Gleeson is the daughter of Irish-born Edward Moloney Gleeson, a medical doctor, and Harriet (née Simpson), from Bolton, Lancashire. Her father has a practice in Knutsford but on a trip to Ireland he is struck by the poverty and unemployment and, with the advice of his brother-in-law, a textile manufacturer in Lancashire, he founds the Athlone Woollen Mills in 1859, investing all his money in the project. The family moves to Athlone in 1863, but Gleeson is educated in England, where she trains as a teacher. She later studies portraiture in London at the Atelier Ludovici from 1890–92. She goes on to study design with Alexander Millar, a follower of William Morris, who believes she has an exceptional aptitude for colour-blending. Many of her designs are bought by the exclusive Templeton Carpets of Glasgow.
Gleeson takes a keen interest in Irish affairs and, as a member of the Gaelic League and the Irish Literary Society, mixes with the Yeats family and the Irish artistic circle in London and is inspired by the Gaelic revival in art and literature. She is also involved in the suffrage movement and is chairwoman of the Pioneer Club, a women’s club in London. In 1900, an opportunity arises to make a practical contribution to the Irish renaissance and the emancipation of Irish women. She is suffering from ill-health, but her friend Augustine Henry, botanist and linguist, suggests she move away from the London smog to Ireland and open a craft centre with his financial assistance. She seizes the opportunity and discusses her plans with her friends the Yeats sisters, Elizabeth and Lily, who are talented craftswomen and have direct contact with William Morris and his followers. They have no money to contribute to the venture but are enthusiastic and can offer their skills and provide contacts. She seeks advice from W. B. and Jack Yeats, from Henry, who loans her £500, and from her cousin, T. P. Gill, secretary of the Department of Agriculture and Technical Instruction.
During the summer of 1902 Gleeson finds a suitable house in Dundrum, County Dublin, ten minutes from the railway station. The house, originally called Runnymede, is renamed Dun Emer, after the wife of Cú-Chulainn, renowned for her craft skills. The printing press arrives in November 1902, and soon three craft industries are in operation. Lily Yeats runs the embroidery section, since she had trained with Morris’s daughter May. Elizabeth Yeats operates the press, having learned printing at the Women’s Printing Society in London. Gleeson manages the weaving and tapestry and looks after the financial affairs of the industries. W. B. Yeats acts as literary adviser, an arrangement that often causes friction, and Gleeson’s sister, Constance McCormack, is also involved.
Local girls are employed and trained, and the industries seek to use the best of Irish materials to make beautiful, high-quality, lasting products of original design. Church patronage accounts for most of their orders and, in 1902–03, Loughrea cathedral commissions twenty-four embroidered banners portraying Irish saints. They also make vestments, traditional dresses, drapes, cushions and other items, all beautifully crafted and mostly employing Celtic design. The first book published is In the Seven Woods (1903), by W. B. Yeats, cased in full Irish linen.
Gleeson is in demand as an adjudicator in craft competitions around the country and at Feis na nGleann in 1904 she praises the workmanship of the entries but is critical of the lack of teaching in design. She gives lectures and tries to raise the status of craftwork from household occupation to competitive industry. There are tensions with the Yeats sisters, who complain that she is bad-tempered and arrogant. In truth she had taken on too much of a financial burden, even with the support of grants, and she is anxious to repay her debt to Augustine Henry, which he is prepared to forego. The sisters snub her and omit her name in an interview about Dun Emer in the magazine House Beautiful. Millar, her design teacher in London, likens the omission to Hamlet without the prince. In 1904, it is decided to split the industries on a cooperative basis: Dun Emer Guild Ltd. under Gleeson and Dun Emer Industries Ltd. under the Yeats sisters.
