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Lot 1431
A Mixed Collection Of First Day Covers And Ephemera To include various Royal Mail first day covers, eg London 2012, Armistice Day, Butterflies and Insects etc, four white metal miniature lion mask urns, half filled postcard folder, a small quantity of vintage books etc. Along with a small collection of Ephemera to include miniature autograph book, the Scouts cook book, Lonnie Donnigan autograph, miniature medals and general paper ephemera etc.
Lot 147
Royal Mint Collection of United Kingdom Coin Sets ( 5 ) Comprises 1/ 1970 United Kingdom Pre-decimal Proof Struck 8 Coin Set Containing From the 2/6 to Half Penny with Red Leather Presentation Display Case. 2/ Great Britian Pennies of the 20th Century Marked H-KN Struck by Ralph Heaton and Sons and The Birmingham Mint within a Blue Leather Display Presentation Case. 3/ The Decimal Coinage of Great Britian and Northern Ireland 1971. 4/ Farewell Set 11 Coins, Including a Silver Three Pence, Crown to Half Penny, Pre-decimal. 5/ Britain's First Decimal Coins,
Lot 3121
Globe Trotter stamp album, hundreds of stamps, Rapkin popular album loose leaf album, four loose sheets, Vatican, SAAR, Somaliland and Denmark, pack San Marino's stamps, George VI envelope, loose mounted used stamps, pre 1962, Tanganyika stamps, First Day issues and miscellaneous, large collection of World stamps in buff envelopes etc
Lot 464
A collection of 78 RPM records to include, King Oliver's Creole Jazz Band Dipper Mouth Blues and Canal Street Blues on Brunswick label, Johnny Dodds Washboard Band Weary City Stomp and Bucktown Stomp on HMV, Bix Beiderbecke Royal Garden Blues and Jazz Me Blues on Parlophone, King Oliver's Creole Jazz Band Mabel's Dream and Riverside Blues on Brunswick, Louis Armstrong Wild Man Blues and Melancholy Blues on Parlophone, Jelly Roll Morton and His Red Hot Peppers Black Bottom Stomp and Grandpa's Spells on HMV, Blind Blake C. C. Pill Blues and Southern Rag on Tempo, jelly Roll Morton and His Red Hot Peppers Jelly Roll Blues and Doctor Jazz Stomp on HMV, King Oliver's Savanna Syncopators Someday Sweetheart and Wa-Wa-Wa on Vocalion label, Bunk Johnson Franklin Street Blues and Snag It on HMV, Meade Lux Lewis Honky Tonk Train Blues and Whistlin Blues on HMV, Pete Johnson Basement Boogie and Death Ray Boogie on Brunswick, Sugar Chile Robinson Bouncing Ball Boogie and Numbers Boogie on Capitol label, Huddie Ledbetter Becky Deem, She Was a Gamblin' Gal and Pig Meat Papa on Tempo, Montana Taylor Indiana Avenue Stomp and Rome Nelson Head Rag Hop on Vocalion, Red Nelson Streamline Train and Crying Mother Blues on Brunswick, Jelly Roll Morton Mister Joe and Winin' Boy Blues on Vogue, Mahalia Jackson Since the First Started Burning in my Soul and In my Home Over There on Vogue, Albert Ammons Boogie Woogie Stomp and Boogie Woogie Blues on Vogue, Earl Hines Trio Fine and Dandy and Boogie Woogie on the St. Louis Blues on Esquire, Jimmy yancey State street Special and Tell 'em About Me on HMV, Bessie Smith Do Your Duty and I'm Down in the Dumps on Parlophone, James P. Johnson Pallet on the Floor and Harlem Strut on Jazz Collector label, Jabbo Williams Pratt City Blues and Jab Blues on Jazz Collector, Lu Watters Yerba Buena Jazz Band Antiqua Blues and Canal St. Blues on west Coast label, Sister Rosetta Tharpe Cain't Grave Hold my Body Down an Ain't no Room in Church For Liars on Brunswick, Bessie Smith Nobody Knows You When You'er Down and Out and Back-Water Blues on Parlophone.
