McGuckian is the youngest of six children to Brian McGuckian and his wife Pauline (née McKenna). He is named after his uncle, also Alexander Aloysius McGuckian, who dies five month before he is born. Yet another uncle, Daniel McGuckian, is a priest of the Diocese of Down and Connor and serves as parish priest of Cushendun and then Randalstown until his death in 1980. His father is a successful pig farmer who, alongside his brothers, develops the world’s biggest pig farm.
Two of McGuckian’s brothers are also Jesuit priests, while another brother is a businessman. Both of his sisters predecease him.
McGuckian is ordained to the priesthood on June 22, 1984, and makes his final profession on February 15, 1997.
Following ordination, McGuckian spends four years as a teacher in Clongowes Wood College and vocations director for the Jesuits, before undertaking a six month period of spiritual renewal in southern India and serving in a shanty town in Quezon City, Philippines.
McGuckian returns to Ireland in 1992, where he is appointed director of the Jesuit Communication Centre, during which he develops Sacred Space, a website which allows people to pray at their computer, in 1999, and Catholic news service CatholicIreland.net in 2004.
McGuckian also serves as editor of both An Timire and Foilseacháin Ábhair Spioradálta, later translating the autobiography of Ignatius of Loyola into Irish under the title Scéal an Oilithrigh. He also co-authors the drama 1912 – A Hundred Years On with Presbyterian historian Philip Orr in 2011, which looks at the experiences of the Ulster Covenant and the wider Home Rule movement from both nationalist and unionist perspectives.
McGuckian also serves as chaplain to many of the Gaelscoileanna in the Diocese of Down and Connor, and subsequently as chaplain to Ulster University campuses in Belfast and Jordanstown. Following the publication of the Living Church Report, which outlines the findings of a synodal process within the diocese, he is appointed by Noël Treanor in 2012 to set up and lead the Living Church Office, whose aim is to realise the hopes and aspirations expressed in the report and subsequently in the upcoming diocesan pastoral plan.
McGuckian is also appointed diocesan director of formation for the permanent diaconate in 2014, and also works during his directorship of the Living Church Office to establish pastoral communities across the diocese, through fostering a culture of co-responsibility for the mission of the Church between clergy and lay people.
McGuckian is appointed Bishop-elect of Raphoe by Pope Francis on June 9, 2017. His appointment makes him the first member of the Jesuits to be appointed a bishop in Ireland.
In an interview with The Irish Catholic in September 2019, McGuckian says that having a home is as fundamental as the right to life and education, and that the Government must be “pushed” to enshrine a right to housing in the Constitution of Ireland. He also joins a number of church leaders in the West of Ireland on September 16, 2021, in calling on the Irish government to offer reparations to homeowners whose properties are affected by defective concrete blocks.
In an interview with The Irish Catholic in February 2021, McGuckian takes issue with the view held by political leaders that public worship is deemed to be “non-essential” during the COVID-19 pandemic in the Republic of Ireland. Quoting Pope Francis, who states that “the right to worship must be respected, protected and defended by civil authorities like the right to bodily and physical health,” he expresses a need to let political leaders know that public worship is not only central, but also “utterly essential.”
Following a fatal explosion in Creeslough, County Donegal, on October 7, 2022, McGuckian refers to the explosion as “the darkest day in Donegal,” adding that the local community is “living through a nightmare of shock and horror.” He also concelebrates at the Funeral Masses of each of the victims, describing the fact that the parish church would be holding two funerals in the space of three hours as “surreal.”
McGuckian is appointed Bishop of Down and Connor by Pope Francis on February 2, 2024. In his first address following his appointment, he expresses his hope that the restoring of the Northern Ireland Executive will help the most vulnerable in society.
By early 1978, the British Army forces involved in Operation Banner have recently replaced their aging Bell H-13 Sioux helicopters for the more versatile Aérospatiale Gazelles. The introduction of the new machines increases the area covered on a reconnaissancesortie as well as the improved time spent in airborne missions. In the same period, the Provisional IRA receives its first consignment of M60 machine guns from the Middle East, which are displayed by masked volunteers during a Bloody Sunday commemoration in Derry. Airborne operations are crucial for the British presence along the border, especially in south County Armagh, where the level of IRA activity means that every supply and soldier has to be ferried in and out of their bases by helicopter since 1975.
The Royal Green Jackets have been in South Armagh since December 1977, and have already seen some action. Just a few days after arrival, two mortar rounds hit the C Company base at Forkhill, injuring a number of soldiers. In the aftermath of the attack, two Royal Ulster Constabulary (RUC) officers are wounded by a booby trap while recovering the lorry where the mortar tubes are mounted. Two days later, a patrol near the border suffers a bomb and gun attack, leaving the commanding sergeant with severe head wounds. The sergeant is picked up from the scene by helicopter. He is later invalided from the British Army as a result of his injuries.
On January 17, 1978, a Royal Green Jackets observation post deployed around the village of Jonesborough begins to take heavy fire from the “March Wall,” which draws parallel with the Irish border to the east, along the Dromad woods. The soldiers return fire, but the short distance to the border and the open ground prevents them from advancing.
The Commanding Officer, Lieutenant Colonel Ian Corden-Lloyd, along with Captain Philip Schofield and Sergeant Ives fly from the battalion base at Bessbrook Mill to assess the situation and provide information to the troops. They are escorted by a Scout helicopter with an Airborne Reaction Force (ARF), comprising a medic and three soldiers from the 2nd Battalion Light Infantry. While hovering over the scene of the engagement, the Aérospatiale Gazelle receives a barrage of 7.62 mm tracer rounds. The pilot loses control of the aircraft during a turn at high speed to avoid the stream of fire. The Aérospatiale Gazelle hits a wall and crashes in a field, some 2 km from Jonesborough. According to the crew and passengers of the Scout, the Aérospatiale Gazelle hits the ground twice after losing power, with its rotor blades trashing into the soil following the second impact, and then cartwheels across the field. The Scout lands the ARF while still under IRA fire. The soldiers rush to the wrecked helicopter, some 100 metres away from the site of the initial crash.
Corden-Lloyd is killed and the other two passengers are wounded. The machine comes to rest on its right side. The pilot remains trapped inside the wreckage, but he survives thanks to his helmet. The IRA later claim they had shot at the helicopter with an M60 machine gun. The IRA unit vanishes into the Dromad woods to the Republic of Ireland. Some Gardaí witness the attack from the other side of the border.
The gun battle and Aérospatiale Gazelle shootdown is displaced from the headlines by the deaths of twelve civilians in the La Mon restaurant bombing on the same day, some of whom are burned to death. Initially the British Army downplays the IRA’s claim as published by An Phoblacht, that the helicopter was shot down, on the basis that no hits were found on the wreckage, but finally they acknowledged that the IRA action had caused the crash.
