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Birth of Colin Middleton, Northern Irish Artist & Surrealist

Colin Middleton MBE, Northern Irish landscape 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’s Suffolk 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 pedagogue Dennis 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 The Dublin 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 the 1970s, the Arts Council of Northern Ireland commissions a documentary film portrait of Middleton entitled Trace of a Thorn, which is written and narrated by the Belfast poet Michael Longley. Hus works can be seen in many private and public collections including the Ulster Museum, Irish Museum of Modern Art, the Hugh Lane Municipal Gallery, National Gallery of Ireland, National Gallery of Victoria, Herbert Art Gallery and University of Oxford.

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 honorary Master 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.


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Founding of European Movement Ireland

European Movement Ireland (EM Ireland) (Irish: Gluaiseacht na hEorpa in Éirinn) is founded in Dublin on January 11, 1954. EM Ireland is an independent not-for-profit organisation that campaigns for every Irish person to get involved in the European Union (EU) and by doing so, help shape it. It is the oldest Irish organisation dealing with the EU, pre-dating Ireland’s membership of the European Economic Community (EEC) in 1973 by almost twenty years. The organisation is headed by Chief Executive Officer (CEO), Noelle Connell. Julie Sinnamon acts as Chair of the EM Ireland Board.

One hundred people meet in the Shelbourne Hotel in Dublin on January 11, 1954, and found the Irish Council of the European Movement. Signing the Articles of Association that found the EM Ireland are seven pioneers of Ireland’s future in Europe. They are: Donal O’Sullivan, university lecturer; Garret FitzGerald, economist; Louis P. F. Smith, economist; Denis Corboy, barrister; George Colley, solicitor; Declan Costello, barrister; and Sean J. Healy, secretary.

These seven signatories lay the first stone paving Ireland’s way to full membership of the EU. The aim of the Irish Council is to inform Irish individuals and organisations about the EU. One of its primary objectives is for Ireland to gain membership of the European Communities (EC) (principally the European Economic Community (EEC), as the EU is then known). Former Taoisigh Garret FitzGerald and Jack Lynch, and former President Mary Robinson back the initiative. After a referendum is held on the Third Amendment of the Irish Constitution, which is overwhelmingly approved by voters in May 1972, Ireland joins the European Communities as a full member state on January 1, 1973.

The Irish Council later becomes European Movement Ireland. Today the organisation claims to act as source of information for Irish citizens regarding the work of the EU and its stated aim is to promote reasoned robust and fair debate about EU in Ireland.

EM Ireland retains an affiliation with the European Youth Parliament, a youth organization which runs events for secondary school age children along the structure of a mock European Parliament.

EM Ireland is part of a pan-European network. European Movement International is a lobbying association that coordinates the efforts of associations and national councils with the goal of promoting European integration, and disseminating information about it. It seeks to encourage and facilitate the active participation of citizens and civil society organisations in the European Union as it develops. The European Movement network is represented in over 41 countries and has over 20 international organisations as members. The current President of European Movement is the former MEP from Belgium, Guy Verhofstadt. For a full list of all European Movement offices, and an outline of the history of the international network visit the EM International website at http://www.europeanmovement.eu/


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Death of Nancy Wynne-Jones, Welsh & Irish Artist

Nancy Wynne-Jones HRHA, a Welsh and Irish artist, dies in County Wicklow on November 9, 2006.

Mary Esperance (“Nancy”) Wynne-Jones is born on December 10, 1922, in Penmaenucha, Wales, to landowner Charles Llewellyn Wynne-Jones and Sybil Mary Gella Scott. The family spends half the year in Wales and half the year in Thornhill, Stalbridge, Dorset. She has two brothers, Andrew and Ronald (“Polly”), both of whom die in Africa during World War II.

Wynne-Jones is educated at home. Her skill in art leads to her getting lessons in Sherborne from a children’s book illustrator. Her music is encouraged by the family doctor and she begins to compose and study the violin, receiving lessons in Bournemouth with the first violinist of the symphony orchestra. After the start of World War II, she continues in Aberystwyth. She goes on to study the violin and composition at the Royal Academy of Music, London (1940–43). While in London she also serves as a Voluntary Aid Detachment nurse until 1943 and later as a draughtswoman at the Ordnance Survey.

