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Birth of David Hammond, Singer & Folklorist

David Andrew (Davy) Hammond, singer, folklorist, television producer and documentary maker, is born on December 5, 1928, in Miss Kell’s nursing home on the Castlereagh Road in Belfast, Northern Ireland.

Hammond is the son of Leslie Hammond, a tram driver, and his wife Annie (née Lamont). His parents are not city people; his mother grew up near Ballybogy in the Ballymoney area of County Antrim, and his father, though from a family with roots in south County Londonderry, had lived in Ballymoney as a boy, and had been apprenticed to a blacksmith there. Both have a strong sense of their rural identity and maintain the Ulster Scots dialect of their childhood. They are never quite at home in the Belfast suburb of Cregagh, and in particular do not share the sectarian attitudes that are much more present in 1930s Belfast than they had been in north Antrim, one of the last strongholds of Presbyterian radicalism. Even as a boy, Hammond is interested in the old songs that his mother sang and realises that the traditions in which his parents had been nurtured are disappearing quickly in an increasingly urbanising and modernising world. When he encounters the work of Emyr Estyn Evans in the early 1940s, he is encouraged to document both rural tradition and the street life of the city, and he and a couple of friends, though still just teenagers, ride off on their bicycles to look for folklore in the hinterland of Belfast.

After primary school, Hammond wins a scholarship in 1941 to Methodist College Belfast, where he does well in examinations, and then goes to Stranmillis University College to train as a teacher. In his first job, in Harding Memorial primary school in east Belfast, he proves to be a popular, idealistic teacher, and is remembered by his pupils fifty years later as a fine singer and a teller of ghost stories, who had taken the class on memorable youth-hosteling trips to the Mourne Mountains. Youth hosteling and folklore collecting increases his awareness and understanding of the rich traditions of the whole community in the north of Ireland, and he is never constrained by political or religious barriers. His early career mirrors closely that of James Hawthorne, and their paths are to cross in later life.

Hammond is friendly with many others active in the cultural life of Northern Ireland and makes a name for himself as a song collector and eventually as an expert on all aspects of traditional singing. In 1956, he is awarded a scholarship to travel in the United States to meet the important pioneers of folk-music collecting and performance there. He records his first LP record of Ulster songs, I Am The Wee Falorie Man (1958), in the United States, and becomes friends with Pete Seeger, the Appalachian singer Jean Ritchie, with old blues singers, and notably with Liam Clancy, one of the three Clancy brothers who as a quartet with Tommy Makem are to popularise Irish folk music in the United States and elsewhere.

On returning to Belfast, Hammond takes a job in 1958 in Orangefield secondary school in the east of the city, where the highly regarded headmaster John Malone encourages new approaches to education. Among his pupils at Orangefield is George Ivan “Van” Morrison, who credits him with inspiring his interest in Irish traditional music. Hammond enjoys teaching but is increasingly drawn to folk-song performance and recording. He appears regularly on radio programmes of the BBC and Radio Éireann, and in 1964 joins the school’s department in BBC Northern Ireland. There, with colleagues like Sam Hanna Bell, James Hawthorne and others, he works on programmes such as Today and Yesterday in Northern Ireland, which for the first time introduces pupils (and many adults) to local history and to aspects of tradition. In 1968, with two friends, the poets Seamus Heaney and Michael Longley, he puts on poetry and traditional music events in schools all over the province. The Arts Council funds the Room to Rhyme project, which is immensely influential and inspiring, and is still talked about many years later by those who attended as children.

Hammond is creatively involved with hundreds of hours of broadcasting, in television as well as radio, and eventually for adults as well as children. He writes scripts, produces documentary series such as Ulster in Focusand Explorations, and brings an artistic sensibility to filming, as well as working sympathetically with traditional singers and craftspeople. Dusty Bluebells, a sensitively made film of Belfast children’s street games, wins the prestigious Golden Harp award in 1972. After he leaves the BBC to work as a freelance, and founds Flying Fox Films in 1986, he continues making documentaries on many aspects of Ulster life and heritage. His film called Steel Chest, Nail in the Boot and the Barking Dog (1986), about working in the Belfast shipyards, also wins a Golden Harp award. A companion book of the same name is published. Another book is Belfast, City of Song(1989), with Maurice Leyden. In 1979, he edits a volume of the songs of Thomas Moore. His documentary programmes include films about singers from Boho, County Fermanagh, and about the big houses of the gentry in Ireland. The Magic Fiddle (1991/2) examines the role of the instrument in the folk music of Ireland, Scandinavia, Canada, and the American south, while Another Kind of Freedom (1993) is about the experiences of a former Orangefield pupil, the Beirut hostage Brian Keenan. He also produces and directs the films Something to Write Home About (1998), Where Are You Now? (1999), and Bogland (1999), all of which explore Seamus Heaney’s home region and experiences.