The death of Corden-Lloyd, a former Special Air Service officer, is deeply regretted by the British Army, who regarded him as promising. He is awarded a posthumous mentioned in despatches “in recognition of gallant and distinguished service in Northern Ireland.” In 1973, Irish republicans had accused Corden-Lloyd and his subordinates of brutality against Belfast Catholics during an earlier tour of the Royal Green Jackets in 1971, at the time of Operation Demetrius.
Patterson is born in Belfast on April 18, 1802, the eldest son among three sons and a daughter of Robert Patterson, ironmonger, who supplies equipment for linen mills, and his wife Catherine Patterson (neé Clarke), who is from Dublin. He attends Belfast Royal Academy, and from 1814 is one of the first pupils of the Belfast Academical Institution. He is apprenticed in 1818 to his father, and takes over the business on his father’s death in 1831. Even as a boy, he devotes his leisure time to the study of natural history, and during summer holidays investigates the flora and fauna of the countryside and seaside resorts near Belfast. One of his brothers, William (1805–37), has similar interests.
At the age of 18, Patterson is a founder along with seven others, including James Lawson Drummond, James MacAdam and George Crawford Hyndman, of the Belfast Natural History Society in 1821 (from 1842 “and Philosophical” is added to the society’s name). He is the society’s president for many years, taking a leading role in setting up its museum in 1830–31, and over the years giving many lectures, mostly published in its proceedings. Like many contemporaries, he is an enthusiast for the study of phrenology, and lectures on the subject in Belfast in 1836.
In 1871, Patterson is presented with an illuminated address by the BNHPS for his work to promote the study of natural history, especially as a subject in education. He is the only recipient of the Society’s Templeton medal. Though still engaged in business, he makes a reputation as Belfast’s most distinguished amateur naturalist, publishing monographs such as Letters on the Insects Mentioned by Shakespeare (1838). During dredging excursions in Belfast Lough he discovers several forms of marine life new to Great Britain and Ireland. He is one of the earliest members of the British Association for the Advancement of Science, and secretary of its natural history section from 1839 to 1844. When the Association meets in Belfast in 1852, he acts as local treasurer. He corresponds with prominent naturalists, including Charles Darwin.
In 1843, Patterson publishes in The Zoologist magazine The Reptiles Mentioned by Shakespeare. His Zoology for Schools (2 volumes, 1846, 1848) is followed by First Steps in Zoology (2 volumes, 1849, 1851). A large volume, Zoological Diagrams, with colour illustrations, is published in 1853. All his books have a wide circulation, particularly in the national schools, and stimulates the study of zoology. In accordance with the will of his friend William Thompson, Patterson and James Ramsey Garrett begin to prepare the final volume of Thompson’s Natural History of Ireland for publication. Garrett dies in 1855 and Patterson completes the volume in 1856. He is elected Member of the Royal Irish Academy (MRIA) in 1856, and Fellow of the Royal Society (FRS) in 1859.
Patterson is in the vanguard of a generation of Ulster naturalists who through their work encourage the study of Irish flora and fauna and the establishment of field clubs and natural history societies. He also takes an active part in the public life of Belfast, and in philanthropy. He is a member of the unitarian congregation. He is one of the founders of the Ulster Society for the Prevention of Cruelty to Animals and is particularly interested in the Belfast Society for Promoting Knowledge (the Linen Hall Library), in the Botanic Gardens, and in his old school, Royal Belfast Academical Institution. As a Belfast harbour commissioner (1858–70), he brings commercial and environmental insights to decisions concerning port development.
Patterson marries Mary Elizabeth Ferrar in 1833. She is the daughter of a Belfast magistrate, William H. Ferrar, and writes poetry. Patterson also writes poetry, as well as hymns. Many of their poems are collected in Verses by Robert and Mary Patterson (1886), and they are represented in Selections from the British Poets, published for the use of national schools in 1849. They have five sons and six daughters. His second son, Robert Lloyd Patterson, is also a naturalist. Another son was William H. Patterson. His grandson Robert Patterson, editor of the Irish Naturalist, is secretary of the Belfast Natural History and Philosophical Society, secretary and president of the Belfast Naturalists’ Field Club and secretary of the Ulster Fisheries and Biology Association, which he founds. Robert M. Patterson, a grandson, is a prominent businessman and highly regarded amateur artist. Rosamond Praeger is a granddaughter, and Robert Lloyd Praeger a grandson. The latter writes of his grandfather: “After seventy-five years I can still see him – a man of middle height, and rather formal manner, pursuing his country rambles on Saturday afternoons in black frock-coat and top hat, and pointing out to us delighted children lady-birds and tree-creepers.”
Patterson retires from business in 1865, and dies on February 14, 1872, at his residence in College Square North, Belfast. He is buried in Belfast City Cemetery, where there is a monument to his memory.
(From: “Patterson, Robert” by Andrew O’Brien, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Robert Patterson” by Thomas Herbert Maguire, printed by M & N Hanhart lithograph, 1849, National Portrait Gallery)
In 1924, James Clark Snr. changes the family name to Chichester-Clark by deed poll, thus preventing the old Protestant Ascendancy name Chichester, his wife’s maiden name, from dying out. On his mother’s side the family are descended from the Donegall Chichesters and are the heirs of the Dawsons of Castledawson, who had originally held Moyola Park.
Chichester-Clark marries widow Moyra Haughton (née Morris) in 1959. Lady Moyola’s first husband, Capt. Thomas Haughton from Cullybackey, had been killed in the RAF Nutts Corner air crash in January 1953. She, while pregnant, is seriously injured in the crash and suffers a broken neck. He and his wife have two daughters (Tara and Fiona), in addition to Moyra’s son Michael from her previous marriage. Lady Moyola is a cousin of Colonel Sir Michael McCorkell, Lord Lieutenant of County Londonderry (1975–2000). Chichester-Clark serves as his Vice Lord-Lieutenant.
Chichester-Clark is an officer in the 1st Battalion, Irish Guards, part of 24th Infantry Brigade attached to British 1st Infantry Division, and participates briefly in the Anzio landings. He is injured on February 23, 1944, by an 88m shell as he and his Platoon Sergeant take their first look at the ground in the “gullies” to the west of the Anzio–Albano Laziale road. His company is all but wiped out, and he spends most of the war in hospital recovering from injuries, the effects of which stay with him throughout his life.
Following the war, Chichester-Clark’s military career takes him from the dull duties of the post-war occupation of Germany, to Canada as aide-de-camp to Harold Alexander, 1st Earl Alexander of Tunis, then Governor General of Canada. The popularity and competence of his senior officer makes this uneventful two-year period of his life the most remarkable element of his pre-parliamentary career. On returning from Canada, he continues in the Army for several years, refusing promotion to seniority before retiring a major in 1960.
In an uncontested by-election in 1960, Chichester-Clark takes over the South Londonderry seat in the Northern Ireland Parliament that had been held by his grandmother, Dame Dehra Parker, since 1933. As Dehra Chichester, she is an MP for the county of Londonderry until 1929 when she stands down for a first time. Chichester-Clark’s father replaces her in 1929 when the county is split, but he suddenly dies in 1933. Dehra, by then remarried, willingly returns to Northern Ireland from England, and wins the ensuing by-election.