After the war, Wynne-Jones purchases and manages a bookshop on the King’s Road in Chelsea, but it is not a financial success. She returns to painting, studying at the Heatherley School of Fine Art, London, from 1951 to 1952 and the Chelsea School of Art from 1952 to 1955. She travels extensively through Portugal and Italy painting landscapes. An interest in completing landscapes in an abstract manner leads her to study with Peter Lanyon in St. Ives, Cornwall.

Wynne-Jones begins study in Cornwall in 1957 and remains there for fifteen years. Her first public exhibition is in a group show in 1957 at the Pasmore Edwards Gallery, Newlyn. Other group shows are Jefferson Place Gallery, Washington, D.C. (1959) and in Falmouth, Cornwall (1960). Her solo exhibitions are at the New Vision Centre, London (1962 and 1965), Florence (1963) and Dolgellau (1964). From the 1960s through the 1990s she exhibits in Britain, Italy, Belgium, Germany, Ireland, Spain, Holland, South Africa, and the United States.

In 1962, Wynne-Jones purchases Trevaylor House near Penzance and provides accommodation for other artists including renowned Irish painter Tony O’Malley, sculptor Conor Fallon and English poet and writer W. S. ‘Sydney’ Graham. In the 1970s she exhibits in Ireland at the Project Arts Centre, Dublin (1970) and at the Emmet Gallery, Dublin (1975 and 1977). During the 1980s she exhibits at the Lincoln and Hendricks galleries in Dublin before joining the Taylor Gallery, run by John and Patrick Taylor. She is elected an honorary member of the Royal Hibernian Academy (RHA) in 1994 and becomes a member of Aosdána in 1996. Originally an abstract artist, her contact with the Irish countryside slowly transforms her work to that of a landscape artist, albeit with an influence of abstraction attached to it. She becomes well-known in Irish art circles as an eminent Irish landscape artist.

Wynne-Jones is involved with artist Derek Middleton before moving to Cornwall. There she becomes romantically involved with Graham who is in an open marriage, however, it is the death of her mentor Peter Lanyon which devastates her. She meets the sculptor Conor Fallon through their mutual friend, Tony O’Malley. Fallon had arrived in Cornwall ostensibly to meet Lanyon. They marry in 1966. Their honeymoon in Provence is immortalised in expressionist paintings done by her. The couple adopts a boy and a girl, siblings, John and Bridget. In 1972, she moves with her family to Kinsale, County Cork. It is in the area around here that a number of her paintings are created. Later she paints the mountain visible from her Wicklow home after the family moves in the late 1980s. She moves to Ballard House, near Rathdrum, County Wicklow in 1987.

Wynne-Jones dies on November 9, 2006, and is buried in Ballinatone (Church of Ireland), Rathdrum.


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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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Birth of William Kenny, Victoria Cross Recipient

William Kenny VC, an Irish recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces, is born on August 24, 1880, in Drogheda, County Louth.

Kenny is 34 years old, and a Drummer in the 2nd Battalion, Gordon Highlanders, British Army during World War I when the following deed takes place for which he is awarded the Victoria Cross.

On October 23, 1914, near Ypres, Belgium, Drummer Kenny rescues wounded men on five occasions under very heavy fire. Twice previously he saves machine guns by carrying them out of action, and on numerous occasions he conveys urgent messages under very dangerous circumstances over fire-swept ground.

In addition to the Victoria Cross, Kenny earns the rank of Drum-Major and is also awarded the following medals: Queen’s South Africa Medal with bars, King’s South Africa Medal with bars, 1914 Star with bar, British War Medal, Victory Medal with oak-leaf, Delhi Durbar Medal, and the Cross of St. George (Russia).

Kenny dies on January 10, 1936, at Hammersmith, West London, England. He is buried in the Corps of Commissionaires plot at Brookwood Cemetery, Brookwood, Surrey, England, but the original marker is lost.

On March 20, 1999, Kenny’s grave receives a new headstone, arranged by The Gordon Highlanders London Association (Lt. Col. M. H. Burge). He is not otherwise commemorated. His Victoria Cross and other medals are on display at the Gordon Highlanders Museum, Aberdeen, Scotland.


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Death of Patrick Sarsfield, 1st Earl of Lucan

Patrick Sarsfield, 1st Earl of Lucan, an Irish army officer, is killed at Huy, Belgium, on August 21, 1693, while serving in the French Royal Army. He is now best remembered as an Irish patriot and military hero.

