Thomas Chambers, a 14 year old Apprentice. The census notes that Francis has four children of whom all are living. The address for this census was recorded as 16 Castle Street, Sligo.
Trev.
Re: Firms Working in Ireland in the Late 19th and 20th Centu
WILLIAM BARRISCALE I
21 & 22 North Main Street, and, 5, Bridge Street, Cork
Barriscale's - Cork - 1893
The Barriscale's were old established jewellers in Cork, the first noted was Samuel Barriscale, who was recorded in 1846 as working at 25, Paul Street, Cork.
See: http://www.925-1000.com/forum/viewtopic ... 95&p=81061
William Barriscale was first noted in Guy's City and County Almanac and Directory of 1884 as working at 21, & 22, North Main Street, but by the time of the 1901 Irish Census he appears to have relocated to 5, Bridge Street.
The 1901 Irish Census records William Barriscale as a 56 year old Cork City born jeweller. William is married, but his wife was not present at the time of the census, so she is unrecorded. William resides at 5, Bridge Street, Cork, with his son Richard, aged 33 years, who is also a Jeweller, and daughters Mary 22, and Madge, 20 years of age. The family have one live-in servant and their religion recorded as Roman Catholic.
The 1911 Irish Census offers little further information, with the exception that William is now recorded as a Watchmaker and as a Widower, and his son Richard is no longer in residence.
Internet sources reveal that William Barriscale's business continued on until the early 1940's.
A fine image of William Barriscale's shop at 5, Bridge Street, Cork, complete with a splendid overhanging clock, can be found in The National Library of Ireland's collection at:
http://www.flickr.com/photos/nlireland/ ... otostream/
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21 & 22 North Main Street, and, 5, Bridge Street, Cork
Barriscale's - Cork - 1893
The Barriscale's were old established jewellers in Cork, the first noted was Samuel Barriscale, who was recorded in 1846 as working at 25, Paul Street, Cork.
See: http://www.925-1000.com/forum/viewtopic ... 95&p=81061
William Barriscale was first noted in Guy's City and County Almanac and Directory of 1884 as working at 21, & 22, North Main Street, but by the time of the 1901 Irish Census he appears to have relocated to 5, Bridge Street.
The 1901 Irish Census records William Barriscale as a 56 year old Cork City born jeweller. William is married, but his wife was not present at the time of the census, so she is unrecorded. William resides at 5, Bridge Street, Cork, with his son Richard, aged 33 years, who is also a Jeweller, and daughters Mary 22, and Madge, 20 years of age. The family have one live-in servant and their religion recorded as Roman Catholic.
The 1911 Irish Census offers little further information, with the exception that William is now recorded as a Watchmaker and as a Widower, and his son Richard is no longer in residence.
Internet sources reveal that William Barriscale's business continued on until the early 1940's.
A fine image of William Barriscale's shop at 5, Bridge Street, Cork, complete with a splendid overhanging clock, can be found in The National Library of Ireland's collection at:
http://www.flickr.com/photos/nlireland/ ... otostream/
Trev.
Re: Firms Working in Ireland in the Late 19th and 20th Centu
RICHARD BARRISCALE I
62, South Main Street, Cork
Recorded as a Watchmaker, located at 62, South Main Street, Cork in Slater's Directory of Cork City and County 1881
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62, South Main Street, Cork
Recorded as a Watchmaker, located at 62, South Main Street, Cork in Slater's Directory of Cork City and County 1881
Trev.
Re: Firms Working in Ireland in the Late 19th and 20th Centu
WILLIAM BARRISCALE II
Cork
The 1901 Irish Census records William Barriscale as a 28 year old Cork City born Watchmaker. He is married to 22 year old Cork City born Mary. The couple have two children, Hugh 2 years of age, and a baby, William. They live with William's mother-in-law, 49 year old Hannah Noble, who is widowed and described as a Vintner. They reside at 17, Georges Street, Cork, and their religion recorded as Roman Catholic.
The 1911 Irish Census reveals the couple have a further three children, Johanna 7, Samuel 5, and Thomas 2 years of age. All the couple's children were born in Cork City, with the exception of Samuel, who was born in England, and may indicate that William spent time working in England around 1906. William and his family now reside at 4, Magdala Terrace, Cork. The census records that they had been married for 13 years, had 5 children, of whom all were living.