The first poem in Heaney’s collection Wintering Out (1972) is entitled “For David Hammond and Michael Longley.” Their lifelong friendship leads to several other creative collaborations. In particular, after a distressing evening in 1972 when Hammond, affected by the despair and terror unleashed by Irish Republican Army (IRA) bombing of his city, is for once unable to sing, Heaney meditates on the experience in an essay and in an important poem, “The singer’s house” (subsequently included in his 1979 Field Work collection). The poem urges the singer to keep singing, to defend the values of art and friendship in a hostile time. Hammond collaborates with Dónal Lunny and other traditional musicians to bring out an LP also called The Singer’s House(1978), which includes Heaney’s poem on the album sleeve, and features some of the songs that he had made famous, such as “My Aunt Jane” and “Bonny Woodgreen,” from his vast repertoire of songs from Ulster. The album is reissued in 1980.

In 1995, Hammond is one of Heaney’s personal guests at the award of his Nobel prize in Stockholm, characteristically wearing his usual, mustard-yellow, cattle-dealer boots with evening dress. On another formal occasion, when he is awarded an honorary doctorate by Dublin City University in November 2003, he surprises the audience by standing up in his academic robes to sing “My Lagan love,” instead of giving an address. His unique, light mellow voice is an ideal vehicle for the traditional ballads which he knows so well. He records a number of records in the 1960s, including Belfast Street Songs, and publishes the book Songs of Belfast (1978). He also encourages traditional musicians like Arty McGlynn, and collaborates with them on various recording projects. He is well known for live and often impromptu performances at festivals and venues in Ireland and the United States. He also performs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

Hammond is also a notable collaborator with poets and dramatists, especially in the important Field Day Theatre Company project, of which he is a director, along with Seamus Heaney, Tom Paulin, Seamus Deane, Thomas Kilroy, and the project’s founders, Brian Friel and Stephen Rea. He supports the Field Day search for a “fifth province,” where history and community and culture can intersect, believing that to speak unthinkingly of “two traditions” is to perpetuate superficial political divisions. As he says in an interview in The Irish Times on July 4, 1998, songs can “take you out of yourself” and become bridges to unite people.

Hammond receives many honours. In 1994, he receives the Estyn Evans award for his contribution to mutual understanding, and his work is featured in several major events in his honour: in the University of North Florida (1999), in the Celtic Film Festival in Belfast (2003), and in Belfast’s Linen Hall Library (2005). A Time to Dream, a film about his life and work, is broadcast on BBC Northern Ireland in December 2008.

Hammond dies in hospital in Belfast, after a long illness, on August 25, 2008, survived by his wife Eileen (née Hambleton), whom he marries on July 19, 1954, and by their son and three daughters. His funeral in St. Finnian’s Church is a major cultural event, where friends sing, play and speak in his honour.

In Seamus Heaney’s last collection of poetry, Human Chain (2010), he includes a poignant farewell to Hammond. The poet imagines (or perhaps dreams) of another visit to the singer’s house, but this time “The door was open, and the house was dark.”

(From: “Hammond, David Andrew (‘Davy’)” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, December 2014)


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Birth of Daniel McCann, Provisional Irish Republican Army Volunteer

Daniel McCann, a member of the Provisional Irish Republican Army (IRA), is born into an Irish republican family from the Clonard area of West Belfast on November 30, 1957. He is killed by the British Army on March 6, 1988, while being accused of attempting to plant a car bomb in Gibraltar.

McCann is educated at primary level at St. Gall’s Primary School, Belfast, and at St. Mary’s Grammar School, Belfast. He does not finish his education as he is arrested after becoming involved in rioting. He is charged and convicted of “riotous behaviour” and sentenced to six months in prison. Later that year he joins the Provisional IRA. He is later convicted and sentenced to two years imprisonment for the possession of explosives.

In 1987, McCann along with another IRA member, Seán Savage, murders two Royal Ulster Constabulary (RUC) officers at Belfast docks.

In 1988, McCann and Savage, along with Mairead Farrell, another IRA member, are sent to the British overseas territory of Gibraltar to plant a bomb in the town area, targeting a British Army band which parades weekly in connection with the changing of the guard in front of The Convent, the official residence of the governor of Gibraltar.

The British Government knows in advance about the operation, and specially dispatches to Gibraltar a British Army detachment to intercept the IRA team. While McCann, Savage and Farrell are engaged on March 6, 1988, on a reconnaissance trip in Gibraltar before driving in a car bomb, soldiers from the Special Air Service (SAS) regiment wearing civilian clothes confronts them in the streets of the town. McCann is shot five times at close range, the SAS soldiers later claiming that he had made an “aggressive move” when approached. Farrell, who is with McCann, is also shot dead. Savage is walking separately behind McCann and Farrell within eyesight distance, and seeing them ahead being confronted and fired upon, flees, running several hundred yards back into Gibraltar town closely pursued on foot by another SAS soldier, who catches up with him and shoots him dead also. All three IRA members are subsequently found to be unarmed.

A car bomb created by McCann, Savage and Farrell and ready to be driven into Gibraltar is found 36 miles away in Spain by the Spanish Police two days after their deaths, containing 140 lbs. (64 kg) of Semtex with a device timed to go off during the changing of the guard in Gibraltar.

