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Category Archives: Home Rule, Easter Rising & War of Independence (1912-1922)


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The Holywell Ambush

The Holywell Ambush is an ambush on the Ballyhaunis to Claremorris road near Holywell in the early hours of Monday, August 2, 1920, carried out by the Irish Republican Army (IRA) during the Irish War of Independence. Approximately 20 local IRA volunteers commanded by Patrick Kenny attack a British Military outpost that is guarding a broken down lorry.

A large lorry transporting petrol which is part of a British military convoy travelling from Claremorris towards Ballyhaunis comes off the road on the Claremorris-Ballyhaunis road near Holywell on Saturday, July 31, 1920. The driver of the lorry loses control and crashes off the road into the bog below. The lorry sinks somewhat and is stuck in the bog. A military guard of between 12-20 British soldiers from the 2nd Battalion Argyll and Sutherland Highlanders, who are garrisoned in the old workhouse in Claremorris, is placed on the lorry while the rest of the convoy continues on their journey.

The soldiers set up camp in a little old, abandoned house nearby, throwing a large tarpaulin over the roof of the house for shelter. They place two sentries on the road while the rest of the guard retires to the abandoned house where they light a fire in the ruin’s fireplace. Martin Forkhan, a local IRA volunteer, happens upon the scene of the crashed lorry and immediately notifies the Ballyhaunis Battalion Commandant, Patrick Kenny, of the situation. Kenny issues instructions to mobilise all officers in the Ballyhaunis Battalion area.

On that same night, a train leaving Ballyhaunis towards Westport is held up by armed and masked men not far from the military encampment. A unit of 25 IRA men under the command of Capt. Martin Forde take control of the train after firing a number of warning shots. The IRA then removes steel shutters destined for Westport Royal Irish Constabulary (RIC) Barracks and bury them in the bog nearby. The steel shutters are part of a program of fortification of RIC Barracks country-wide. Some of these men then mobilise with the other IRA officers gathering at Holywell Wood, where arrangements are made for an attempt to overpower and disarm the soldiers guarding the crashed lorry.

The assembled IRA, approximately 40 strong, march to the site of the military encampment where they take up positions. The volunteers are unsure of the size of the British force guarding the lorry, as all they can see is one sentry. An IRA officer approaches the sentry and asks for a light for a cigarette. The sentry sends him into the camp. As he lights his cigarette from the camp fire he looks around and counts 18 rifles present. It is then presumed that there are roughly 18 soldiers at the encampment. Cmdt. Kenny mades a plan and orders an attack, but as the IRA volunteers are crawling through the fields toward their assigned positions to surround the encampment, a line of motorcars appears on the Claremorris road. The headlights from the motorcars would have exposed the positions taken up by the IRA, so due to their poor positions, the delay in organising a plan and the coming dawn, it is decided that the attack is to be postponed until the following night.

The next day, Sunday, August 1, 1920, a section of men under the command of Capt. Patrick McNieve is positioned near the site of the encampment to keep it under observation while the officers mobilise the entire battalion. On this day, there are sports taking place in Aghamore and many of the battalions volunteers gather in that area so are easily located. Back at Holywell, scouts are posted on the surrounding roads to notify of any advancing British reinforcements and a trench has been dug across the road to delay any traffic from getting by. During the day, members of Cumann na mBán assist in transferring ammunition from arms dumps to the ambush site. That night, with all available men in the battalion area mobilised, the IRA assembles once more and organises a plan of attack. Orders are issued, they manoeuvre into their assigned positions and wait. D Coy (Brackloon) proceeds to their positions between Ballyhaunis and Holywell where they are on outpost duty guarding the road about half a mile from the ambush site. The IRA officers decide that while the soldiers in the camp sleep, some volunteers will attempt to sneak into the camp and take their weapons. Cmdt. Patrick Kenny leads a small ambush party of about 20 men and creeps into the camp at approximately 3:00 a.m. They are armed with shotguns and revolvers. A further 188 IRA men, many of them unarmed, from the Battalion are on scouting, road trenching, sentry and outpost duties in the surrounding district.

The ambush party successfully infiltrates the camp without alerting the sentries and Cmdt. Kenny manages to gather up five or six rifles that are stacked together. But as he is leaving the camp, the alarm is raised and the British soldiers begin to awaken. The IRA shouts a demand for the British military guard to surrender but when no surrender comes, the IRA opens fire. Three British soldiers are badly wounded in the opening salvo. One takes a full shotgun blast to his back, another has a portion of his arm blown off and the third is badly wounded in the leg. With three of their men knocked out, the British soldiers organise their defence and return fire on the IRA. The IRA ambush party retreats to positions behind a fence where they maintain constant fire on the camp. A fierce gun battle ensues. In the darkness, as Cmdt. Kenny retreats with the rifles in his arms, he is caught in the crossfire and severely wounded in the left arm and face by a shotgun blast from one of his own men. He falls from his wounds and drops the rifles he had been carrying. Capt. Martin Forde and several other officers run to Kenny’s aid. Forde and his comrades are able to carry Kenny to safety. The battle continues on for about an hour and before dawn, just as the military guard seems about to surrender, two lorries of British reinforcements come from Claremorris to their assistance. The British reinforcements open fire from their lorries on the outposts as they encounter those who return fire with their shotguns. With the IRA running low on ammunition and now out-gunned, Cmdt. Kenny issues an order for the IRA to retreat under fire. There are varied accounts of the length of time the ambush lasts. Some accounts state the attack on the camp lasts 15 minutes, with other accounts indicating that from beginning to end, the ambush lasts for between one and two hours. Dawn is breaking just as the engagement ends.