Trev.
Cork
The 1901 Irish Census records William Barriscale as a 28 year old Cork City born Watchmaker. He is married to 22 year old Cork City born Mary. The couple have two children, Hugh 2 years of age, and a baby, William. They live with William's mother-in-law, 49 year old Hannah Noble, who is widowed and described as a Vintner. They reside at 17, Georges Street, Cork, and their religion recorded as Roman Catholic.
The 1911 Irish Census reveals the couple have a further three children, Johanna 7, Samuel 5, and Thomas 2 years of age. All the couple's children were born in Cork City, with the exception of Samuel, who was born in England, and may indicate that William spent time working in England around 1906. William and his family now reside at 4, Magdala Terrace, Cork. The census records that they had been married for 13 years, had 5 children, of whom all were living.
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
RICHARD BARRISCALE II
12a Winthrop Street, Cork
R.J. Barriscale is recorded in Guy's 1907 Cork Directory under Watchmakers/Jewellers, located at 12a Winthrop Street, Cork.
This is likely to be Richard, the son of William Barriscale I.
The 1901 Irish Census records Richard Barriscale as the 33 year old, Cork City born son of William Barriscale. He lives with his father at 5, Bridge Street, Cork, where both are recorded as Jewellers. He does not appear to be recorded in the 1911 Irish Census, and internet sources suggest he emigrated to Canada to work as an Optician.
Trev.
12a Winthrop Street, Cork
R.J. Barriscale is recorded in Guy's 1907 Cork Directory under Watchmakers/Jewellers, located at 12a Winthrop Street, Cork.
This is likely to be Richard, the son of William Barriscale I.
The 1901 Irish Census records Richard Barriscale as the 33 year old, Cork City born son of William Barriscale. He lives with his father at 5, Bridge Street, Cork, where both are recorded as Jewellers. He does not appear to be recorded in the 1911 Irish Census, and internet sources suggest he emigrated to Canada to work as an Optician.
Trev.
Re: Firms Working in Ireland in the Late 19th and 20th Centu
THOMAS HENRY RICHARDS, later, RICHARDS & WALSH
36, Wicklow Street, Dublin. 57, North Main Street, Bull Ring, Wexford. 38, Basinghall Street, London EC.
Richards & Walsh - Dublin and Wexford - 1903
Richards & Walsh - Dublin, Wexford, and London - 1904
Richards & Walsh entered their mark, 'R & W' contained within an elongated heraldic shield, at the Dublin Assay Office in 1895.
Richards & Walsh entered their mark, 'R & W' contained within an oblong punch, with the Chester Assay Office, on the 2nd June 1902.
THOMAS H. RICHARDS
Watch Manufacturer and Jeweller, 57, North Main Street, Wexford; and 38, Basinghall Street, London, EC.
The enterprise of the business world of Wexford is very largely shared by Mr. Thomas H. Richards, who, as a watch manufacturer of the highest grade, has gained more or less celebrity in many parts of the world. He has been established in the town for more than a quarter of a century, and for a considerable period in London at 38, Basinghall Street, EC. The former premises are very eligibly situated in the main thoroughfare near the Bull Ring, and have a fine frontage. An ornamentally cased clock is fixed outside, so that any of the good folks of Wexford not supplied with watches from the establishment can add on or take off the "daily rate." The window, with its fine selection of watches, jewellery, and plate, always makes a brave show, and the well-fitted and beautifully stocked interior completes a notable ensemble. Though the display of new designs in fine gold jewellery and chains ; diamond, emerald, and ruby rings ; silver electroplate ; and clocks in splendid casings for drawing-room, dining-room, hall, library, or carriage might well challenge prominent mention, the watcnes, as the famous speciality of the house, have the chief claim on our space. At four guineas for silver and twelve for gold casings, the "Basinghall" English-made patent levers are admittedly the best value in the trade. Their strength, durability, and cheapness; the fact that they are of the finest make; capped and jewelled; air, dust, and damp proof; and their handsome appearance, are appreciated by thousands of wearers in all parts of the 'world. Among the latest achievements of the trade is Mr. Richards' chrono-micrometer, at the unprecedentedly low price of £30, for timing racing events; and a variety of Kew-certificated watches of special make and finish. We need not say that Mr. Richards drives an immense business at home and abroad. His enterprise and the honourable methods adopted do credit to Wexford, and give him a rank second to none among the spirited business men of that ancient centre of trade and prosperity.
