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