Chichester-Clark retains the seat for the remainder of the Parliament’s existence, and so the South Londonderry area is represented by three generations of the same family for the entire period of the Northern Ireland House of Commons. Between 1929 and the last election in 1969, the family is challenged for the seat on only two occasions, the second being in 1969, when future Westminster MP Bernadette Devlin stands, attracting 39% of the vote.
Chichester-Clark makes his maiden speech on February 8, 1961, during the Queen’s speech debate.
For the remainder of Basil Brooke, 1st Viscount Brookeborough‘s premiership, Chichester-Clark remains on the back benches. It is not until 1963, when Terence O’Neill becomes Prime Minister of Northern Ireland, that he is appointed assistant whip, and a month later when William Craig is promoted to the Ministry of Home Affairs, he takes over as Government Chief Whip. Accounts of the period are that he enjoys the Whip’s office more than any other he is to subsequently hold in politics. This despite including references to anti O’Neill MP and future Democratic Unionist Party (DUP) Westminster MP, John McQuade, and the occasional “good row.” From the outset, O’Neill takes the unusual decision to allow Chichester-Clark to attend and speak at all cabinet meetings while Chief Whip. Proving a competent parliamentary party administrator, O’Neill adds Leader of the House of Commons to Chichester-Clark’s duties in October 1966, a promotion that makes him a full member of the Cabinet. He is also sworn into the Privy Council of Northern Ireland in 1966.
In 1967, O’Neill sacks his Minister of Agriculture, Harry West, for ministerial impropriety, and Chichester-Clark is appointed in his place, a position he retains for two quiet years. On April 23, 1969, he resigns from the Cabinet one day prior to a crucial Parliamentary Party meeting, claiming that he disagrees with the Prime Minister’s decision to grant universal suffrage in local government elections at that time. He states that he disagrees not with the principle of one man one vote but with the timing of the decision, having the previous day expressed doubts over the expediency of the measure in Cabinet. It has since been suggested that his resignation was in order to accelerate O’Neill’s own resignation, and to improve his own position in the jostling to succeed him.
O’Neill “finally walked away” five days later on April 28, 1969. In order to beat his only serious rival, Brian Faulkner, Chichester-Clark needs the backing of O’Neill-ite MPs elected at the 1969 Northern Ireland general election, to which end he attends a tea party in O’Neill’s honour only days after causing his resignation.
Chichester-Clark beats Faulkner in the 1969 Ulster Unionist Party leadership election by one vote on May 1, 1969, with his predecessor using his casting vote in the tied election for his distant cousin because “Faulkner had been stabbing him in the back for a lot longer.” Although Faulkner believes, until his death, that he is the victim of an upper-class conspiracy to deny him the premiership, he becomes a high profile and loyal member of Chichester-Clark’s cabinet.
Chichester-Clark’s premiership is punctuated by civil unrest that erupts after August 1969. He suffers from the effects of the Hunt Report, which recommends the disbandment of the Ulster Special Constabulary, which his Government accepts to the consternation of many Unionists.
In April 1970, Chichester-Clark’s predecessor and another Unionist MP resign their seats in the Northern Ireland House of Commons. The by-election campaigns are punctuated by major liberal speeches by senior government figures like Brian Faulkner, Jack Andrews and the Prime Minister himself. Ian Paisley‘s Protestant Unionist Party (PUP), however, takes both seats in the House of Commons. Later that same month the O’Neill-ite group, the New Ulster Movement, becomes the Alliance Party of Northern Ireland, and his party begins passing votes of no confidence in him.
As the civil unrest grows, the British Government, particularly the Home Secretary, James Callaghan, becomes increasingly involved in Northern Ireland’s affairs, forcing Chichester-Clark’s hand on many issues. These include the disbanding of the “B” Specials of the Ulster Special Constabulary and, importantly, the handing over of operational control of the security forces to the British ArmyGeneral Officer Commanding Northern Ireland.
On March 9, 1971, the Provisional Irish Republican Army lures three off-duty soldiers from a pub in Belfast to a lane way outside the city, where they kill them. Chichester-Clark flies to London on March 18, 1971, to request a new security initiative from the new British prime ministerEdward Heath, who offers an extra 1,300 troops, and resists what he sees as an attempt by Chichester-Clark to gain political control over them. Chichester-Clark resigns on March 20.
On March 23, 1971, Brian Faulkner is elected UUP leader in a vote by Unionist MP’s, defeating William Craig by twenty-six votes to four. He is appointed prime minister the same day.
On July 20, 1971, Chichester-Clark is created a life peer as Baron Moyola, of Castledawson in the County of Londonderry, his title taken from the name of his family’s estate. He endorses the Good Friday Agreement in the 1998 Northern Ireland Good Friday Agreement referendum. He remains quiet about his political career in his retirement. Lady Moyola, however, says that her husband does enjoy the time – contrary to popular opinion – and that he thinks of life as an MP as akin to that of an army welfare officer.
Chichester Clark dies on May 17, 2002, at the age of 79, following a short illness. His funeral takes place at Christ Church in Castledawson on May 21. He is the last surviving Prime Minister of Northern Ireland.
Williams is born on May 4, 1838, in Coleraine, County Londonderry. He claims to be descended on his father’s side from Worcestershireyeomen living in the parishes of Tenbury and Mamble. On his mother’s side he descends from Scottish settlers who planted Ulster in 1610. He is educated at Belfast Academy in Belfast under Dr. Reuben John Bryce and at a Greenwich private school under Dr. Goodwin. Later on, he goes to the southern United States for his health and takes part in a filibustering expedition to Nicaragua, where he sees some hard fighting and reportedly wins the reputation of a blockade runner. He is separated from his party and is lost in the forest for six days. Fevered, he discovers a small boat and manages to return to the nearest British settlement. He serves in the London Irish Rifles and has the rank of sergeant.
Williams returns to England in 1859, where he becomes a volunteer, and a leader writer for the London Evening Herald. In October 1859, he begins a connection with The Standard which lasts until 1884. From 1860 until 1863, he works as a first editor for the London Evening Standard and from 1882 until 1884, as editor of The Evening News.
Williams is best known for being a war correspondent. He is described as an admirable war correspondent, a daring rider as well as writer. For The Standard, he is at the headquarters of the Armée de la Loire, a French army, during the Franco-Prussian War in 1870. He is also one of the first correspondents in Strasbourg, where the French forces are defeated. In the summer and autumn of 1877, he is a correspondent to Ahmed Muhtar Pasha who commands the Turkish forces in Armenia during the Russo-Turkish War of 1877 and 1878. He remains constantly at the Turkish front, and his letters are the only continuous series that reaches England. In 1878, he publishes this series in a revised and extended form as The Armenian Campaign: A Diary of the Campaign on 1877, in Armenia and Koordistan, which is a large accurate record of the war, even though it is pro-Turkish. From Armenia, he follows Muhtar Pasha to European Turkey and describes his defence of the lines of Constantinople against the Imperial Russian Army. He is with General Mikhail Skobelev at the headquarters of the Imperial Russian Army when the Treaty of San Stefano is signed in March 1878. He reports this at the Berlin Congress.