A documentary entitled Death on the Rock, is produced and broadcast on British television about the failed IRA operation in Gibraltar shortly after it takes place, detailing the British and Spanish Government’s actions and that of the IRA team, in an operation that the British Government code-names Operation Flavius. The documentary also interviews civilian eyewitnesses to the shooting of the Provisional IRA members, raising questions about the veracity of the British Government and its involved soldiers’ accounts of it, focusing on whether the three IRA members had been offered the chance to surrender by the soldiers confronting them before they had been fired upon. It also questions whether the violence used had been proportionate, in line with ongoing rumours in the British media of a purported “Shoot to Kill” policy that the British Government is pursuing against the Provisional IRA during The Troubles.

At an IRA-sponsored collective funeral on March 16, 1988, for McCann along with Savage and Farrell at the IRA plot in Milltown Cemetery in West Belfast, as the bodies are being lowered into the ground, the funeral party comes under a hand grenade attack from a lone Loyalist paramilitary. The funeral immediately descends into chaotic scenes, as a running fight occurs between the lone gunman firing a handgun and throwing more grenades at a group of mourners, as they pursue him through the cemetery’s grounds. Three mourners are killed and scores wounded in the incident.


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Birth of John McAlery, Association Football Pioneer

John McCredy McAlery, an Irish association football pioneer, is born in Rathfriland, County Down, on November 29, 1848. His accomplishments include organizing the first ever properly organized football match in the history of Irish football in 1878, founding the first Irish football club in 1879, helping found the Irish Football Association in 1880, and wearing the captain‘s armband in Ireland‘s first ever international match in 1882. He is known as the “father of Irish association football.”

McAlery moves to Belfast to learn the drapery business and soon becomes very successful, opening the Irish Tweed House gentleman’s outfitters on Royal Avenue. A talented cricketer in his youth, his first involvement in the Belfast sport scene is helping in the formation of the Cliftonville Cricket Club in 1870, later serving as club treasurer. In 1878, during his honeymoon in Scotland, he witnesses his first ever association football match, and enjoys it so much he decides to introduce the sport back home.

The first match of organized association football on Irish soil is played on October 24, 1878, between Caledonian and Queen’s Park. McAlery invites the Scottish sides to play in the exhibition match at the Ulster Cricket Ground in an attempt to showcase the game to the Belfast crowd. Queen’s Park achieves a 3–2 victory, and more importantly, the demonstration is well received by the locals.

On September 20, 1879, less than a year later, McAlery places an advertisement in both the News Letter and the Northern Whig soliciting for individuals interested in becoming members of the Cliftonville Association Football Club.

The newly formed Cliftonville F.C. side plays their first match just nine days later, losing 2–1 to a team of rugby players called Quidnunces. They achieve their first victory on November 1 with a 2–0 defeat of Knock F.C., a team of former lacrosse players.

On November 18, 1880, McAlery organizes a meeting at the Queen’s Hotel in Belfast between the seven Irish football clubs that have been established at the time: Alexander, Avoniel, Cliftonville, Lisburn Distillery, Knock, Moyola Park and Oldpark. These teams become the founding members of the Irish Football Association (IFA), with Lord Spencer Chichester serving as its president and McAlery as secretary. In an appendix to the minutes of the meeting, McAlery writes: “If the spirit which pervaded from those present be acted upon the result will be a strong Association for promoting the game which we have espoused.”

The meeting also provides for Ireland’s first official football competition, the Irish FA Cup. In the first Cup final of the inaugural competition, played on April 9, 1881, Cliftonville is defeated by Moyola Park. They suffer the same fate the following year, losing to Queen’s Island in the final of the 1881–82 edition. McAlery, who captains Cliftonville while playing at fullback, wins his first trophy on his third try, as his club defeats Ulster to win the 1882–83 Irish Cup.

McAlery does not play much after this, deciding to focus on his administrative role in Irish football. He referees international matches until 1887, and remains the Irish FA secretary until 1888.

McAlery captains Ireland’s first ever international match on February 18, 1882, playing at right back. On a “bittery cold” Belfast night with occasional rain and hail, Ireland loses to the far more experienced England team by a score of 13–0. A week later, he makes his second and final international appearance, captaining his team again as they lose 7–1 to Wales in Wrexham.

McAlery retires to Whitehead, County Antrim, where he dies on December 3, 1925.

In 2013, a blue plaque erected by the Ulster History Circle is unveiled at Solitude, Cliftonville’s home ground, to commemorate McAlery’s efforts.


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Death of Sir William Moore, Member of Parliament & Judge

Sir William Moore, 1st Baronet, PC (NI), DL, a Unionist member of the British House of Commons from Ireland and a Judge of Ireland, and subsequently of Northern Ireland, dies in Ballymoney, County Antrim, Northern Ireland, on November 28, 1944. He is created a Baronet of Moore Lodge, Ballymoney, in 1932.

Moore is the eldest son of Queen Victoria‘s honorary physician in Ireland, Dr. William Moore of Rosnashane, Ballymoney, and Sidney Blanche Fuller. His ancestors came to Ulster during the Plantation of Ulster, settling at Ballymoney, at which time they were Quakers. The Moore Lodge estate is inherited from a relative. The family owns several other houses: Moore’s Grove and Moore’s Fort. He goes on to become a Deputy Lieutenant for County Antrim and a Justice of the Peace.

