From an early age Ford has an interest in painting and sailing, and in July 1914 moves to California, where his older brother Francis is an actor with a small film company. Adopting the name ‘Jack Ford,’ he learns his trade as a filmmaker and acts in a number of silent films. Reveling in his Irish heritage, he makes his director’s debut with The Tornado (1917) and follows it with more than forty movies over the next six years. On July 3, 1920, he marries Mary McBryde Smith, a former officer in the army medical corps. They meet at a party thrown by the director Rex Ingram and have one son and one daughter.
In 1921 Ford visits Ireland for the first time and later claims to have travelled on the same boat that brought Michael Collins back from the treaty negotiations. He meets his relatives at Spiddal, falls in love with the countryside, and becomes a fervent Irish nationalist. It is later claimed that he brought over funds for his cousin Martin Feeney, a member of an Irish Republican Army (IRA) flying column.
Returning to Hollywood, Ford becomes friends with the retired marshal Wyatt Earp and makes a number of commercially successful films, now as ‘John Ford’. In 1926 he directs The Shamrock Handicap, a horse-racing yarn partly set in Ireland. In 1928 he shoots Mother Machree, a movie about Irish emigration, starring Victor McLaglen, a regular collaborator. McLaglen also stars in Hangman’s House, made the same year, Ford’s first major movie about Ireland.
In 1934 Ford purchases a luxury yacht which he names the Araner after the Aran Islands. He also begins shooting The Informer, a film set in Ireland during the Irish War of Independence and based on a short novel by Liam O’Flaherty. The picture is a major box office success and wins four Academy Awards, including Best Director. O’Flaherty is so impressed with the film that he dedicates his next book, Famine, to Ford.
In 1934 Ford visits Ireland for the second time, and approaches Seán O’Casey about directing a version of The Plough and the Stars. Released in 1936, the film stars Barry Fitzgerald as Fluther, but it is reedited by the studio, much to Ford’s fury, and is a commercial and critical flop.
In 1952 Ford returns to Ireland to film The Quiet Man, starring Wayne, McLaglen, and Maureen O’Hara. Shot at Ashford Castle, County Mayo, the picture becomes one of the most popular Irish films of all time. He is immensely proud of the work and is in tears leaving Ireland. The following year he makes Mogambo, with Clark Gable, Grace Kelly and a young English actor, Donald Sinden, who later recalls that Ford berated him personally for all the problems of Ireland from the time of William of Orange. Ford’s strong sense of Irishness is central to his character and is crucial for any understanding of his work. Back in Ireland in 1956, he shoots The Rising of the Moon, a portmanteau film for which he takes no salary, starring Tyrone Power, Cyril Cusack, and Noel Purcell. A minor film, it makes no impact at the box office.
Two of Ford’s finest movies are made in his later years. The Searchers (1956) is a powerful study of vengeance, while The Man Who Shot Liberty Valance (1962) is an elegiac revisionist western which concludes with the famous line, “When the legend becomes fact, print the legend.”
Struck with cancer in his final years, Ford dies on August 31, 1973 at his home in Palm Desert, California, and is buried at Holy Cross Cemetery, Culver City. His will disinherits his son, Michael Patrick Roper, and leaves everything to his wife, daughter, and grandchildren.
When asked to name the finest American directors, Orson Welles replies simply, “John Ford, John Ford, and John Ford.” An alcoholic, Ford is a difficult and often tyrannical director, but he makes films of extraordinary power and vision. He ranks as one of the greatest filmmakers of the twentieth century. As Frank Capra concludes, “John is half-tyrant, half-revolutionary; half-saint, half-Satan; half-possible, half-impossible; half-genius, half-Irish.”
(From: “Ford, John,” contributed by Patrick M. Geoghegan, Dictionary of Irish Biography, http://www.dib.ie)
Fay is the eldest son of four children of William Patrick Fay, a government clerk, and his wife, Martha Fay (née Dowling). He is educated at Belvedere College, Dublin, where he learns shorthand and typing, before leaving to become a secretary for an accountancy firm in Dublin. From an early age he has a passion for the theatre and immerses himself in books on the subject, becoming a drama expert. His brother, William George Fay, shares his enthusiasm and they take part in many amateur productions, setting up the Ormonde Dramatic Company in 1891.
Fay is an ardent nationalist and Arthur Griffith appoints him drama critic for his newspaper, the United Irishman (1899–1902), where he develops his ideas on how the theatre should be run. Initially in favour of plays in the Irish language, he soon abandons this as unworkable. In May 1901 he attacks W. B. Yeats for his faulty notions about theatre and even his work as a dramatist, ending with the fiercely nationalistic assertion that “there is a herd of Saxon and other swine fattening on us. They must be swept into the sea with the pestilent breed of West Britons with which we are troubled, or they will sweep us there.” Yeats’s and Lady Gregory‘s next play is Cathleen ni Houlihan.
In 1902, Fay writes a famous article advocating a national theatre company that will “be the nursery of an Irish dramatic literature which, while making a world-wide appeal, would see life through Irish eyes.” He is a member of his brother’s National Dramatic Society, which merges with the Irish Literary Theatre in 1902 to form the Irish National Theatre Society, the originating body of the Abbey Theatre. The following year Yeats declares that the national theatre owes its existence to the two Fay brothers. Fay soon abandons Griffith and begins to champion the cause of Yeats.