Lot 563
Autograph books: a charming collection of 4x assorted antique / vintage autograph books. All largely filled with local interest poems, photographs, and related. Largely all from Bristol addresses. Comprising: an album from Kingswood featuring: WWI First World War interest poems, a charming ' War Time ' sketch of ducks, etc. Another album from Cotham features the autographs of some 'local men in the River Plate Battle' in WWII, various autographs of stage stars from the 1940's. A third album contains similar, including the signature of Edward Heath, along with school friends etc. Interesting local collection.
Lot 106
Brian Bourke HRHA (b.1936)Spring, Knockalough Bog Cuts (c.1982)Oil on canvas, 96 x 82cm (37¾ x 32¼'')Brian Bourke was born in 1936 in Dublin and studied at the National College of Art and Design and later at Saint Martin's School of Art in London. He held his first one-man show in Dublin in 1964.The following year he won an Arts Council prize for portraiture, and represented Ireland in both the Biennale de Paris and the Lugano Exhibition of Graphics. He won the Munster and Leinster Bank competition in 1966, and first prize in the Irish Exhibition of Living Art competition in 1967. He was included in the Delighted Eye, the Hibernian Landscape and the Cork Rosc exhibitions in 1980. In 1985, he was named Sunday Independent Artist of the Year, and received the O'Malley Award from the Irish-American Cultural Institute in 1993. His work is included in public and private collections both in Ireland and abroad. He was elected a member of Aosdána and is an Honorary member of the Royal Hibernian Academy.He lives in Co. Galway and is represented by Taylor Galleries in Dublin.
Lot 30
Estella Solomons HRHA (1882-1968)Portrait of the artist's sister Sophie reclining in the studioOil on canvas, 55 x 68cm (22 x 27)Provenance: The artist's family by descent.Estella Solomons attended the Royal Hibernian Academy schools under Walter Osborne, and entered the Metropolitan School of Art, where she was a pupil of William Orpen. In 1904 she spent a summer working in the mornings drawing at Colorossi's in Paris. In 1906 she visited the Rembrandt tercentenary exhibition in Amsterdam, which was a significant event for her. The chiaroscuro in her early portraits, and her interest in etching was adopted from the Dutch master, and like Rembrandt put emphasis on seeking the inner person. This portrait was possibly painted in her studios at Brunswick Street in the heart of the city, where she was ready at any moment to shelter republicans on the run, herself a member of Cumann na mBan, where she had become versed in signaling and prepared for administering first aid to any republicans that needed it. The list of those who sat for their portraits in her famous studio is a lengthy one, and includes Thomas Bodkin, Jack B Yeats, Padraic Colum and Seamus O' Kelly. Seamus O'Sullivan described her studio in The Rose and Bottle; “ ...The tall press, on which were printed those etchings of old Dublin, so prized by collectors: the curtain which veiled the 'throne'; the boxes, with their cushion covers, which made such pleasant seats about the fire on wintry days and nights....”In 1958, Seamus died, and life became quiet for Estella in her remaining ten years. Although she was crippled with arthritis, though half-bent her tall body now was, she received close friends such as Kathleen Goodfellow to 'The Grove' on Morehampton Road, where tea, sandwiches and freshly baked scones were served and discussions of art, poetry, literature and politics continued to be an important part of her life.
Lot 33
Grace Henry HRHA (1868-1953)Adriatic CoastOil on board, 34 x 29cm (13¼ x 11½'')Provenance: Collection of Patrick and Antoinette MurphyEmily Grace Mitchell was born at Kirktown St. Fergus, near Peterhead,vAberdeenshire in 1868. In 1899 she left Scotland for the continent, visiting Holland and Belgium, studying at the Blanc‐Guerrins academy in Brussels. She went on to attend the Delacluze academy in Paris. Whilst in Paris, she met Paul Henry, with the couple marrying in September 1903 in London. They travelled to Achill Island for the first time in 1910 which was intended to be a two-week stay, though they went on to live there until 1919. Grace developed her own style through the 1920s and 1930s, spending time in France and Italy. She exhibited regularly at the RHA and was made an honorary member in 1949. She died in Dublin in 1953.During her career, and for a number of years after her death, Grace Henry was largely overshadowed by her husband, sometimes being referred to as Mrs Paul Henry. Her body of work was re-examined in the 1970s, which led to wider public recognition and her inclusion in a number of exhibitions such as The Paintings of Paul and Grace Henry at the Hugh Lane Gallery in 1991.