Source: Dublin, Cork, and South of Ireland: A Literary, Commercial, and Social Review - 1892
Rare film footage of the Richards shopfront in taken in January 1902 from the wonderful Mitchell & Kenyon collection can be seen here: http://www.youtube.com/watch?v=wu2LGNeI ... ure=relmfu
An image of Richards shopfront from the National Library of Ireland collection can be see here: http://www.flickr.com/photos/nlireland/ ... otostream/ Could that be John R. Richards leaning over the clock on the balcony?
and a partcial image here: http://www.flickr.com/photos/nlireland/ ... otostream/
The 1901 Irish Census records Thomas H. Richards as a 58 year old, Co. Wexford born Watchmaker, he is married to 34 year old, English born Annie E. The couple live with Thomas's unmarried son (from a previous marriage) John R., who is 28 and a Wexford born Watchmaker, and Sylvia A. aged 8 years. The family have two live-in servants and reside at 39,Main Street North, Wexford. Their religion was recorded as Church of Ireland.
The 1911 Irish Census reveals little further detail with the exception that Thomas and John are now described as Jewellers, and the family now reside at 2, Main Street, North, Wexford. The census records that Thomas and Annie have been married for 21 years and had just the one child (Sylvia).
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36, Wicklow Street, Dublin. 57, North Main Street, Bull Ring, Wexford. 38, Basinghall Street, London EC.
Richards & Walsh - Dublin and Wexford - 1903
Richards & Walsh - Dublin, Wexford, and London - 1904
Richards & Walsh entered their mark, 'R & W' contained within an elongated heraldic shield, at the Dublin Assay Office in 1895.
Richards & Walsh entered their mark, 'R & W' contained within an oblong punch, with the Chester Assay Office, on the 2nd June 1902.
THOMAS H. RICHARDS
Watch Manufacturer and Jeweller, 57, North Main Street, Wexford; and 38, Basinghall Street, London, EC.
The enterprise of the business world of Wexford is very largely shared by Mr. Thomas H. Richards, who, as a watch manufacturer of the highest grade, has gained more or less celebrity in many parts of the world. He has been established in the town for more than a quarter of a century, and for a considerable period in London at 38, Basinghall Street, EC. The former premises are very eligibly situated in the main thoroughfare near the Bull Ring, and have a fine frontage. An ornamentally cased clock is fixed outside, so that any of the good folks of Wexford not supplied with watches from the establishment can add on or take off the "daily rate." The window, with its fine selection of watches, jewellery, and plate, always makes a brave show, and the well-fitted and beautifully stocked interior completes a notable ensemble. Though the display of new designs in fine gold jewellery and chains ; diamond, emerald, and ruby rings ; silver electroplate ; and clocks in splendid casings for drawing-room, dining-room, hall, library, or carriage might well challenge prominent mention, the watcnes, as the famous speciality of the house, have the chief claim on our space. At four guineas for silver and twelve for gold casings, the "Basinghall" English-made patent levers are admittedly the best value in the trade. Their strength, durability, and cheapness; the fact that they are of the finest make; capped and jewelled; air, dust, and damp proof; and their handsome appearance, are appreciated by thousands of wearers in all parts of the 'world. Among the latest achievements of the trade is Mr. Richards' chrono-micrometer, at the unprecedentedly low price of £30, for timing racing events; and a variety of Kew-certificated watches of special make and finish. We need not say that Mr. Richards drives an immense business at home and abroad. His enterprise and the honourable methods adopted do credit to Wexford, and give him a rank second to none among the spirited business men of that ancient centre of trade and prosperity.