Originally of English descent, Sarsfield is born into a wealthy Catholic family around 1655. His father, Patrick, is an Irish landowner and soldier, and his mother is Anne O’Moore, daughter of Rory O’Moore, a Gaelic noble who plays a leading part in the Irish Rebellion of 1641.

There are few surviving records of Sarsfield’s early life, although it is generally agreed he is brought up on the family estates at Tully. While some biographies claim he is educated at a French military college, there is no evidence for this.

In the 1670 Secret Treaty of Dover, Charles II agrees to support a French attack on the Dutch Republic, and supply 6,000 troops for the French army. When the Franco-Dutch War begins in 1672, Sarsfield is commissioned into his brother-in-law James Scott, 1st Duke of Monmouth‘s regiment. Although England leaves the war in 1674, the brigade continues to serve in the Rhineland, under Henri de La Tour d’Auvergne, Viscount of Turenne. Sarsfield transfers into a regiment commanded by Irish Catholic Sir George Hamilton.

Sarsfield fights at Entzheim, Turckheim and Altenheim. He and Hamilton are standing next to Turenne when he is killed by a chance shot at Salzbach in July 1675. He remains in France until the war ends in 1678, then returns to London to join a new regiment being recruited by Thomas Dongan, 2nd Earl of Limerick. However, the Popish Plot then results in Sarsfield and other Catholics being barred from serving in the military.

This leaves Sarsfield short of money, and he becomes involved in an expensive legal campaign to regain Lucan Manor from the heirs of his brother William, who dies in 1675. This ultimately proves unsuccessful amid allegations of forged documents, and in 1681 he returns to London, where he makes two separate attempts to abduct an heiress and is lucky to escape prosecution. When Charles’s Catholic brother James becomes king in 1685, Sarsfield rejoins the army and fights in the decisive Battle of Sedgemoor, which ends the Monmouth Rebellion. James is keen to promote Catholics, whom he views as more loyal, and by 1688 Sarsfield is colonel of a cavalry unit.

After Richard Talbot, 1st Earl of Tyrconnell, is appointed Lord Deputy of Ireland in 1687, he begins creating a Catholic-dominated Irish army and political establishment. Aware of preparations for invasion by his nephew and son-in-law William of Orange, James sends Sarsfield to Dublin in September to persuade Tyrconnell to provide him with Irish troops. This proves unsuccessful, and in November James is deposed by the Glorious Revolution. Sarsfield takes part in the Wincanton Skirmish, one of the few military actions during the invasion. He remains in England until January when he is allowed to join James in France.

Accompanied by French troops and English exiles, James lands in Ireland in March 1689, beginning the Williamite War in Ireland. Sarsfield is promoted brigadier, elected to the 1689 Irish Parliament for County Dublin, and commands cavalry units in the campaign in Ulster and Connacht. When an Irish brigade is sent to France in October, French ambassador Jean-Antoine de Mesmes proposes Sarsfield as its commander. He notes that while “not…of noble birth […], (he) has distinguished himself by his ability, and (his) reputation in this kingdom is greater than that of any man I know […] He is brave, but above all has a sense of honour and integrity in all that he does”.

James rejects this, stating that although unquestionably brave, Sarsfield is “very scantily supplied with brains.” His role at the Battle of the Boyne is peripheral, although the battle is less decisive than often assumed, Jacobite losses being around 2,000 from a force of 25,000. James returns to France, leaving Tyrconnell in control. He is the leader of the “Peace Party,” who want to negotiate a settlement preserving Catholic rights to land and public office. Sarsfield heads the “War Party,” who feel they can gain more by fighting on. It includes the Luttrell brothers, Nicholas Purcell and English Catholic William Dorrington, a former colleague from Monmouth’s Regiment.

The position of the War Party is strengthened by the Declaration of Finglas, which offers the rank and file amnesty but excludes senior officers. French victories in the Low Countries briefly increases hopes of a Stuart restoration, and the Jacobites establish a defensive line along the River Shannon. Sarsfield cements his reputation with an attack on the Williamite artillery train at Ballyneety, widely credited with forcing them to abandon the  first siege of Limerick. The Jacobites also retain Athlone, offset by the loss of Kinsale and Cork, which make resupply from France extremely difficult.

