Displaying objects from North Solar

Horloge - Clock - 17th c
A Large Gothic Iron Clock of circular form with steeple shaped upper part and scroll finial. (On modern iron bracket).

Elm linen press - Cupboard - 16th c
An Oak Cupboard with linenfold panelling to the sides. The three doors with carved Gothic tracery. 16th Century

Portrait of a Spanish Nobleman - Painting - 16th c
A half-length portrait of an unknown Spanish gentleman, wearing a doublet resembling a military breastplate revealed through his cloak. His hand rests on an ornate sword, with a Moorish handle. The gentleman’s coat of arms can be seen on the left of the image, indicating the lineage of his family by the quartering of their arms. The accomplished technique of the artist ensures the luxurious feel of the green velvet curtain through which the gentleman has come, and the lines of his skin imply his maturity and experience of life.

Restoration coat of arms - Blazon - 17th c
A fine Carved Oak Coat of Arms of King Charles II, the Lion and Unicorn supporters in high relief, also the crest and mantling.

Fire grate - Fire accessory - 20th c
An Iron Fire Grate.

Fire dogs - Fire accessory - 20th c
A Pair of Fire Dogs. Large size.

Fire back - Fire accessory - 20th c
A Reproduction Cast Iron Fireback, measurements

Painting of Sir Christopher Wray, Lord Chief Justice - Painting - 16th c
Sir Christopher Wray, from Lincolnshire, was elected to the post of Speaker of the House of Commons in April 1571, and then as Lord Chief Justice of England and Wales in November 1574, until his death in June 1592. Popular with Queen Elizabeth I, he was given the profits of her coinage and grew wealthy enough to erect a grand house at Glentworth, Lincolnshire. However, having been a senior judge who passed sentence on Mary Queen of Scots in 1587, he absented himself from court feigning illness in fear of Queen Elizabeth’s reaction to the news.The portrait shows Wray in his robes of state, complete with the chain of office denoting his rank, showing the Tudor rose, the portcullis, and stylised sheaths of corn, upon which Elizabethan England grew rich.An inscription in the top right reads ‘Duce virtu te, comite industria, sorte contenutus’, translating as ‘Command virtue yourself, diligence comes, fate reduces’. A bidding all hardworking servants of the state should perhaps follow. While in the top left, is seen ‘Æ Tatis Sua, 54 1580’, or ‘His age, 54, 1580’.

Caribou antlers - Deer racks - 18th c
A pair of Caribou Antlers.

Caribou antlers - Deer racks - 18th c
A pair of Caribou antlers. One damaged

Visit of At Anthony the Great to St Paul the Hermit - Painting - 15th c
As with Medieval religious painting, this image shows us a sequence of events: the journey of St Anthony through the desert on his quest for St Paul the Hermit.St Anthony was born in approximately 251 A.D. in Egypt and is regarded as the founder of monasticism. As such, he is usually shown in a monks cloak and cowl, as here. According to legend, St Anthony at the age of 90 set off to find St Paul the Hermit who was then 113. St Paul the hermit is a rare figure in art, except for scenes depicted with St Antony. Traditionally the first of the desert hermits escaping the persecutions of the Roman emperor Decius in 3rd century, he chose instead a life of solitude for contemplation. St Paul is shown with long white hair and a beard, being fed by a rav On his journey to meet St Paul, St Antony met a centaur and satyr, who showed him the way. Here we see him with his pilgrims hat and staff, conversing with the Satyr. The Satyr, with his goat like lower features, was the attendant of Bacchus, and according to the fables of Aesop, would provide shelter to the lonely traveller. To Renaissance Humanists, the Satyr represented man’s lower, animal nature. In the bottom of the scene a toad is noticed. Toads, in conjunction with the skull, often depict death. St John died while being visited by St Anthony, who then buried him in the desert.251-356 A.D. Egypt, St and Hermit. Generally regarded as founder of monasticism, usually old or bearded. According to legend, Anthony at 90 set off to find St Paul the Hermit who was 113. On his journey, he met a centaur and satyr, who showed him the way. Two old men embraced and bird flew down with bread. 13th century bird shows as a dove (holy ghost), as bird had fed St Paul daily. Satyr – attendant of Bacchus. Aesop fable has lone traveller resting at home of Satyr (goat like features). Centaur – (horse-like features) to Renaissance Humanists, represented man’s lower, animal nature. Like Satyr, link with Bacchus.