Lot 38
Mary Swanzy HRHA (1882-1978)South of France Landscape (c.1915)Oil on canvas, 53 x 45cm (20¾ x 17¾'')SignedProvenance: Collection of Patrick and Antoinette Murphy; Gifted to the current owners by the artist in 1970.Literature: Patrick J. Murphy, 'An Art Lover's Guide to the French Riviera', Artisan House 2016, full page illustration page 174.Mary Swanzy 1882-1978 travelled extensively in Europe from childhood right up to her eighties. A visit to Valle de Grasse in the south of France in 1905 to attend an informal studio after her portrait studies in Paris changed her view on painting, allowing her to question and engage with the new modernist shifts that heralded Cubism. It was her father’s wish that portraiture might become her chosen profession however, landscape painting was to become the natural home for Swanzy’s brush. She planned to settle in Florence but the First World War forced a return to Dublin. In 1914 Swanzy exhibited for the first time in the Salon des Independents later becoming a committee member. She also regularly exhibited with the Beaux Artes.Visiting the Alpes Maritime on the border with Italy Swanzy records her delight at her fellow countrywoman, Sarah Purser challenging Gertrude Stein, noting that Miss Stein was not accustomed to having someone stand up to her. European landscapes with their intensity of colour informed many years of Swanzy’s lifelong obsession with painting. In this picture South of France c.1915 Swanzy is drawing with her brush, a technique that became central to her practice, retaining an immediacy and honesty to her modernist search for truth. Her response to the natural world is somewhat in the manner of an impressionist painter, she is in the moment and sensitive to her surroundings, using washes of pure colour much as a watercolourist would do. The result is fresh and lively. Swanzy feels nature through her brush, the surface is active, busy, taking her knowledge of divisionist colour theory, evidenced in some of her portraits from this period. Hard contrasts interrupt the picture plane sending the eye back and forth, questioning the perspective that Swanzy interrogates within the rules of formal composition. In this work as many others she selects dramatic high points to look down upon or low points which force the viewer to look upward, suggesting a narrative between the painter and her subject. The heavy prussian blue in the top corner creates a tension echoed in the black tree trunks and the path or bank along the bottom of the frame.The faded terracotta pink typical of buildings in the south of France and Italy, becomes a signature colour for Swanzy echoing classical uses of pink in Renaissance portraits and Mannerist painting. By 1923 when Swanzy travels to Hawaii, before visiting Samoa and New York, she is declared in the professions column of the SS Montcalm’s manifesto as a landscape painter; most of the women on board are recorded as wives, sisters or mothers. Safe to say she has made her decision and landscape rather than people, nature over society is her choice by this time. Liz Cullinane 2019
Lot 44
Gerald Leslie Brockhurst (1890-1978)Portrait of Florence Forsyth Oil on panel, 60.7 x 47.4cm (23¾ x 18¾'')Signed Provenance: Acquired directly from the artist by the sitter's family, prior to 1931; thence by descent. A fine example of a vivacious portrait of a young woman, Florence Forsyth, holding a sprig of snowdrops, against a stylised mountain backdrop by Gerald Leslie Brockhurst. Thought to date from the late 1920s, when Florence was a singer in London, it was commissioned by her father.Celebrated as a society portrait painter from the early 1920s through several decades, Brockhurst was also recognised as a printmaker of rare ability. Born in Edgebaston, Birmingham in 1890, he suffered from recurrent ear infections as a child and wrote poorly, but was precociously good at drawing. So much so that he was accepted in art school aged 12, first in Birmingham, then London. His self-portrait aged 15 is in the Scottish National Portrait Gallery. A travel scholarship brought him to France and Italy, where he was particularly impressed by the work of Piero della Francesca, Botticelli and da Vinci. His beautiful, Renaissance-style portrait of an unnamed woman, titled Ranunculus, (in Sheffield City Galleries), like Florence clutching a sprig of flowers, is judged an important work in pre-war British art by Kenneth McConkey in ‘The British Portrait.’ He also met, and in 1914 married, Anaïs Melisande Folin. They spent the war years mostly in Ireland, and visited Connemara. Besides painting some landscapes, Brockhurst painted Folin as the personification of Ireland against a mountainous Connemara setting (now in the Hunterian Gallery in Glasgow), and several portraits including those of Co Clare-born poet Francis McNamara (like Brockhurst part of Augustus John’s social circle) and Thomas Bodkin’s fiancée Aileen Cox (now in the National Gallery of Ireland collection, with several of Brockhurst’s Irish graphic works). Back in London from 1919, Brockhurst quickly became known as a printmaker and portrait painter. Although he was a slow, meticulous worker and demanding of his sitters, he became the portraitist of choice. Subjects included Margaret, Duchess of Argyll (now in Tate Britain), Wallis Simpson, the Duchess of Windsor and the society beauty Florence Lambert, wife of composer Constant Lambert.Brockhurst’s portraits are brilliantly lit. He had the instincts of a skilled Hollywood lighting-cameraman and his ability to lend his sitters a film star gloss was often noted. In the 1930s he could demand 1000 guineas per commission. But when his relationship with his model Kathleen ‘Dorette’ Woodward became public his marriage ended acrimoniously and he and Woodward moved to the United States, settling in New Jersey (they married in 1947). His services were as much in demand as ever and his subjects included Merle Oberon, Marlene Dietrich, J Paul Getty, several of the Rothschilds and many more. But by the time of his death, in 1978 (Woodward lived until 1995), he was a relatively neglected figure. Since the turn of the century, however, there has been renewed interest in his work, with several exhibitions in the US, and he is increasingly recognised as a significant 20th century printmaker and portrait painter.