The IRA operation is deemed unsuccessful as they did not achieved their primary objective of disarming the British soldiers and their commanding officer is badly wounded in the attack. The inability to capture the British soldiers’ weapons will hamper the battalion and the wider East Mayo Brigade’s ability to conduct large ambushes in an area that is already in very short supply of rifles and ammunition. There are varying accounts of casualties from both sides. The IRA inflicts a minimum of three casualties on the British side and the ambush gives many volunteers their first experience of battle. Some of the volunteers who take part in the ambush claim that five and upwards of ten on the British side are wounded. The British claim that they killed one IRA man and wounded several others. They also admit that three of their soldiers are wounded. The following day, British police and military carry out an exhaustive search in the intervening districts. It is reported in the Western People, that in the search that follows, the police and military from Claremorris and Ballyhaunis find blood stains over the ground covered by the IRA and two shotguns, a loaded revolver and two overcoats. In reality the IRA suffers only one casualty, that of their Cmdt. Patrick Kenny. In the military drive that follows, the number of private houses raided totals one hundred and fifty, however nothing incriminating is found.

After Cmdt. Kenny is safely extracted from the engagement; he is carried by Volunteers Jack and William Caulfield along with others to a house nearby and then on to Pat Healy’s house. The British military’s account reports that the soldiers witness a body being carried into a house nearby. From there he is taken to be treated first by Dr. A Smyth, Ballyhaunis, who is the battalion’s Medical Officer. He is moved to Mayo County infirmary and treated by Dr. McBride, however, it is deemed unsafe for him to stay there so after 24 hours he has to leave and is treated by Dr. Hopkins Castlebar in Union hospital for ten days. Members of Cumann na mBan employed in the Union hospital had established an IRA ward in a disused portion of the hospital where numerous wounded volunteers are treated throughout the war. When Kenny has recovered sufficiently, he is taken to Surgeon M Ó Máille in Galway, where he receives treatment for five weeks. He then goes on to recuperate in the home of Pádraic Ó Máille TD near Maum in Connemara for four months. Ó Máille’s home is used as a safe house by the West Connemara, West Mayo and South Mayo IRA Brigades. Kenny returns to the Ballyhaunis area in April 1921.

(Pictured: Ballyhaunis IRA September 1921: Back L-R:Capt. Pat McNieve (Logboy Coy), Capt Austin Tarpey (Holywell Coy), Bn Cmdt. Patrick Kenny, Vol Joe Taylor (Aghamore Coy), Vol John Forde (Bekan Coy), Capt. Luke Taylor (Aghamore Coy), Vol Sonny Biesty (Holywell Coy), Bn Vice Cmdt. Dom Byrne, Front L-R: Vol Jack Kilduff (Bekan Coy), Bn Adjt. Austin Kenny, Capt. Michael Devaney (Brackloon Coy), Capt. Jim Kilkenny (Crossard Coy), Lt Michael Nolan (Knock Coy). Nearly all of the men photographed played some part in the Holywell Ambush)


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Killing of Frank Brooke, Director of Dublin and South Eastern Railways

Francis Theophilius “Frank” Brooke PC, JP, DL, Anglo-Irish Director of Dublin and South Eastern Railway and a member of the Earl of Ypres‘ Advisory Council, is killed allegedly by the Irish Republican Army (IRA) in his Dublin office on July 30, 1920.

Brooke is a cousin of Sir Basil Brooke, the future Prime Minister of Northern Ireland (1943-63) who is later created, in 1952, the 1st Viscount Brookeborough.

Brooke is also Deputy Lieutenant of County Wicklow and County Fermanagh, a Lieutenant in the Royal Navy, a Justice of the Peace for County Fermanagh and an Irish Privy Counsellor (1918), thus he is styled The Right Honourable Francis Brooke.

In July 1912 Brooke attends a house party at Wentworth Woodhouse hosted for George V‘s stay there.

On July 30, 1920, Brooke is killed, at the age of 69, at his offices in Dublin, by Paddy Daly, Tom Keogh and Jim Slattery, members of Michael Collins‘s Squad of the Irish Republican Army (IRA). He is killed in view of a colleague, who is spared. He is marked out for his activities as a judge, anti-republican activities, and his friendship with Sir John French. As an Irish Privy Counsellor, he is a signatory of the order proclaiming Dáil Éireann illegal.

The inquest following the assassination finds that Brooke had a pistol in his jacket pocket. His killing has been termed the only outright political assassination of the Irish War of Independence.