An excellent tragic actor, Fay can make audiences forget his less than five feet six inch stature through the power of his voice. When the Abbey Theatre opens on December 27, 1904, he stars in Yeats’s On Baile’s Strand as Cú Chulainn, a role he makes his own. He spends much time training the other actors. As an elocution teacher he has no equal. One play has Yeats leaving with his “head on fire” because of the quality of the voices on stage. Yeats dedicates his play The King’s Threshold (1904) with the words: “In memory of Frank Fay and his beautiful speaking in the character of Seanchan.”
Fay has a close but turbulent relationship with his brother William, whom he defers to in all theatrical matters except acting. Their heated arguments sometimes lead to blows. His temper is always volatile and he is prone to histrionics and fits of depression. After 1905, the Abbey Theatre becomes a limited company owing to the patronage of Annie Horniman, and the Fays lose most of their control, which results in much tension and bitterness. In 1907, Fay plays Shawn Keogh in the first production of The Playboy of the Western World by John Millington Synge.
Disagreements with Yeats over the approach to choosing and staging of plays comes to a head late in late 1907 and the Fays resign on January 13, 1908. On March 13 they are suspended from the Irish National Theatre Society. They tour the United States with Charles Frohman before separating. Fay then tours England in minor Shakespearean roles and melodrama. Between 1912 and 1914, Thomas MacDonagh and Joseph Mary Plunkett attempt to persuade him to become actor-manager of an Irish theatre. In 1918 he returns to the Abbey Theatre in two short-lived revivals of Yeats’s The Hour Glass and The King’s Threshold. He retires to Dublin permanently in 1921, teaching elocution and directing plays in local colleges.
Fay marries, in 1912, Freda, known as “Bird.” They live at Upper Mount Street, Dublin, and have one son, Gerard, who becomes a popular writer and memoirist. Fay dies on January 2, 1931, having never really recovered from the death of his wife, and is buried at Glasnevin Cemetery. He is credited with creating the Abbey Theatre style of acting, which becomes internationally known, and influences many other schools of acting. He wanted actors to behave as naturally as possible and to speak the lines as people would in real life, rather than with an exaggerated stage delivery. His training is a major influence on subsequent generations, as actors learned to “speak words with quiet force, like feathers borne on puffs of wind.”
(From: “Fay, Frank J. (Francis John)” by Patrick M. Geoghegan, Dictionary of Irish Biography, http://www.dib.ie, October 2009) | Pictured: Portrait of Frank Fay by John Butler Yeats, commissioned by Annie Horniman for the opening of the Abbey Theatre, December 27, 1904)
Rice is born on June 1, 1766, at Westcourt, Callan, County Kilkenny, the fourth of seven sons of Robert Rice, a farmer, and his wife, Margaret Tierney. His education begins at a local hedge school. He subsequently transfers to a school in Kilkenny before being apprenticed in 1779 to his uncle, a prosperous merchant at Waterford. He amasses a fortune in the lucrative provisioning trade of the city, and in 1785 he marries Mary Elliott, the daughter of a local tanner. Their only child, Mary, has intellectual disabilities and Rice suffers additional heartbreak with the death of his wife in 1789 following an accident, possibly by a fever that set in afterwards.
The death of his wife clearly affects Rice’s life. While he continues in trade and is an active member of the Catholic committee in the city, his priorities are radically changed. From this point he becomes increasingly involved in pious and charitable pursuits. He assists in the foundation of the Trinitarian Orphan Society in 1793 and the Society for the Relief of Distressed Roomkeepers in 1794. He joins religious confraternities and devotes considerable attention to the plight of prisoners. His endeavours become more focused in 1797 when, in response to a controversial pastoral of BishopThomas Hussey of Waterford and Lismore, he embraces the cause of Catholic education. In 1802, he establishes a religious community of laymen who set out to do for the neglected poor boys of Waterford what Nano Nagle had done for poor girls in Cork. His community is the genesis of both the Presentation Brothers and the Irish Congregation of Christian Brothers. Rice’s “monks” follow a variation of the Presentation rule, and his school curriculum is a pragmatic combination of best practice of the time overlaid by an uncompromisingly Catholic emphasis. By the time of his death in 1844, the Christian Brothers run forty-three schools, including six in England.
Rice is pivotal in the revival of Irish Catholicism following the severe dislocation of the penal era. Among the urban poor the Brothers make a landmark contribution in widening the social base of the institutional church. Through their teaching and catechetical instruction, they introduce the poor to the new forms of devotion which become the hallmark of nineteenth-century Catholicism. This effort brings a previously marginalised class within the ranks of the institutional church, which in time becomes the backbone of the emerging Catholic Ireland. The Brothers also play a determined role in the Catholic response to the proselytising efforts of the protestant Second Reformation in the country. Rice’s Brothers assist in the moulding of a distinctively Catholic urban working class, by promoting literacy alongside piety and instilling in their pupils the middle-class virtues of personal discipline, hard work, and sobriety.