Moore is schooled at Marlborough College, then attends Trinity College Dublin (TCD), where he is president of the University Philosophical Society. He marries Helen Gertrude Wilson, the daughter of a Deputy Lieutenant of County Armagh, in 1888. The marriage produces three children. His eldest son, William, inherits his title on his father’s death.

Moore is called to the Irish Bar in 1887, to the English bar in 1899, and becomes an Irish Queen’s Counsel the same year.

In 1903, Moore is one of the first landowners of Ireland to sell off their estates under the land acts. By the early 1920s he owns a Belfast pied-à-terre called “Glassnabreedon,” in the village of Whitehouse, four miles north of Belfast. This house is once owned by the son of Nicholas Grimshaw, Ireland’s first cotton pioneer.

Moore becomes a member of the General Synod of the Church of Ireland and is a founder member of the Ulster Council. He is a passionate Orangeman: his vehemence in defending Ulster’s right to oppose Irish Home Rule is said to alarm even those who share his views. Speaking in England on March 10, 1913, he makes his feelings clear on the possibility of Irish Home Rule: “I have no doubt, if Home Rule is carried, its baptism in Ireland will be a baptism in blood.” He shows little respect for English politicians, and has nothing but contempt for Southern Unionists. The eventual political settlement in 1921 meets with his approval.

Moore is a Member of Parliament, representing North Antrim from 1899 to 1906. From 1903 to 1904, he is an unpaid secretary to the Chief Secretary for Ireland. Having lost his Parliamentary seat in the 1906 United Kingdom general election, he is elected for North Armagh at the 1906 North Armagh by-election in November. He sits for this seat until he is appointed a judge of Ireland’s High Court.

Moore is a Justice of the High Court from 1917 to 1921. He is sworn of the Privy Council of Ireland in the 1921 Birthday Honours, entitling him to the style “The Right .” Following the partition of Ireland, he becomes a Lord Justice of Appeal in the Northern Irish Court of Appeal (1921–25). He is sworn of the Privy Council of Northern Ireland in 1922 and becomes the Lord Chief Justice of Northern Ireland, succeeding Sir Denis Henry. He holds the position until he retires in 1937.

Moore dies at his home, Moore Lodge, in Ballymoney on November 28, 1944, less than a week after his 80th birthday. He is buried in the family burial ground, “Lamb’s Fold,” two days later.


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Birth of Derek Mahon, Northern Irish Poet

Norman Derek Mahon, Irish poet, is born in Belfast, Northern Ireland, on November 23, 1941, but lives in a number of cities around the world. At his death it is noted that his “influence in the Irish poetry community, literary world and society at large, and his legacy, is immense.” President of Ireland Michael D. Higgins says of Mahon, “he shared with his northern peers the capacity to link the classical and the contemporary but he brought also an edge that was unsparing of cruelty and wickedness.”

Mahon is the only child of Ulster Protestant working class parents. His father and grandfather work at Harland and Wolff while his mother works at a local flax mill. During his childhood, he claims he is something of a solitary dreamer, comfortable with his own company yet aware of the world around him. Interested in literature from an early age, he attends Skegoneill Primary School and then the Royal Belfast Academical Institution, known locally as Inst.

At Inst Mahon encounters fellow students who share his interest in literature and poetry. The school produces a magazine in which he produces some of his early poems. According to the critic Hugh Haughton, his early poems are highly fluent and extraordinary for a person so young. His parents cannot see the point of poetry, but he sets out to prove them wrong after he wins his school’s Forrest Reid Memorial Prize for the poem ”The power that gives the water breath.”

Mahon pursues third level studies at Trinity College Dublin (TCD) in French, English, and Philosophy and where he edits Icarus, and forms many friendships with writers such as Michael Longley, Eavan Boland and Brendan Kennelly. He starts to mature as a poet. He leaves TCD in 1965 to take up studies at the Sorbonne in Paris.

After leaving the Sorbonne in 1966, Mahon works his way through Canada and the United States. In 1968, while spending a year teaching English at Belfast High School, he publishes his first collection of poems, Night Crossing (1968, Oxford University Press). He later teaches in a school in Dublin and works in London as a freelance journalist. He lives in Kinsale, County Cork. On March 23, 2007, he is awarded the David Cohen Prize for Literature. He wins the Poetry Now Award in 2006 for his collection, Harbour Lights, and again in 2009 for his Life on Earth collection.

At times expressing anti-establishment values, Mahon describes himself as an “aesthete” with a penchant “for left-wingery […] to which, perhaps naively, I adhere.”

In March 2020, at the beginning of the COVID-19 pandemic, RTÉ News ends its evening broadcast with Mahon reading his poem Everything Is Going to Be All Right.

Mahon dies in Cork, County Cork, on October 1, 2020, after a short illness, aged 78. He is survived by his partner, Sarah Iremonger, and his three children, Rory, Katy, and Maisie. His papers are held at Emory University.

Mahon features on the Irish Leaving Certificate course with ten of his poems (Grandfather, Day Trip to Donegal, Ecclesiastes, After the Titanic, As It Should Be, A Disused Shed in Co. Wexford, Rathlin, The Chinese Restaurant in Portrush, Kinsale and Antarctica)


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Birth of James Craig, Loyalist Paramilitary

James Pratt Craig, Northern Irish loyalist paramilitary during the Troubles in Northern Ireland, is born in Belfast on November 17, 1941.