(Photo credit: Kevin Lee)


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Birth of Patrick Campbell, 3rd Baron Glenavy

Patrick Gordon Campbell, 3rd Baron Glenavy, Irish journalist, humorist and television personality, is born in Dublin on June 6, 1913. He writes sixteen books, including Life in Thin Slices, Rough Husbandry, and How to Become a Scratch Golfer.

Campbell is the first son of Charles Campbell, 2nd Baron Glenavy, and Beatrice, Lady Glenavy (the artist Beatrice Elvery). He is educated Crawley’s preparatory school (St. Stephen’s Green, Dublin), Castle Park preparatory school (Dalkey), Rossall School (Lancashire), and, briefly, Pembroke College, Oxford. He leaves Oxford without completing his degree. In 1935, he is taken on by The Irish Times by R. M. “Bertie” Smyllie and reports on “Courts Day by Day.” During World War II, he serves as a chief petty officer in the Irish Marine Service. After the war he re-joins The Irish Times, using the pseudonym “Quidnunc,” and is given charge of the column “Irishman’s Diary.” He has a weekly column for the Irish edition of the Sunday Dispatch before working on the paper in London from 1947 to 1949. He is assistant editor of Lilliput from 1947 to 1953. His writings also appear in The Sunday Times.

Campbell’s books, mostly collections of humorous pieces that were originally published in newspapers and magazines, include A Long Drink of Cold Water (1949), A Short Trot with a Cultured Mind (1950), An Irishman’s Diary (1950), Life in Thin Slices (1951), Patrick Campbell’s Omnibus (1954), Come Here Till I Tell You (1960), Constantly in Pursuit (1962), How to Become a Scratch Golfer (1963), Brewing Up in the Basement (1963), Rough Husbandry (1965), The P-P-Penguin Patrick Campbell (1965), All Ways on Sundays (1966), A Bunch of New Roses (1967), an autobiography My Life and Easy Times (1967), The Coarse of Events (1968), Gullible Travels (1969), The High Speed Gasworks (1970), Waving All Excuses (1971), Patrick Campbell’s Golfing Book (1972), Fat Tuesday Tails (1972), 35 Years on the Job (1973), and The Campbell Companion (1987). Many of his books are illustrated by Quentin Blake.

Campbell is married three times, first in 1941 to Sylvia Alfreda Willoughby Lee, whom he divorces in 1947. He then marries Chery Louise Munro in 1947. The two divorce in 1966, the year he marries Vivienne Orme.

Campbell speaks with a stammer, but nevertheless delights television audiences with his wit, notably as a regular team captain on the long-running show Call My Bluff, opposite his longtime friend, Frank Muir. Muir notes that “When he was locked solid by a troublesome initial letter he would show his frustration by banging his knee and muttering ‘Come along! Come along!'” Some of his funniest short stories describe incidents involving his stammer. He stands six feet five inches tall, and several of his funniest pieces deal with the problems faced by a man of his build in merely finding shoes or clothes that fit him. He also makes regular appearances in That Was The Week That Was.

Campbell lives for many years in the South of France, commuting to England for his television work and continuing to produce his weekly column in The Sunday Times, which he drops in 1978.

In 1972 a period of illness leads to the discovery that Campbell had suffered an undetected heart attack some years previously and has a permanent heart weakness. An attack of viral pneumonia in 1980 exacerbates this condition, and he dies suddenly on November 9, 1980 while talking to a nurse at University College Hospital, London. He is succeeded as the 4th and last Lord Glenavy by his novelist brother Michael.


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Birth of Con Lehane, Nationalist & Member of the IRA Army Council

Con Lehane, left-wing nationalist, member of the IRA Army Council, solicitor, actor and politician, is born in Belfast, in what is now Northern Ireland, on May 7, 1912.

Lehane is the only surviving child of Denis Lehane, an excise officer originally from County Cork, and his wife Mary (née Connolly), a native of the Falls Road, Belfast. He grows up in an Irish-speaking household. Joseph Connolly, the senator, is his uncle on his mother’s side, while Michael O’Lehane, the trade unionist, is his uncle on his father’s side. His family emigrates to Hartlepool, in County Durham, England, in 1912, and then to Dublin in 1920. He is educated at Synge Street CBS and University College Dublin (UCD), where he studies Law and qualifies as a solicitor. He marries Marie O’Neill in 1937, and they have a son and two daughters.

As a solicitor, Lehane takes to defending members of the Irish Republican Army (IRA) in the Irish Courts. In 1927 he obtains permission for IRA prisoners to speak privately to their solicitors from the Irish High Court. He is active in other republican and nationalist circles. He is a member of the Moibhí Branch of Conradh na Gaeilge, and by the 1930s appears to become active in the IRA itself. In 1931 he is involved in Saor Éire, an attempt by the Irish left-wing to create a communist political party that would be linked to the IRA.

Lehane is a member of the IRA’s arms committee and in 1935 he is sentenced to 18-months’ imprisonment by the Military Tribunal for his membership of the IRA.