Lot 49
John McBurney (1877-1917) Self-portrait Oil on canvas, 43.5 x 34cm (17 x 13.5)W. Rodman & Co. stamp versoProvenance: The artist; probably bequeathed to the artist's friend, Frederick McCann of Belfast (later annotation verso); the Bell Gallery, Belfast, circa 1965 (stretcher rail stamped with '3, Alfred Street' address); and the private collection of the late Gilbert Telfer of Edinburgh, Scotland.Born in Belfast, McBurney attended night classes at the Government School of Design in London while taking an apprenticeship as a damask designer. Awarded a scholarship to study art in South Kensington. Upon his return to Belfast, he became involved with the Belfast Art Society, the Ulster Literary Theatre, and was President of the Ulster Arts Club. McBurney was a close friend of Irish novelist, Forrest Reid (1875-1947). Reid described McBurney as a man of 'extraordinary courage and personal charm...[whose character] comprised of a curious blend of melancholy and gaiety.'[1] Of their first meeting, Reid recollected taking a dislike to McBurney, 'because he told me an indecent story-a thing I detest. Long afterwards, when we were intimate friends, I mentioned this, whereupon he immediately told me another-but that was to be expected.'[1] McBurney's lack of artistic prolificacy was due to poor physical strength as a result of illness. He died of tuberculosis in 1917. Works by McBurney are held at the Ulster Museum, Belfast.1] F. Reid, Private Road (London: Faber and Faber, 1940)
Lot 56
Jack Butler Yeats RHA (1871-1957)A Lament for Art O'Leary (1940) A set of six illustrations, pen and ink, variously sized 14 x 18.4cm up to 20 x 16cm (5½ x 7¼'' to 7¾ x 6¼'')Variously signed, signed with monogram and with monogram stamp;Together with a 2nd edition, Cuala Press. A Lament for Art O'Leary. Translated from the Irish by Frank O'Connor, with six illustrations by Jack. B. Yeats RHA. Reprint, 1971, for the Irish University Press, T.M. MacGlinchey Publisher, Robert Hogg PrinterProvenance: With Theo Waddington, Irish Art Project.Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Press, 1994, Catalogue No.1474, illustrated p.203, 204 and 205.Jack B. Yeats’s illustrations to the Lament for Art O’Leary are among his most expressive and memorable drawings. Cuala Press brought out a limited edition of 130 copies of Frank O’Connor’s translation of the 18th century poem in 1940 for which Yeats supplied six pen and ink illustrations. These were hand-coloured by Eileen Colum and Kathleen Banfield of the Cuala Press in the printed edition.The poem is the celebrated Lament of Eileen O’Connell composed in Irish for the wake of her husband Art O’Leary who was murdered on the orders of the local magistrate Abraham Morris in 1773. O’Leary came from a landed Catholic family and served as a captain in the Hussars of the Austro-Hungarian army. The couple lived in Rathleigh House, near Macroom, Co. Cork. Eileen was of the O’Connell family of Derrynane, Co. Kerry and an aunt of the future politician, Daniel O’Connell. Preserved orally for generations, her Lament is one of the last manifestations of the bardic poems of Gaelic Ireland. Frank O’Connor in his introduction to the poem, writes that the lament comes from ‘a world where the mind has no yesterday and no tomorrow’. Yeats’s drawings capture the despair and grief of Eileen as she mourns the violent death of her young husband. She searches for his body, grieves for him and buries his corpse. Yeats does not illustrate specific lines but creates a parallel vision of the tale in his epic pen and ink images. O’Connor described them as ‘noble drawings’ and they evoke the elegance and graciousness of the aristocratic heritage of the protagonists as well as the dramatic scenery of the Boggeragh mountains near Macroom where the events take place. The first illustration depicts O’Leary on his horse, galloping in the mountainy landscape of north Cork. He cuts an impressive figure, despite his evident youth. Holding his riding crop aloft, he wears a military style jacket and elegant hat, a reference to his status as an officer in the Austrian army. His silver hilted sword is prominently displayed. Art’s swaggering pose, which antagonised Morris, is mirrored by that of his horse who holds its head and neck erect adding to the noble demeanour of