Rice collaborates closely with other Catholic leaders of his age. His congregation is central to the success of Theobald Mathew‘s temperance movement. In 1828, at the height of the emancipation campaign, he invites Daniel O’Connell to lay the foundation stone of the Brothers’ model school at North Richmond Street, Dublin. This “monster meeting” attracts an attendance of 100,000, before which O’Connell hails Rice as the “patriarch of the monks of the west.” During the Repeal campaign, too, the Brothers frequently host the Liberator. Reflecting on their efforts, O’Connell declares that “education to be suited to this country must be Catholic and Irish in its tone, having as its motto Faith and Fatherland.”
Rice’s uncompromising adherence to these principles is not without difficulty. It leads to a predictably acrimonious relationship with the secular national board and his eventual withdrawal of the Brothers’ schools from the system in 1836. Rejection of the national board imposes serious financial burdens on the Christian Brothers which are relieved only by the bounties provided by the Intermediate Education Act (1878). Withdrawal also serves to alienate many friends and benefactors, including Daniel Murray, Archbishop of Dublin, who is a commissioner of national education. But the bishops gradually adopt Rice’s stance. After 1838 they become increasingly hostile to the national board, and the Brothers’ schools, with their acclaimed textbooks, are recognised as a bulwark against non-denominational education. For similar reasons, the Brothers become closely associated with Irish nationalism. In 1892, the MPWilliam O’Brien observes that “the Christian Brothers system was regarded in Ireland as the really national system.”
The 1830s bring a rapid deterioration in Rice’s health. Financial difficulties frustrate his plans, and the plight of the three Dublin foundations is particularly acute. Rice resigns as superior general of his congregation in 1838, but fraught relations with his successor, Br. Michael Paul Riordan, blights his later years.
From this time on, Rice spends an increasing proportion of his time at Mount Sion and the adjoining school, showing a continued interest in the pupils and their teachers. He also takes a short walk each day on the slope of Mount Sion, but his increasingly painful arthritis leads the community superior, Joseph Murphy, to purchase a wheelchair for his benefit. At Christmas time in 1841, his health takes a turn for the worse and even though expectations of his imminent death do not turn out to be justified, he is increasingly confined to his room.
After living in a near-comatose state for more than two years and in the constant care of a nurse since May 1842, Rice dies on August 29, 1844, at Mount Sion, Waterford, where his remains lie in a casket to this day. Large crowds fill the streets around his house in Dublin to honour him. He is beatified by Pope John Paul II in 1996.
(From: “Rice, Edmund Ignatius” by Dáire Keogh, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Patrick Anthony HennessyRHA, Irish realist painter known for his highly finished still lifes, landscapes and trompe-l’œil paintings, is born in Cork, County Cork, on August 28, 1915. The hallmark of his style is his carefully observed realism and his highly finished surfaces, the result of a virtuoso painting technique.
Hennessy is the son of John Hennessy an army sergeant major from County Kerry and Bridget Hennessy from Cork. His father is killed in World War I at the Battle of Passchendaele in 1917. In 1921, when he is five years old, his mother remarries in Cork. Her second husband is a Scot named John Duncan and shortly afterwards the whole family moves to Arbroath, Scotland, where Duncan has relatives.
Hennessy is educated in Arbroath at St. Thomas RC Primary School followed by secondary education at Arbroath High School, where he begins to show an aptitude for art, leaving in 1933 with the Dux for Art and an accompanying medal. In the autumn of 1933 he enrolls at the Dundee of Jordanstone College of Art & Design, for a four-year Diploma course in Drawing and Painting under James McIntosh Patrick and Edward Baird. Here he meets Harry Robertson Craig who becomes his lifelong companion. He plays a full part in the social activities of the college, winning a fancy-dress award at the Christmas revels in 1935 and producing a ballet “Paradise Lost” the following year. He gains a First-Class Pass in each year of the course along with winning first prize in 1934 and 1936 for work done during the summer vacation. He graduates with a First-Class Distinction in 1937.
Having gained a scholarship, Hennessy continues his studies at the Dundee of Jordanstone College of Art & Design for a further year by doing a Post-Graduate Diploma course in Drawing and Painting. Within a month of gaining his Post-Graduate Diploma he holds his first joint exhibition at the Art Galleries in Arbroath. In June 1938 he is awarded the Annual Travelling Scholarship for further studies in Paris and Italy. In Paris he meets up with the artists Robert Colquhoun and Robert MacBryde, whom he had met the previous year, the three travelling south together to Marseilles towards the end of that year. On his return to Scotland he is selected for the residential summer school course at Hospitalfield House near Arbroath under James Cowie. Two of his paintings, a still life and a self-portrait, are accepted that year by the Royal Scottish Academy for their Annual Exhibition. However, by the autumn of 1939 with war looming and feeling somewhat disenchanted on his return to Scotland, he decides to return to Ireland.