Source: Dublin, Cork, and South of Ireland: A Literary, Commercial, and Social Review - 1892
Rare film footage of the Richards shopfront in taken in January 1902 from the wonderful Mitchell & Kenyon collection can be seen here: http://www.youtube.com/watch?v=wu2LGNeI ... ure=relmfu
An image of Richards shopfront from the National Library of Ireland collection can be see here: http://www.flickr.com/photos/nlireland/ ... otostream/ Could that be John R. Richards leaning over the clock on the balcony?
and a partcial image here: http://www.flickr.com/photos/nlireland/ ... otostream/
The 1901 Irish Census records Thomas H. Richards as a 58 year old, Co. Wexford born Watchmaker, he is married to 34 year old, English born Annie E. The couple live with Thomas's unmarried son (from a previous marriage) John R., who is 28 and a Wexford born Watchmaker, and Sylvia A. aged 8 years. The family have two live-in servants and reside at 39,Main Street North, Wexford. Their religion was recorded as Church of Ireland.
The 1911 Irish Census reveals little further detail with the exception that Thomas and John are now described as Jewellers, and the family now reside at 2, Main Street, North, Wexford. The census records that Thomas and Annie have been married for 21 years and had just the one child (Sylvia).
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
MMI GROUP LTD.
Insignia House, JFK Park, Bluebell, Dublin 12
Manufacturers of medals, government seals, military insignia and sporting awards. MMI have been a supplier of service medals to the United Nations for the last 20 years. They also supply the medals for the GAA and FAI.
Established in 1939 by John Timmins, and now in the hands of his grandson, Enda Woods and John Wall. They became MMI in 1979 and moved to their current premises in 1985.
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Insignia House, JFK Park, Bluebell, Dublin 12
Manufacturers of medals, government seals, military insignia and sporting awards. MMI have been a supplier of service medals to the United Nations for the last 20 years. They also supply the medals for the GAA and FAI.
Established in 1939 by John Timmins, and now in the hands of his grandson, Enda Woods and John Wall. They became MMI in 1979 and moved to their current premises in 1985.
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
JOHN TIMMINS
70, Lower Camden Street, Dublin
Presumably the forerunner to the MMI Group Ltd. (Confirmation required).
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70, Lower Camden Street, Dublin
Presumably the forerunner to the MMI Group Ltd. (Confirmation required).
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
SEVERIN BOWMANN (BAUMANN)
Dungarvan, Co. Waterford
The 1911 Irish Census records Severin Bowmann as a 32 year old, Swiss born Watchmaker. He is single, and lives alone at 2, St. Mary Street, Dungarvan. His religion was recorded as Roman Catholic. He notes on the census return that he speaks German, French and English.
He does not appear in the 1901 Irish Census, so it is likely that he arrived in Ireland between 1901 and 1911.
Severin appears to have Anglicized his name from Baumann to Bowmann. His business was established in 1911 and appears to have passed to his son(?) Oscar Bowman (the final 'n' being dropped from the name) who restyled the firm's name, firstly to O. Bowman, and then to 'O. Bowman & Sons'. The business continues today, now styled Baumann Jewellers of 6, St. Mary Street, Dungarvan, Co. Waterford.
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Dungarvan, Co. Waterford
The 1911 Irish Census records Severin Bowmann as a 32 year old, Swiss born Watchmaker. He is single, and lives alone at 2, St. Mary Street, Dungarvan. His religion was recorded as Roman Catholic. He notes on the census return that he speaks German, French and English.
He does not appear in the 1901 Irish Census, so it is likely that he arrived in Ireland between 1901 and 1911.
Severin appears to have Anglicized his name from Baumann to Bowmann. His business was established in 1911 and appears to have passed to his son(?) Oscar Bowman (the final 'n' being dropped from the name) who restyled the firm's name, firstly to O. Bowman, and then to 'O. Bowman & Sons'. The business continues today, now styled Baumann Jewellers of 6, St. Mary Street, Dungarvan, Co. Waterford.
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
JAMES J. KIRK (possibly James J. Kelly)
37, Upper Camden Street, and Harcourt Road, Dublin
James J. Kirk entered his mark 'JJK' incuse and without outline with the Chester Assay Office on the 4th August 1900. The records of the Chester Assay Office describe him as a Tobacconist and Cigar Bonder.
I find no record of a James J. Kirk working in Dublin in the tobacco industry, however, there was a James Joseph Kelly, Tobacco Merchant, recorded at Camden Street, Dublin in the 1911 Irish Census. The name may have possibly been wrongly transcribed by the Chester Assay Office.