At the end of 1878, Williams is in Afghanistan reporting the war, and in 1879 publishes the Notes on the Operations in Lower Afghanistan, 1878–9, with Special Reference to Transport.
In 1887, Williams meets with then General of the United States Army, Philip Sheridan, in Washington, D.C. to update the general on European affairs and the prospects of upcoming conflicts.
Williams is said to possess a voice of thunder and expresses with terrific energy. He conducts a lecture tour of the United States where he describes the six campaigns, illustrated by limelight photographs. His audience in Brooklyn, New York, is described by The New York Times as highly delighted by his lecture about the hardships and adventures. His presentation is “a feast for the eyes and ears and was highly appreciated by the large audience assembled.” He later tours England, Scotland, and Ireland speaking about his then seven campaigns.
Williams also writes fiction, including his book John Thaddeus Mackay, a tale about religious tolerance and understanding. With the sanction of Commander in Chief, Field MarshalGarnet Wolseley, he edits a book Songs for Soldiers for the March The Camp and the Barracks to improve morale and relieve boredom. Included in the book are a number of songs that he composed. He also writes about ecclesiastical questions, and contributes articles and stories to different periodicals.
Williams is a strong adherent to Wolseley’s military views and policy, and has considerable military knowledge. He also publishes military subjects in several publications such as the United Service Magazine, the National Review, and other periodicals. In 1892, he publishes Life of Sir H. Evelyn Wood, which is controversial as he defends the actions of Wood after the Battle of Majuba Hill in 1881. In 1902, he publishes a pamphlet, entitled Hush Up, in which he protests against the proposed limited official inquiry into the South African War and calls for an investigation.
Early in his career, Williams shares an office with friend and colleague Robert Gascoyne-Cecil, who later becomes Prime Minister of the United Kingdom. They have a standing tradition of always sending out for two beers with payment alternating between each man. Many years later, Williams is in the lobby of the House of Lords and Gascoyne-Cecil approaches him with an outstretched hand and asks, “By the way, Mr. Williams, whose turn is it to stand the beer?”
In 1884, the steamer carrying Williams and colleague Frederic Villiers of The Graphic overturns in the Nile River. Their rescue leads Williams to later commission a unique ivory and gold mitre for the Bishop of London as a thank-offering to God for his safe return from Khartoum.
Williams receives a personal invitation from King Edward VII to attend the funeral of his mother, Queen Victoria.
Both of Williams‘a sons became journalists. Frederick is a noted parliamentary reporter, writer, and historian in Canada. Francis Austin Ward Williams practices journalism in Sydney, Australia.
In the Nile Campaign of 1884-85, application is made to the War Office with the support of the Commander in Chief Lord Wolseley for medals for Willams and correspondent Bennet Burleigh. Williams has been twice requested to take command of some of the men by senior officers on the spot. The Secretary of War is unable to grant the recognition under the rules of the day but writes a letter saying that he regrets that this must be his decision.
Williams is a recipient of the Queen’s Sudan Medal, an award given to British and Egyptian forces which took part in the Sudan campaign between 1896 and 1898.
Field Marshall Garnet Wolseley recognizes the contributions of Williams on the battlefield. He says in a speech that from “Charles Williams, he had at various times received the greatest possible help in the field.”
Williams dies in Brixton, London, on February 9, 1904. He is buried in Nunhead Cemetery in London. His son, journalist Fred Williams, first learns of his father’s death on the wire service he is monitoring at his newspaper in Toronto, Ontario, Canada.
Williams’s funeral is well attended by the press as well as members of the military including Field Marshal Sir Evelyn Wood. Colleague Henry Nevison writes a long reflection on Williams. It includes, “On the field he possessed a kind of instinctive sense of what was going to happen. When I went to big field-days with him he was already an elderly man, and much broken down with the hardships of a war correspondent’s life; but he invariably appeared at the critical place exactly at the right moment, and I once heard the Duke of Connaught, who was commanding, say, ‘When I see Charlie Williams shut up his telescope, I know it’s all over.’ And now he is gone, with his rage, his generosity, his innocent pride, his faithful championship of every friend, and his memories of so many a strange event. His greatest joy was to encourage youth to follow in his steps, and the world is sadder and duller for his going.”
Conor is born on May 9, 1881, in Fortingale Street, Belfast, the third son and fourth child of William Connor, a tinsmith and sheet metal worker, who later becomes a gas fitter, and Mary Connor (née Wallace). He is educated at the Clifton Park central national school, where his artistic abilities are noticed by his music teacher. In 1894, he enrolls at the Belfast government school of design. He is a very successful student, and by 1903 has become an assistant teacher. He completes his studies in 1904, and begins an apprenticeship with the Belfast firm of lithographers, David Allen and Son. Through his work in the poster design department he develops an enthusiasm for using crayons on a textured surface. This becomes a characteristic feature of his later drawings. In these early years he first starts recording images of Belfast life, often sketched from behind a folded newspaper in the street. Influenced by the Gaelic revival, in the years 1907–9 he signs his name in several different ways such as “Liam” and “Liam Conor.” In later years he signs himself simply “Conor.”
Having abandoned his career as a lithographer around 1910, Conor concentrates his efforts on painting professionally. He begins exhibiting with the Belfast Art Society in 1910, and in the period that follows he spends time in Craigavad, County Down, the Blasket Islands in County Kerry, Dublin, and Donegal. During a visit to Paris, which he later recalls as being in 1912 and 1913, he meets the painter André Lhote. After his return to Belfast he is elected to the committee of the Belfast Art Society in 1913. On the outbreak of World War I, he is commissioned by the British government to record the everyday activities of munitions workers and soldiers in Ulster. His pictures mostly show soldiers in training and various scenes from the home front, including the work of women in munitions factories and hospitals. Described as “vigorous and personable, if rather folksy . . . effectively uniformed versions of the tinkers and shipyard workers for which he subsequently became known,” these paintings are exhibited and subsequently, in 1916, auctioned for the Ulster Volunteer Patriotic Fund. His long association with the Royal Hibernian Academy (RHA) begins in 1918 and he shows up to 200 works at the academy over the next forty-nine years.
In 1921, Conor moves to London, where he becomes acquainted with, among others, Sir William Orpen, Sir John Lavery, and Augustus John. He becomes a member of the Chelsea Arts Club, and contributes four paintings to the National Portrait Society as part of its spring exhibition in 1921. His friendship with Lavery is significant. Through him Conor receives a commission to paint the opening of the first Northern Ireland parliament in June 1921. He goes on to exhibit with a variety of influential bodies, including the Royal Academy of Arts, the Société Nationale des Beaux-Arts in Paris, and the Royal Society of Portrait Painters. In 1922, The Twelfth, executed c.1918, is shown in the Galerie Barbazanges in Paris, under the title Le cortège Orangiste à Belfast, as part of the World Congress of the Irish Race. He is represented at the Paris salon in 1923 and the following year he has a successful exhibition at the St. Stephen’s Green Gallery, Dublin.