Craig, known as Jim, grows up in an Ulster Protestant family on the Shankill Road. In the early 1970s, he, a former boxer, is sent to the HM Prison Maze for a criminal offence unrelated to paramilitary activities. While serving his sentence at the Maze he joins the Ulster Defence Association (UDA), and is asked by the organisation’s commander at the time, Charles Harding Smith, to take control of the UDA prisoners inside, on account of his reputation as a “hard man.”

After his release in 1976, Craig sets up a large protection racket and becomes the UDA’s chief fundraiser. By 1985, he has managed to blackmail and extort money from a number of construction firms, building sites, as well as pubs, clubs, and shops in Belfast and elsewhere in Northern Ireland, whose intimidated owners pay protection money out of fear of Craig and his associates. It is alleged that the UDA receives hundreds of thousands of pounds, some of which also find their way inside Craig’s pockets as part of his “commission.” He is acquitted on a firearm charge and Ulster Freedom Fighters (a cover name for the UDA) membership on March 18, 1982. In 1985, he is brought to court after a number of businessmen decide to testify against him, with the condition that their identities remained hidden. The case falls apart when Craig’s defence argues that his client’s rights were violated by the concealment of the witnesses’ identities.

Craig allegedly is involved in the double killing of a Catholic man and a Protestant man on the Shankill Road in 1977. The men, both colleagues, had entered a loyalist club and were later stabbed, shot and put into a car which was set on fire. By this time the UDA West Belfast Brigade no longer wants him in their ranks, as they claim they can no longer “afford him.” Craig, who is ordered to leave the Shankill Road, goes on to join forces with John McMichael’s South Belfast Brigade. In addition to being the principal fundraiser, he also sits on the UDA’s Inner Council. He usually travels in the company of his bodyguard, Artie Fee, a UDA member from the Shankill Road.

The rival Ulster Volunteer Force (UVF) carries out an investigation after it is rumoured Craig has been involved in the death of UVF major William Marchant, who is gunned down by Provisional Irish Republican Army gunmen from a passing car on the Shankill Road on April 28, 1987. Marchant is the third high-ranking UVF man to be killed by the IRA during the 1980s. Although their inquiries reveal that Craig had quarrelled with Marchant as well as Lenny Murphy and John Bingham prior to their killings, the UVF feel that there is not enough evidence to warrant an attack on such a powerful UDA figure as Craig.

In December 1987, when UDA South Belfast brigadier John McMichael is blown up by an IRA booby-trap car bomb outside his home in Lisburn‘s Hilden estate, it is believed that Craig had organised his death with the IRA. Allegedly Craig fears McMichael is about to expose his racketeering business, thus putting an end to his lucrative operation. McMichael reportedly sets up an inquiry and discovers that Craig is spending money on a lavish scale, going on holidays at least twice a year and indulging in a “champagne lifestyle.” At the same time, it is suggested that Craig has made certain deals with Irish republican paramilitary groups, dividing up the rackets in west Belfast, and he would be doing the IRA a favour by helping them to eliminate a high-profile loyalist such as McMichael. Craig has established links with republicans during his time in prison, and the profitable deals and exchanges of information between them ensures he will most likely not be a target for IRA assassination.

Craig is named as an extortionist in Central Television’s 1987 programme The Cook Report. He plans to sue the programme’s producers for libel. In January 1988, Jack Kielty (father of future television presenter Patrick Kielty), a building contractor from County Down who had promised to testify as a key witness against Craig, is murdered by the UDA. This killing is attributed to Craig, although it is never proven.

Craig is shot dead by two gunmen from the UDA in “The Castle Inn” (later called “The Bunch of Grapes”), a pub in Beersbridge Road, east Belfast on October 15, 1988, where he has been lured in the belief that there is to be a UDA meeting. He is playing pool in the pub at the time of his fatal shooting by the two men, both of whom are wearing boilersuits and ski masks and carrying automatic weapons. Upon spotting Craig they open fire, spraying the room with gunfire. Craig dies instantly. A bystander pensioner is also murdered in the attack, and four other bystanders are wounded by stray bullets. The UDA claims the killing is carried out due to Craig’s “treason” and involvement in John McMichael’s murder as they know he had provided the IRA with information to successfully carry out the assassination. They apologise for the unintentional death of the pensioner. Craig is not given a paramilitary funeral, and none of the UDA’s command attend it.


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IRA Assassination of MP Robert Bradford

The Rev. Robert J. Bradford, an Ulster Unionist Member of Parliament (MP) for the Belfast South constituency in Northern Ireland, is killed by Provisional Irish Republican Army gunmen on the morning of November 14, 1981, as he sits talking with constituents in a Belfast community center.

The gunmen, who are wearing workmen’s overalls, escape in a car afterward, killing Ken Campbell, a caretaker, as they leave. The people with whom Bradford had been meeting, most of them elderly, dive under tables for cover, and dozens of teenagers dancing nearby break into hysterical tears, but there are no injuries.

