Portrait of Ernst Casimir, Count of Nassau-Dietz, ...

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Oil on panel.

This 17th century portrait is based on the main version by Wybrand de Geest in the Rijksmuseum, which is 78 x 51 inches; this superb painting is a rather more manageable 24 x 17 inches.

ERNST CASIMIR I (22 December 1573 – 2 June 1632) was a Count of Nassau-Dietz and Stadtholder of Friesland, Groningen and Drenthe. He was the 11th child of John VI, Count of Nassau-Dillenburg, and Countess Elisabeth of Leuchtenberg. After the death of his father, his counties Nassau-Dillenburg, Nassau-Siegen, Nassau-Dietz, and Vianden were divided among his five living sons. Ernest Casimir followed him as Count of Nassau-Dietz. In 1631, he inherited the small county of Spiegelberg near Lauenstein.

Ernest Casimir was primarily known as an outstanding military leader during the Eighty Years' War. He served under Maurice of Nassau, Prince of Orange, in the siege of the cities of Steenwijk and Oldenzaal, and Frederick Henry, Prince of Orange, during the Siege of Groenlo and the Siege of 's-Hertogenbosch. As Stadtholder of Groningen, he founded the Nieuweschans fortress in 1628. Although he owned little in Friesland, he was popular there, and people granted his heir the right to rule after his death.

He was killed by a bullet at the siege of Roermond while he was inspecting the trenches in June 1632. His son, Henry Casimir I, succeeded him as count of Nassau-Dietz and as Stadtholder of Friesland, Groningen and Drenthe.

WYBRAND SIMONSZ. DE GEEST (16 August 1592 – c. 1661) was a Dutch Golden Age portrait painter from Friesland. He was born and died at Leeuwarden. He learned painting from his father, Simon Juckesz, a stained glass worker. He studied later with Abraham Bloemaert. From 1614 to 1618 he travelled in France and Italy on a Grand Tour. In 1616 he met up with Leonard Bramer in Aix-en-Provence. While in Rome he became a member of the painters' circle known as the Bentvueghels. He earned the nickname 'De Friesche Adelaar', or "the Frisian Eagle".

De Geest married Hendrickje Fransdr Uylenburgh in 1622, a niece of Saskia van Uylenburgh, the wife of Rembrandt. In 1634, just before his own marriage, Rembrandt visited De Geest's studio. In 1636 the Frenchman Charles Ogier, secretary to Cardinal Richelieu visited De Geest, to view his large collection of curiosities and coins.
De Geest was the most important portrait painter of Friesland and painted numerous portraits of the well-to-do citizens of his day, many of which survive in the Fries Museum. Perhaps the most intimate portraits he painted were those of his direct family. De Geest influenced Jacob Adriaensz Backer, and his students were Jan Jansz. de Stomme, and Jacob Potma. His sons Julius and Frank also became painters.

SIZE: 29 x 22.5 inches including the frame.
PROVENANCE: English Private Collection for many generations.


Portrait of a Young Gentleman c.1660; Attributed ...

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Oil on canvas now in a 19th century gilt frame in 18th century style.

The handsome young sitter wears his own hair; the periwig was just coming into fashion and not all the gentry wore them at first. His cravat looks to be of Bruges lace .. very costly, and a la mode. He also wears, wrapped around him, an Indian silk tea gown; these were also highly fashionable and hugely expensive. So much so that, for his portrait, Samuel Pepys hired one, as he couldn't afford to buy.
The young gentleman stands in the classic and much favoured elegant pose, his elbow rests on the plinth of a huge column; this was not just an artistic conceit, but symbolic. The column represents the sitter in that he is the pillar of his House or family; clearly he was the one who was, or soon to become, the head of the family.

