Cruise O’Brien follows his cousin Owen into Sandford Park School, which has a predominantly Protestant ethos despite objections from Catholic clergy. He subsequently attends Trinity College Dublin (TCD) before joining the Irish diplomatic corps.
Although he is a fierce advocate of his homeland, Cruise O’Brien is a strong critic of Irish Republican Army (IRA) violence and of what he considers the romanticized desire for reunification with Northern Ireland. His collection of essays Maria Cross: Imaginative Patterns in a Group of Modern Catholic Writers (1952; written under the pseudonym Donat O’Donnell) impresses UN Secretary-GeneralDag Hammarskjöld, who in 1961 appoints him UN special representative in the Congo, later the Democratic Republic of the Congo. He orders UN peacekeeping forces into the breakaway Katanga province, and the resulting scandal forces him out of office. Despite UN objections, he writes To Katanga and Back (1963) to explain his actions.
After serving as vice-chancellor of the University of Ghana (1962–65) and Albert Schweitzer Professor of Humanities at New York University (1965–69), Cruise O’Brien enters Irish politics. He holds a Labour Party seat in Dáil Éireann from 1969 to 1977 and then in the Senate from 1977 to 1979, representing Trinity College, of which he is pro-chancellor (1973–2008).
In 1979, Cruise O’Brien is named editor in chief of the British Sunday newspaper The Observer, but he leaves after three tumultuous years. He remains an active newspaper columnist, especially for the Irish Independent until 2007. His books include States of Ireland (1972) and On the Eve of the Millennium (1995), as well as perceptive studies of Charles Stewart Parnell, Edmund Burke, and Thomas Jefferson.
In early July 1996, in the period of Cruise O’Brien’s involvement as a UK Unionist Party (UKUP) representative in talks at Stormont, he suffers a mild stroke. He recovers well, but is left with anxiety about his recall of names. His last public appearance is on September 7, 2006, to deliver an address on the ninetieth anniversary of the death of Tom Kettle, in the old House of Lords chamber of the Bank of Ireland on College Green.
Byrne is born on November 23, 1900, in the National Maternity Hospital, Holles Street, Dublin, the elder among one son and one daughter of Vincent Byrne, carpenter, of 33 Denzille Street (now Fenian Street), and his wife Margaret (née White). By 1911 the family is living with maternal relatives at 1 Anne’s Lane. Educated at St. Andrew’s national school, Westland Row, he is apprenticed as a cabinet maker under Thomas Weafer, a company captain in the Irish Volunteers, who is subsequently killed in the 1916 Easter Rising. At the age of fourteen, he joins the Irish Volunteers in January 1915, and is posted to the 2nd Battalion of the Dublin Brigade. His training includes lectures on street fighting by James Connolly. During the 1916 rising he serves with the 2nd Battalion in Jacob’s biscuit factory under Thomas MacDonagh. At the surrender he is slipped out a factory window to safety by a priest who is acting as an intermediary. Arrested in his home a week later, he is held in Richmond Barracks with other youngsters, all of whom are released after an additional week. Active in the post-rising reorganisation of the Dublin Brigade, he claims to have voted twenty times for Sinn Féin candidates in the 1918 United Kingdom general election in Ireland.
In November 1919, Byrne is recruited to an elite counter-intelligence squad of the Dublin Brigade, whose primary mission is the assassination of plainclothes detectives of the Dublin Metropolitan Police’s (DMP) political (‘G’) division. He participates in the attempted ambush of the Lord Lieutenant of Ireland, John French, at Ashtown, Dublin, on December 19, 1919, a combined operation of the Dublin and the 3rd Tipperary brigades. In March 1920, he leaves his civilian employment with the Irish Woodworkers, Crow Street, when the squad is constituted as a full-time, paid, GHQ guard, under direct orders from Michael Collins. Dubbed “The Twelve Apostles,” the squad also includes James Slattery, a workmate of Byrne since their apprenticeships. For the duration of the Irish War of Independence, Byrne takes part in the stakeouts and killings of police detectives and military intelligence agents. His witness statement to the Bureau of Military History recounts his participation in some fifteen such operations. On Bloody Sunday he commands an IRA detail that kills two of the “Cairo Gang“ agents in their boarding house at 38 Upper Mount Street on November 21, 1920. He takes part in The Custom House raid on May 25, 1921.