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37, Upper Camden Street, and Harcourt Road, Dublin
James J. Kirk entered his mark 'JJK' incuse and without outline with the Chester Assay Office on the 4th August 1900. The records of the Chester Assay Office describe him as a Tobacconist and Cigar Bonder.
I find no record of a James J. Kirk working in Dublin in the tobacco industry, however, there was a James Joseph Kelly, Tobacco Merchant, recorded at Camden Street, Dublin in the 1911 Irish Census. The name may have possibly been wrongly transcribed by the Chester Assay Office.
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
JAMES CURRAN
RATHER THAN BE CALLED TRAITOR HE ENDS LIFE
Irish Soldier of Fortune, Who Fought for the Boers. Commits Suicide In Brooklyn. NEW YORK. Aug. 15.
Brooding over undeserved disgrace due to treachery during the South African war, James Curran. a silversmith and a veteran of the South African war, formerly with the Boer army, today committed suicide in his Brooklyn lodgings. Curran was a native of Ireland. When the war between Great Britain and the Boers broke out he was at work in the Kimberley mines. He had saved a small competence, and, contributing this to the Boer cause, raised a company of scouts, of which he became captain. This company was successful for a time, but in a skirmish before Ladysmith the whole company was destroyed, all of the members being either killed or captured by the British. Captain Curran was made a prisoner, but within a week he escaped and returned to the Boer army. There he was accused of having led his men into a trap. He was found guilty and was sentenced to be shot, but escaped two days before the proposed execution. Making his way to Cape Town, he took a ship for America and secured employment. A few weeks ago Curran gave away his sword, remarking to a friend that he could not bear the sight of it longer, as it continually reminded him of undeserved disgrace.
Source: The San Francisco Call - 16th August 1904
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RATHER THAN BE CALLED TRAITOR HE ENDS LIFE
Irish Soldier of Fortune, Who Fought for the Boers. Commits Suicide In Brooklyn. NEW YORK. Aug. 15.
Brooding over undeserved disgrace due to treachery during the South African war, James Curran. a silversmith and a veteran of the South African war, formerly with the Boer army, today committed suicide in his Brooklyn lodgings. Curran was a native of Ireland. When the war between Great Britain and the Boers broke out he was at work in the Kimberley mines. He had saved a small competence, and, contributing this to the Boer cause, raised a company of scouts, of which he became captain. This company was successful for a time, but in a skirmish before Ladysmith the whole company was destroyed, all of the members being either killed or captured by the British. Captain Curran was made a prisoner, but within a week he escaped and returned to the Boer army. There he was accused of having led his men into a trap. He was found guilty and was sentenced to be shot, but escaped two days before the proposed execution. Making his way to Cape Town, he took a ship for America and secured employment. A few weeks ago Curran gave away his sword, remarking to a friend that he could not bear the sight of it longer, as it continually reminded him of undeserved disgrace.
Source: The San Francisco Call - 16th August 1904
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
GEORGE SHEFFIELD
Church Street, Athlone, Co. Westmeath
IRISH BILL OF SALE
Sheffield, Charles E., 6, Shop Street, Galway, watchmaker. Given to George Sheffield, Church Street, Athlone, Westmeath, watchmaker. Aug. 26. Filed Aug. 29. £275-11s.
Source: The Jeweller and Metalwoker - 15th September 1885
The 1901 Irish Census records George Sheffield as a 41 year old Westmeath born Watchmaker. He is married to 35 year old Westmeath born Mary Anne. The couple reside with their three children, Mary Alice 11, George 9, and Florence 7 years of age. They live at 16, Church Street, Athlone. Their religion was recorded as Roman Catholic.
The details in the 1911 Irish Census vary somewhat, now recorded as George E. Sheffield, Watchmaker and Jeweller, the recorded place of birth now states 'England'. Son, George Joseph Sheffield is now a Watchmaker. Two further children are recorded, Grace Bridget 9, and Alfred, aged 6 years. The census recorded that the couple had been married for 23 years, had seven children, of whom five were living. The address recorded in this census was 12, Church Street, Athlone.
The firm of George Sheffield appears to be still in business today, located at 15 Church Street, Athlone, Co. Westmeath.