JOHN GREENHILL (c.1642-1676), was an English born portrait painter whose initial training is unknown but who rivalled the leading London artists of the seventeenth century.
The Restoration of King Charles II (1630-85) stimulated an upheaval within the cultural sphere, in particular artistic patronage. Portrait painters such as Sir Peter Lely quickly found favour amongst the highest ranks of society, and as a result many continental artists migrated to England in a bid to win the patronage of the monarch, prosperous courtiers and powerful statesmen. Greenhill was amongst very few English artists able to compete with the popularity and skill of foreign artists and just one month before his premature death, he was still considered one of the most talented portrait painters of the age.
Of all the artists to emerge from the studio of Sir Peter Lely (1618-80) – the dominant artist in England in the late seventeenth century – John Greenhill was, as George Vertue noted, “the most excellent.” He is known to have joined Lely’s studio by 1662, but seems to have left fairly soon afterwards to establish his own practice. Vertue claimed that Lely was jealous of his pupil’s ability. He was commissioned to paint a number of leading figures of the court, including Anne, Duchess of York, and even the King. However, his dissolute lifestyle led to the end of promising career – he died barely into his thirties, after falling into a flooded gutter, drunk, in Long Acre, leaving a wife and young family behind.
SIZE:46 x 39 x 3.25 inches including the frame.
PROVENANCE: Private Collection, Surrey.

Pair of Portraits of Sir Neville and ...

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A pair of oils on canvas in good carved and giltwood frames. These were probably the marriage portraits of Sir Neville and his first wife Dorothea.
Sir Nevill(e) Catlin, sometimes written Catlyn or Catelyn or Catline, was an English landowner and politician from a Norfolk family long active in local and national affairs. Baptised on 3 March 1634, he was the eldest surviving son of landowner and politician Richard Catlin (1583 – 1662) of Kirby Cane and his second wife Dorothy (1605 – 1672), daughter of landowner and politician Sir Henry Nevill of Billingbear and his wife Anne, daughter of Henry Killigrew. His father, who supported the King in the English Civil War, had been disabled from sitting in Parliament in 1644 and suffered sequestration of his estate, but was discharged without fine in 1647. His older half-brother Thomas Catlin died fighting for the Royalist side in the Second Battle of Newbury in 1644 . In 1650, he entered King's College, Cambridge.

In 1658 in London he married his first wife Dorothea, daughter of the judge and politician Sir Thomas Bedingfield and his wife Elizabeth. After her early death he married Elizabeth, daughter of Robert Houghton of Ranworth and his wife Elizabeth, daughter of Sir John Corbet, 1st Baronet, of Sprowston, but she died in 1681. His third marriage was to Mary, sister of Sir Charles Blois, 1st Baronet and daughter of Sir William Blois of Grundisburgh and his first wife Martha. In the first two marriages there were three sons and a daughter, but none lived long.

At the Restoration in 1660 he joined the Norfolk militia, initially as a captain of cavalry and rising later to major. In 1661 he was appointed a commissioner for tax assessment for both Norfolk and Suffolk and in 1662 when he inherited the estates of Kirby Cane and Wingfield Castle on the death of his father, he was knighted. In 1668 he was appointed Justice of the Peace for Norfolk and in 1680 for Suffolk as well, adding the rank of Deputy Lieutenant for Norfolk in 1676 and Suffolk in 1680.

In the 1685 general election he was unopposed as one of the two members for the city of Norwich and was listed among the opposition to the supporters of the Catholic King, James II. Unsympathetic to the political ambitions of the Catholic party, he opposed the repeal of the penal laws against Catholics and dissenters but was not against some relaxation. As an opponent of the King's absolute rule, he was stripped of his local offices, and when these were restored in October 1688 he refused to sit next to Catholic office holders. In the Convention Parliament of 1689 he was fairly active, being appointed to 15 committees.

He did not stand in the 1690 general election, retiring from national politics. Dying in July 1702, at Wingfield Castle, he was buried at Kirby Cane and succeeded by his younger brother Richard Catlin V.