Owing largely to his devoted allegiance to Collins, Byrne supports the Anglo–Irish Treaty of December 1921, regarding it as a stepping stone to complete independence. Enlisting in the National Army, he serves in the Dublin Guard. Promoted five times from January 1922 to February 1923, he rises in rank from company sergeant to commandant. He is OC of the guard at the handover of Dublin Castle from British to Irish authority on January 16, 1922. During ensuing months he commands guard details at government buildings and the Bank of Ireland, College Green, Dublin. In March 1922, he foils an attempt by Anti-Treaty forces to seize the bank with the aid of mutinous soldiers within the building’s guard. Having displayed courage and presence of mind throughout the incident, he is promoted captain in the field. Resenting the role given to ex-British-army officers in the National Army, and feeling that the political elite of the Free State are betraying the national interest, he is among the group of officers involved in the failed army mutiny of 1924, and accordingly is forced to resign his commission on March 21. He then works as a carpenter on the industrial staff of the Office of Public Works (OPW), and in the post office stores, St. John’s Road, Kilmainham, Dublin, until his retirement.
Byrne is a founding member of both the Association of Dublin Brigades and the 1916–1921 Club. Long lived, and a willing raconteur with a colourful turn of phrase, he becomes probably the best known of Collins’s squad (of which he is the last surviving member), granting many interviews to journalists and historians. He expresses no misgivings about his role as a revolutionary hit man, arguing the necessity of the ruthless methods employed, which deterred potential informers, and eventually won the struggle by crippling British intelligence.
Byrne lives in Dublin at 59 Blessington Street, and later at 227 Errigal Road, Drimnagh. His last address is 25 Lein Road, Artane. His wife Eileen predeceases him. He dies on December 13, 1992, survived by two daughters and one son. He is buried at Balgriffin Cemetery, Balgriffin, County Dublin.
(From: “Byrne, Vincent (‘Vinnie’)” by Lawrence William White and Pauric J. Dempsey, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
William George Digges La Touche, diplomat and banker, is born in Dublin on August 28, 1747, the third son of James Digges La Touche and his second wife, Martha (née Thwaites) of St. Stephen’s Green, Dublin. He is admitted to St. Paul’s School, London, on August 30, 1757. In 1764, he accompanies “Mr. Moore,” the British resident at Basra, to the Persian Gulf. La Touche acts as personal secretary to Moore for a number of years before succeeding him as British resident. Basra is then one of the key trading places for the East India Company, and both the British and Dutch governments have official representation there. La Touche obtains the respect of both Arabs and Europeans. At the siege of Basra in 1775, he gives refuge to prominent citizens of the city and their families. When Az Zubayr is captured by the Persians in the same year, La Touche allegedly ransoms all of the inhabitants at his own expense to save them from slavery.
While serving in the east for twenty years, La Touche collects illuminated Persian manuscripts, some of which come from the royal library at Shiraz. A number of these volumes are presented to Trinity College Dublin (TCD) in 1786 and 1787. He returns to London around 1784 and marries Grace, daughter of John Puget, a wealthy London-based banker of Huguenot origins.
By 1786, he settles in Dublin and becomes a partner of the La Touche bank. In the years 1786, 1788, 1790, 1792, 1794, and 1796, he sits on the board of the Bank of Ireland. He is an active opponent of the Acts of Union and chairs a large meeting on the subject in 1798. Like other members of his family, he gives large sums to charity and is a governor of Dr. Steevens’ Hospital and the Lying-in Hospital, Dublin, and a director of the Grand Canal Company. He lives on St. Stephen’s Green, Dublin, and at Sans Souci, a country estate that he purchases at Booterstown, Dublin.
La Touche dies in Dublin on November 6, 1803, leaving four sons. A small pastel portrait of him, and another of his wife Grace, probably by Hugh Douglas Hamilton is in the Bank of Ireland collection. Lye is known to have had his portrait painted in oils by Gilbert Stuart.