its young rider. This image is contrasted by the next illustration of Eileen walking upright and proudly with her two sons. The infant is tied by a shawl to her shoulders while his brother walks beside her. Behind them are high mountains and little cottages. The isolation of the widow and children after O’Leary’s death is emphasised in the lament where Eileen notes that there ‘hangs no throng of mourners’ as disease has decimated the people and prevented their attendance. The third illustration shows O’Leary’s horse standing at the gateway with its saddle empty. The bay mare’s return without its mount alerted Eileen to the fate of her husband and prompted her to search for him. One of the most impressive and unusual illustrations is that of Eileen on horseback as she goes in pursuit of O’Leary. Her locks runs wild, her arms are astray and her face and hair become subsumed into the surrounding sky. The rearing horse accentuates the wildness of her emotions. The treatment of the image encapsulates the inner grief and turmoil as expressed in the lines ‘On me is the griefThere’s no cure for in Munster. Till Art O’Leary riseThis grief will never yield That’s bruising all my heart, Yet shut up fast in it. ‘It also refers to the anger and vengefulness that Eileen expresses towards Morris, the man responsible for O’Leary’s death, who is referred to as ‘the bandy-legged monster, May he rot and his children’.In the last two illustrations Eileen is shown grieving over the body of her husband and carrying his coffin to be buried in the deserted cemetery of Cill na Martra. In the former, she finds O’Leary’s badly injured body where it had fallen from the horse at Carrignanimma. She kneels over the corpse, blood pouring from her hands. To the right the strange form of a standing stone, covered by O’Leary’s jacket, looks like a shroud or a spirit, suggestive of the reverberations of this violent death. The sweet expression of the woman’s face is contrasted by the contorted and ravaged features of the cadaver below her. The horse grazing in the background and the surrounding lush vegetation refer to the continuity of natural life, now lost forever to O’Leary. In the final illustration Eileen carries her husband’s coffin to an isolated cemetery surrounded by high mountains. Her body is contorted under the weight of the casket, her physique turned into a sinuous line expressive of sorrow. The empty scene of a young woman burying her dead in a remote landscape recalls imagery and accounts of the Great Famine. Visually it links the end of the Gaelic nobility to the next cataclysmic event in Irish history. The darkness of the Lament and the imagery it evokes is mitigated by the subtle manner by which Yeats has drawn the illustrations. Strong thick strokes of ink are counteracted by delicate hatching lines that convey shadow and movement, resulting in lively fluid drawings that exude energy and vigour. Yeats conveys a version of Eileen’s story that works independently of the text, offering the reader a visual sequence that is vivacious and contemporary. Róisín Kennedy May 2019
Lot 59
Jack Butler Yeats RHA (1871-1957)Winning the Race (c.1894-1896)Pencil, pen, ink and colour wash, 12 x 30cm (4¾ x 11¾'')Stamped with monogramProvenance: With Theo Waddington; Private CollectionExhibited: 'The Life and Time of Ireland by Jack B. Yeats', Dublin, September 2008; 'Father and Son - Paintings, Watercolours and Drawings by John Butler and Jack B. Yeats', Waddington Gallery, London May 2009, Catalogue No.10.This early watercolour juxtaposes two different aspects of equestrian sport, separated by an emblem of interlocking horseshoes, whips, crops and a correct and fixtures card. On the left two horses and their jockeys battle it out to cross the finish line first. A mesmerised crowd stands transfixed behind them. To the right in a more delicate scene, an elegantly attired horsewoman exchanges pleasantries with a red-coated companion at the balustrade of a country house. The two appear to be discussing the forthcoming hunt. The contrasting pace of each scene is humorously conveyed through the little dog which appears in both. The model for this hound is Yeats's much loved pet, Hooligan, who appears in many of his sketchbooks and drawings of the 1890s and whom the artist acquired in 1894 shortly