The killing is part of an escalation of IRA violence, both in London and in Northern Ireland, after the collapse of the prison hunger strike the previous month. The previous night an IRA bomb damages the London home of Britain’s Attorney General for Northern Ireland, Michael Havers. The home is empty and no one is seriously injured.

Bradford, a 40-year-old Methodist minister who is married and has a 6-year-old daughter, is shot several times, according to witnesses, and he dies almost immediately. His brother, Roy, who lives near the scene of the killing, in South Belfast, is at his side within moments. “But he was unconscious when I reached him, and he only lived for about a minute,” Roy Bradford says. News of the killing arouses fears of a Protestant reaction that could lead to serious civil unrest in Northern Ireland.

John “Jack” Hermon, the Chief Constable of the Royal Ulster Constabulary, issues an appeal to both the Protestant majority and the Roman Catholics to show “good sense and restraint.” He says security is being tightened in the province as a precautionary measure. He orders a wide-ranging search for the gunmen, who number at least three and possibly four, a point upon which the witnesses differ.

Bradford, who has been in Parliament since 1974, is an outspoken critic of the Irish nationalist guerrillas. He repeatedly calls for the reimposition of capital punishment in the province and for other strong deterrent measures.

With the Rev. Ian Paisley, another hard-line Member of Parliament, Bradford had planned to visit the United States In early 1982 to counteract the publicity of the IRA, which depends heavily on the money it receives from its American sympathizers. “There is a need for Americans to recognize that Ulster is not an occupied country,” Bradford says the previous month, “and that our political history is one of which we can be proud.”

The IRA, in a statement claiming responsibility for the killing, calls Bradford “one of the key people responsible for winding up the loyalist paramilitary sectarian machine in the North.” All twelve of Northern Ireland’s Members of Parliament – ten Protestants and two Catholics – are considered likely targets in the sectarian struggle that has claimed 2,100 lives in the province since 1969.

In a statement expressing shock and sympathy, Prime Minister of the United Kingdom Margaret Thatcher says, “We shall pursue with utmost vigor those who committed this wicked act.”

(From: “I.R.A. Gunmen Slay a Protestant M.P.” by William Borders, The New York Times, http://www.nytimes.com, November 15, 1981)


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Execution of Maurice O’Neill, Irish Republican

Maurice O’Neill, an Irish Republican Army (IRA) Captain captured in 1942 after a shootout with Irish police (Garda Síochána), is executed on November 12, 1942, one of only two people executed in independent Ireland for a non-murder offence.

O’Neill is a farmer from an Irish republican family in the farming community of Cahersiveen, County Kerry. He and his older brother Sean are dedicated Irish republicans. He fights in the Irish Republican Army’s 1942-44 Northern Campaign and is assigned to the IRA’s General Headquarters (GHQ) at the time of his capture. In the early 1930s, his brother Sean serves in the IRAs Dublin Brigade and serves on GHQ Staff IRA in various capacities from 1945 to 1955.

On October 24, 1942, O’Neill is arrested after a raid by Garda Síochána in which Garda Detective Officer Mordant is shot and killed in Donnycarney, Dublin. The mission of the police raid is the capture of Harry White, the IRA Quartermaster General. White escapes capture and O’Neill is arrested but not charged with the murder of the Detective Officer but with “shooting with intent.” It is thought that Detective Officer Mordant’s death may have been a result of crossfire between Special Branch policemen.

In 1939, the Irish legislature, the Oireachtas, passes the Offences Against the State Act 1939, which establishes the Special Criminal Court (SCC). O’Neill is promptly tried in a military court and found guilty of a capital offence. Sentenced to death, and with no appeal provided for in the relevant law, he is executed on November 12, 1942, just 19 days after his arrest, by the Irish Army in Mountjoy Prison. His body is buried in the grounds of the prison. He is one of seven IRA men executed in Ireland between September 1940 and December 1944: Patrick MacGrath, Thomas Harte, Richard Goss, George Plant, and O’Neill are executed by firing squad, while two others are hanged – Tom Williams in Crumlin Road Gaol, Belfast, and Charlie Kerins in Mountjoy Prison, Dublin. O’Neill and Richard Goss are the only people executed by the Irish state for a non-murder crime.

The 25-year-old O’Neill’s execution provokes particularly widespread protests, as he is a popular figure in his native County Kerry. He apparently is stoic and calm when his fate becomes clear. In a letter to his elder brother, Sean, from Arbour Hill Prison, he writes: “I suppose you saw in the papers where I met my Waterloo last Saturday night. Well, such are the fortunes of war…there is only one sentence, death or release. So I believe it is the full penalty for me. There is no good in having false hopes, hard facts must be faced.” In his last letter to his father he writes: “I am glad that I am not being reprieved as the thought of the torture I would have to endure in Portlaoise makes me shudder.”

Many Irish republican prisoners are released in 1948 as is the body of O’Neill (on September 17, 1948). O’Neill is buried in the republican plot at Kilavarnogue Cemetery, Cahersiveen, County Kerry. His name is listed on a monument in Fairview Park, Dublin, with the names other IRA members of that period who lose their lives. The Maurice O’Neill Bridge to Valentia Island is built in 1970 and named in memory of the young farmer who had been executed in 1942. In Kilflynn, County Kerry, the Crotta O’Neill’s hurling club is named after him. In 2011, an Irish television documentary focuses on how O’Neill’s execution affected his family.