On arrival in Dublin Hennessy is offered an exhibition in December 1939 at the Country Shop on St. Stephen’s Green which is opened by Mainie Jellett. This attracts favourable attention. During the early 1940s he lives at various addresses in and around Dublin with frequent trips to Cork. In 1940 he is invited to join the Society of Dublin Painters and holds regular annual exhibitions of his work there during the 1940s and early 1950s. These exhibitions are supplemented by an eclectic mix of commissions, mostly portraits which he undertakes during this period. In 1941 he has three of his paintings accepted by the Royal Hibernian Academy (RHA) for their annual exhibition. This is the beginning of a long relationship with the RHA. He exhibits there virtually every year from 1941 until 1979, the year before his death.
From the early 1940s onwards, Hennessey’s work sometimes incorporates a homosexual visual subtext. He re-unites with Harry Robertson Craig in 1946 and soon after they move to Crosshaven, County Cork, and later to Cobh. In 1947, Time magazine selects him as one of Ireland’s outstanding painters, in recognition of the important position he has then attained in the art world. In 1948 he has an exhibition at the Victor Waddington Gallery, Dublin, and that same year is elected an associate of the Royal Hibernian Academy and a full member the following year. In 1950 his painting De Profundis is selected for the Contemporary Irish Painting exhibition that tours North America. As a result of this tour, the American public and critics begin to take notice of his work. In 1951 he visits Italy, taking in Venice and Sicily and returning to Dublin with many of his canvases painted abroad. One of these paintings, Bronze Horses of St. Marks, is exhibited at the Royal Academy of Arts in London in 1954.
In 1956, a friend of Hennessy, David Hendriks, opens the Ritchie Hendriks Gallery on St. Stephen’s Green, Dublin and it is this gallery that is to be the main outlet for his work over the following 22 years. In October 1956 the Thomas Agnew Gallery in London holds an exhibition of his work comprising 38 of his paintings. However, during the winter of 1959 he becomes seriously ill with pneumonia. As a consequence of this, in the autumn of that year he and Craig decide to winter in Morocco. This is the beginning of a new era in both their lives. They would never again spend a full year in Ireland. His exhibitions at the Ritchie Hendriks Gallery had for many years enjoyed favourable reviews from the art critics but in the 1960s this changes with critics claiming his paintings to be dull, repetitive and suggest he needs to explore new areas. Despite the barrage of criticism, in 1965 the Guildhall Gallery in Chicago offers him a major exhibition. Shortly after this exhibition takes place in 1966, he becomes one of the artists on permanent display at the gallery with an annual exhibition. The North American market is extremely lucrative for him and by the end of the decade he is selling more of his work in the United States than in Ireland. In 1968 he finally moves to Tangier, Morocco on a permanent basis and in 1970 sells his studio on Raglan Lane, Dublin.
In Morocco, Hennessy paints prolifically for nine years to keep up with demand from the Hendriks Gallery and Guildhall Gallery along with the RHA. In 1975 the Guildhall Gallery mounts a highly successful Retrospective of his work. In 1978 he has his last exhibition in Dublin at the Hendriks Gallery. By this time he has moved to the Algarve, Portugal and is beginning to have health problems.
In November 1980, with his health deteriorating, Craig brings Hennessy to a hospital in London for treatment. However, on December 30, 1980 he dies from cancer. Following cremation his ashes are buried in nearby Golders Green Crematorium. He leaves his entire estate to Harry Robertson Craig with the proviso that on Craig’s death the Royal Hibernian Academy should be the beneficiary. This legacy has been used to set up the annual Hennessy Craig Scholarship for aspiring artists.
Hennessy falls into the category of painter who develops a distinctive personal style, labelled at various times in his life as a Traditional Realist, Romantic, Photo Realist, Illusionary and Surrealist. However, he always remains intrinsically himself. His subjects range from still life and interiors to landscapes and portraits.
Ryan attributes to Pearse the saying “[G]ive me a hundred men and I will free Ireland!” He becomes part of a group of former students lodging in St. Enda’s while they go to university who join the Irish Republican Brotherhood (IRB). They meet in a safe house at Rathfarnham in 1911. The men take the tram from Rathfarnham to Nelson’s Pillar in central Dublin. Pearse once told his friend, “Let them talk! I am the most dangerous revolutionary of the whole lot of them!” In 1911, the Dungannon Clubs revive the Volunteers Militia movement. These clubs are not initially successful in Dublin, but are more so in Belfast amongst nationalists. One of the northern members is the Dubliner Oscar Traynor, in his youth a professional footballer with Belfast Celtic F.C., later a war hero and later again a politician and Minister for Posts and Telegraphs.
Eoin MacNeill is appointed leader of the Irish Volunteers. Ryan writes that Pearse, a risk-taker and idealist, tells him MacNeill is “too tactful.” MacNeill is prepared to entertain the Irish Parliamentary Party with negotiations. Ryan quotes Pearse as saying, “[MacNeill] has the reputation of being tactful, but his tact consists in bowing to the will of the Redmondites every time. He never makes a fight except when they assail his personal honour, when he bridles up at once… very delicate position… he is weak, hopelessly weak.”