after his marriage to Cottie. Both illustrations reveal the artist's remarkable ability to observe and to convey through line the physical attributes of tension and poise in people, horses and dogs. It also transmits an insightful and humorous view of late 19th century English society and its attitude to the horse. While the work was never published, its origins lie in Yeats's work as a cartoonist for London based periodicals, such as Paddock Life, to which he contributed equestrian based illustrations from 1891. Winning the Race, dated to the mid 1890s, belongs to a period when Yeats was developing his interest in watercolour and beginning to focus on his career as a fine artist. Its subtlety of finish and of mood distinguishes it from his black and white contributions to graphic journals. Dr. Roisin Kennedy
Lot 67
Catherine Greene (b.1960)DedalusBronze, 74cm high (29'')Signed 2009, edition 2/5Exhibited: Cross Gallery, Dublin.Catherine Greene is an established figurative sculptor best known for her works in bronze, but more recently she has been working in mixed media. Her versatile output ranges from large scale public pieces to private commissions and from large exhibition works to smaller sculptures which explore the figure in the context of the sensual and often surreal world which they inhabit. Dedalus was part of a body of work that was first exhibited in the Cross Gallery in 2008. Major commissions include the equestrian memorial of the patriot Thomas Francis Meagher in Waterford, the Memorial to the much loved comedian Dermot Morgan, Merrion Square Dublin; and the central alterpiece of the Crucifixion in the new Basilica, Fatima, Portugal.
Lot 87
Seán Keating PRHA (1889-1977)Homeward BoundOil on board, 58.5 x 85cm (23 x 33½'')Signed; also signed twice verso, in Irish and EnglishProvenance: With Kenny's, Galway c.1989, where purchased by the present owners.Irish artist Seán Keating first visited the Aran Islands with Harry Clarke (1889-1931) in 1912. From then on the place, its people, and their traditions, inspired Keating’s work, and his artistic identity. He sketched and painted while on the islands and, from an early stage in his career, he also took photographs to help him to compose paintings when back in Dublin. He added a cine camera to his tool kit in the early 1930s. Keating visited the islands on a more or less yearly basis from 1912 until 1965, the year that his wife, May (née Walsh) died. Always fascinated by the vagaries of the Irish climate, he constantly jotted down notes about the position of the sun, the direction and force of the wind, the time of day, the colour of the water, the sky and the clouds, and any other details that he thought relevant. Keating’s images of the Aran Island people were in constant demand from buyers in Ireland, England and America, so after he stopped going to Aran, he began to use photographs and cine footage, as well as previous paintings, his copious notes, and his recollection of the place, to supply the market for his work.In the late 1960s, while in his late 70s, Keating began to exhibit with the Kenny Gallery in Galway. He had several one person exhibitions there, one of which was opened by Irish broadcaster, Gay Byrne, in 1973, following a televised birthday tribute to the artist on the Late Late Show in December, 1972. The exhibitions were a great success, and the Kenny Gallery kept a stock of the artist’s work available to buyers, an example of which is Homeward Bound. Showing six Aran Island men in their traditional hand-made currachs, Homeward Bound is a late work by the artist, which well-illustrates his artistic focus on the traditions of the people of Aran, and on the weather conditions. Post-dating 1965, the painting was created using his vast collection of photographs, sketches, drawings, and notes. Yet, it is as if the artist is actually standing on the shore line, amid the rolling waves and calm sky, entreating his viewers to listen to the excited hollers of the men rising above the heaving ocean. The boats are empty of fishing accoutrements, and so we seem to be watching a traditional currach race rather than a group heading home from a working day at sea. Dr Éimear O’Connor HRHAResearch AssociateHumanities Institute, UCD.May 2019
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