JOHN HAYLS (1600-1679) also Hailes, was an English Baroque-era portrait painter, principally known for his portrait of Samuel Pepys. Hayls was a contemporary and rival of Sir Peter Lely and Samuel Cooper.
Pepys was so pleased with his wife's portrait, that he commissioned a portrait of himself and also persuaded his father Thomas Pepys to sit for the artist. Pepys also mentioned that Hayls painted the actor Joseph Harris as Henry V.
Hayls also painted portraits of Colonel John Russell (third son of Francis Russell, 4th Earl of Bedford), Lady Diana Russell, and the poet Thomas Flatman. He was known as a good copyist of the works of Van Dyck. He lived in Southampton Street, Bloomsbury, London, for some years, but then moved to a house in Long Acre, where he died suddenly in 1679.

SIZE: 35.5 x 30.5 inches inc. frame.
PROVENANCE: Wingfield Castle, Sussex, then by descent to the Lords Berners of Ashwellthorpe Hall, thence to Faringdon House. (see last image).

Portrait of a Boy and Dog c.1740: ...

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Oil on canvas, in a good quality reproduction 18th century frame.

Probably a member of the squirearchy, the young boy looks confidentally out at the viewer, standing with one hand on his hip, the other on his dog.
Although the animal was probably his pet, in portraiture a dog represents fidelity and trust; also when included in a child's portrait it can signify how children, like animals, need to be trained and disciplined to become responsible adults.
This portrait would have been painted by one of the many provincial portraitists working at the time. Often self taught and untutored, they frequently created entrancing images of their sitters...rarely flattering, they have a powerful naive directness that makes them very appealing to the modern viewer.

SIZE: 30 x 24.5 inches canvas
37 x 32 inches inc. frame..
PROVENANCE: Hampshire Private Collection.

Portrait of a Boy of the Crawley-Boevey ...

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Oil on canvas in a giltwood frame.

A charming portrait of a young boy likely to be a member of the Crawley-Boevey family, late 18th century, painted within the feigned oval that was so fashionable at the time.
It is possible that the sitter is Sir Thomas Crawley-Boevey, 3rd Bt., born on 28 November 1769. He was the son of Sir Thomas Crawley-Boevey, 2nd Bt. and Ann Savage. He was baptised on 1 December 1769 at Flaxley Abbey.
He married Mary Albinia Page, daughter of Sir Thomas Hyde Page and Mary Albinia Woodward, on 28 October 1807. He died on 10 January 1847 at age 77 at Flaxley Abbey and was buried there.

The artist is unknown and was probably one of the many provincial portraitists of the 18th century with influences by Kneller, Jervas, Richardson and other top artists; this mixture became a no nonsense, direct style of portraiture typical of the English School.

SIZE: 22 x 19 inches.
PROVENANCE:Collection of the Crawley-Boevey baronets who had Flaxley Abbey, Gloucestershire (see Image 8) as their seat since 1642.
Sold by direction of Sir Lance V.H. Crawley-Boevey (1900-1968) by Bruton, Knowles and Co. at the Six Day Sale of the Contents of Flaxley Abbey. Bought by F. Baden Watkins the new owner of Flaxley.
Lined and restored for Flaxley Abbey Estate Ltd by Frost & Reed Ltd. c. 1965.

Between 1962 and 1963 Flaxley Abbey's interior was restored by Tony Award winning theatre and set designer Oliver Messel.
Lynne Christina Watkins sold much of the Flaxley collection, including this portrait, in March 2015.

Triple Portrait of a Dutch Family c.1635; ...

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This charming portrait is "an example of a new type of portrait that Thomas de Keyser had been developing since 1620; small, full-length portraits were an innovation in Amsterdam portraiture. These polished and elegant portraits, which make such a powerful impact despite their relatively small size are the highlight of de Keyser's oeuvre and help to explain his great success in Amsterdam." (Dutch Portraits. Published by The National Gallery)
This prosperous family are all fashionably and expensively dressed and it seems as if the painting carries a message, not known to us. They stand, the little girl looking up at her mother, as if they have just exited a cave behind them. The lady looks quietly content as her husband points the way past a ruinous building. Whatever the message was it seems to have been one of wealth, hope and confidence.