With Tyrconnell absent in France, Sarsfield takes control and in December 1690, arrests several leaders of the peace faction. He then bypasses James by asking Louis XIV directly for French support, and requesting the removal of Tyrconnell and the army commander James FitzJames, 1st Duke of Berwick, James’ illegitimate son. The latter, who later describes Sarsfield as “a man […] without sense”, albeit “very good-natured,” leaves Limerick for France in February.

Tyrconnell returns in January 1691, carrying letters from James making Sarsfield Earl of Lucan, an attempt to placate an “increasingly influential and troublesome figure.” A large French convoy arrives at Limerick in May, along with Charles Chalmot de Saint-Ruhe, appointed military commander in an attempt to end the conflict between the factions. Saint-Ruhr and 7,000 others die at Aughrim in July 1691, reputedly the bloodiest battle ever on Irish soil. Sarsfield’s role is unclear: one account claims he quarrels with Saint-Ruhe and is sent to the rear with the cavalry reserves.

The remnants of the Jacobite army regroup at Limerick. Tyrconnell dies of a stroke in August, and in October, Sarsfield negotiates terms of surrender. He is criticised for this, having constantly attacked Tyrconnell for advocating the same thing, while it is suggested the Williamite army is weaker than he judged. However, the collapse of the Shannon line and surrender of Galway and Sligo leaves him little option. Without French supplies, the military position is hopeless, and defections mean his army is dissolving.

The military articles of the Treaty of Limerick preserve the Jacobite army by allowing its remaining troops to enter French service. About 19,000 officers and men, including Sarsfield, choose to leave in what is known as the Flight of the Wild Geese. Sarsfield’s handling of the civil articles is less successful. Most of its protections are ignored by the new regime, although Sarsfield possibly views it as temporary, hoping to resume the war.

On arrival in France, Sarsfield becomes Major-General in the army of exiles, an appointment James makes with great reluctance. In addition to other acts of perceived insubordination, Sarsfield allegedly tells William’s negotiators at Limerick “change but kings with us, and we will fight it over again.” After the planned invasion of England is abandoned in 1692, the exiles become part of the French army, and Sarsfield a French maréchal de camp.

Sarsfield fights at Steenkerque in August 1692, and is fatally wounded at the Battle of Landen in 1693, dying at Huy on August 21, 1693. Despite several searches, no grave or burial record has been found, although a plaque at St. Martin’s Church, Huy, has been set up in commemoration and an announcement in 2023 states that, pending exhumation and identification, his remains have been located. Like much else, his reputed last words, “Oh that this had been shed for Ireland!” are apocryphal.


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Death of Wilhelmina Geddes, Stained Glass Artist

Wilhelmina Geddes, Irish stained glass artist who is an important figure within the Irish Arts and Crafts movement and also the twentieth-century British stained glass revival, dies in London, England, on August 10, 1955. Her notable works include windows at St. Bartholomew’s Anglican Church (Ottawa, Canada), St. Peter’s Church (Lampeter, Wales), and the King Albert Memorial Window, St. Martin’s Cathedral (Ypres, Belgium).

Geddes is born on her maternal grandparent’s farm at Drumreilly Cottage in Leitrim, County Leitrim, on May 25, 1887. She is the eldest of four children, three girls and a boy, of William Geddes and his wife Eliza Jane Stafford. The family, who migrates to Ireland from Scotland, has mainly been farmers. Her father, a Methodist, who is born near his father’s farm at Tandragee, County Armagh, emigrates to the United States as a young man, working as a labourer for the railway construction business. This serves a useful purpose as he had worked as a site engineer at the Cavan, Leitrim and Roscommon Railway Company. When she is still an infant her parents move to their native home in Belfast, so her father can set up in business as a building contractor.

Geddes begins drawing subjects from life and nature from the age of four. She learns first how to draw from the school mistress in Ayrshire, where her father occasionally goes shooting. She begins her studies at Methodist College Belfast along with her three younger sisters. She later moves to the Belfast School of Art. She is encouraged by Rosamond Praeger, a sculptor from County Down, to continue with her studies. She is accepted as a student to study at the Belfast School of Art, Ulster University. This is where she adapts and improves her style and is introduced to a professional standard of art work.