Lehane retires from the IRA in April 1938 with Seán MacBride as they are not prepared to support the planned bombing campaign in the United Kingdom during World War II. In 1940 he is a member of Córas na Poblachta, another attempt to build a Republican political party backed by the IRA.

Interned again in 1940 under the Offences against the State Act 1939, Lehane is made an officer commanding (OC) of the IRA prisoners in Arbour Hill Prison, Dublin. While interned he and five other Irish Republican prisoners go on a 26-day hunger strike, protesting being imprisoned without trial.

Lehane is elected to Dáil Éireann as a Clann na Poblachta Teachta Dála (TD) for the Dublin South-Central constituency at the 1948 Irish general election. He loses his seat at the 1951 Irish general election.

Lehane is an actor and has a keen interest in Irish language theatre. A committed Irish speaker, Lehane is at home in it, whether on radio, stage or in street conversation. He is one of the leading actors of the Irish Language Theatre Company between 1943 and 1958. He is a member of Dublin City Council and of the Citizens for Civil Liberties committee.

In 1977, the remains of Frank Ryan, one of the leading left-wing Republicans of the 1930s, are repatriated from East Germany, and Lehane delivers the eulogy.

Lehane dies in Dublin at the age of 71 on September 18, 1983. He is buried in St. Fintan’s Cemetery, Sutton, Dublin.

(Pictured: Lehane speaking at a Clann na Poblachta event)


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Death of Frederick William Hall, Victoria Cross Recipient

Frederick William Hall, VC, Irish Canadian recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces, dies on April 24, 1915, at Poelcappelle, Belgium.

Hall is born in Kilkenny, County Kilkenny, on February 21, 1885. His father is a British Army soldier from London. He emigrates to Canada around 1910, and lives on Pine Street in Winnipeg, Manitoba. He is 30 years old, and a company sergeant major (CSM) in the 8th (Winnipeg Rifles) Battalion, Canadian Expeditionary Force during World War I when he performs a deed for which he is awarded the Victoria Cross.

It is on the night of April 23, 1915, during the Second Battle of Ypres in Belgium that Hall discovers a number of men are missing. On the ridge above he can hear the moans of the wounded men. Under cover of darkness, he goes to the top of the ridge on two separate occasions and returns each time with a wounded man.

By nine o’clock on the morning of April 24 there are still men missing. In full daylight and under sustained and intense enemy fire, Hall, Cpl. Payne and Pvt. Rogerson crawl out toward the wounded. Payne and Rogerson are both wounded but return to the shelter of the front line. When a wounded man who is lying some 15 yards from the trench calls for help, Company Sergeant-Major Hall endeavors to reach him in the face of very heavy enfilade fire by the enemy. He then makes a second most gallant attempt and is in the act of lifting up the wounded man to bring him in when he falls, mortally wounded in the head. The soldier he is attempting to help is also shot and killed.

Hall’s name can be found on the Menin Gate Memorial to the Missing war memorial in Ypres, Belgium, honouring 56,000 troops from Britain, Australia, Canada and India whose final resting place in the Ypres salient is unknown.

In 1925, Pine Street in Winnipeg is renamed Valour Road because three of Canada’s Victoria Cross recipients resided on the same 700 block of that street: Frederick Hall, Leo Clarke and Robert Shankland. It is believed to be the only street in the British Commonwealth to have three Victoria Cross recipients to live on it, let alone the same block. A bronze plaque is mounted on a street lamp at the corner of Portage Avenue and Valour Road to tell the tale of these three men.


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RMS Carpathia Arrives in New York City with RMS Titanic Survivors

The RMS Carpathia, a Cunard Line transatlantic passenger steamship, arrives in New York City on April 18, 1912, with 705 survivors from the RMS Titanic, which sank in the North Atlantic three days earlier.

As she is making her way from New York to Fiume, Austria-Hungary (now Rijeka, Croatia), RMS Carpathia receives a distress call from the “unsinkable” RMS Titanic. RMS Carpathia’s captain, Arthur Rostron, later testifies that the distance to RMS Titanic was 58 nautical miles (67 miles) and was expected to take three and a half hours to reach the doomed liner as its top speed, which was about 14.5 knots.

However, braving dangerous ice fields of its own, Rostron orders extra stokers to feed coal and cut off heating and hot water elsewhere in order to supply the ship’s engines with as much steam as possible. These decisions help accelerate the ship to more than 17 knots and the RMS Carpathia arrives on the scene approximately one hour and 40 minutes after RMS Titanic went down. For the next four and a half hours, the ship rescues 705 survivors from RMS Titanic‘s lifeboats.

Slowed by storms and fog since early Tuesday, April 16, RMS Carpathia arrives in New York City on the cold and rainy evening of Thursday, April 18, escorted by the scout cruiser USS Chester. RMS Carpathia first bypasses Pier 54, its Cunard Line pier, and sails up the Hudson River to Pier 59, the berth for White Star Line and where RMS Titanic was supposed to have arrived. Having dropped off the empty lifeboats, RMS Carpathia then sails back toward Pier 54.