Flemish tapestry - Tapestry - 16th c
A panel of Enghien tapestry, woven in Shades of green and brown, with flowers and fruit amongst scrolling leaves. 16th century.

Limerick table - Furniture - 16th c
The Limerick Hutch Table. A low oak hutch/cupboard with table top over, the front having two doors with linenfold panels, the central panel pierced with scroll work.

Horloge - Clock - 16th c
A Gothic Iron Skeleton Clock with pierced white dial and Roman numerals, two striking bells surmounted by a scroll finial. (On a modern wall bracket).

French hutch cupboard - Cupboard - 15th c
An elaborately carved Oak Press Cupboard. The panels of the doors and drawer fronts pierced with foliage, helmets and shields of arms below, 15th century. Superb lock plates etc.

Adam and Eve with the Serpent - Painting - 16th c
Medieval art saw the Temptation as an indication of the Annunciation in which the Virgin Mary, as the ‘new Eve’, redeemed the sin of the old. God created Adam and Eve together with the plants and animals on the sixth day (Gen. 1:24-31). Representations of the female nude in northern Europe tended to depict Eve as slim, high breasted and full stomached. In Italy, she is seen as here, full bodied and anatomically more correct. The southern artists also tended to show Paradise as an oasis in the desert, in contrast to the northern depiction of Paradise as lush, with long vistas and forest glades. Here we see Adam and Eve standing beneath the tree of knowledge, from which Adam has been forbidden to eat. Eve, holding the fruit, has passed some to Adam who looks unsure as she attempts to reassure him. A premonition of the sense of shame to come is signified by the pose of Eve, who is turned away from us, her breasts obscured by her upper arm. It is possible the leaf covering Adam’s nakedness has been added later, as was common. The painterly technique of the leaf and the depth of colour does not match the rest of the image. Twined in the tree is the serpent who has persuaded Eve by saying ‘your eyes will be opened and you will be like gods knowing both good and evil’. The serpent has legs and feet like a lizard’s, as it was only afterwards God cursed it, saying ‘on your belly you shall crawl’.

Carved deer figure - Carving - 16th c
A finely Carved life-size figure of a Stag ‘lodged’ i.e. lying down amid foliage. A decorative object often found in Hunting Chambers in Medieval Castles.

Oak ecclesiastical cupboard - Cupboard - 16th c
An oak Cupboard/Aumbry with doors above and below, two drawers in the middle.The upper doors carved with shields of arms beneath arches, the lower doors having linenfold decoration.16th Century

Flemish tapestry - Tapestry - 17th c
A 17th century Tapestry Panel, a hunting scene within decorative borders. Flemish. 17th Century.

Oak ecclesiastical aubrey - Cupboard - 16th c
A 16th century Oak Cupboard/Aumbry, two doors carved with Gothic style tracery, flanked by niches formerly containing figures of Saints. The sides also carved with similar tracery.

Jewellry casket - Casket - 16th c
A French wrought iron Jewellery Casket, the domed lid with swing handle, hinges straps concealing 5 keyholes, late 16th century.

Leuchterweißchen - Chandelier - 16th c
A carved wood Leuchterweißchen, a chandelier in the form of a female figure with antlers springing from her back and a fish’s tail, bearing a heraldic shield.

Armada Table - Furniture - 16th c
Armada Table. This table is decorated with ornate legs, two of which represent the figures of Hope and Charity. It is inlaid with marquetry but the top of the table is not original. It is on loan from the Inchiquin collection. Sixteenth century sources maintain that parts of this table were remnants from a Spanish Armada which sank off the west coast of Clare in 1588. Boethius Clancy almost lost his life retrieving this salvage. The figure of Charity is the most important of the three theological virtues. Faith and Hope are the other two virtues. Due to the carvings, the table can clearly be dated to the sixteenth-century.