While still studying at the Belfast School of Art, Geddes takes part in the Arts and Crafts Society of Ireland‘s fourth exhibition. For this exhibition, she contributes a glowingly coloured illustration of the book Cinderella Dressing the Ugly Sister (Dublin City Gallery), which she had created. It is at this exhibition that her work is spotted by Sarah Purser, a well established painter seeking newly trained students to introduce to stained glass artistry. Purser, who goes on to be her lifelong mentor, invites the young Geddes to join her in Dublin, working under the established stained glass artist William Orpen.

Geddes contributes a watercolour illustration of a Ballad Seller with the Belfast Art Society in 1907. She is elected as an Associate of the Belfast Art Society’s successor, the Ulster Academy of Arts, in 1933 before promotion to Honorary Academician in 1935. She shows five illustrations in the 1911 Oireachtas Exhibition. It is some twenty-one years before she returns to the Oireachtas when she exhibits three cartoons and three sketches for stained glass in 1932.

Geddes joins Purser at the acclaimed stained glass workshop called An Túr Gloine in 1910. The workshop is held in Dublin’s Metropolitan School of Art. It is here that she discovers her passion for the craftsmanship of stained glass artistry and creates her most important works.

During her early years at An Túr Gloine, Geddes’s originality shines, and important commissions come from St. Ann’s Church, Dawson Street, Dublin and the Presbyterian church in Rathgar. Dogged by illness, she returns to Belfast before 1916 and lives between there and Dublin until moving in 1925, as she has long wanted, to work in London at The Glass House, Fulham. While working at The Glass House, she instructs the Irish painter and stained glass artist Evie Hone.

Geddes’s work is considered pioneering and represents a rejection of the Late Victorian approach. She creates a new view of men in stained glass windows, portraying them with close-shaven crew cuts. The muscularity and tension of her portraiture is matched by the radical design of her constructions. Ambitious large-scale projects, as at the cathedral in Ypres, are equalled by the drama of smaller-scale work at Wallasey (Lancashire) and Wallsend (Northumberland), or war memorial windows in obscure country churches.

Despite the hardships of living in London during World War II, poverty, and ill health, Geddes designs seventeen full-scale stained glass masterpieces, sixteen of which she completes.

Geddes dies on August 10, 1955 in London of a pulmonary embolism. She is buried in Carnmoney Cemetery, County Antrim, along with her mother and sister Ethel. Even after moving to London, she claims that her native identity never wavered as she says she was always “a Belfast woman.”


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Brendan Foley, Writer, Film Producer & Director

Brendan Foley is a Northern Irish writer, film producer and director. Raised in Belfast, Northern Ireland, he has written feature film and TV series scripts for producers and studios in the United Kingdom, Ireland, Hollywood, Canada, Denmark, Finland, Poland, South Africa, China and Thailand. He writes and produces the 2005 action-thriller Johnny Was, starring Vinnie Jones, Eriq La Salle and Patrick Bergin. The film wins awards including Audience Awards and Best Feature Awards from six film festivals.

Foley’s most recent work includes Cold Courage, a TV series thriller for Lionsgate, Viaplay and Luminoir shot in Europe in 2019 and The Man Who Died, a series for Elisa-Viaplay.

Foley writes, produces and directs The Riddle in 2006, starring Jones, Sir Derek Jacobi and Vanessa Redgrave. In September 2007, The Riddle becomes the world’s first feature film to be released as a DVD premiere by a national newspaper. The UK’s The Mail on Sunday buys UK DVD rights and distributes 2.6 million copies, making the film one of the most widely watched independent films in the UK.

During 2006–07, Foley writes and directs Assault of Darkness, a satirical horror film set in rural Ireland, starring Jones, Jason Barry and Nora-Jane Noone. It is released by Lionsgate in the United States on DVD in 2009. He co-creates and is a writer on Shelldon, a children’s environmental animated TV series on NBC (2010–12) and Byrdland (five seasons of animated TV series in Asia with GMM Grammy).

In 2015, Foley starts developing a new TV detective series for BBC Television, Farmoor (makers of The Fall) and Northern Ireland Screen (UK home of Game of Thrones) and, in 2016, he develops Tunnel Kings, a mini-series on World War II POW “escape-artists” for the Canadian Broadcasting Corporation and Dream Street, Canada. He completes pilot scripts for SOS, a new eco-thriller series by Finnish producers Luminoir, and Kvenland, set in the Dark Ages. Previously he writes the pilot for drama Dr. Feelgood for Monday TV (Denmark).