In 1926, Conor travels to Philadelphia and New York, where, during his nine-month stay, he receives numerous commissions for portraits and has work shown in the Babcock Galleries, the Brooklyn Art Gallery, and the American Irish Historical Society. In 1932, he designs the costumes for the principals in the Pageant of St. Patrick, which marks the 1,500th anniversary of the saint’s coming to Ireland. That year also sees the unveiling of his muralUlster Past and Present at the Belfast Municipal Museum and Art Gallery. Measuring 2.8 by 7.4 metres, it is at the time the largest mural in the country. During World War II he is again appointed an official war artist and his work is represented at the exhibition of war artists at the National Gallery, London, in 1941. His book The Irish Scene is published in 1944, and though it sells well, the subsequent bankruptcy of his publishers mean that Conor receives no royalties. He also provides the illustrations for books by Lynn C. Doyle, the pseudonym of his friend Leslie Montgomery.
Although Conor is best known for his depictions of the everyday life of people in his native Belfast, in which he attempts to capture the “flash of humour which lightens their daily toil,” he also produces landscapes and portraits. His sitters included Douglas Hyde, St. John Greer Ervine, Charles D’Arcy, and Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry. The Council for the Encouragement of Music and the Arts organises several successful Conor exhibitions. Their one-man show of 1945 becomes the first to tour the province, while their exhibition of his work in 1954 has an attendance in excess of 2,800. Conor closes his long-established studio on Stranmillis Road in 1960 but continuea to exhibit, notably with the Bell Gallery in 1964, 1966, and 1967.
(From: “Conor, William” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “William Conor,” oil on canvas by Gladys Maccabe, Ulster Folk Museum)
Luke is born at 4 Lewis Street in Belfast on January 19, 1906, the fifth of seven sons and one daughter of James Luke and his wife Sarah, originally from Ahoghill, County Antrim. He attends the Hillman Street National School and in 1920 goes to work at the York Street Flax Spinning Company. He goes on soon after to become a riveter at the Workman, Clark shipyard. While working there he enrolls in evening classes at the Belfast School of Art.
Luke excells at the college under the tutelage of Seamus Stoupe and Newton Penpraze. His contemporaries include Romeo Toogood, Harry Cooke Knox, George MacCann and Colin Middleton. In 1927 he wins the coveted Dunville Scholarship which enables him to attend the Slade School of Fine Art in London, where he studies painting and sculpture under the celebrated Henry Tonks, who greatly influences his development as a draughtsman.
Luke remains at the Slade School of Fine Art until 1930, in which year he wins the Robert Ross Scholarship. On leaving the Slade School he stays in London, intent on establishing himself in the art world. For a time he shares a flat with fellow Ulsterman F. E. McWilliam, and enrolls as a part-time student of Walter Bayes at the Westminster School of Art to study wood engraving. He begins to exhibit his work and in October 1930 shows two paintings, Entombment and Carnival, in an exhibition of contemporary art held at Leger Galleries. The latter composition, depicting a group of masked merry-makers, is singled out by the influential critic, Paul George Konody of the Daily Mail (October 3, 1930), as “one of the most attractive features of the exhibition.” But the economic climate is deteriorating and a year later, at the end of 1933, he is driven back to Belfast by the recession. He remains in Belfast, apart from a time during World War II when he goes to Killylea, County Armagh.
Luke paints in the style known as Regionalism, whose main proponents are Thomas Hart Benton, Grant Wood, John Steuart Curry and Harry Epworth Allen. His painting technique is painstakingly slow, his manner precise. “I’m afraid I’m very much a one job man,” he once writes to John Hewitt, continuing, “my strength lies in making the most of one job at a time, in sustained thought and effort, to bring it to the highest level of organisation and completeness I desire: the other way I lead to disintegrate in looseness and frustration with its inevitable weakness.” The precision characteristic of his work is manifested, too, in his appearance and personal manner. Dark haired, in stature he is erect and spare of build. Always tidy, his clothes brushed, his hair short, he is, in Hewitt’s words, “not at all close to the romantic stereotype of the artist.”
Apart from Luke’s work as a practising artist, he teaches from time to time in the Belfast School of Art, where he influences a generation of students “especially in the matter of drawing,” as he once puts it. Although principally a painter, throughout his career he occasionally makes sculptures, such as the Stone Head, Seraph of c. 1940 (Ulster Museum). Indeed it is for sculpture that he wins the Robert Ross Prize at the Slade School of Fine Art. He is also much interested in philosophical theories of art. In the 1930s, for example, as John Hewitt records, topical books such as Roger Fry’s Vision and Design, Clive Bell’s Art and R. H. Wilenski‘s Modern Movement in Art direct his thinking.
From the late 1930s until 1943, when Luke produces Pax, there is a gap in his output, occasioned, no doubt, by his move to County Armagh in order to escape Belfast after the Blitz. In 1946, he holds his first one-man exhibition at the Belfast Museum and Art Gallery, and this is followed two years later by a similar show, held under the aegis of CEMA, nearby at number 55A Donegal Place. In 1950, to celebrate the Festival of Britain the following year, he is commissioned to paint in Belfast City Hall, a mural representing the history of the city, a work which brings his name to the attention of a wider audience. In later years, other commissions follow for murals in the Masonic Hall, Rosemary Street, in 1956, and the College of Technology at Millfield in the 1960s. He also carves in relief coats of arms for the two Governors of Northern Ireland, John Loder, 2nd Baron Wakehurst (1959) and John Erskine, 1st Baron Erskine of Rerrick (1965). He is also a member of the Royal Ulster Academy.
Having been in declining health for some years, Luke dies, unmarried, at the Mater Infirmorum Hospital in Belfast on February 4, 1975, just a month into his sixty-ninth year. A retrospective exhibition of his work is held, in association with the Arts Councils of Ireland, in the Ulster Museum in 1978, and is accompanied by a short monograph on his life and career written by John Hewitt. Since that time his reputation has grown enormously, his loss rekindling memories in many of his former students of a fastidiously arranged life-room in the College of Art, his coat folded to perfection and his soft, gentle manner of instruction.