A tugboat filled with photographers follows the ship to the pier, and the flashlight of cameras lights up the ship in the night sky to reveal that the decks are crammed with passengers.

Tens of thousands of people gather around Pier 54 to meet them and receive the first physical confirmation of the maritime disaster. On the orders of Rostron, RMS Carpathia‘s passengers disembark first, believing the scene will become tumultuous as soon as RMS Titanic survivors first appear. That moment comes when a teary-eyed woman with makeshift clothes descends a gangway and stumbles away from the boat into the arms of an officer.

The RMS Carpathia is initially a transatlantic passenger ship that makes its maiden voyage in 1903. During World War I, she is used to transfer Canadian and American Expeditionary Forces to Europe.

On July 15, 1918, under the command of Captain William Prothero, RMS Carpathia is a part of a large convoy that is making its way from Liverpool to Boston. Two days later, carrying 57 passengers and 166 crew, she is torpedoed on the port side by a German U-boat off the southwest coast of Ireland.

A second strike follows, which penetrates the engine room, killing three firemen and two trimmers. Prothero gives the order to abandon ship and all passengers and the surviving crew members board the lifeboats.

A third torpedo strike hits the gunner’s rooms, resulting in a large explosion that dooms the ship. The U-boat starts approaching the lifeboats when the HMS Snowdrop arrives on the scene and drives away the submarine with gunfire before picking up survivors.

The wreck of the RMS Carpathia is only discovered in 2000 after an 80 year-long search for the missing ship.

(From: “On This Day: Carpathia arrives in New York with Titanic survivors” by Michael Dorgan, IrishCentral, http://www.irishcentral.com, April 15, 2022)


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Birth of Gordon Lambert, Businessman, Senator & Art Collector

Charles Gordon Lambert, Irish businessman, senator and art collector, is born on April 9, 1919, in the family home at Highfield Road, Rathmines, Dublin, the youngest of four sons of Robert James Hamilton Lambert, a veterinarian and renowned cricketer, and his wife Nora (née Mitchell). His eldest brother, Noel Hamilton “Ham” Lambert, is a versatile sportsman and noted veterinary practitioner.

Lambert is educated at Sandford Park School, Dublin, and at Rossall School, Lancashire. He is steered by his mother toward a career in accountancy for which he prepares by studying commerce at Trinity College Dublin (TCD). Graduating in 1940, he joins the accounting firm Stokes Brothers and Pim, qualifying Associate Chartered Accountant in 1943. In 1944, after auditing biscuit manufacturers W. & R. Jacob and Co. Ltd, one of Ireland’s largest and most prestigious industrial companies, he is offered and accepts a £300 a year job at Jacob’s as assistant accountant.

In 1953, Lambert becomes Jacob’s chief accountant as the management grooms him for an executive career. During 1948–56, Jacob’s suffers from profit and price controls, lack of capital investment and complacency brought about by the absence of competition. The entry of Boland’s Bakery into the Irish biscuit market in 1957 is exploited by Lambert who urges the alarmed board, which has long regarded advertising as vulgar, to market its products more vigorously. This assertiveness yields his advancement to the position of commercial manager in 1958. A year later he becomes the first non-member of the Bewley and Jacob families to be appointed to the board.

Between 1959 and 1970, biscuit consumption in Ireland doubles for which Lambert can claim much credit. Recognising that the advent of self-service stores means that manufacturers can no longer rely on retailers to sell their products, he pioneers advanced promotional techniques in Ireland, particularly the use of marketing surveys and of mass advertising in newspapers, on radio and on the emerging medium of television. To further accord with retailers’ preferences, Jacob’s drives the widespread packaging of biscuits in airtight packets rather than tins, and also introduces a striking red flash logo for its packets. His interest in contemporary art enables him to contribute directly to Jacob’s packaging designs.

Lambert is appointed to the board of the Electricity Supply Board (ESB) in 1964, a position he holds until 1977, and serves as president of the National Agricultural and Industrial Development Association (NAIDA) in 1964–65, spearheading a “Buy Irish” campaign. His involvement with NAIDA dates to the mid-1950s and leads to his friendship with Jack Lynch, Minister for Industry and Commerce. This relationship and his admiration for Seán Lemass incline him toward Fianna Fáil. He also believes the party is the one most likely to deliver economic growth.

In 1977, Lambert is appointed to Seanad Éireann by Taoiseach Jack Lynch. He sits as an independent but assures Lynch he will broadly support the government. Dismayed by Ireland’s economic uncompetitiveness, he uses this platform to bemoan the state’s financial profligacy and failure to control inflation, and the indifference of Irish politicians towards the business community, contending that Irish industrialists suffer and need to learn from the expert lobbying of the indigenous agricultural sector and of large multi-national companies based in Ireland. He also articulates his social liberalism, desire for peaceful reconciliation in Northern Ireland and support for cultural and environmental causes. But his commitment to the Seanad wanes as he grasps its irrelevance. When Lynch resigns in December 1979, Lambert joins the Fianna Fáil party in a futile bid to preserve his political influence.