Cold Courage, described as a Nordic noir series involving Finnish characters in present-day London made by Finnish producers Luminoir for Lionsgate and Viaplay, shot in London, Dublin, Belgium and Finland in 2019. Actor John Simm tells Variety that he is attracted to the series by the quality of the writing and the fact that it is a pan-European thriller.

In 2019, Foley is attached to produce an adaptation of Freeman Wills Crofts‘ Inspector French novels.

In 2025, Foley is Writer-Creator and Executive Producer for Sherlock & Daughter, a drama series starring David Thewlis and Blu Hunt for The CW, WarnerBrosDiscovery UK, Federation, Starlings and StoryFirst (UK).

Foley has written books for U.S. and UK publishers. Under The Wire, a World War II POW escape drama, which he writes along with its subject, pilot William Ash, is published by  Random House, London and St. Martin’s Press, New York, in 2005 and 2006. It becomes a best-seller, reaching number one on Amazon UK‘s history and biography charts. In 2018/19, a related TV series is developed as a future miniseries by CBC in Canada and Northern Ireland Screen.

Foley’s next book, Archerfield, a novel, published in 2015, covers 16,000 years of history in one square mile of Scotland.

Foley is a member of the Writers’ Guild of Great Britain, a Fellow of the British Association of Communicators in Business, and is made an honorary life member of the National Union of Journalists in June 2006.


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Death of Malachi Martin, Irish American Catholic Priest

Malachi Brendan Martin, also known under the pseudonym of Michael Serafian, Irish-born American Traditionalist Catholic priest, biblical archaeologist, exorcist, palaeographer, professor, and writer on the Catholic Church, dies in New York City on July 27, 1999.

Martin is born on July 23, 1921, in Ballylongford, County Kerry, to a middle-class family in which the children are raised speaking Irish at the dinner table. His parents, Conor and Katherine Fitzmaurice Martin, have five sons and five daughters. Four of the five sons become priests, including his younger brother, Francis Xavier Martin.

Martin attends Belvedere College in Dublin, then studies philosophy for three years at University College Dublin (UCD). On September 6, 1939, he becomes a novice with the Society of Jesus. He teaches for three years, spending four years at Milltown Park, Dublin, and is ordained in August 1954.

Upon completion of his degree course in Dublin, Martin is sent to the Catholic University of Leuven in Belgium, where he takes a doctorate in archaeology, Oriental history, and Semitic languages. He starts postgraduate studies at both the Hebrew University of Jerusalem and at the University of Oxford. He specializes in intertestamentary studies, Jesus in Jewish and Islamic sources, Ancient Hebrew and Arabic manuscripts. He undertakes additional study in rational psychology, experimental psychology, physics, and anthropology.

Martin participates in the research on the Dead Sea Scrolls and publishes 24 articles on Semitic palaeography. He does archaeological research and works extensively on the Byblos syllabary in Byblos, in Tyre, and in the Sinai Peninsula. He assists in his first exorcism while working in Egypt for archaeological research. In 1958, he publishes a work in two volumes, The Scribal Character of the Dead Sea Scrolls.

Martin’s years in Rome coincide with the beginning of the Second Vatican Council (1962–65), which is to transform the Catholic Church in a way that the initially liberal Martin begins to find distressing. He becomes friends with Monsignor George Gilmary Higgins and Father John Courtney Murray.

In Rome, Martin becomes a professor at the Pontifical Biblical Institute, where he teaches Aramaic, Hebrew, palaeography, and Sacred Scripture. He also teaches theology, part-time, at Loyola University Chicago‘s John Felice Rome Center. He works as a translator for the Eastern Orthodox Churches and Ancient Oriental Churches Division of the Secretariat for Promoting Christian Unity under Bea. He becomes acquainted with Jewish leaders, such as Rabbi Abraham Joshua Heschel, in 1961 and 1962. He accompanies Pope Paul VI on a trip to Jordan in January 1964. He resigned his position at the Pontifical Institute in June 1964.

In 1964, Martin requests a release from his vows and from the Jesuit Order. He receives a provisional release in May 1965 and a dispensation from his vows of poverty and obedience on June 30, 1965. Even if dispensed from his religious vow of chastity, he remains under the obligation of chastity if still an ordained secular priest. He maintains that he remains a priest, saying that he had received a dispensation from Paul VI to that effect.