Work continues, and the guild and industries exhibit separately at the Royal Dublin Society (RDS) and other craft competitions. In 1907, the National Museum of Ireland commissions a copy of a Flemish tapestry. It takes far longer than anticipated to complete, but the result is beautiful and is exhibited at the Arts and Crafts Society of Ireland in 1910. The guild wins a silver medal at the Milan International exhibition in 1906. The guild and industries both show work at the New York exhibition of 1908. The guild alone shows work in Boston. By now cooperation has turned to rivalry, and there is a final split as the Yeats sisters leave, taking the printing press with them to their house in Churchtown, Dublin. Gleeson writes off a debt of £185 owed to her, on condition that they do not use the name Dun Emer.
The business thrives at Dundrum, with her niece Katherine (Kitty) MacCormack and Augustine Henry’s niece, May Kerley, assisting with design. Later they move the workshops to Hardwicke Street, Dublin. In 1909, Gleeson becomes one of the first members of the Guild of Irish Art Workers and is made master in 1917. The Irish Women Workers’ Union commissions a banner from her about 1919, and, among numerous other notable successes, a Dun Emer carpet is presented to Pope Pius XI in 1932, the year of the Eucharistic Congress of Dublin.
Gleeson dies at the age of 89 at Dun Emer on February 20, 1944, with Kitty carrying on the Guild after her death. The final home of Dun Emer is a shop on Harcourt Street, Dublin, which finally closes in 1964.
(From: “Gleeson, Evelyn” by Ruth Devine, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
O’Brien is the eldest child of a Roman Catholic church musician. In 1885, he first appears in a public piano recital and, later in the year, becomes the organist of Rathmines parish church, a position he holds until 1888. He holds another organist’s position at the Dublin Carmelite church from 1897 to 1899 but is chiefly known as organist and choir director of Dublin’s largest Roman Catholic Church, St. Mary’s Pro-Cathedral, between 1903 and 1946. In 1898, he is the founder and first director of the Palestrina Choir, originally all-male, which is still active, and which is financed for many years by Edward Martyn.
O’Brien studies with Robert Prescott Stewart at the Royal Irish Academy of Music (1888-90), where he is the first winner of the Coulson Scholarship and frequently performs as both tenor singer, piano accompanist, and organist in many public concerts during the 1890s. As a church musician, he becomes particularly involved in the Cecilian Movement, conducting works by Michael Haller and others, and also pursuing their artistic ideals in his own sacred choral compositions.
O’Brien is the founding conductor of the Dublin Oratorio Society (1906), the Brisan Opera Company (1916) and conducts at many ad hoc events. In 1925, he becomes the first music director of Radio Éireann (originally called 2RN), a position he holds until 1941. He singles out his work as music director for the 31st International Eucharistic Congress in Dublin (1932) as his most prized personal achievement. As late as 1945, he founds Our Lady’s Choral Society, a large oratorio choir still in existence, which originally is recruited mainly from the various Roman Catholic church choirs in Dublin.
Among his teaching positions, O’Brien teaches at the diocesan seminary at Holy Cross College, is Professor of Gregorian Chant at the missionary seminary of All Hallows College from 1903, and Professor of Music at the Ladies’ Teacher-Training College at Carysfort Park, Blackrock, County Dublin, from 1908 until his death in Dublin on June 21, 1948. As a much-demanded vocal coach, he teaches at his home, his best-known pupils including John McCormack, Margaret Burke Sheridan and James Joyce. He performs the piano accompaniments for McCormack’s first gramophone recordings and accompanies him during his 1913–14 Australasian tour of 60 performances in three months, during which he also gives organ recitals at the Irish-dominated Catholic cathedrals of Sydney and Melbourne.
Of his two sons, Oliver O’Brien (1922–2001) largely follows in his father’s footsteps, as organist and director of the Palestrina Choir, of Our Lady’s Choral Society, music teacher at Carysfort College and as teacher in various Dublin schools. His other son, Colum O’Brien, is organist in the Pro-Cathedral.
Before his work for the Palestrina Choir, O’Brien’s musical interests are very broad, culminating in 1893 in the composition of the full-scale opera Hester. As a church music composer, he follows Cecilian ideals, with a number of hymns, motets and other choral works. He also composes a number of songs for voice and piano, with The Fairy Tree (1930) being a particular favourite of John McCormack’s.