Pearse tells Ryan that MacNeill is “a Grattan come to life again.” Henry Grattan is a constitutional orator and MP in the Protestant-only 18th-century Irish House of Commons, but one of those who fiercely opposes the notorious Acts of Union 1800, secured by massive bribery (which is then repaid out of Irish taxes), making Ireland part of the United Kingdom. Moreover, MacNeill is an “inconclusive ditherer.” He wants the Irish Volunteers to be apolitical.
The Easter Rising is preceded by the revelation of the “Castle Document,” a plan by the British government to arrest the leaders of the Irish Volunteers and Irish Citizen Army and other radicals. Ryan claims that this document, presented to MacNeill on the Wednesday before the Rising and said to have been stolen from high-ranking British staff in Dublin Castle, is a forgery. Some claim that it is concocted by Joseph Plunkett with the implicit approval of Catholic Archbishop Cullen of Dublin, a sympathiser with Dublin Castle and Redmond’s war stratagem. “Forgery is a strong word,” Ryan says, “but that in its final form the document was a forgery no doubt can exist whatever.” Modern interpretation from Charles Townshend has judged the document to be genuine, and the opinion attributed to the Archbishop’s Palace as circumstantial. Grace Gifford, Plunkett’s widow, says that she was with Plunkett when he deciphered it at Larkfield House. Prior to his execution, Seán Mac Diarmada is met by a priest, and makes the assumptive response that it is a fraudulent document.
Ryan fights through the Easter Rising from April 24, 1916, in the General Post Office (GPO) under murderous artillery fire, and describes the battle vividly in his witness statement to the Bureau of Military History. He describes the garrison retreating to Moore Street and quotes Pearse’s sculptor brother Willie Pearse, who is executed a few days later, as saying “Connolly has been asked out to negotiate. They have decided to go to save the men from slaughter, for slaughter it is.”
Ryan fights in the Irish War of Independence, and afterwards writes about his experiences. However, the Irish Civil War which follows from June 1922 to April 1923 repels him. He cannot accept that Irishmen would fight Irishmen.
Ryan marries Sarah Hartley in 1933. In 1939 they return to Ireland, where he edits the Torch, a Labour paper. Finding his views at odds with the Labour Party‘s official line, publication ceases in 1944. He and his wife then move to Swords in north County Dublin, where they operate a poultry farm.
Accused by The Sunday Times of directing an IRA bombing campaign in Britain, in 1987 Murphy unsuccessfully sues the paper for libel in Dublin. The original verdict is overturned by the court of appeal because of omissions in the judge’s summing up and there is a retrial, which he also loses. At the retrial, both Sean O’Callaghan and Eamon Collins, former members of the Provisional Irish Republican Army, testify against Murphy, as do members of the Gardaí, Irish customs officials, British Army and local TDBrendan McGahon. Collins, who had also written a book about his experiences, Killing Rage, is beaten and killed by having a spike driven through his face near his home in Newry eight months later. In 1998, a Dublin court dismisses Murphy’s case after a high-profile trial, during which Murphy states that he has “never been a member of the IRA, no way” and claims not to know where the Maze prison is located. The jury rules, however, that he is an IRA commander and a smuggler.
The Sunday Times subsequently publishes statements given by Adrian Hopkins, the skipper who ferries weapons from Libya to the IRA, to the French authorities who intercept the fifth and final Eksund shipment. Hopkins details how Murphy met a named Libyan agent in Greece, paid for the weapons to be imported, and helped unload them when they arrived in Ireland. According to A Secret History of the IRA by Ed Moloney, Murphy has been the IRA Army Council’s chief of staff since 1997. Toby Harnden’s Bandit Country: The IRA & South Armagh also details Murphy’s IRA involvement.
On September 20, 2016, the BBC‘s Spotlight airs a programme in which an alleged British spy who had infiltrated the IRA claims that in 2006, Murphy had demanded the killing of Denis Donaldson, an IRA member and British informer, in order to maintain discipline. The BBC says it had tried to contact Murphy but had received no reply. He has yet to respond to the allegation. On September 23, 2016, the Donaldson family’s solicitor says that the allegation is “absolute nonsense.”
In October 2005, officers of the British Assets Recovery Agency and the Irish Criminal Assets Bureau carry out raids on a number of businesses in Manchester and Dundalk. It is extensively reported in the media that the investigation is aimed at damaging the suspected multi-million-pound empire of Murphy, who according to the BBC’s Underworld Rich List, has accumulated up to £40 million through smuggling oil, cigarettes, grain and pigs, as well as through silent or partial ownership in legitimate businesses and in property.
A large, purpose-built underground chamber that Gardaí believes the IRA used for interrogation is discovered close to Murphy’s home.
In his first-ever press release, issued on October 12, 2005, Murphy denies he owned any property and denies that he had any links with co-accused Cheshire businessman Dermot Craven. Furthermore, he claims that he had to sell property to cover his legal fees after his failed libel case against The Sunday Times, and that he made a living from farming.
On March 9, 2006, police, soldiers and customs officials from both sides of the Irish border launch a large dawn raid on Murphy’s house and several other buildings in the border region. Three persons are arrested by the Gardaí, but are released three days later. A fleet of tankers, computers, documents, two shotguns, more than 30,000 cigarettes and the equivalent of 800,000 euros in sterling bank notes, euro bank notes and cheques are seized. Four diesel laundering facilities attached to a major network of storage tanks, some of which are underground, are also found. The Irish Criminal Assets Bureau later obtains seizure orders to take possession of euro cash and cheques and sterling cash and cheques, together worth around one million Euros.