Hanna is born on February 25, 1821, near Dromara, County Down, the eldest among three sons and two (possibly three) daughters of Peter Hanna, of Dromara farming stock, and his wife Ellen (née Finiston), whose father served in the Black Watch regiment during the Napoleonic Wars. In the 1820s, leaving their children behind, his parents move to Belfast, where his father establishes a business turing out horse–cars. Hanna does not join them until the mid-1830s. His education reflects the modest nature of his upbringing. It is patchy and always combined with paid employment. In the 1830s he attends Bullick’s Academy, a privately run commercial college in Belfast. In the 1840s, seemingly with the intention of preparing for the Presbyterian ministry, he takes classes at Belfast Academical Institution. In 1847, he enters the general assembly’s newly established Theological College and, after some absences, obtains his licence to preach in 1851. During this time he works, first as a woolen draper‘s assistant in High Street and then, after 1844, as a teacher in the national school associated with Townsend Street Presbyterian Church, where he is a member. He resigns his teaching post in January 1852, only a month before being ordained to full-time ministry. On August 25, 1852, he marries Frances (‘Fanny’) Spence Rankin, daughter of James Rankin, a Belfast salesman. Together they have four daughters and two sons.
Hanna’s first, and only, pastorate is in a congregation that emerges out of the evangelistic efforts he and other Townsend Street members had conducted among the working people of north Belfast. In 1852, they begin meeting in the old Berry Street church and quickly grow from 75 to over 750 families. By 1869 a new building is essential and in 1870 the foundation stone for St. Enoch’s church is laid in Carlisle Circus, on property purchased from the Belfast Charitable Society. Opened in 1872 at a cost of nearly £10,000, it seats over 2,000 people and has two galleries. With 800 families and 2,500 Sunday-school scholars, it is one of the largest congregations in Belfast.
Hanna’s influence as the leader of such a large flock is not translated into advancement within the Presbyterian church. Although he serves as the Presbyterian chaplain to the Belfast garrison (1869–91) and as moderator of the presbytery (1879) and synod (1870–71) of Belfast, he does not achieve any position of note within the denomination as a whole. This is most likely because of his penchant for public controversy. Letters to the newspapers, calls for action in presbytery, and public platform debates over issues such as public-house licensing laws, Sabbath observance and property rights, brand him a destablising force. It is no doubt for this reason, rather than for his open-air preaching, of which he does very little, that he acquires his famous sobriquet, “Roaring Hugh.” His aggressive manner in debate is noted by the Belfast News Letter early in his career.
Hanna’s political views contribute to his reputation as an intolerant firebrand. He is part of a small group of Presbyterian clergy, led by the Rev. Henry Cooke, who are staunch defenders of the Protestant interest and active supporters of the conservative cause. He hosts ”anti-popery” lectures in his church and joins the Orange Order, serving briefly, in 1871, as the deputy grand chaplain for Belfast (County Grand Lodge). His determination to uphold the “right” of Protestants to preach in the open air sparks a series of violent sectarian riots and a government inquiry in Belfast in 1857. As the century progresses, and as the Presbyterian community’s political allegiances begin to shift, he becomes one of a group of prominent figures associated with two populist campaigns: opposition in the 1860s to the disestablishment of the Church of Ireland and subsequently to the introduction of home rule. In 1886, as one of the honorary secretaries of the Ulster Constitutional Club, he helps to found the Ulster Loyalist Anti-Repeal Union, a forerunner of what eventually becomes the Ulster Unionist Party.
Such activity overshadows Hanna’s impressive contribution to education. Within St. Enoch’s he establishes an enormous network of Sunday schools and evening classes, including a training institute for teachers. As a former teacher, and later as a commissioner of national education (1880–92), he is a firm advocate of the national system, and sets up six national schools in north and west Belfast.
Hanna receives only two honours: a Doctor of Divinity (DD) from the theological faculty of the Presbyterian Church in Ireland (1885) and a Doctor of Laws (LL.D.) from Galesville University in Galesville, Wisconsin (1888). In good health throughout his life, he dies suddenly of a heart attack on February 3, 1892. Buried with much fanfare in Balmoral Cemetery, Belfast, he is clearly held in high regard by surviving friends and colleagues. In 1892, the Orange Order approves the naming of LOL 1956 as the “Hanna Memorial,” and in 1894 a bronze statue depicting him in full ecclesiastical garb is erected in Carlisle Circus. Since then, his achievements have fallen on hard times. In March 1970, an Irish Republican Army bomb blast topples his statue from its plinth; several high-profile attempts to re-erect it fail. After an arson attack in 1985, and with falling numbers, the decision is taken in 1992 to demolish St. Enoch’s and unite with the neighbouring Duncairn church in a new, much smaller, building on the site.
(From: “Hanna, Hugh” by Janice Holmes, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: Portrait of Reverend Hugh Hanna by Augustus George Whichelo in 1876, which is part of the collection owned by the National Museums Northern Ireland and is located in the Ulster Museum)
McCartney, born in 1971, is a Roman Catholic and lives in the predominantly nationalistShort Strand area of east Belfast, and is said by his family to be a supporter of Sinn Féin. He is the father of two children and is engaged to be married in June 2005 to his longtime girlfriend, Bridgeen Hagans.
McCartney is involved in an altercation in Magennis’ Bar on May Street in Belfast’s city centre on the night of January 30, 2005. He is found unconscious with stab wounds on Cromac Street by a police patrol car and dies at the hospital the following morning. He is 33 years old.
The fight arises when McCartney is accused of making an insulting gesture or comment to the wife of an IRA member in the social club. When his friend, Brendan Devine, refuses to accept this or apologise, a brawl begins. McCartney, who is attempting to defend Devine, is attacked with a broken bottle and then dragged into Verner Street, beaten with metal bars and stabbed. Devine also suffers a knife attack, but survives. The throats of both men are cut and McCartney’s wounds include the loss of an eye and a large blade wound running from his chest to his stomach. Devine is hospitalised under armed protection.
When Police Service of Northern Ireland (PSNI) officers arrive at the scene, their efforts to investigate the pub and surrounding area are met with an impromptu riot. Rioting by youths, specifically attacking the police, force them to pull back from the area, which delays initial investigation. Police with riot gear arrive later in the evening and are also attacked. Alex Maskey of Sinn Féin claims, “It appears the PSNI is using last night’s tragic stabbing incident as an excuse to disrupt life within this community, and the scale and approach of their operation is completely unacceptable and unjustifiable.” There are suggestions that the rioting is organised by those involved in the murder, so that a cleanup operation can take place in and around where the murder took place. Clothes worn by McCartney’s attackers are burned, CCTV tapes are removed from the bar and destroyed and bar staff are threatened. No ambulance is called. McCartney and Devine are noticed by a police car on routine patrol, who call an ambulance to the scene.
When the police launch the murder investigation they are met with a “wall of silence” None of the estimated seventy or so witnesses to the altercation come forward with information. In conversations with family members, seventy-one potential witnesses claim to have been in the pub’s toilets at the time of the attacks. As the toilet measures just four feet by three feet, this leads to the toilets being dubbed the TARDIS, after the time machine in the television series Doctor Who, which is much bigger on the inside than on the outside.
Sinn Féin suspends twelve members of the party and the IRA expels three members some weeks later.