THOMAS DE KEYSER, (1596 - 1667) was the second son of Hendrick de Keyser (1565–1621), the famed Dutch architect, sculptor, and municipal stonemason of the city of Amsterdam, and his wife Beyken (Barbara) van Wildere, who hailed from Antwerp. Thomas de Keyser gained lasting renown for a significant innovation in Dutch portraiture. He began to paint the Dutch elite in full-length formal portraits, a format hitherto reserved for the aristocracy, but he drastically reduced the scale of such portraits to make them suitable for his patrons’ urban homes. Despite his fame as a portraitist, De Keyser produced slightly fewer than one hundred paintings. He created the bulk of his oeuvre in the period between 1624 and 1639, after which his primary focus shifted back to the lucrative international stone trade, yielding the Amsterdam portraiture market to Rembrandt, Govaert Flinck (Dutch, 1615 - 1660), and Bartholomeus van der Helst (1613–1670).

SIZE: 35.25 x 31.25 x 1.75 inches including the frame.
PROVENANCE: London Private Collection.

Portrait of a Gentleman c.1750: Attributed to ...

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Oil on canvas later mounted on board, in ebonised and gilt frame.

ANDREA SOLDI (1703-1771) was an Italian portraitist active in Britain.
The only remaining source for this painter's early years is George Vertue, who in 1738 stated he was "about thirty-five or rather more", had been born in Florence and had come to England in about 1736 on the advice of British merchants belonging to the Levant Company, who had commissioned their portraits from him during his travels in the Middle East. From 1738 to 1744 he won much success in London's art market and among Italophile noblemen back from their Grand Tour, being preferred to both English portrait practice (fluctuating between Rococo and Kneller-like styles) and to other Italian portraitists in England at the time, such as the Cavaliere Rusca (worked in London 1738–39), and Andrea Casali (worked in London 1741–66). Beginning "above thirty portraits" from April to August 1738 alone (according to Vertue), Soldi's only serious rival was Jean-Baptiste van Loo (in London 1737–42). Particular patrons included the 2nd Duke of Manchester, 3rd Duke of Manchester, 3rd Duke of Beaufort and 4th Viscount Fauconberg. Soldi died in London.

SIZE:35 x 30 inches inc. frame.
PROVENANCE:With Jess Aplin Antiques, Cambridge.
From where acquired by Christopher Hogwood CBE.

CHRISTOPHER JARVIS HALEY HOGWOOD, conductor, harpsichordist and musicologist, born 10 September 1941; died 24 September 2014 at home in Cambridge.
Founder of the early music ensemble the Academy of Ancient Music, he was an authority on historically informed performance and a leading figure in the early music revival of the late 20th century.
At the time of his death, Hogwood was Honorary Professor of Music in the University of Cambridge, Consultant Visiting Professor of historical performance in the Royal Academy of Music and visiting professor at King's College London. He was an Honorary Fellow of Jesus College, Cambridge and Pembroke College, Cambridge.
In 1989, Hogwood was appointed a Commander of the Order of the British Empire (CBE). He was the recipient of the Halle Handel Prize in 2008.

Portrait of a Lady c.1665, Circle of ...

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Oil on canvas in a particularly fine carved and giltwood 18th century frame.

The lady looks confidently out at us, her hair, clothing and jewellery the vey height of fashion at the Restoration Court.
Her gown is of the silver-blue colour particularly fashionable at Court during this period, as was her golden brown scarf, whilst her jewellery reveals her as a person of high status. Pearl importers were first established in London at Hatton Gardens in the reign of Queen Elizabeth I, whose prerogative it was to be dressed and portrayed in pearls of the greatest size and profusion. A glance at the portraits of Van Dyck and Lely in the following century show that this admiration for the pearl had not lessened, and above all jewellery they are the most frequently displayed by portrait sitters. Their continuing popularity rested not only on their beauty and value, but on their allegorical interpretation as an emblem of purity and virtue. She also wears a large ruby brooch on her sleeve. Many cultures have long considered ruby a stone of royalty.
When worn as a talisman, a ruby’s mystical properties extended to personal protection. People believed wearing the stone on the left, the heart side, as this sitter does, would allow the bearers to live peacefully. None could take their land or rank. The blood-coloured stone would preserve them from all perils.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 38 x 33.25 inches including the frame.
PROVENANCE: North England private collection.