Following Jacob’s takeover of Boland’s Bakery in 1966, Lambert becomes joint managing director of a new entity, Irish Biscuits Ltd, the manufacturing and trading company for the Boland’s and Jacob’s biscuits operations. W. & R. Jacob and Co. Ltd becomes a holding company. In 1968, he becomes the sole managing director. From 1977 he begins withdrawing from the active administration of the company, relinquishing his managing directorship in 1979 to become chairman.

Initially, Lambert views art as a hobby but he comes to see it as a calling, drawing inspiration from Sir William Basil Goulding, his predecessor as Ireland’s leading collector and advocate of modern art. From the late 1970s he serves as head of the Contemporary Irish Art Society (CIAS) and on the Arts Council of Northern Ireland, the advisory committee of the Dublin Municipal Gallery, the board of the National Gallery of Ireland, the editorial board of the Irish Arts Review and the international council of the Museum of Modern Art (MoMA) in New York City.

The Irish Museum of Modern Art (IMMA) opens in 1991 and receives through the medium of the Gordon Lambert Trust some 212 works, which form the centerpiece of its collection. Thereafter Lambert gifts another 100 works to IMMA. He sits on IMMA’s board from 1991, and the west wing of the museum is named after him in 1999.

Despite being diagnosed with Parkinson’s disease in 1988, Lambert remains relatively active and plays golf into his 80s. In 1999 he receives an honorary LLD from TCD. From 1997, he relies increasingly on Anthony Lyons, an acquaintance of longstanding, to care for him. His last years are overshadowed by the collapse in autumn 2002 of his close but complex relationship with his family. Thereafter he shuns his relations and changes his will, granting Lyons a substantial portion of his estate while curtailing the amount to be received by his family. He dies in a Dublin hospital on January 27, 2005. Relatives challenge his final will in the High Court in 2009 but it is upheld.

(Pictured: Photograph of director of Jacob’s Biscuits, Gordon Lambert, speaking from a podium at the first Jacob’s Television Awards. The Lord Mayor of Dublin, James O’Keefe, is sitting behind Lambert. The awards ceremony takes place at the Bishop Street factory, Dublin.)


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The Assassination of Alan Bell

Alan Bell, policeman and resident magistrate, is tasked by British Intelligence to track down Michael Collins’s war chest. By March 26, 1920, he has successfully confiscated over £71,000 from Sinn Féin‘s headquarters and by investigating banks throughout the country and is set to seize much more. On that day he is pulled off a tram in South Dublin and shot three times in the head.

Bell is born in Banagher, King’s County (now County Offaly), one of at least two sons of the Rev. James Adamson Bell, Church of Ireland clergyman. His mother’s name is unknown. Educated locally, he joins the Royal Irish Constabulary (RIC) in September 1879 as a cadet, serving in the counties of Cavan, Galway, Roscommon, Westmeath, and Cork up to the rank of district inspector. During the Land War (1879–82) he investigates sources of Irish National Land League funds and in 1882 arrests the American land reformer and journalist Henry George in Athenry. He, along with District Inspector William Henry Joyce, compile evidence against the nationalist and agrarian agitation for the special commission of 1888–89 which investigates charges against the nationalist leader Charles Stewart Parnell and his associates. His actions make him popular with unionists but a marked man among nationalists.

After almost twenty years’ police service, Bell becomes a resident magistrate on November 12, 1898, a civil service post under the Constabulary Act, 1836. His districts included Athenry, Claremorris, Armagh, Belfast, and Portadown. With many years’ experience in criminal intelligence, he is transferred to Dublin Castle early in the Irish War of Independence as a special investigator and intelligence gatherer. In December 1919 he questions suspects for the attempted Irish Republican Army (IRA) assassination of the viceroy, Lord French, and place suspect premises under surveillance. His vulnerability is made evident by the shooting in January 1920 of Dublin Metropolitan Police assistant commissioner William C. Redmond, one of his informants. He remains in Dublin to investigate the “republican loan” raised by Michael Collins and Sinn Féin, believed to be hidden in suspect bank accounts. Refusing protective accommodation in Dublin Castle where other officials have already retreated, he opts to live with his wife at a private suburban residence, 19 Belgrave Square, Monkstown, County Dublin. He summons bank managers to his office in early March 1920 and progresses sufficiently to force Collins into taking action.

Carrying a pocket revolver for protection, Bell travels to work daily by tram until the morning of March 26, 1920. At the busy junction of Simmonscourt Road, Sandymount Avenue, and Merrion Road, Ballsbridge, a group of men immobilise the crowded vehicle and surround their target, declaring, “Come on, Mr. Bell, your time has come.” Bundling him on to the street, they shoot him dead in public view and run from the scene. In spite of vivid eyewitness accounts in the press, no killer is identified. His death comes amid almost daily violence and barely a week after the shooting of the Sinn Féin Lord Mayor of Cork, Tomás Mac Curtain, allegedly by police assassins. He acts fearlessly, perhaps expecting a violent death as the outcome of his mission.