Gerry Adams, then president of Sinn Féin, urges witnesses to come forward to “the family, a solicitor, or any other authoritative or reputable person or body”. He continues, “I want to make it absolutely clear that no one involved acted as a republican or on behalf of republicans.” He suspends twelve members of Sinn Féin. He stops short of asking witnesses to contact the police directly. The usefulness of making witness statements to the victim’s family or to a solicitor is derided by the McCartneys and by a prominent lawyer and Social Democratic and Labour Party (SDLP) politician, Alban Maginness, soon afterward.
On February 16, 2005, the IRA issues a statement denying involvement in the murder and calls on the perpetrators to “take responsibility.”
On March 8, 2005, the IRA issues an unprecedented statement saying that four people are directly involved in the murder, that the IRA knows their identity, that two are IRA volunteers, and that the IRA has made an offer to McCartney’s family to shoot the people directly involved in the murder.
In May 2005, Sinn Féin loses its council seat in the Pottinger area, which covers the Short Strand, with the McCartney family attributing the loss to events surrounding the murder.
Since this time, the sisters of McCartney have maintained an increasingly public campaign for justice, which sees Sinn Féin chief negotiator Martin McGuinness make a public statement that the sisters should be careful that they are not being manipulated for political ends.
Support for Sinn Féin by some American politicians is diminished. Adams is not invited to the White House in 2005 and Senator Edward Kennedy backs out of a meeting that had been previously scheduled. The McCartney family, previously Sinn Féin supporters, pledge to never support the party again, and a cousin of the sisters who raised funds for Sinn Féin in the United States insist that she will not be doing so in the future.
On May 5, 2005, Terence Davison and James McCormick are remanded in custody, charged with murdering McCartney and attempting to murder Devine respectively. McCormick is originally from England. They are held in the republican wing of HM Prison Maghaberry. Roughly four months later the accused are released on bail, and in June 2006, the attempted murder charge against McCormick is dropped, leaving a charge of causing an affray. On June 27, 2008, Terence Davison is found not guilty of committing the murder. Two other men charged with affray are also cleared.
In November 2005, the McCartney sisters and Bridgeen Hagans, the former partner of McCartney, refuse to accept the Outstanding Achievement award at the Women of the Year Lunch, because it would mean their sharing a platform with Margaret Thatcher, whom they dislike.
In December 2005, the McCartney sisters meet with UK Prime MinisterTony Blair, and tell him they believe the murder had been ordered by a senior IRA member, and that Sinn Féin was still not doing all it could to help them.
On January 31, 2007, two years after the murder, and in line with the party’s new policy of supporting civil policing, Sinn Féin president Gerry Adams says that anyone with information about the murder should go to the police.
On May 5, 2015, an IRA man believed to have been involved in the death of McCartney, Gerard ‘Jock’ Davison, is shot dead. Early in the investigation the police rule out either a sectarian attack or the involvement of dissident republicans.
The McCartney family has lived in the Short Strand area of Belfast for five generations. However, some local people in the Short Strand area, which is a largely nationalist area, does not welcome their dispute with the IRA. A campaign of intimidation by republicans drives members of the family and McCartney’s former fiancée to relocate and also causes one member to close her business in the city centre. The last McCartney sister to leave the area, Paula, departs Short Strand on October 26, 2005.
The family remain in contact with the family of Joseph Rafferty of Dublin, who dies under similar circumstances on April 12, 2005.
Colin MiddletonMBE, Northern Irishlandscape artist, figure painter, and surrealist, is born on January 29, 1910, in Victoria Gardens in north Belfast. Hus prolific output in an eclectic variety of modernist styles is characterised by an intense inner vision, augmented by his lifelong interest in documenting the lives of ordinary people. He has been described as “Ireland’s greatest surrealist.”
Middleton is the only child of damask designer Charles Middleton. He attends the nearby Belfast Royal Academy until 1927 and then continues his studies with night classes at Belfast School of Art where he trains in design under the Cornish artist Newton Penprase. However, he finds the college too traditional in outlook, as his first influence, his father, had been a follower of European Modernism, particularly the Impressionists.
Middleton shows his first works with the Ulster Academy of Arts in 1931, where he exhibits frequently until the late nineteen-forties. He first comes to public attention with the inclusion of his works in the groundbreaking inaugural exhibition of the Ulster Unit at Locksley Hall, Belfast, in December 1933. The Ulster Unit is a short-lived grouping of Ulster artists who take their inspiration from Paul Nash’s Unit One formed earlier in the same year. Just two years thereafter in the same year, he marries Maye McLain, also an artist and a domestic science teacher, who unfortunately dies four years later. He is also a poet and writer, whom along with his wife, is an active member of the Northern Drama League in the 1930s, with whom he designs sets. After the death of his first wife he destroys all of his early paintings and enters a period of seclusion at his mother’s home outside Belfast. He becomes a follower of Vincent van Gogh and James Ensor after viewing exhibitions in London and Belgium respectively. On his return to Ulster he begins to experiment with styles derived from European Modernism, the antithesis to traditional academism. Throughout the 1930s he is also a keen follower of Paul Nash, Tristam Hillier and Edward Wadsworth. After exposure to the works of Salvador Dalí, he declares himself “the only surrealist painter working in Ireland.”
Middleton’s work first appears at the Royal Hibernian Academy in 1938 where he shows intermittently until the final year of his life. He participates in an exhibition at 36 Arthur Street, Belfast, with the Czech artist Otakar Gregor, Joan Loewenthal and Sidney Smith in aid of the war effort at the end of 1940. He completes three paintings immediately after the Belfast Blitz and the trauma of the events prevent him from working for six months before his work is included in a portfolio of lithographs published by the Ulster Academy in December 1941 to raise money for rebuilding the Ulster Children’s and Women’s Hospital which had been destroyed in the Blitz earlier in the year.
Middleton’s first solo exhibition is given by the Belfast Municipal Museum and Art Gallery in 1943. It is the first exhibition staged at the gallery when it re-opens after the Belfast Blitz. At the time it is the largest one-person show the gallery has staged comprising one hundred fifteen works and it is also the first solo exhibition accorded to a local contemporary artist by the gallery. In an interview with Patrick Murphy in 1980, he says that the paintings represent “a first endeavour to harmonize the seemingly opposed and conflicting tendencies in human nature.” Dickon Hall says of this period that “Middleton’s painting is dominated by the female form; it is only rarely that men appear in his work. In part these women reflect his experience of Belfast and the difficult conditions that so many lived through.” This can be seen in the three female figures of The Poet’s Garden (1943), and even more so in The Conspirators (1942), both of which are featured in the 1943 exhibition. “The female form, pictorially and symbolically, becomes the landscape and the life force.”
The Belfast exhibition is followed by his first one-man show at the Grafton Galleries, Dublin, in 1944. In the following year he debuts at the Irish Exhibition of Living Art where he returns on a number of occasions, particularly in the periods 1949–55 and 1963–71. In 1945, he is married for the second time, to Kate Giddens, after both are named co-respondents at the Belfast High Court a few months earlier, in civil servant Lionel P. Barr’s application for a decree nisi. The suit is undefended and the couple has costs awarded against them. In the same year Middleton returns to the Belfast Museum for a solo exhibition arranged by the Council for the Encouragement of Music and the Arts. He is a founding member of the Northern Ireland branch of the Artists’ International Association, who show at the Belfast Municipal Gallery in spring 1945. Other members include Joan Loewenthal, Kathleen Crozier, Pat Hicking, Trude Neu, Sidney Smith, Nevill Johnston, George Campbell and Gerard Dillon.