Sinn Féin President Gerry Adams makes a public statement in support of Murphy following the March 2006 raids. Under political and media pressure over allegations of the IRA’s continued presence in South Armagh, Adams says, “Tom Murphy is not a criminal. He’s a good republican and I read his statement after the Manchester raids and I believe what he says and also and very importantly he is a key supporter of Sinn Féin’s peace strategy and has been for a very long time.” He adds, “I want to deal with what is an effort to portray Tom Murphy as a criminal, as a bandit, as a gang boss, as someone who is exploiting the republican struggle for his own ends, as a multimillionaire. There is no evidence to support any of that.”
Murphy is arrested in Dundalk, County Louth, on November 7, 2007, by detectives from the Criminal Assets Bureau, on charges relating to alleged revenue offences. The following day, he is charged with tax evasion under the Tax Consolidation Act. He is later released on his own bail of €20,000 with an independent surety of €50,000.
On October 17, 2008, in an agreed legal settlement, Murphy and his brothers pay over £1 million in assets and cash to the authorities in Britain and the Republic in settlement of a global crime and fraud investigation relating to proceeds of crime associated with smuggling and money laundering. After an investigation involving the Irish Criminal Assets Bureau and the UK’s Serious Organised Crime Agency, more than 625,000 euros (£487, 000) in cash and cheques is confiscated by the Republic’s courts, while nine properties in North West England worth £445,000 are confiscated by British courts. Murphy is still fighting a claim in the Republic’s courts for tax evasion, relating to non-completion of tax returns for eight years from 1996. On April 26, 2010, he is further remanded on bail.
In 2011, there are claims that Murphy had become disillusioned with the Northern Ireland peace process and that he had fallen out with Sinn Féin. However, there is no evidence to support he is sympathetic to any dissident republican groups. In March 2013, the Garda and the Police Service of Northern Ireland (PSNI), along with members of the Irish Customs Authority and HM Revenue and Customs (HMRC), raid his farm on the Louth-Armagh border. The Sunday World reports that two hours prior to the raid, at approximately 4:00 a.m., fire is seen coming from Murphy’s yard. There are serious concerns within the Garda and PSNI that a mole may have tipped off Murphy about the raid hours earlier as laptops, computer disks and a large amount of documentation is destroyed in the fires. As a result, an internal Garda investigation takes place.
On December 17, 2015, Murphy is found guilty on nine charges of tax evasion by a three-judge, non-jury Special Criminal Court trial sitting in Dublin, lasting nine weeks. He is tried under anti-terrorist legislation due to the belief by the Director of Public Prosecutions (DPP) that there would not be a fair trial because of the potential of the intimidation of prosecution witnesses and jurors, and the security surrounding the trial.
Murphy is found guilty on all charges of failing to furnish tax returns on his income as a “cattle farmer” between 1996 and 2004. He is prosecuted following a 14-year-long Criminal Assets Bureau investigation, which during a raid of his property uncovers bags with more than €250,000 and more than £111,000 sterling in cash, along with documents, diaries and ledgers. He is remanded on bail until early 2016 for sentencing.
On February 26, 2016, Murphy is sentenced to 18 months in prison. None of the jail term is suspended. Following sentencing, he is immediately transferred from court to Ireland’s highest-security prison, Portlaoise Prison, reserved for terrorists, dissident republicans and serious gangland criminals, under a heavily armed Garda and Irish Army escort due to security concerns.
Murphy appeals the conviction in November 2016. His lawyer, John Kearney, claims that the tax Murphy had not paid had in fact been paid by his brother, Patrick. The Court of Appeal dismisses the appeal on all grounds in January 2017.
Anne Harris, the former editor of the Sunday Independent, is born on August 25, 1947. She is the former wife of Eoghan Harris who was an opinion columnist for the newspaper. Her daughter, Constance Harris, writes for the newspaper as a fashion writer.
In 1972, Harris writes a controversial article defending the 1972 Aldershot Bombing, an article she later expresses regret for. She also works for The Irish Press, as well as the political magazine Hibernia and the fashion magazine Image.
Harris lives with Sunday Independent editor Aengus Fanning until his death on January 17, 2012. On February 5, 2012, the Sunday Independent announces that she will succeed Fanning as the publication’s editor.
On the evening of Saturday, July 19, 2014, group editor of INM newspaper publishers, Stephen Rae, orders the presses to be stopped to amend a column written by Harris, the Sunday Independent editor, which features references to Denis O’Brien. Copies of the original article do however appear, allowing comparisons between the two. Harris originally writes: “Denis O’Brien is the major shareholder in INM. In theory, with 29% of the shares, he does not control it. In practice, he does.” Rae has the last sentence deleted. She also writes: “The question is whether he understands newspapers. In order to confront the truths in our society, we must have a free press. With the restrictive charter for journalists proposed last year, and some garrotive (sic) new structures, Denis O’Brien does not make this easy.” This is changed to: “The question is whether he understands newspapers. In order to confront the truths in our society, we must have a free press. If the restrictive charter for journalists proposed last year, along with some other structural changes, are anything to go by, it might be instructive for him to listen to journalists, troublesome and all as they are.“
Harris leaves the newspaper some months later, with The Irish Times noting her departing speech to staff as follows: “She is understood to have spoken only about journalists and journalism and not about newspapers and their owners, a subject matter she has previously addressed in several columns.”