(From: “La Touche, William George Digges,” by Daniel Beaumont, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Following his exit from politics in 1957, having lost his Dáil seat, Finlay resumes practicing as a barrister. He successfully defends Captain James Kelly in the infamous 1970 arms trial.
In 1971, Finlay is tasked by the Fianna Fáil government with representing Ireland before the European Commission of Human Rights, when, in response to the ill treatment of detainees by security forces in Northern Ireland, they charge the British government with torture. Despite the notional recourse such prisoners would have within the British legal system, the Commission rules the complaint admissible.
During this period Finlay presides over a number of landmark cases, including Attorney General v X in 1992, when he overturns a High Court injunction preventing a pregnant teenage rape victim travelling to the UK for an abortion.
When, in the same year, Judge Liam Hamilton of the High Court, chair of the Beef Tribunal, seeks disclosure of the cabinet’s minutes for a particular meeting, Chief Justice Finlay along with the majority of the Supreme Court deny the request ruling that the concept of collective government responsibility in the Constitution takes precedence.
Finlay announces his resignation as Chief Justice of Ireland and retirement as a judge in 1994.
After his retirement, Finlay presides over a number of public inquiries.
In 1996, Finlay oversees the inquiry into the violence by English fans at the aborted 1995 friendly soccer match versus the Republic of Ireland at Lansdowne Road. His report to Bernard Allen, Minister for Sport, is critical of security arrangements on the night and recommends improvements to ticketing, seat-allocation, fan-vetting and policing arrangements. The Irish Government shares his report with the British Home Office.
After the collapse of The Irish Press group in 1995, the Minister for Enterprise and Employment, John Bruton, receives a damming report from the Competition Authority that Independent Newspapers has abused its dominant position and acted in an anti-competitive manner by purchasing a shareholding in The Irish Press. In September 1995, Bruton announces the Commission on the Newspaper Industry with an extremely wide remit to examine diversity and ownership, competitiveness, editorial freedom and standards of coverage in Irish newspapers as well as the impact of the sales of the British press in Ireland. Minister Bruton appoints 21 people to the commission and appoints Finlay chair. Due to the wide remit and huge number of submissions, the commission’s report is delayed but is eventually published at the end of July recommending widespread reforms.
Following the discovery of the BTSB anti-D scandal, in 1996, Finlay is appointed the chair and singular member of the Tribunal of Inquiry into the Blood Transfusion Service Board. The speed and efficiency with which his BTSB Tribunal conducts its business, restores confidence in the Tribunal as a mechanism of resolving great controversies in the public interest.
Finlay also sits on an Irish Rugby Football Union (IRFU) panel to adjudicate on the cases of Rugby players accused of using banned performance-enhancing substances.
Finlay is married to Alice Blayney, who predeceases him in 2012. They have five children, two of whom follow in his family’s legal tradition: his son John being a Senior Counsel and his daughter Mary Finlay Geoghegan a former judge of the High Court, Court of Appeal and Supreme Court. Whenever his work schedule allows, he escapes to County Mayo where he indulges his passion for fishing.
Thomas Finlay dies at the age of 95 in Irishtown, Dublin, on December 3, 2017.
Charles Brady, American-born painter who spends most of his life in Ireland, dies in Dublin on August 1, 1997.
Brady is born on July 27, 1926, in New York City, the son of Arthur Brady, an industrial hardware merchant. He is best known for small-scale paintings of still life and landscape. At the end of World War II, while serving with the United States Navy, he suffers an accident which results in his discharge. As a result of this, he has the opportunity of pursuing further study. In 1948, he enrolls at the Art Students League of New York. Founded in 1875 and distinguished by its progressive approach to art education, it is one of the most important art schools in the United States in the early twentieth century.
Initially, Brady studies design and fashion before studying fine art under John Groth and Morris Kantor. In 1949, he becomes Groth’s assistant. In 1950, his work is included in the exhibition “American Painting 1950,” held at the Metropolitan Museum of Art, New York, where he is employed as a guard at the time. Around this time, he meets artists associated with abstract expressionism such as Franz Kline, Willem de Kooning, and Jackson Pollock, and exhibits with them in exhibitions such as the “9th Street Show” (1951). Four years later, his first solo exhibition is held at the Urban Gallery, New York. By this time, his father, mother, and a younger brother have all died. In 1956 he decides to leave New York and spend some time in Ireland.