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Death of Olive Henry, Northern Irish Artist

Olive Henry, Northern Irish artist known for her painting, photography and stained glass design, dies on November 8, 1989, in Crawfordsburn, County Down, Northern Ireland. She is a founding member of the Ulster Society of Women Artists and is believed to be the only female stained glass artist working in Northern Ireland in the first half of the twentieth century.

Henry is born in Belfast on January 15, 1902, the daughter of the tea merchant George Adams Henry. She attends Mount Pottinger National School, and Victoria College, before expanding her studies at night classes at the Belfast School of Art.

Henry completes an apprenticeship at Clokey Stained Glass Studios founded by Walter Francis Clokey where she is to work for over fifty years designing stained glass windows. Her appointment in the autumn of 1919 comes by a chance visit to Victoria College by the firm’s owner who is seeking a suitable apprentice. She retires from the firm at Easter 1972.

In addition to her stained glass work, Henry exhibits her paintings widely in the Oireachtas, Belfast Art Society, Royal Ulster Academy, Royal Hibernian Academy, the Irish Exhibition of Living Art, Water Colour Society of Ireland, Belfast Museum and Art Gallery (now the Ulster Museum) and the National Society in London. She is a founding member, with Gladys Maccabe, of the Ulster Society of Women Artists and is president of the society from 1979 to 1981.

Henry exhibits at the Belfast Art Society for the first time in 1928. She exhibits four works, all landscapes in oil, and then a further two works in the following year. In 1931, she shows a further two works with the successor to the Belfast Art Society, the Ulster Academy of Arts. In 1932, she shows A Derbyshire Village, described by one critic as “a delightful English rural scene.” Between 1931 and 1942 she shows with more than twenty paintings at the Ulster Academy of Arts, exhibiting at each annual show in that time.

Henry has a keen interest in photography from an early age and wins various awards for her photographs. In 1934, she wins the August prize from the Photographic Dealers’ Association for a shot of a child playing with toys in the bath, having received a consolation prize of five shillings in September of the previous year for a shot of a traditional market scene in Boulogne. She goes on to write a regular column for Amateur Photographer throughout the 1930s.

In January 1935, Henry is appointed leader of a local sketching group by the Youth Hostel Association. In December 1935, she is commended for a sketch called River Pool, submitted to a competition judged by James Humbert Craig on behalf of the Youth Hostel Association, presented alongside Port Muckin a show with the sketching group. Maurice Canning Wilks contributes Skernaghan Point, Brown’s Bay to the same show.

The Robinson and Cleaver Art Gallery stages a display of works from Four Ulster Artists in 1936 consisting of paintings from Henry, her sister Marjorie, Theo Gracey and F. H. Hummel. She contributes Green Boat, which she had presented earlier in the year to the Ulster Academy of Arts, and includes Off the Scilly Isles among pictures from Brittany and Bavaria. The reviewer in Belfast’s News Letter refers to her style as “Post-Impressionism.”

In 1937, Henry is elected an Associate of the Ulster Academy of Arts and presents three watercolours to the institution the following year. The exhibition is opened by Oliver St. John Gogarty with participants such as John Luke, Maurice Wilks, James Humbert Craig, Rosamund Praeger and Colin Middleton, who shows three Surrealist works including Angelus.

The Royal Hibernian Academy displays two small works, Flight, 1941 and Lakeside, among an unusually large contingent of Ulster artists in the annual exhibition in the spring of 1942. The Ulster Academy of Arts is united in their commitment to raise funds for the bomb damaged Ulster Hospital for Children and Women in their Spring Exhibition of 1942. Henry displays a sense of humour in her use of black-out paint, roadblocks and air raid shelters in one of the watercolours on show.

Henry is a regular exhibitor with the Water Colour Society of Ireland, and contributes more than one hundred works to their exhibitions between 1943 and 1986.

Henry joins Violet McAdoo in a joint exhibition at the Belfast Museum and Art Gallery in 1944. McAdoo presents with watercolours, however, Henry also presents oils. The paintings are primarily of landscapes but included a number urban scenes.

In 1945, Henry and her sister Margaret join Arthur and George Campbell, Colin Middleton, Gladys and Max Maccabe, Thomas Carr, Maurice Wilks, James McIntyre and others, in the only official exhibition from the Ulster branch of the Artists’ International Association sponsored by the Council for the Encouragement of Music and the Arts (NI) at the Belfast Museum.

The MacGaffin Gallery at Pottinger’s Entry is the venue for a group exhibition of experimental and modernist works with Nevill Johnson, Aaron McAfee and the MacCabes in 1946, where Henry exhibits seven paintings. Quayside is one of three pictures that she presents at the Ulster Academy in 1946. She also shows it with the Water Colour Society of Ireland in the following year and at CEMA’s Some Ulster Paintings exhibition in that same year.

In 1946, the Council for the Encouragement of Music and Art (CEMA) purchases a painting by Henry, in addition to works by other contemporary Ulster artists. Twenty-four of the works from the CEMA collection, including her painting, are later presented at their Donegall Place gallery in 1954.