Portrait of Anna Maria Schumann c.1630, by ...

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Oil on canvas in a giltwood frame.

This is a very fine painting of the Dutch Golden Age of portraiture. It is clear that the Schumann family were extremely wealthy; from their name it seems they were of German origin.
Anna sits by an open window overlooking a garden and its Classically styled summer house; in her lap is an expensive silk scarf showing she has either just entered from outside or is about to go out. Women of this period always covered their hair when outside. The scarf is beautifully painted, showing the silk to be so fine that one can see the dress through it.
It is also noteworthy how well painted are the hands .. a notoriously difficult subject for many portraitists. The flowers, as well as signifying the garden outside are also a sign of the sitter's youth and beauty, plus a reminder that youth and beauty, like flowers, quickly fade.

PIETER VAN LINT or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classicizing influence. He worked in Antwerp and Italy.
He was born in Antwerp where he trained under Artus Wolffort. During his training he frequently visited Antwerp's churches to copy the paintings of his contemporaries such as Peter Paul Rubens as well as those of earlier generations such as Marten de Vos and the Francken brothers.
Van Lint become a master in the Guild of Saint Luke in Antwerp in1633. In that same year he travelled to Rome where he remained until 1640. In Rome he worked for Cardinal Domenico Ginnasi, Bishop of Ostia, who employed him to decorate the local cathedral. Van Lint also frescoed the Cybo family chapel in the Santa Maria del Popolo with the Legend of the True Cross in 1636–40.

SIZE: 51 x 42.5 inches framed.
PROVENANCE: Private Collection, a family with property in London and in Dorset. The painting was appraised and valued by Christie's in 1985, when it was kept in the London house at Cadogan Square.

Portrait of a Member of the Cocks/Woodroffe ...

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Oil on canvas in a good early 19th century frame. In the background a faint rural scene of woodland.

This is a charming portrait of a young lady, painted in Hysing's direct but informal style, very similar to his master Michael Dahl.
The sitter has been called Margaret Woodroffe, nee Cocks, but the portrait style and clothing are too early for that. Margaret Cocks was born in 1739, married Solomon Woodroffe in 1757, and died in 1809. It is possible that this was her mother.
VERSO: a handwritten label by a member of the family that includes the words 'Her son, Thomas Woodroffe was Aunts Gilbert's Father. Aunt Gilbert was our great great Aunt."
This 'skipping' of a generation or two is quite common in family histories which are often passed on with no serious research.
Regardless of the sitter's exact identity, this is a good portrait, typical of the artist and of its time.

HANS HYSING or Huyssing (1678-1752/1753), born at Stockholm in Sweden. He came to England in 1700 as assistant to his fellow Swede Michael Dahl, the portrait-painter, with whom he lived for many years.
He succeeded after Dahl's death to his practice, and adopted his manner. He was patronised by the family of George II, and painted the queen, the three royal princesses, and George III as a boy.
Many of his portraits, including Sir Robert Walpole, the speaker Arthur Onslow, Dr. John Theophilus Desaguliers, James Gibbs (the architect), were engraved in mezzotint by John Faber (1695-1756), and others. George Vertue describes portraits by him of the French engraver Joseph Goupy as 'well painted, much in Mr. Dahl's later manner.'

SIZE: 36 x 30.5 inches, including the frame.
PROVENANCE: By family descent, then to a private Westmoreland collection.

Portrait of a Member of the Palmes ...

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Oil on canvas in gilded oakleaf frame.