On his arrival, Brady bases himself in Lismore, County Waterford, where the landscapes he begins to paint are in contrast to the abstract style he had developed in New York. In May 1956, he joins his aunt and uncle on a tour that include London and Paris. He remains in Ireland until early in 1958 and during this time becomes acquainted with such figures as Camille Souter, Frank Morris and Desmond McAvock. Though he spends the next year in the United States, he soon decides to return to Ireland. In 1959 he is living in Dublin, where, along with artists such as Noel Sheridan and Patrick Pye, he is involved in founding the Independent Artists group. His work is included in the group’s first exhibition in 1960.
Also in 1960, Brady marries Eelagh Noonan, and the couple go to live in Spain. On their return to Ireland in 1961, they settle in Dún Laoghaire, where he begins to produce still lifes of objects such as envelopes and boxes painted in muted tones. Though figurative, the painterly quality of these works and the way in which they assert the flat nature of the picture plane suggest something of his experience of postwar American abstract art. Soft, hazy light, another key characteristic of his work, can also be seen in his paintings of Sandymount Strand, which might be compared with the work of Nathaniel Hone the Younger, whose work Brady had seen on his first trip to Ireland. He also works in other media, producing lithographs and, from the mid-1980s, small bronzes of such mundane objects as discarded bus tickets.
From 1976 to 1983 Brady lectures in painting at the National College of Art and Design. In 1981 he becomes a member of Aosdána and in 1994 he is elected an honorary member of the Royal Hibernian Academy (RHA). He exhibits regularly in Ireland at venues such as the RHA. He receives a number of awards including the P. J. Carroll award at the Irish Exhibition of Living Art as well as the Douglas Hyde Gold Medal and the landscape award at the Oireachtas exhibitions of 1973 and 1989 respectively.
(From: “Brady, Charles” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Charles Brady, 1967,” oil on board by Koert Delmonte)
Gibney works as a civil servant in the Irish tax office for seven years and then joins the Bank of Ireland. She studies for a drama degree while at the bank and joins the company’s amateur dramatics group. She trains to be an actress at Dublin Oscar Theatre School.
Gibney’s first professional acting role comes in 1996, with a minor part in Some Mother’s Son, a film starring Helen Mirren. In 1999, she appears in the film Agnes Browne as Winnie the Mackerel. In 2007, she appears in Prosperity as Linda.
Gibney’s most prominent role is her portrayal of Cathy Brown, the daughter of Agnes Brown, played by her real-life husband, Brendan O’Carroll, a part she begins playing in the 1990’s in the original Mrs. Browne, and subsequently the BBC sitcom Mrs. Brown’s Boys since 2011. She also appears as Cathy in the film adaption Mrs. Brown’s Boys D’Movie and the talk show All Round to Mrs. Brown’s between 2017 and 2020. She and O’Carroll reprise their roles as the characters in the Netflix film A Madea Homecoming (2022).
In 2014, Gibney takes part in the twelfth series of Strictly Come Dancing. She is partnered with Irish professional Tristan MacManus. She and MacManus are the second couple to be eliminated in week three of the competition after dancing to ABBA‘s “Mamma Mia” on Movie Week. She competes in the bottom two against Blue star Simon Webbe and his partner Kristina Rihanoff.
Gibney has been married to Brendan O’Carroll since 2005 and has three stepchildren, Fiona and Danny, who also appear in Mrs. Brown’s Boys, and Eric.
O’Connor is born on June 7, 1874, at Worcester, Massachusetts, the eldest of three sons and two daughters of Andrew O’Connor, a stonecutter from Lanarkshire, Scotland, who becomes a professional sculptor, and Marie Anne O’Connor (née McFadden), of County Antrim. Educated in Worcester public schools, at the age of 14 he becomes apprenticed to his father, helping him to design monuments for cemeteries. He is employed in the early 1890s on sculptural work for the World’s Columbian Exposition (Chicago World’s Fair), being active in the studio of William Ordway Partridge, and assisting Daniel Chester French on his colossal Statue of the Republic, a landmark of the 1893 Columbian exposition.
