Apollo Magazine - Then and Now

For inspiration we keep old interiors, arts and design magazines. Recently I came across an October issue of Apollo Magazine dating back to 1966, which featured paintings, furniture, book reviews and design, and an array of ads for high-end antique dealers

Founded in 1925 and published monthly, Apollo is one of the world’s oldest and most respected magazines on the visual arts. It covers everything from antiquities to contemporary work, as well as providing in-depth discussion of the latest art news and debates; exclusive interviews with the world’s greatest collectors and artists; expert information on the market, authoritative guidance on collecting, and reviews and previews of exhibitions worldwide

While Apollo magazine today is still current, there is a huge difference from the content that we see in 1966. While the Apollo of today focuses on Beyoncé donating jewelry to the V&A, or 40 artists under 40, there is a vast difference in content from 1966. In this issue there was a specific focus on 17th-18th century a nod back to Irish furniture crafted during that period, plaster works and Celtic-style carvings. On the cover above we can see a banqueting house, referred to as 'The Temple of the Winds', which was designed by James Stuart for Robert Stewart, later known as Lord Londonderry.

Many of the pieces photographed and featured in this issue show mahogany and walnut furnishings dating back as far as the 1730's. Many of these pieces have motifs such as claw feet, lion and goblin masks, and zoomorphic and botanic carvings, a vast difference from the more minimalist trends of today.  We can see these motifs shown in the chair below, from the Malahide collection.

Neo-Classical Style Timney Fowler Cushions - 1980's/90s

Recently we acquired some obsolete sample books from the Timney Fowler range. Rather than throw them out we decided to create a stunning range of one of a kind cushions.

Timney Fowler are esteemed designers who started their business in1980, creating beautiful prints that typically consisted of Neo-Classical, architectural, and European art designs. Their work has also been exhibited in the V&A as well as the Fashion & Textile Museums in the UK, and have had clients such as Issey Miyake and Yohni Yamamoto. 

Timney Fowler designs are distinctive by their primarily black and white designs, adding a modern twist to the classical imagery used, with occasional pops of colour, like purples, greens and yellows, which can be seen below.

Vintage boxes

Recently we came across some pretty 20th Century Vintage Boxes. Some of which are pretty unusual in their shape and are quite unique! Here are just some of the fantastic boxes we found ...

This Fuller's Chocolate Box was quite difficult to find information on; luckily we found a similar item - the boxes made by Wallis & Manners Ltd in the 1930's.

The next box appears to be a handmade jewelry box. Possibly made between the 1930's - 1950's. It has a lovely pattern and shape to it.

Yardley Soap London started back in the 17th Century when the Yardley family received a grant from King Charles the 1st to manufacture soap for the people of London. The first Yardley London Soap Perfume was made using Lavendar. Soap at the time was a representative of Windsor Castle, as the first soap created by Yardley. More varieties were to follow later on, such as the Yardley Verbena Leaf Bath Soap which we also happen to have in our collection.

Terrarium Lanterns

Hi All!

Our weather may not exactly be inspiring us to get out into the garden at the moment! However, here at Martin Hudson & Gibson we have these lovely lead framed terrarium lanterns in stock; which can be used as ornamental pieces or alternatively provide a unique environment for plants...a trend that was popular in the Victorian era.

Suitable for either indoor or outdoor use, these geometric terrariums feature antique glass and are approximately 30 - 40 years old.

Here at Martin Hudson & Gibson we've added some artificial flowers as an example of what can be done. Why not try adding candles...changing the colour of the candles depending on the season? Or you could try turning them into attractive lamps or wall lights if you're feeling adventurous?

Whether you decide to place them indoors or out, these decorative lanterns will make a charming addition to any space...

Happy Vintage Wednesday!

- Angela Lowth

Tosca

Hello again! and Happy Vintage Wednesday! Once again, while exploring our store, I have come across another spectacular find! This time, a rare fabric by Designer Pierre Balmain. This vibrant, 100% cotton specimen was created by the designer exclusively for Fardis Designs in 1986. It flashes red, gold, fuchsia, and plumb, while depicting an image of layered swags and tails. Detailed, gold tassels and trims line the layers of the printed swags, making the fabric appear to have depth and texture. 