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Church Street, Athlone, Co. Westmeath
IRISH BILL OF SALE
Sheffield, Charles E., 6, Shop Street, Galway, watchmaker. Given to George Sheffield, Church Street, Athlone, Westmeath, watchmaker. Aug. 26. Filed Aug. 29. £275-11s.
Source: The Jeweller and Metalwoker - 15th September 1885
The 1901 Irish Census records George Sheffield as a 41 year old Westmeath born Watchmaker. He is married to 35 year old Westmeath born Mary Anne. The couple reside with their three children, Mary Alice 11, George 9, and Florence 7 years of age. They live at 16, Church Street, Athlone. Their religion was recorded as Roman Catholic.
The details in the 1911 Irish Census vary somewhat, now recorded as George E. Sheffield, Watchmaker and Jeweller, the recorded place of birth now states 'England'. Son, George Joseph Sheffield is now a Watchmaker. Two further children are recorded, Grace Bridget 9, and Alfred, aged 6 years. The census recorded that the couple had been married for 23 years, had seven children, of whom five were living. The address recorded in this census was 12, Church Street, Athlone.
The firm of George Sheffield appears to be still in business today, located at 15 Church Street, Athlone, Co. Westmeath.
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
CHARLES SHEFFIELD
6, Shop Street, Galway
IRISH BILL OF SALE
Sheffield, Charles E., 6, Shop Street, Galway, watchmaker. Given to George Sheffield, Church Street, Athlone, Westmeath, watchmaker. Aug. 26. Filed Aug. 29. £275-11s.
Source: The Jeweller and Metalwoker - 15th September 1885
The 1901 Irish Census records Charles Sheffield as a 47 year old City of Dublin born Watchmaker and Jeweller Manager. He is married to 37 year old Tarbert, Co. Kerry born Elizabeth. They live with their two children, Hilda Mary 7, and Thomas Wilson 5 years of age, both of whom were born at Omagh, Co.Tyrone. They reside at 7, Dergmoney Lower, Omagh. Charles's religion was recorded as Protestant Church of Ireland, Elizabeth and the children as Roman Catholic.
The 1911 Irish Census revealed that Charles is now deceased. Elizabeth is head of the family, recorded as a widow, and her occupation as 'Jewellery Shop'. A third child is recorded, Mary Emily 14 years of age. The family now reside at 46, Market Street, Omagh. The census noted that Charles and Elizabeth had been married for 18 years, had three children, of whom all are living.
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6, Shop Street, Galway
IRISH BILL OF SALE
Sheffield, Charles E., 6, Shop Street, Galway, watchmaker. Given to George Sheffield, Church Street, Athlone, Westmeath, watchmaker. Aug. 26. Filed Aug. 29. £275-11s.
Source: The Jeweller and Metalwoker - 15th September 1885
The 1901 Irish Census records Charles Sheffield as a 47 year old City of Dublin born Watchmaker and Jeweller Manager. He is married to 37 year old Tarbert, Co. Kerry born Elizabeth. They live with their two children, Hilda Mary 7, and Thomas Wilson 5 years of age, both of whom were born at Omagh, Co.Tyrone. They reside at 7, Dergmoney Lower, Omagh. Charles's religion was recorded as Protestant Church of Ireland, Elizabeth and the children as Roman Catholic.
The 1911 Irish Census revealed that Charles is now deceased. Elizabeth is head of the family, recorded as a widow, and her occupation as 'Jewellery Shop'. A third child is recorded, Mary Emily 14 years of age. The family now reside at 46, Market Street, Omagh. The census noted that Charles and Elizabeth had been married for 18 years, had three children, of whom all are living.
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
SAMUEL NICHOLL
35, Bridge Street, Belfast
S. Nicholl - Belfast - 1897
Mr. S. Nichol - It is impossible to pass so dazzling a window as that fronting Mr. S. Nichol's establishment, 25, Bridge Street, without pausing to look at the goods therein displayed with such a remarkable eye to effect. So profuse an assortment of gems and examples of the goldsmith's and silversmith's craft must command attention in itself, and is apt perhaps to create many secret infringements of the Tenth Commandment hourly. But the window, after all, only gives one a brilliant suggestion of the opulence of the interior. The stock includes the choicest gold and jewelled watches, rings which embody a small fortune or may be purchased by the humblest citizen, silver services suitable for presentation to an honoured servant of the public or to the representative of a distinguished house, chains, bangles, tiaras, necklaces, and hair ornaments. These are, of course, mainly articles placed within the means of a privileged few. Mr. Nichol offers also appropriate Christmas gifts in gold, silver, and plate to those of more modest income. In addition, there should be mentioned his fine stock of bangles, opera and field glasses, table cutlery, vases, and timepieces.