Moving to London (1894–98), O’Connor works on bas-reliefs in the studio of the painter John Singer Sargent, who uses him as a model for his mural Frieze of Prophets for the Boston Public Library. His first independent work, Sea Dreams, a relief of a head, is exhibited at the Royal Academy of Arts in 1896. Returning to the United States (1898–1903), he becomes a studio assistant of French, through whom he receives his first public commission, for the Vanderbilt Memorial Doors for St. Bartholomew’s Episcopal Church, Manhattan, New York, a project completed in 1902 to wide critical acclaim. He also executes the tympanum and lateral friezes.
Around 1900, O’Connor marries an artist’s model named Nora, by whom he has a daughter. In 1902, he hires as studio model Jessie Phoebe Brown from New Jersey and of County Down parentage. The following year he elopes with her to Paris, where they marry and have four sons, the youngest of whom, Patrick O’Connor, becomes an artist and gallery curator. Jessie continues for many years as his primary model, sitting for the heads of both female and male figures, O’Connor coarsening the features for the latter.
During his years in Paris (1903–14), O’Connor is influenced by the work of Auguste Rodin, whom he befriends. Among his pupils in Paris is the American sculptor and heiress Gloria Vanderbilt Whitney. He continues to fulfil numerous commissions for funerary and public monuments in the United States, an example of the former being the Recuillement in Sleepy Hollow Cemetery, near Tarrytown, New York. From 1906 he exhibits annually at the Salon in Paris, where he is the first foreigner to win a second-class medal, for his bronze statue of Gen. Henry Lawton. Included in his only exhibition at the Royal Hibernian Academy (1907) is a bronze relief of the prophet Nehemiah adapted from a panel of the Vanderbilt doors. The relief is subsequently included in his one-man show at the Galerie Hébrard, Paris in 1909.
In 1909, O’Connor wins a competition open to sculptors of Irish descent to execute a monument to Commodore John Barry, the County Wexford-born “father of the American navy,” for Washington, D.C. His design includes a frieze depicting events in Irish history, flanked by a group of three nude Irish emigrants entitled Exile from Ireland, and another group representing the Genius of Ireland, which includes a female figure of the “Motherland.” Probably owing to opposition from the Barry family to the depiction of their ancestor as a rough-and-ready sailor, the commission is not completed. His marble statue of Gen. Lew Wallace (author of Ben-Hur: A Tale of the Christ), a plaster of which is exhibited at the Salon in Paris in 1909, is placed by the state of Indiana in the National Statuary Hall in the United States Capitol, Washington, D.C. Another marble, Peace by Justice, is commissioned as a gift from the United States to the Peace Palace in The Hague in 1913.
Returning to Paris in the mid-1920s, O’Connor becomes the first foreigner to win a gold medal at the Salon des Artistes in 1928, for the marble sculpture Tristan and Iseult, now held in the Brooklyn Museum, New York. The French government makes him a Chevalier of the National Order of the Legion of Honour in 1929. In 1926 he had exhibited a plaster group, Monument aux morts de la Grande Guerre, at the Salon in Paris. The sculpture is requested in 1932 by the people of Dún Laoghaire, County Dublin, as a memorial to Christ the King, O’Connor obligingly altering the interpretation of his iconography. Imposed on a “Tree of life” are three figures of Christ, representing in turn “Desolation,” “Consolation” and “Triumph.” Cast in bronze, throughout World War II the statue remains hidden in Paris to avoid its being melted down for the valuable metal. Transported to Dún Laoghaire in 1949, due to clerical opposition to its unconventional iconography, it is not at first erected, but for years lay on its side in a garden in Rochestown Avenue until its eventual unveiling in 1978 as Triple Cross in Haigh Terrace, where it stands in Moran Park. His other chief work in Ireland is a bronze statue of Daniel O’Connell in the Bank of Ireland, College Green, Dublin. Inspired by Rodin’s famous Monument to Balzac, the work is executed at his studio in a converted stable at Leixlip Castle, County Kildare in 1931–32.