Looking at this fabric one may find it hard to believe that furnishing fabric design was not Balmain's main endeavour. The late Balmain studied architecture in Paris, was part of the French Air Force, and became a freelance sketch artist for Robert Piguet. He then grew to become the founder/director, Maison Balmain, in Paris, and Balmain Fashions, in New York. He has become one of the most well known fashion designers in the world. Balmain believed "dressmaking is the architecture of movement." His mission, as he saw it, was ''to beautify the world like an architect''. This idea is seen throughout his designs, and even relates to this specific fabric. 

Pop by Martin Hudson and Gibson to see what else you can find in our store :)

-Jordan Galuppi

Peony Gardens

This is my 4th month working with John at Martin Hudson and Gibson. Everyday, I discover fabulous treasures in our store. Today, as I was browsing through our archives, I stumbled across an alluring fabric; Peony Gardens from the Jasmine and Jade Collection, made by Greeff for Warner and Sons. Greeff, an American based designer, travelled worldwide seeking inspiration for all of his designs. Through his career, he brought out two collections a year, with this specific one dating back to the 1980's. Beautiful greens and blues with splashes of orange mix perfectly to create the organic pattern on this 100% cotton fabric. Searching further, I dusted off another stash, finding a meticulously stitched tablecloth from the same era, in a second colour wave of the Peony Gardens fabric. Pleated and piped, this tablecloth would have once covered a round chip board table. All the rage of the 80's! Come on in to see more of the beautiful vintage fabrics we have (and are still discovering!) in our store. 

- Jordan Galuppi

Vintage Quilted Bedspread

Recently acquired vintage quilted double bedspread in pink with a 15cm bullion fringe, probably made in Malahide in the 1970's.   

Warner Archive II: Fancy Stripe

We are talking about another chintz fabric again, after looking at this Robert Allen one a few weeks ago. This time it is a fabric from 1983 from the Archive II Collection by Warner. We have acquired 40 metres of "Fancy Stripe" in Green here in store.

"Fancy Stripe" in Green

Vintage- 1983.

This fabric would have been ideal for both curtaining and lining. Patterned linings like this make your curtains look interesting from the outside as well as in. 

If you haven't read our other blog post describing chintz, the fabric is usually a glazed cotton fabric with printed patterns and designs on a plain background. You can see from the photo of the chintz above the glazed look of the fabric.


If you want to have a look at this fabric and see if it is what you are looking for, pop into 51 Sandycove Road, Sandycove or call us on 01 2843486.




Lucy Kiernan

Ronald Reagan's Blanket

Following on from our last Vintage Wednesday on Sybil Connolly's fabric, we have another piece from the 1980's in our shop. In the past, Martin-Hudson & Gibson produced 3 wool blankets for Ronald Reagan, the 40th president of the United States and radio, film and television actor. They were made for the use of the guest bedrooom at the US Ambassador's residence in the Phoenix Park in Dublin for Regan's visit in 1984. In the end only 2 were used, and the remaining blanket is here at 51 Sandycove Road. 

Ronald Wilson Reagan, 1911-2004

The blanket at Martin-Hudson & Gibson, 51 Sandycove Road, Dublin.

The blanket is a simple cream 100% natural pure new wool with a satin border. It is an alternative to the modern duvet and is a little piece of history.

It was produced by Foxford Woolen Mills situated by the River Moy in County Mayo and is one of the last working mills in Ireland. Founded by Irish Sister of Charity Mother Agnes Morrogh-Bernard, it overcame many challenges over the years but it continues to succeed. Today it is a thriving mill, especially after its modernisation including the addition of a visitor's centre and restaurant. Foxford have four stores in Ireland and many all over the world. They began producing these traditional bed blankets when they were first established and have been doing so ever since. 

Source: http://www.foxfordwoollenmills.com/

Lucy Kiernan.

Sybil Connolly for Robert Allen

We recently received a very interesting fabric in the store, with a great history in particular an Irish one. The steel blue chintz with floral patterns is part of the Sybil Connolly collection for Robert Allen from 1985.