Bell is buried privately in Dean’s Grange Cemetery, Deansgrange, County Dublin. Some Irish republican prisoners at Gloucester during the influenza epidemic of 1918–19 may have been saved from infection by his brother, who as prison doctor there had advised that the jail be evacuated.

(From: “Alan Bell” by Patrick Long, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Playwright Michael Joseph Molloy

Michael Joseph Molloy, Irish playwright, is born March 3, 1914, in Milltown, County Galway, the son of William Molloy, originally of Glenamaddy, County Galway, who runs a shop at Milltown, and Maria Molloy (née Tucker), a native of Claremorris, County Mayo, and a teacher at Milltown girls’ school.

Molloy is the fifth in a family of five boys and three girls. Two other children die at birth. He is educated at Milltown national school and St. Jarlath’s College, Tuam, County Galway, from 1927 to 1931. His father dies when he is six years old and his uncle, Sonny Tucker, becomes an important influence, encouraging his life-long habit of extensive reading. In 1931 he goes to St. Columba’s Seminary at Dalgan Park, Shrule, County Mayo, but discontinues his studies for the priesthood when he contracts tuberculosis. He undergoes several operations, has to use crutches for three years, and is left with a permanent limp. While under the care of the sanatorium in Newcastle, County Wicklow, in the late 1930s, he is encouraged by a friend to attend a performance of two plays by George Bernard Shaw, Candida and Village Wooing, at the Abbey Theatre, Dublin. He becomes a regular playgoer and is inspired to begin a career as a dramatist.

Having lived in the family home at Milltown until 1955, he takes up residence at a nearby farmhouse on the marriage of his brother Christy. Despite his handicap, he works the small farm for the rest of his life to supplement the irregular income from his plays. He never marries and is attended by his housekeeper, Agnes Johnston. He is a familiar sight as he travels around his local area on the high bicycle he had fitted with one fixed pedal. The purpose of these journeys is to collect folklore, which provides a rich body of material for his plays and which he gathers into a prose volume, though this remains unpublished and privately held.

Molloy has nine of his thirteen plays produced at the Abbey Theatre, from Old Road in 1943 to Petticoat Loose in 1979. His plays reveal him as a folklorist in the line of John Millington Synge and draw on the same mixture of Christian and pagan beliefs, but with a more sympathetic understanding of his characters’ Catholicism. There is also the same strong vein of grotesque physical humour. His accomplished one-act play The Paddy Pedlar (1953) is based on a folk tale about a man carrying the body of his dead mother around in a sack and takes its bearings from an extraordinary amalgam of beliefs about the afterlife.

Molloy’s history plays re-create a world that shows the oppressions of colonialism on a subject race who respond with a wild anarchy mixed with subdued acceptance. His plays with a contemporary setting most often take emigration as their theme and are prophetic of later work by John B. Keane and Brian Friel. He writes in a heightened folk idiom, which only rarely loses touch with natural speech. Old Road wins an Abbey Prize and is staged in 1943 with Cyril Cusack as the young farm labourer trying to decide whether to emigrate to England or to stay in Ireland. Joseph Holloway gives a touching account of the shy author taking his curtain at this first production, who, though his lips move, is unable to say anything. The Visiting House follows in 1946, and dramatises a night of singing, dancing, and storytelling, peopled by a richly diverse cast of characters.

Molloy’s first masterpiece, The King of Friday’s Men, is launched in 1948. It takes the uncompromising theme of the droit du seigneur exercised by an eighteenth-century Anglo-Irish landlord on the most beautiful young women on his estate. His latest prey seeks to evade her fate by enticing the aged faction fighter, Bartley Dowd, to fight the landlord on her behalf. The play recreates that eighteenth-century world with colour, immediacy, and a strong sense of how the colonial system envelops all of the characters save the marginalised Bartley, who in the first production is played by the actor and author Walter Macken.

Molloy’s even greater The Wood of the Whispering follows in 1953 at the Queen’s Theatre, where the Abbey company is now playing. It is his most probing treatment of the effects of emigration, an issue of which Molloy, living in Galway, is only too aware. It is the most Beckettian of Irish plays, with its old tramp, Sanbatch Daly, and a host of older characters who are not so much eccentric as damaged in some profound way. At the play’s close Sanbatch feigns madness to gain entry to the asylum, though he is not in truth far from genuine madness. The various younger couples agree to stay and marry in Ireland rather than go their separate ways back to England. This idea of cultural renewal also underscores the importance Molloy places on the staging of his plays by amateur drama companies.

From the 1960s onwards Molloy’s plays are less readily accepted by the Abbey Theatre and a Dublin audience, but they still find a ready reception in his native place. In later works, such as Daughter from Over the Water (1963), the older characters retain their exuberance, but the younger ones seem beyond his reach. His last play, The Bachelor’s Daughter, is given its first performance by the Tuam Theatre Guild on March 3, 1985. The revival by Galway’s Druid Theatre of The Wood of the Whispering in 1983, which Molloy lives to see, is a revelation, and a reminder to the wider theatrical and academic world of the continuing importance of this playwright, not just as the ‘missing link’ between Synge and Keane but as an original in his own right.