McMaster is born as Andrew McMaster on December 24, 1891, the son of Liverpool-born Andrew McMaster, a master stevedore, and Alice Maude (née Thompson). A number of sources make the erroneous claims, based on details supplied by McMaster himself, that he is born in 1893 or 1894 or even 1895 in County Monaghan in Ireland, but according to the Birth Register and the 1901 Census he is actually born in 1891 in Birkenhead, England. Like his future brother-in-law, Micheál Mac Liammóir, who is born in London as Alfred Willmore but who claims to have been born in Cork to Gaelic-speaking parents, McMaster reinvents himself as Irish and claims for himself the town of Monaghan as his birthplace, and Warrenpoint, County Down, as the scene of his earliest memories.
At the age of 19, McMaster gives up a career in banking to pursue one on the stage. He moves to Ireland and tours the country with the O’Brien-Ireland theatrical company from 1910 to 1914. Success quickly follows with his appearance as Jack O’Hara in Paddy the Next Best Thing at the Savoy Theatre in 1920. From 1921 he tours Australia in this and other plays, and in 1925 forms his own company, the McMaster Intimate Theatre Company, a “fit-up” company to tour in the works of Shakespeare, mainly in Ireland but also in Britain and Australia, touring with his theatrical company until 1959. One of the last actor-managers “of the old school – and an epitome of the type,” on occasions McMaster persuades a “big name” to act with his company as a draw for audiences, and Frank Benson (1928), Sara Allgood (1929) and Mrs. Patrick Campbell appear with him.
In 1933 at the Shakespeare Memorial Theatre in Stratford-upon-Avon McMaster appears as Hamlet opposite Esme Church as Gertrude, Coriolanus, Macduff in Macbeth, Leonato in Much Ado About Nothing, Prince Escalus in Romeo and Juliet, and Petruchio in The Taming of the Shrew. His greatest roles are as Othello and as Shylock in The Merchant of Venice, to which he adds King Lear in 1952. Just before World War II he and his company appear at the Chiswick Empire in a Shakespeare season. He tours the United States as James Tyrone in Eugene O’Neill‘s Long Day’s Journey into Night in 1956. Having “a great organ voice,” Harold Pinter, who acts in his company in Ireland from 1951 to 1953 and calls him “Perhaps the greatest actor-manager of his time,” later describes McMaster as “evasive, proud, affectionate, shrewd, merry.” In his brief biography Mac (1968), Pinter recalls, “Mac gave about a half dozen magnificent performances of Othello while I was with him… At his best he was the finest Othello I have seen. [He] stood dead in the centre of the role, and the great sweeping symphonic playing would begin, the rare tension and release within him, the arrest, the swoop, the savagery, the majesty and repose.”
McMaster’s only film role is an uncredited appearance as the Judge in Sword of Sherwood Forest (1960).
In 1924 McMaster marries the actress and designer Marjorie Willmore, the sister of Micheál Mac Liammóir. They have two children, the actors John Christopher McMaster and Mary-Rose McMaster.
McMaster dies at the age of 70 at his home in Dublin on August 24, 1962. He is buried with his wife in Dean’s Grange Cemetery in County Dublin.
McMaster’s biography, A Life Remembered: A Memoir of Anew McMaster, by his daughter Mary-Rose McMaster, is published in 2017. Harold Pinter also publishes a short biography, Mac, in 1968.
MacEntee is the son of James McEntee, a publican, and his wife, Mary Owens, both of whom are from Monaghan. James McEntee is a prominent Nationalist member of Belfast Corporation and a close friend of Joseph DevlinMP.
MacEntee is educated at St. Mary’s Christian Brothers’ Grammar School, St. Malachy’s College and the Belfast Municipal College of Technology where he qualifies as an electrical engineer. His early political involvement is with the Irish Socialist Republican Party in Belfast. He quickly rises through the ranks of the trade union movement becoming junior representative in the city’s shipyards. Following his education he works as an engineer in Dundalk, County Louth, and is involved in the establishment of a local corps of the Irish Volunteers in the town. He mobilises in Dundalk and fights in the General Post Office garrison in the Easter Rising in 1916. He is sentenced to death for his part in the rising. This sentence is later commuted to life imprisonment. He is released in the general amnesty in 1917 and is later elected a member of the National Executives of both Sinn Féin and the Irish Volunteers in October 1917. He is later elected Sinn Féin Member of Parliament (MP) for South Monaghan at the 1918 Irish general election.