Sybil Connolly (1921-1998) was an Irish designer who was, and is, a pioneer to Irish business women with her huge contribution to the fashion industry. With her innovative use of traditional fabrics she had the international world of fashion falling at her feet. She began her career by studying dress making in London followed by a managerial position under the French designer Gaston Mallet at fashion house Richard Alan. After replacing Mallet as the design director, she changed the ways of the company and started creating traditional fabrics, using tweed, crochet and lace. The interesting silhouettes and the vibrancy of the colours soon attracted the attention of the American market including the editor of Harper's Bazaar, Carmel Snow. 

Sybil Connolly

Snow brought press and buyers to Ireland to see Sybil's collection. Following this gathering, Connolly's full length red cape and white crochet dress was featured on the cover of Life magazine with the caption 'Irish Invade Fashion World'. Throughout her career she designed for many Hollywood stars including Elizabeth Taylor and Julie Andrews. Jackie Kennedy wore her trademark pleated linen dresses in her official White House portrait.

An image of Connolly's classic handkerchief linen dress from the 1950s, and in modern day worn by Gillian Anderson at the BAFTAs.

However as the fast paced fashion industry moved at a rate that Sybil had a reluctance to adapt to, her career was forced to change direction. She tried her hand at interiors, collaborating with Tiffany & Co. in designing tableware items including china patterns such as Mrs. Delany's Flowers and designing fabrics and wall coverings for Brunschwig & Fils. Her book, In An Irish House, is a magnificent collection of ancestral Irish homes. The book shows architectural detail ranging from Gothic to Palladian, oil paintings and watercolour landscapes, and luxurious furniture. She includes her own private home at 71 Merrion Square in the book, which also housed her couture studio. The interior of her house was filled with floral wallpapers and fabrics and antique furniture. 

This sofa in Sybil's house was covered in another fabric from the collection for Robert Allen.

Her legacy was evident after her death in May 1998 when thousands of visitors came to her home in Merrion Square to attend an auction where bids were placed on 600 lots.



Chintz was originally wood blocked printed, painted or stained calico produced in India used for bed covers, quilts and draperies. 

The early chintz fabrics that were brought into Europe were rare and expensive but by 1680 more than a million pieces of chintz were being imported into England per year. With imported chintz becoming more and more popular in the 17th century the English and French mills were worried as they could not make chintz. In 1686, the French declared a ban on all chintz imports. In 1720, the English Parliament approved a law that forbade the use of imported chintz in clothing, upholstery, cushions and any other household furniture. By 1759, the bans were lifted as English and French mills could produce chintz. The European designs began by reproducing the Indian patterns, later adding to them and creating original designs. 

Modern chintz usually consists of bright floral patterns with pale backgrounds.

Have a look at another chintz fabric we featured on Vintage Wednesdays here.


Lucy Kiernan.

Emeralite- The Banker's Lamp

We recently had a client in looking for something quite specific- A Bankers Lamp.

For those of you who may be unfamiliar with the Emeralite Lamp (or Banker's Lamp as it is more commonly referred to) it can be seen below. The Banker's Lamp has a single brass knuckle with a round base, with a unique (and sometimes) square edged emerald green cased glass shade.The Banker's Lamp usually stands approx 14” high. An original Banker's Lamp should have a brass pull chain rather than a switch.

The glass shades are generally flat on the sides and back, with the front gently sloping towards the desk or viewer.

The Bankers Lamp has a psychological effect upon an individual sitting amongst its green glow.

The colour green is one of the “cool” colours.

Green is psychologically soothing and so its use in an office or workspace encourages calm focus and concentration. In fact, at the backstage of a theatre one might find a “Green room” which has the primary purpose of calming actors' nerves before going on-stage.

The Emeralite lamp as we know it today was first produced in 1909 by Harrison D. McFaddin who created the company H.G. McFadden & Co.

According to references, all Emeralite shades were produced in the glass factory of J. Schreiber & Neffen; the plant was located in the city of Rapotin, Moravia, in what is now the Czech Republic (Emeralite.com).