The sitter, depicted with a feigned stone oval, wears a faux Roman military tunic beneath his cloak; this was called 'elevating the sitter' and was intended to give the portrait a timeless Classical quality, as was his silk drape....this despite his fashionable full wig and cravat! Lely, and others, used this motif on many occasions.

The PALMES family of Naburn Hall, York, and the cadet branches of Lindley Hall, North Yorkshire; Ashwell, Rutland; and Carcraig in Ireland, are an ancient English aristocratic family, noted for their adherence to Catholicism. The Palmes family of Naburn are directly descended from Mary Boleyn and her daughter, Catherine, who is generally believed to have been the daughter of Henry VIII of England while Mary was his mistress. Mary's sister, Anne Boleyn, afterwards became the second wife of Henry VIII and the mother of Elizabeth I of England:
The family were originally seated at Taunton Deane, Somerset, where Manfred de Palma/Palmes had by the "Gift of Milo Earl of Hereford & Constable of England, 53 Oxgangs of Land and 25 Messages in the Lordship of Taunton Dean". Manfred was "known to be living in the sixth year of the reign of King Stephen, 1140 AD".

The Palmes family of Naburn can trace its ancestry through a maternal line to Robert de Todeni (died 1088), a powerful Norman baron. Todeni's importance is reflected by the 80 estates in 11 counties that he was granted by William across England. His principal Lordship was at Belvoir where he built his home, Belvoir Castle, before establishing Belvoir Priory in 1076. Among Todeni's many estates was Naburn. In 1226, William Palmes of Taunton acquired the Lordship of Naburn through his marriage to Matilda, daughter or sister of Richard de Watterville; a direct descendant of Robert de Todeni from whom the land had passed to the Wattervilles. From then on, the estate continued to descend uninterrupted from father to son within the Palmes family until 1974, on the death of Commander George Bryan Palmes. The Palmes family were said to have been "unique in being able to boast an unbroken heritage". Edmund Burke described the family as "one of serious antiquity".

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 37.25 x 32.25 inches inc. frame.
PROVENANCE: By descent through the Palmes family to a branch now resident in Kent.

Portrait of the Hon. Henry Arthur Cole ...

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Oil on panel in the original frame.
A small scale portrait of the Hon. HENRY ARTHUR COLE (1809-1890), half-length, standing beside a classical column with his arm resting on a plinth draped in red cloth, his gloves clasped in one hand and a fur collared cloak draped over one shoulder. A sensitive and insightful portrait of a sensitive looking young man, barely out of boyhood.
The sitter was the son of John Willoughby Cole, 2nd Earl of Enniskillen and Lady Charlotte Paget. He held the office of Member of Parliament for Enniskillen between 1844 and 1851 and Fermanagh between 1855 and 1880. He gained the rank of Lieutenant-Colonel in the 7th Hussars and in the 12th Foot.

WILLIAM ROBINSON (1799-1839) was born in Leeds, he studied under the landscape painter Rhodes there. He moved to London where Sir Thomas Lawrence took him as a pupil, and he continued his studies at the Royal Academy schools under Fuseli.
He returned to Leeds about 1823-4 where he enjoyed a successful portrait practice.
Robinson exhibited mostly portraits in the Lawrence manner .. 19 at the Royal Academy, 3 at the Society of British Artists from 1822-29. His work attracted the patronage of the Earl de Grey. Among his exhibited works were 'The Rt Hon Lord Grantham', 'The Earl of Enniskillen' and 'The Duke of Wellington'. He died in Leeds in August 1839, aged 39.

SIZE: 19 x 17 inches including the frame.
By descent to the sitter's niece, Lady Jane Evelyn Cole (1855-1941),
By whom given in 1919 to her nephew Lowry Arthur Casamaijor Cole (1878-1955)
Thence by descent to his son Reverend Arthur Lowry Frederick Cole (b.1911)
By whom bequeathed to the previous owner.

By family tradition this portrait believed to have been copied by the artist from the prime original still at Florence Court, Enniskillen, County Fermanagh.