Martin moves to New York City in 1966, working as a dishwasher, a waiter, and taxi driver, while continuing to write. He co-founds an antiques firm and is active in communications and media for the rest of his life.

In 1967, Martin receives his first Guggenheim Fellowship. In 1970, he publishes the book The Encounter: Religion in Crisis, winning the Choice Book Award of the American Library Association. He then publishes Three Popes and the Cardinal: The Church of Pius, John and Paul in its Encounter with Human History (1972) and Jesus Now (1973). In 1970, he becomes a naturalized U.S. citizen.

In 1969, Martin receives a second Guggenheim Fellowship, allowing him to write his first of four bestsellers, Hostage to the Devil: The Possession and Exorcism of Five Living Americans (1976). In the book, he calls himself an exorcist, claiming he assisted in several exorcisms. According to McManus Darraugh, William Peter Blatty “wrote a tirade against Malachi, saying his 1976 book was a fantasy, and he was just trying to cash in.” Darraugh also says that Martin became “an iconic person in the paranormal world.”

Martin serves as religious editor for the National Review from 1972 to 1978. He is interviewed twice by William F. Buckley, Jr. for Firing Line on PBS. He is an editor for the Encyclopædia Britannica.

Martin is a periodic guest on Art Bell‘s radio program, Coast to Coast AM, between 1996 and 1998. The show continues to play tapes of his interviews on Halloween.

Martin’s The Keys of This Blood: The Struggle for World Dominion between Pope John Paul II, Mikhail Gorbachev, and the Capitalist West is published in 1990. It is followed in 1996 by Windswept House: A Vatican Novel.

The Vatican restores Martin’s faculty to celebrate Mass in 1989, at his request. He is strongly supported by some Traditionalist Catholic sources and severely criticized by other sources, such as the National Catholic Reporter. He serves as a guest commentator for CNN during the live coverage of the visit of Pope John Paul II to the United States in October 1995.

On July 27, 1999, Martin dies in Manhattan of an intracerebral haemorrhage, four days after his 78th birthday. It is caused by a fall in his Manhattan apartment. The documentary Hostage to the Devil claims that Martin says he was pushed from a stool by a demonic force.

Martin’s funeral takes place in St. Anthony of Padua Catholic Church in West Orange, New Jersey, before burial at Gate of Heaven Cemetery, in Hawthorne, New York.


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Death of Pat McDonald, Irish American Track & Field Athlete

Patrick Joseph McDonald, Irish American track and field athlete, dies in New York City on May 16, 1954. He is a member of the Irish American Athletic Club and of the New York City Police Department, working as a traffic cop in Times Square for many years. He is also part of a group of Irish American athletes known as the “Irish Whales.”

McDonald was born Patrick Joseph McDonnell in Killard, County Clare, on July 29, 1878. When his sister lands at Ellis Island after her sea voyage from Ireland, immigration officials pin a name tag on her with her name spelled “McDonald.” Taking no chances of being deported, she and all the McDonnells who come after her, accept the name McDonald.

Inspired by the feats of his countrymen John Flanagan, Matt McGrath, and Martin Sheridan, McDonald initially has aspirations of becoming a hammer thrower but shows more aptitude as a shot putter. After placing second to Ralph Rose at the USA Outdoor Track and Field Championships in 1909 and 1910, he takes the title in Rose’s absence in 1911 and defeats Rose at the 1912 championships.

McDonald competes for the United States in the 1912 Summer Olympics held in Stockholm, Sweden, in the shot put where he once again defeats Rose and wins the gold medal. He also takes part in the shot put competition where the distance thrown with each hand is added together. This is the only time this event is held in the Olympic program, and he finishes second behind Rose.

McDonald returns eight years later, after World War I, to compete in the 1920 Summer Olympics in Antwerp, Belgium. Here he wins the gold medal in the 56-lb. weight throw in the second and final time this competition is held in the Olympic program.

McDonald continues to be a nationally competitive athlete well into his 50s. At the age of 54, he beats his old rival Matt McGrath to win the weight throw for distance at the 1933 USA Outdoor Track and Field Championships. It is his 26th senior national championship meet, and the Omaha World-Herald notes that he has gray hair at the time of his last victory.

McDonald dies in New York City at the age of 75 on May 16, 1954. He is interred at Gate of Heaven Cemetery in Hawthorne, New York.

McDonald is inducted into the National Track and Field Hall of Fame in 2012.