The Emeralite's production may be divided in to four distinct periods. Over these periods the lamp bases went from simple and undecorated (4378 Series) to the more elaborately decorated second and third series.

The 4378 Series: 1909-1916

The shade was designed with a hole at each side so that it could be attached to and swivel upon the base arm and then locked in to the desired position. The bases were generally brass plated over a base metal (square or rectangular base) or solid brass (round base).

The 8734 Series: 1916-1930's

The Emeralite shades from this generation did not have holes on each side. Instead a new base armature was designed and the shade was created with indentations which fitted into the channels on the new base arm. The shade was clamped in to this armature for stability and so could be removed for cleaning if necessary. Bases made during this period were usually solid brass.

No.9 Series: 1930's for approx 5 years

The general design remained the same but the shade increased in size from 8.5 inches to 10 & 12 inches. Again the shade was created with an indentation at the back to fit in to the clamp and could be removed for easy cleaning. However the number 9 series larger shades required two lamps (bulbs) rather than one. Similarly to the second period, the bases were usually made of solid brass.

Inferior Produce: From late 1930's for 20+ years

Most of the “Emeralites” produced after the number 9 series' were not designed to the standards of the originals and so are not of great monetary value. Many of these lamps were fluorescent and were constructed with metal shades.

A Double Emeralite Partner's Lamp

Most of the lamps created had a hidden cast iron weight in the base of the lamp.

McFaddin retired around 1939 and the company was bought by employee Charles Inness Brown who changed the company name to Emeralite Co. Inc. During the 1950's the company unfortunately became unprofitable and was sold again. 

Following this, the company's name was changed to Tilarem but the company was eventually dissolved in 1962 and sadly, Emeralite production died with it. 

If you are looking for a Banker's Lamp, please contact us at 00 353 1 284 3486 or call in to our showroom at 51 Sandycove Road, Sandycove, Co. Dublin. 

Primary source: http://www.emeralite.com/history.html

Ciara Eloise Nolan

"Chandeliers- So Stylish It Hertz"

This week we're switching to a rather enlightening topic- Chandeliers...

Chandeliers are “branched, decorative lighting fixtures which hold a number of bulbs or candles and are hung from a ceiling”.

The word chandelier came from the Latin word for candle, candela.

The Latin candelabrum was later adopted by the French, who adjusted the word slightly, to chandelabre. From this came the new spelling for Chandelier, when borrowed directly from the 12^th century Old Castilian language.

The first record of a chandelier used in interiors is during the Medieval era (5th-15^th century) and only by the wealthy.

An old flame- During medieval times, the chandeliers were simple wooden crosses with vertical spikes which would hold candles. The chandelier was suspended from the ceiling using a rope-pulley system for easy lighting of the candles.

The chandelier later became a symbol of status and wealth during the 15^th century when its design changed from a simple wooden cross to a more costly wrought iron crown-like design. This design featured largely in the homes of nobility and clergymen.

Towards the 18^th century, merchant class homes showed off their more ornate gilt cast metal and carved and gilded wood chandeliers, with long, curved branches and plenty of candles. Some of these showcased Neoclassical motifs.

Modern replica of an 18th century chandelier

The crystal chandelier was introduced after further developments 
in glass-making and cheaper production of lead crystal developed.

So stylish it hertz- During the mid 19^th century, many candle chandeliers were converted to gas lighting and towards the 1900s, many people used a combination of both gas and electricity. It was from then on that electricity became standard for these homes.

The current situation - Due to the availability of electricity in the modern world, the measure of status which the chandelier represents has lowered slightly and has become more available to the masses, with many replica and cheap variations available on the market.

However, there are some very impressive modern chandeliers available today. Check out the 24 light glass chandelier by National Lighting below.

Did you know?

The world's largest crystal chandelier hangs in the Ceremonial Hall of the Dolmabahce Palace in Istanbul and weighs a massive 4.5 tonnes and has, count em, 750 lamps!! 

AMP-le amount, wouldn't you say?

Got on your wick yet?

Have I lost my spark? 

Ciara Eloise Nolan.