[4] The couple hosted regular salons in their home which attracted Irish artists, writers, politicians and intellectuals.

[4] Solomons was a close friend of writer Kathleen Goodfellow, whom she met in Cumann na mBan and who was a patron of The Dublin Magazine.

Her grandmother Rosa Jacobs Solomons (1833–1926), who was born in Hull in England, was the author of a book called Facts and fancies (Dublin 1883).

Estella's brother Bethel Solomons, a renowned physician, a master of the Rotunda Hospital and Irish international rugby player, is mentioned in Finnegans Wake.

[7] A portrait of Sophie, by her cousin the printmaker Louise Jacobs, survives in the Estella Solomons archives in the Library of Trinity College Dublin.

[5] A visit to the tercentenary exhibition of the work of Rembrandt in Amsterdam in 1903 impacted her creative practice and may have influenced her adoption of printmaking as her principal vehicle of expression.

On her return she exhibited in Leinster Hall, Molesworth Street, with contemporaries such as Beatrice Elvery, Eva Hamilton and Grace Gifford.

[11] Her work was also included in joint exhibitions with other artists at Mills Hall (1919, with Mary Duncan) and the Arlington Gallery, London (1935, with Louise Jacobs).

Originally published after the devastation of the 1916 Rising, the later edition features eight views of familiar locations in the city centre including Merchant's Arch and King's Inns.

She painted landscapes and portraits, including of artist Jack Yeats, politician Arthur Griffiths, poet Austin Clarke, and writers James Stephens and George Russell (AE).

Solomons provided vital financial support to the magazine, particularly in sourcing advertising, which was difficult in the tough economic climate of the new Free State.