In later years Molloy is a member of Aosdána. He dies of aortic aneurysms at Galway Hospital on May 27, 1994. He remains a committed Catholic all his life and his tombstone reads: “Woe to those who call evil good and who call good evil” (Isaiah, 5: 20).

(From: “Molloy, Michael Joseph” by Anthony Roche, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Cecil King, Painter & Collector

Cecil King, painter and collector, is born on February 22, 1921, at Rathdrum, County Wicklow.

King is the son of Henry King, businessman, of Rathdrum, and Susan King (née Crowe). He is educated at the Church of Ireland Ranelagh School, Athlone, and at Mountjoy School, Clontarf, Dublin (1936–39). Subsequently he joins the printing firm of W. & S. McGowan in Dundalk, where he goes on to become a director. During the 1940s his interest in amateur drama leads him to take classes at the Gaiety School of Acting in Dublin, where his fellow students include Milo O’Shea and Eamonn Andrews. Around this time, he is also involved in An Óige (the Irish Youth Hostel Association), in which he serves as honorary national secretary and honorary treasurer. This involvement leads him to travel extensively from the late 1940s around Europe, where he visits many major art museums and galleries.

King begins to acquire works of art, by both European and Irish artists, and by the mid-1950s he has amassed one of the most important collections of modern art in Ireland. Around 1954 he himself begins to paint, under the guidance of Barbara Warren and the English artist Neville Johnson. In his early work he focuses on urban scenes, often based on the area of Ringsend, Dublin, where he uses subdued tones to produce poetic images of a sombre mood. Even here his interest in the formal qualities of painting – such as the flatness of the picture surface and the juxtaposition of areas of colour on it, which becomes a defining feature of his art – is evident. In 1964 he leaves his successful business career behind in order to devote himself entirely to art, a bold move considering the limited audience for modern art that exists in Ireland at the time. In his own words he recalls how “Painting was what I wanted to do, I realised I didn’t need a car. I could do without an awful lot of things.” (Sunday Independent, November 7, 1982)

By this time, King is working in a fully abstract style. However, he still draws his inspiration from the external world, particularly the milieu of the circus. A painting such as Trapeze (1976; Allied Irish Bank collection) shows how he responds to acrobatic performance, not in any literal or figurative sense, but to the tensions and balances inherent within it. The overall effect is to convey to the viewer the essence of anticipation of the performance. Indeed, his works can create an almost physical sense of involvement on the part of the viewer. This is especially true of his Berlin Suite, a series of screen-prints produced as a result of a visit to East Berlin and published by Editions Alecto of London (1970). He is also inspired to produce a number of paintings on this theme of the claustrophobia of the divided city. Ultimately, he aspires to create works which, with their economy and restraint, achieve a meticulously balanced harmony. This concern leads him, in such works as the Baggot Street Series, to move away from even the most veiled figurative references, evidence for the fact that he constantly strives to further his artistic explorations.

King often works seven days a week. This quiet determination contributes in no small part to the international standing he soon achieves, as does his prolific record as an exhibitor. Writing a foreword to an exhibition of his work at Kilkenny in 1975, the critic William Packer finds that King’s art “confounds the expectations we might have of Irish art, for it is far from local in ambition, accomplishment, and seriousness.” He mounts over twenty-five one-man exhibitions and contributes to a large number of group shows in Ireland and abroad. A significant proportion of his output is to be found in galleries in Europe and the United States, including the Museum of Modern Art, New York, and the Tate Gallery, London. He is also represented in the major public and corporate collections in Ireland, such as the Irish Museum of Modern Art, Ulster Museum, Trinity College Dublin (TCD), Crawford Municipal Gallery, Dublin City Gallery The Hugh Lane, Arts Council, Aer Lingus, Bank of Ireland, Allied Irish Bank, and ESB. In fact, King, with his hard-edge abstract style, is one of the very few artists working in Ireland at the time whose work is comparable to that of the major (principally American) international exponents of abstraction. The term “hard-edge,” applied to King’s style, may however belie the subtlety he could achieve in terms of his handling of colour and texture. This is particularly true of his works in the media of pastel and tapestry, while his last paintings show a tendency towards more expressive brushwork and a more complex approach to colour.

King enjoys a happy relationship with Oliver Dowling from 1960 to the time of his death, at Dún Laoghaire, County Dublin, on April 7, 1986, having suffered a heart attack just three days before an exhibition of his work is due to open in Dublin at the Oliver Dowling Gallery. His legacy is not alone artistic: he also makes a significant contribution to the promotion of modern art in Ireland in his capacity as a member of the organising committee for the Rosc exhibition since its inception in the 1960s, where his wide knowledge of international art is much respected. A member of Aosdána, he twice serves as commissioner for the Department of Foreign Affairs cultural committee. He is also generous in his encouragement of young artists, whose work he regularly adds to his own collection.

(From: “King, Cecil” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, May 2012 | Pictured: Abstract, Oil on Canvas by Cecil King)