Henry debuts at the 1948 Irish Exhibition of Living Art with one painting and returns in each of the subsequent ten years with a total of 20 paintings. She is also elected as an Honorary Academician of the Ulster Academy of Arts in 1948.

Henry displays one work, Harbour, Northern Ireland, with Violet McAdoo at the 88th exhibition of the Society of Women Artists at the Royal Institute Galleries in London during the summer of 1949. Just a few months later her work is back in London for the United Society of Artists annual exhibition where she shows Gossip and Shell and Sail.

Henry is awarded a travel scholarship from the Soroptomists of Belgium in 1957, which enables her to study stained glass in the country. She is the President of Soroptomist Club of Belfast from 1960 to 1961, where she had been a member since its foundation in 1932.

Upon her return from Belgium, CEMA stages a solo exhibition with thirty-five of Henry’s oils and watercolours at their Belfast gallery. The exhibition is arranged at short notice when another is unexpectedly cancelled. Writer Nesca Robb opens the exhibition where it is claimed a new painting technique, “monopainting,” is revealed, described as paint drawn through a gauze over glass. The exhibition includes a ‘Breton’ series, Kerry Tangle, Ship Pattern, Barrack Shapes, Lough Shapes, and Backs. In addition, she displays In the Park, an oil previously seen at the Royal Ulster Academy in 1955 and at the Irish Exhibition of Living Art in 1956, and a second oil, City Lunch Hour, exhibited at the Royal Ulster Academy in 1956.

The Ulster Society of Women Artists is founded in 1957 by Gladys Maccabe with the support of Henry and a number of others at a time when no arts societies are accepting female artists into their ranks. The main objective is to ensure the development of quality art and women artists in Ulster. The organisation begins with ten invited artists. Henry exhibits with the society throughout her life.

Henry receives a mention in the local press referring to her exhibits in the Royal Ulster Academy show of 1959 with Kenneth Jamison comparing her work with that of Deborah Brown, “Olive Henry is more decadent by instinct, a fine formaliser. Her pictures Man and Ropes and Riviera Port, well defined and carefully abstracted, contrast in form with Deborah Brown’s freer Oil Over Tempra,[sic] 1959.”

A group exhibition in 1964 at the New Gallery in Belfast includes work from Henry alongside Neil Shawcross, Max Maccabe, Kathleen Bell, Richard Croft and Helen Ross. Among other works she shows Easter and Long Garden.

In 1965, Henry joins twelve Ulster artists including Alice Berger-Hammerschlag, Basil Blackshaw, Colin Middleton, Romeo Toogood, and Mercy Hunter in a diverse exhibition of landscape paintings at the Arts Council of Northern Ireland gallery. In the same year, she completes a commission from the Sullivan Association of Former Pupils to design a window for Sullivan Upper School in Holywood, County Down.

In 1981, the Ulster Society of Womens Artists elects Henry as President. A retrospective of her studio works is hosted by the Shambles Gallery in Hillsborough, County Down in 1986, some thirty years since her last solo exhibition. Henry shows at the Royal Ulster Academy Annual Exhibition in 1987 for the last time.

Henry dies on November 8, 1989, at Crawfordsburn, County Down. Her paintings are held in the collections of the Northern Ireland Civil Service, Ulster Museum, Irish Linen Centre & Lisburn Museum, and the Royal Ulster Academy of Arts Diploma Collection.

(Pictured: “The Gardener,” watercolour by Olive Henry)


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Death of Leo Whelan, Portrait & Genre Painter

(Michael) Leo Whelan, portrait and genre painter, dies from leukemia on November 6, 1956, at the Mater private nursing home in Dublin.

Whelan is born on January 17, 1892, at 20 St. George’s Villas, Fairview, Dublin, one of two sons and three daughters of Maurice Whelan, a draper, of County Kerry ancestry, and Mary Whelan (née Cruise), from County Roscommon. The family subsequently moves to 65 Eccles Street, where his parents operated a small hotel. Educated at Belvedere College, Dublin, he then attends the Dublin Metropolitan School of Art (DMSA) (1908–14), where he is a student of William Orpen, who has a huge influence on his artistic style. His fellow students at the school include Patrick Tuohy and Séan Keating.

Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.

Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.

Coming from a family of militant nationalist sympathies, in 1922 he begins a large group portrait, GHQ Staff of the Pre-Treaty IRA, including Michael Collins, Richard Mulcahy, Rory O’Connor, Liam Mellows and nine others, composed from individual studies of the men rendered during clandestine sittings in his home and studio. The painting, which he leaves unfinished, is in McKee Barracks, Dublin. He receives special praise for his portraits of John Henry Bernard, Provost of Trinity College Dublin (TCD) and of Louis Claude Purser, TCD vice-provost. The latter is awarded a medal at the 1926 Tailteann Games. He exhibits seventeen paintings at the Royal Society of Portrait Painters, London, of which he is a member, and shows two works at the Royal Academy of Arts, London. His 1929 portrait of John McCormack, one of his major patrons, is presented by the tenor’s family some fifty years later to the National Concert Hall, Dublin.

Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).

Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.

In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.

Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.

Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.

(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)