Middleton’s work is displayed in New York‘s Associated American Artists gallery in 1947 with a selection of works chosen by Dublin art critic Theodore Goodman that includes paintings by his Northern contemporaries Daniel O’Neill, George Campbell, Gerard Dillon and Patrick Scott. He also retires from the family business that year to devote his time to painting, having worked at the business since his father’s death in 1933. He then takes his wife and child to live and work on John Middleton Murry’sSuffolk commune for a short period, before returning to Belfast in 1948. Their life in Suffolk is not a success as the family suffers from ill health, but the experience of working the land is to prove a profound influence on his future work.
In 1949, Middleton shows his first works at the Oireachtas na Gaeilge, where he returns periodically until 1977. Upon their return from Suffolk, his wife sends Victor Waddington photos of his work whereupon Waddington comes to represent him for a period of five years, until the Waddington Galleries face financial hardship in 1958. It is Waddington’s patronage that enables the Middleton family to live and work in Ardglass, County Down, for four years from 1949, which Middleton later describes as the happiest time of his life. When his works are displayed at Victor Waddington’s Dublin gallery in that same year, it acts as a springboard that opens Middleton’s work to an international audience. Group exhibitions in Boston and London follow in 1950 and 1951 respectively.
Middleton’s first solo show at London’s Tooth Gallery takes place in 1952, where his work had been shown in the previous year.
In 1953, Middleton moves to Bangor, County Down, where he designs for Marjery Mason‘s The Repertory Theatre. He later designs sets for the Circle Theatre and the Lyric Theatre, including the sets for a series of W. B. Yeats’s plays in 1970, and Seán O’Casey‘s Red Roses for Me in 1972, both at the latter. In 1952, he exhibits alongside Daniel O’Neill, Nevill Johnson, Gerard Dillon and Thurloe Connolly at the Tooth Galleries in London. He begins his career as an art teacher by the invitation of James Warwick who offers him a one year part-time post at the Belfast College of Art in 1954. That year he shows forty-two works at the Belfast Municipal Gallery under the auspices of the Council for the Encouragement of Music and the Arts. In the following year he delivers full-time classes at the Coleraine Technical School, before becoming head of art at Friends’ School, Lisburn in 1961 where he remains until 1970. He lives on Plantation Avenue in Lisburn for nine years next door to fellow artist and pedagogueDennis Osborne, who presents a portrait of Middleton at the annual exhibition of the Royal Ulster Academy in 1965.
A poet and musician, Middleton also produces murals, mosaics and posters. One such mural is commissioned for a house in Ballymena designed by the architect Noel Campbell in an international modernist style in 1951, and other works include a mosaic for a school in Lisburn, and a mural in a health clinic. He shows in many group shows throughout the fifties including the Royal Academy of Arts in 1955, in addition to more solo exhibitions at the Waddington Galleries in 1955, and his first showing at the Richie Hendricks Gallery in 1958. Of the Waddington exhibition TheDublin Magazine writes: “Apart from the brilliance of his paint, he has one rare quality in his inexhaustible capacity for wonder.”
Middleton shows in the Arts Council of Northern Ireland‘s gallery in 1965 with additional works at the Bell Gallery and his Bruges Series is shown at Alice Berger Hammerschlag’s New Gallery upon his return from a Belgian trip in 1966. The Arts Council of Northern Ireland suffers an extensive fire at their storage facility in south Belfast in autumn 1967 which decimates their collection of contemporary art and theatre costumes. Losses include several of Middleton’s paintings, in addition to the works of many other leading Ulster artists such as William Conor and T. P. Flanagan. He Is among the prizewinners at the Arts Council of Northern Ireland’s 4th Open Painting Exhibition in 1968. In the same year, John Hewitt curatea a joint exhibition of his paintings with T. P. Flanagan at the Herbert Art Gallery and Museum in Coventry.
The Arts Council hosts a joint retrospective of Middleton’s work in co-operation with the Scottish Arts Council in 1970. A major retrospective is to follow at the Ulster Museum and the Hugh Lane Municipal Gallery of Modern Art in Dublin in 1976. Comprising almost three hundred exhibits, the show is accompanied by a monograph written by Middleton’s lifelong friend, the patron and poet John Hewitt. Hewitt later bequeaths his art collection, including several of Middleton’s paintings to the Ulster Museum.
The Royal Mail uses Middleton’s painting of Slieve na Brock in the Mourne Mountains to commemorate the Ulster ’71 exhibition in a series of postage stamps that also feature the work of Thomas Carr and T. P. Flanagan. In 1972, Middleton tours extensively with his wife visiting Australia for two months and shows his works from the trip at the McClelland International Galleries on Belfast’s Lisburn Road the following year. In 1973 he also visits Barcelona and later shows a series of surrealist works inspired by the two trips at the Tom Caldwell Gallery in Belfast.
Middleton lives the last twelve years of his life in Bangor, County Down.
Middleton dies of leukemia in Belfast City Hospital on December 23, 1983. He is survived by his wife Kate, their daughter and a step-daughter. His son predeceases him by a year. Christie’s of London is entrusted with the sale of his studio works in 1985. The works are displayed before auction in both Dublin and Belfast during August 1985. In 2005, the Ulster History Circle unveils a commemorative blue plaque at his former home on Victoria Road in Bangor.
In September 2023, eighty years since the ground-breaking exhibition Middleton held at the Belfast Museum and Art Gallery, now the Ulster Museum, and forty years after his death, the Ulster Museum holds a new exhibition of his works, celebrating his association with Belfast, the city of which he says, “I belong here as I never belonged anywhere else in the country.” This exhibition brings together works held in the public collection with those from private lenders to provide a full picture of the artist’s talent and life.
Middleton wins the Royal Dublin Society‘s Taylor Scholarship worth £50 in 1932, and two further awards of £10 in 1933. In 1935, he is elected associate of the Ulster Academy, inducted alongside Helen Brett, Kathleen Bridle, Patrick Marrinan, Maurice Wilks, Romeo Toogood and William St. John Glenn,and in 1948 he becomes an elected Academician at the same.
In 1968, Middleton is appointed MBE in the Queen’s birthday honours list, and in 1969 he is elected an associate at the Royal Hibernian Academy with full membership conferred just a year later. He is awarded an honoraryMaster of Arts degree from Queen’s University Belfast in 1972. The Arts Council of Northern Ireland grants him a substantial subsistence award in 1970 which covers two years enabling him to retire from teaching to concentrate on painting full-time. In the same year, the Arts Council of Northern Ireland also commissions him to paint a portrait of their director, Kenneth Jamison.
seamus dubhghaill 