During the 1930s, O’Connor lives and works in London and Ireland, where he has residences at Glencullen House, County Wicklow, and 77 Merrion Square, Dublin. He dies at the latter address on June 9, 1941, and is buried in Glasnevin Cemetery. His own bronze relief, Le feu sacré, marks the grave. A portrait painting, executed by his son Patrick in 1940, is in Dublin City Gallery The Hugh Lane, which also holds twenty-six sculptures presented by O’Connor late in his life, and posthumously by his family. The collection includes a marble self-portrait bust of 1940, a bronze of the Lafayette cast by the gallery in 1984 from a reduced plaster model presented by the artist, and a bronze group entitled The Victim, on view in Merrion Square Park, from an uncommissioned and uncompleted war memorial conceived by O’Connor under the general title Le Débarquement. The National Gallery of Ireland has the Desolation maquette for the Triple Cross. A centenary exhibition of his work is held at Trinity College Dublin in 1974. His widow dies in Dublin in 1974.
(From: “O’Connor, Andrew” by Lawrence William White and Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Brownlow’s father, grandfather, and great-grandfather had been MPs, and in 1753 he wins a hotly contested by-election in which his opponents accuse him of papist and Jacobite sympathies. The unsuccessful candidate is Francis Caulfeild, brother of James, 1st Earl of Charlemont, his petition to parliament causing a furor and is defeated by only one vote in one of the most celebrated electoral struggles of the day. Brownlow represents the county for over forty years, from 1753 until his death. In 1753, he supports the government on the controversial money bill.
Brownlow marries Judith, daughter of the Rev. Charles Meredyth, Dean of Ardfert, of County Meath, on May 25, 1754. They have two sons. After her death in Lyon, France, in October 1763, he marries Catherine, daughter of Roger Hall of Newry, County Down, on November 25, 1765. They have two sons and five daughters, three who marry into the nobility. In 1758, he is one of the Wide Streets commissioners in Dublin and owns an imposing house in Merrion Square. He is a trustee of the linen board in Ulster, and makes many improvements to his estate, castle, and demesne, the local church, and the town of Lurgan. However, it is alleged that private roads in his demesne were built with public money. He is one of a few landowners in County Armagh who are believed to have misappropriated the unusually high county cess levied by the grand jury, of which he is a member. In 1758, he suggests that salaries be paid to government officials, and one official, Henry Meredyth, his first wife’s uncle, subsequently receives an annual salary of £500.
In June 1763, large numbers of Presbyterian farmers and weavers, calling themselves the Hearts of Oak, in a notable show of dissatisfaction with the privileges of landlords, march on the homes of the gentry to demand redress. Brownlow is in England and avoids a confrontation. Despite the allegations of abuse of public money, he is generally recognised as one of the more independent and reform-minded MPs of the day. He captains a Volunteer troop of dragoons which march from Lurgan to assist Belfast after the French commander François Thurot lands at Carrickfergus in 1760. As one of the supporters of Henry Grattan, he is prominent in the Volunteer movement of the 1780s. He is captain of the Lurgan Volunteer company and lieutenant-colonel of the northern battalion and backs the movement in parliament until displeased by the Volunteer national convention (November 10 – December 2, 1783), which seeks franchise reform and seems to challenge the authority of the existing parliament.
Brownlow subscribes £9,000 to help found the Bank of Ireland in 1783, and in parliament on February 7, 1785, vigorously opposes William Pitt‘s proposals on Ireland’s commercial relations with England, seeing in them the danger that Ireland would become a “tributary nation.” He is appointed a privy councilor in 1765. He organises horse races in his locality and is a talented harpsichord player. After his death on October 28, 1794, the Belfast News Letter prints an unusually long and glowing tribute, expressing admiration for his “incorruptible integrity” and patriotism, as well as two poetic elegies. He is succeeded by his son William Brownlow.
(From: “Brownlow, William” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: Portrait of the Right Honorable William Brownlow, oil on canvas by Gilbert Stuart, circa 1790)
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)
Spring Rice is educated at Trinity College, Cambridge, and later studies law at Lincoln’s Inn, but is not called to the Bar. His family is politically well-connected, both in Ireland and Great Britain, and he is encouraged to stand for Parliament by his father-in-law, Lord Limerick.