An attempt to develop MacEntee’s career as a consulting engineer in Belfast is interrupted by the Irish War of Independence in 1919. He serves as Vice-Commandant of the Belfast Brigade of the Irish Republican Army (IRA). He is also a member of the Volunteer Executive, a sort of Cabinet and Directory for the Minister for Defence and the HQ Staff, however, he remains one of the few Sinn Féiners from the north. On August 6, 1920, he presents ‘a Memorial’ lecture to the Dáil from the Belfast Corporation. He tells the Dáil it is the only custodian of public order, that a Nationalist pogrom is taking place, and he advises them to fight Belfast. The Dáil government’s policy is dubbed Hibernia Irredenta or “Greening Ireland.” He is asked to resign his South Monaghan seat after voting against a bunting celebration in Lurgan to mark the signing of the Anglo-Irish Treaty.
In April 1921 MacEntee is transferred to Dublin to direct a special anti-partition campaign in connection with the May general election. It remains Michael Collins‘s policy, he declares, that the largely Protestant shipyard workers of Belfast are being directed by the British, urging all Irishmen to rejoin the Republic. Correspondingly the Ulster Unionist Council rejects the call for a review of the boundary commission decision made on Northern Ireland. But when Ulstermen choose James Craig as Premier, Collins denounces democracy in the north as a sham. It is on the partition of Ireland issue that MacEntee votes against the Anglo-Irish Treaty of 1921. During the subsequent Irish Civil War he commands the IRA unit in Marlboro Street Post Office in Dublin. He later fights with Cathal Brugha in the Hamman Hotel, and is subsequently interned in Kilmainham and Gormanstown until December 1923.
After his release from prison, MacEntee devotes himself more fully to his engineering practice, although he unsuccessfully contests the Dublin Countyby-election of 1924. He becomes a founder-member of Fianna Fáil in 1926 and is eventually elected a TD for Dublin County at the June 1927 Irish general election.
MacEntee founds the Association of Patent Agents in 1929, having gained his interest in Patents when he worked as an assistant engineer in Dundalk Urban District Council. He values his status as a Patent Agent as he maintains his name on the Register for over 30 years while he holds Ministerial rank in the Irish Government, although he is not believed to have taken any active part in the patent business, which is carried on by his business partners.
In 1932, Fianna Fáil comes to power for the very first time, with MacEntee becoming Minister for Finance. In keeping with the party’s protectionist economic policies his first budget in March of that year sees the introduction of new duties on 43 imports, many of them coming from Britain. This sees retaliation from the British government, which in turn provokes a response from the Irish government. This is the beginning of the Anglo-Irish Trade War between the two nations, however, a treaty in 1938, signed by MacEntee and other senior members brings an end to the issue.
In 1939, World War II breaks out and a cabinet reshuffle results in MacEntee being appointed as Minister for Industry and Commerce, taking over from his rival Seán Lemass. During his tenure at this department he introduces the important Trade Union Act (1941). In 1941, another reshuffle of ministers takes place, with him becoming Minister for Local Government and Public Health. The Health portfolio is transferred to a new Department of Health in 1947. Following the 1948 Irish general election, Fianna Fáil returns to the opposition benches for the first time in sixteen years.
In 1951, Fianna Fáil are back in government, although in minority status, depending on independent deputies for survival. MacEntee once again returns to the position of Minister for Finance where he feels it is vital to deal with the balance of payments deficit. He brings in a harsh budget in 1951 which raises income tax and tariffs on imports. His chief aim is to cut spending and reduce imports, however, this comes at a cost as unemployment increases sharply. The increases are retained in his next two budgets in 1952 and 1953. It is often said that it is his performance during this period that costs Fianna Fáil the general election in 1954. The poor grasp on economics also does his political career tremendous damage as up to that point he is seen as a likely successor as Taoiseach. Seán Lemass, however, is now firmly seen as the “heir apparent.”
In 1957, Fianna Fáil returns to power with an overall majority with MacEntee being appointed Minister for Health. The financial and economic portfolios are dominated by Lemass and other like-minded ministers who want to move away from protection to free trade. He is credited during this period with the reorganisation of the health services, the establishment of separate departments of health and social welfare, and the fluoridation of water supplies in Ireland. In 1959, he becomes Tánaiste when Seán Lemass is elected Taoiseach.
Following the 1965 Irish general election, MacEntee is 76 years old and retires from the government. He re-emerges in 1966 to launch a verbal attack on Seán Lemass for deciding to step down as party leader and Taoiseach. The two men, however, patch up their differences shortly afterwards. MacEntee retires from Dáil Éireann in 1969 at the age of 80, making him the oldest TD in Irish history.
MacEntee dies in Dublin on January 9, 1984, at the age of 94. He is buried in Glasnevin Cemetery, Dublin. At the time of his death, he is the last surviving member of the First Dáil.
From 1969 to 1973, during the 12th Seanad, Yeats serves as Cathaoirleach (chair).
While a senator, Yeats serves as a Member of the European Parliament from 1973 to 1979, being appointed to Ireland’s first, second and third delegations. He stands at the first direct elections in 1979 for the Dublin constituency but is not elected. He is Director General of the EEC Council of Ministers in Brussels in the 1980s.
Yeats marries Gráinne Ni hEigeartaigh, a singer and Irish harpist. They have four children – three daughters and a son.
seamus dubhghaill 