Source: The Belfast News Letter - 16th December 1899
The 1901 Irish Census records Samuel Nicholl as a 51 year old, Co. Down born jeweller, he is married to 36 year old, Co. Antrim born Annie E. The couple reside with their children, W. Fredrick 16, Elsie I. 14, Mary E. 12, Alfred E. 11, and E. Kathleen 9. W. Fredric is recorded as 'Apprentice to Jewellery'. The family have one live-in servant and their religion was recorded as Presbyterian. They reside at 62, Upper Newtownards Road, Victoria.
The 1911 Irish Census records that Samuel is Co. Antrim born. Son, Alfred appears not to have entered the trade, he being described as a Corporation Clerk. The family now reside at 10, South Parade, Ormeau. The census records thw Samuel and Annie had been married for 28 years, had six children, of whom five are living.
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35, Bridge Street, Belfast
S. Nicholl - Belfast - 1897
Mr. S. Nichol - It is impossible to pass so dazzling a window as that fronting Mr. S. Nichol's establishment, 25, Bridge Street, without pausing to look at the goods therein displayed with such a remarkable eye to effect. So profuse an assortment of gems and examples of the goldsmith's and silversmith's craft must command attention in itself, and is apt perhaps to create many secret infringements of the Tenth Commandment hourly. But the window, after all, only gives one a brilliant suggestion of the opulence of the interior. The stock includes the choicest gold and jewelled watches, rings which embody a small fortune or may be purchased by the humblest citizen, silver services suitable for presentation to an honoured servant of the public or to the representative of a distinguished house, chains, bangles, tiaras, necklaces, and hair ornaments. These are, of course, mainly articles placed within the means of a privileged few. Mr. Nichol offers also appropriate Christmas gifts in gold, silver, and plate to those of more modest income. In addition, there should be mentioned his fine stock of bangles, opera and field glasses, table cutlery, vases, and timepieces.
Source: The Belfast News Letter - 16th December 1899
The 1901 Irish Census records Samuel Nicholl as a 51 year old, Co. Down born jeweller, he is married to 36 year old, Co. Antrim born Annie E. The couple reside with their children, W. Fredrick 16, Elsie I. 14, Mary E. 12, Alfred E. 11, and E. Kathleen 9. W. Fredric is recorded as 'Apprentice to Jewellery'. The family have one live-in servant and their religion was recorded as Presbyterian. They reside at 62, Upper Newtownards Road, Victoria.
The 1911 Irish Census records that Samuel is Co. Antrim born. Son, Alfred appears not to have entered the trade, he being described as a Corporation Clerk. The family now reside at 10, South Parade, Ormeau. The census records thw Samuel and Annie had been married for 28 years, had six children, of whom five are living.
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Re: Firms Working in Ireland in the Late 19th and 20th Centu
DUBLIN WATCH Co.
Wellington Quay, Dublin
OBITUARY
We regret to announce the death of the following member of the trade.
Mr. J.L. Brocklebank, who was proprietor of the Dublin Watch Co., Wellington Quay, Dublin, which he founded 25 years ago. A native of Dublin, he served with the British Army in India for about 8 years. He is survived by his wife, 6 sons and 2 daughters.
Source: Watchmaker, Jeweller & Silversmith - June 1962
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Wellington Quay, Dublin
OBITUARY
We regret to announce the death of the following member of the trade.
Mr. J.L. Brocklebank, who was proprietor of the Dublin Watch Co., Wellington Quay, Dublin, which he founded 25 years ago. A native of Dublin, he served with the British Army in India for about 8 years. He is survived by his wife, 6 sons and 2 daughters.
Source: Watchmaker, Jeweller & Silversmith - June 1962
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