The initials belonged to Christopher Waggett, a Cork merchant who built his family seat at Coolymurraghue in the late eighteenth century. The last of the Waggetts died there in the 1840s. The house survived them by a century and a half, remaining occupied until shortly before it was demolished in April 1991.

What makes the loss more pointed is the calibre of the building itself. The entrance front presented five bays with a central breakfront, a projecting section of facade that gave the composition its formality and weight. The central door was roundheaded, fitted with a fanlight and flanked by sidelights, and above it the windows climbed through Venetian and Diocletian forms, both characteristic features of the neo-classical Georgian vocabulary. Venetian windows are tripartite, with an arched central light and narrower flat-headed flanking lights; Diocletian windows are the semicircular, two-pane type often placed high on a facade. Limestone quoins framed the corners of the front and breakfront alike. The rear elevation echoed the front closely, with its own fanlighted door, though weatherslating had been added there over time. Low single-storey wings extended on either side under half-hipped roofs, and symmetrical stable blocks with decorative detailing sat to the northwest. The architectural handling of the whole, particularly the window arrangement and the careful proportioning, led one architectural historian to suggest it may have been designed by Davis Duckart, or by someone working closely in his manner. Duckart, an architect of Sardinian origin, was active in Ireland from the 1760s and is associated with several significant buildings in Cork and Limerick, including the Custom House in Cork city.

Nothing now marks the site in any visible way. The house was recorded, described, and then erased, a sequence that became depressingly common in the decades surrounding Irish independence and the property upheavals that followed. Coolymurraghue represents the kind of building that might, in different circumstances, have been celebrated precisely for the questions it raises, about who built it, who designed it, and why such careful architecture was raised beside a Cork river by a merchant family whose line quietly ended before the Famine.