Spring Rice first stands for election in Limerick City in 1818 but is defeated by the Tory incumbent, John Vereker, by 300 votes. He wins the seat in 1820 and enters the House of Commons. He positions himself as a moderate unionist reformer who opposes the radical nationalist politics of Daniel O’Connell and becomes known for his expertise on Irish and economic affairs. In 1824 he leads the committee which establishes the Ordnance Survey in Ireland.
Spring Rice’s fluent debating style in the Commons brings him to the attention of leading Whigs and he comes under the patronage of the Marquess of Lansdowne. As a result, he is made Under-Secretary of State for the Home Department under George Canning and Lord Goderich in 1827, with responsibility for Irish affairs. This requires him to accept deferral of Catholic emancipation, a policy which he strongly supports. He then serves as joint Secretary to the Treasury from 1830 to 1834 under Lord Grey. Following the Reform Act 1832, he is elected to represent Cambridge from 1832 to 1839. In June 1834, Grey appoints him Secretary of State for War and the Colonies, with a seat in the cabinet, a post he retains when Lord Melbourne becomes Prime Minister in July. A strong and vocal unionist throughout his life, he leads the Parliamentary opposition to Daniel O’Connell’s 1834 attempt to repeal the Acts of Union 1800. In a six-hour speech in the House of Commons on April 23, 1834, he suggests that Ireland should be renamed “West Britain.” In the Commons, he also champions causes such as the worldwide abolition of slavery and the introduction of state-supported education.
The Whig government falls in November 1834, after which Spring Rice attempts to be elected Speaker of the House of Commons in early 1835. When the Whigs return to power under Melbourne in April 1835, he is made Chancellor of the Exchequer. As Chancellor, he has to deal with crop failures, a depression and rebellion in North America, all of which create large deficits and put considerable strain on the government. His Church Rate Bill of 1837 is quickly abandoned and his attempt to revise the charter of the Bank of Ireland ends in humiliation. Unhappy as Chancellor, he again tries to be elected as Speaker but fails. He is a dogmatic figure, described by Lord Melbourne as “too much given to details and possessed of no broad views.” Upon his departure from office in 1839, he has become a scapegoat for the government’s many problems. That same year he is raised to the peerage as Baron Monteagle of Brandon, in the County of Kerry, a title intended earlier for his ancestor Sir Stephen Rice. He is also Comptroller General of the Exchequer from 1835 to 1865, despite Lord Howick‘s initial opposition to the maintenance of the office. He differs from the government regarding the exchequer control over the treasury, and the abolition of the old exchequer is already determined upon when he dies.
From 1839 Spring Rice largely retires from public life, although he occasionally speaks in the House of Lords on matters generally relating to government finance and Ireland. He vehemently opposes John Russell, 1st Earl Russell‘s policy regarding the Irish famine, giving a speech in the Lords in which he says the government had “degraded our people, and you, English, now shrink from your responsibilities.”
Spring Rice is well regarded in Limerick, where he is seen as a compassionate landlord and a good politician. An advocate of traditional Whiggism, he strongly believes in ensuring society is protected from conflict between the upper and lower classes. Although a pious Anglican, his support for Catholic emancipation wins him the favour of many Irishmen, most of whom are Roman Catholic. He leads the campaign for better county government in Ireland at a time when many Irish nationalists are indifferent to the cause. During the Great Famine of the 1840s, he responds to the plight of his tenants with benevolence. The ameliorative measures he implements on his estates almost bankrupts the family and only the dowry from his second marriage saves his financial situation. A monument in honour of him still stands in the People’s Park in Limerick.
Even so, Spring Rice’s reputation in Ireland is not entirely favourable. In a book regarding assisted emigration from Ireland, a process in which a landlord pays for their tenants’ passage to the United States or Australia, Moran suggests that Spring Rice was engaged in the practice. In 1838, he is recorded as having “helped” a boat load of his tenants depart for North America, thereby allowing himself the use of their land. However, he is also recorded as being in support of state-assisted emigration across the British Isles, suggesting that his motivation is not necessarily selfish.
seamus dubhghaill 