Lot 62: Samuel Lover RHA (1797-1868) Interior of the

Samuel Lover RHA (1797-1868) Interior of the Chapel at Malahide, Looking East & West Watercolours, a pair, 58.5 x 44.5cm each (23 x 17.5") Each signed and dated 1826 Exhibited: "Autumn Exhibition", The Frederick Gallery, November 2000, catalogue no. 18 & 19 where purchased by the current owner At an early age, he developed an interest in history and medieval architecture, encouraged in this by his friend the artist and antiquarian George Petrie (1790-1866). Throughout the 1820s and 1830s Lover painted views of the Irish countryside. Many of these were self-consciously picturesque views of antiquities. Lover is known to have gone on many sketching tours of Co. Wicklow and Connemara, and to places of historical interest, such as Glendalough, Dunbrody Abbey, Clonmacnoise, and Holy Cross, Co. Tipperary, where he drew and painted the ruins. During the 1820s, Lover did a series of views of north county Dublin which included: St Fintan's (Sutton), Howth Abbey and Lusk. There was a growing popular demand for views of antiquities. Lover's drawings were engraved and published in The Dublin Penny Journal. An engraving of Lover's view of the Malahide church (looking east) was published and included in his book Ireland Illustrated (1843). Lover's drawing of the west face of the Cross of the Scriptures at Clonmacnoise dates from this period and is now in the National Gallery of Ireland (catalogue no. 7672). Lover trained at the Dublin Society's drawing schools. On leaving the schools, he became pupil of John Comerford (c. 1770-1830) the prolific miniature portrait painter, who taught Lover to paint in watercolours. Lover adopted Comerford's meticulous watercolour technique which he combined with skilful drawing to produce accomplished watercolours such as the views of the ruined church at Malahide. Commonly known as The Abbey, this church, which does not appear to have a saint's name attached to it and appears never in fact to have been an abbey at all, dates from the fifteenth century. It almost certainly replaced an earlier church. According to Leask, the nave dates from the late fifteenth century and the chancel is probably sixteenth century. The church's chief points of interest are fine limestone window mouldings, and triple arched bell-cote which are accurately drawn and provide the focus for Lover's watercolours. In the foreground of the view looking east may clearly be seen the tomb of Maud Plunkett. She was the daughter of Sir Christopher Plunkett, Baron of Killeen, and was to be married to Sir Walter Hussey, son of the Baron of Galtrim. The wedding took place but later that day Sir Walter Hussey was called to battle where he was killed. Her story was immortalised in a poem by Gerald Griffin. She later married Sir Richard Talbot, Lord of Malahide. The figures in the foreground are not wearing contemporary 1820s dress, but a form of historical costume. The seated woman is dressed in a nineteenth century version of medieval dress and may represent Maude Plunkett 'a wife and a widow, a maid and a bride' all in one day. The association of the ruins with this tragic figure lent a romantic association to the place. Various engravings of this scene were made. The ruins were drawn by T. B. Godwin, engraved by W. Deeble in 1820 and published in Thomas Cromwell's Excursions Through Ireland (1820). They appear again in Savage's Picturesque Ireland (1878). Lover passed on his skill as a watercolourist and interest in painting scenes of everyday life, landscape and antiquities to his pupil, Frederick William Burton (1816-1900), who became Director of the National Gallery, London. Dr. Paul Caffrey