Aer Lingus (Irish: Aer Loingeas) is founded by the Irish government as the national airline of the Republic of Ireland on April 15, 1936.
Aer Lingus is founded with a capital of £100,000. Its first chairman is Seán Ó hUadhaigh. Pending legislation for Government investment through a parent company, Aer Lingus is associated with Blackpool and West Coast Air Services which advances the money for the first aircraft and operates with Aer Lingus under the common title “Irish Sea Airways.” Aer Lingus Teoranta is registered as an airline on May 22, 1936. The name Aer Lingus is proposed by Richard F. O’Connor, who is County Cork Surveyor, as well as an aviation enthusiast.
Later that year, the airline acquires its second aircraft, a four-engined biplane de Havilland DH.86 Express named Éire, with a capacity of 14 passengers. This aircraft provides the first air link between Dublin and London by extending the Bristol service to Croydon. At the same time, the DH.84 Dragon is used to inaugurate an Aer Lingus service on the Dublin-Liverpool route.
Aer Lingus is established as the national carrier under the Air Navigation and Transport Act (1936). In 1937, the Irish government creates Aer Rianta, now called Dublin Airport Authority (DAA), a company to assume financial responsibility for the new airline and the entire country’s civil aviation infrastructure. In April 1937, Aer Lingus becomes wholly owned by the Irish government via Aer Rianta.
Aer Lingus is privatised between 2006 and 2015. It is a former member of the Oneworld airline alliance, which it leaves on March 31, 2007.
Ryanair owns over 29% of Aer Lingus stock and the Irish state owns over 25% before being bought out by International Airlines Group (IAG) in 2015. The state had previously held an 85% shareholding until the Government’s decision to float the company on the Dublin and London stock exchanges on October 2, 2006. The principal group companies include Aer Lingus Limited, Aer Lingus Beachey Limited, Aer Lingus (Ireland) Limited and Dirnan Insurance Company Limited, all of which are wholly owned.
On May 26, 2015, after months of negotiations on a possible IAG takeover, the Irish government agrees to sell its stake in Aer Lingus. Ryanair retains a 30% stake in the company which it agrees to sell to IAG on July 10, 2015, for €2.55 per share. In August 2015, Aer Lingus’ shareholders officially accept IAG’s takeover offer. IAG subsequently assumed control of Aer Lingus on September 2, 2015.
After the takeover by IAG, it is expected that Aer Lingus would re-enter Oneworld, however, at a press briefing on November 15, 2017, the airline’s then CEO Stephen Kavanagh states that the airline has “no plans to join Oneworld.” The airline is now a wholly owned subsidiary of IAG.
References to Stephens’s early life, according to one of his biographers, Desmond Ryan, are obscure and limited to Stephens’s own vague autobiographical recollections. He is born at Lilac Cottage, Blackmill Street, Kilkenny, County Kilkenny, on January 26, 1825, and spends his childhood there. No birth records have ever been located, but a baptismal record from St. Mary’s Parish is dated July 29, 1825. There is reason to believe that he is born out of wedlock in late July 1825. However, according to Stephens, his exact date of birth is January 26. He is educated at St. Kieran’s College, Kilkenny, for at least one quarter in 1838. He is later apprenticed to a civil engineer, and from 1844 onwards works for the Waterford–Limerick Railway Company.
When the Young Irelanders split from Daniel O’Connell‘s Repeal Association and found the Irish Confederation in January 1847, Stephens becomes involved in the activities of the Kilkenny Confederate clubs. After the government suspends habeas corpus and issues warrants of arrest against the Confederate leaders, William Smith O’Brien appears in Kilkenny on July 23, 1848, seeking support for a popular insurrection, and two days later Stephens joins him. For four days he follows O’Brien’s wanderings and takes part in all his encounters with government forces, including the affray at the home of Widow McCormack on July 29 when O’Brien’s followers besiege a party of policemen in a house near Ballingarry, County Tipperary. They are finally dispersed by gunfire and the arrival of reinforcements, thus ending O’Brien’s revolutionary efforts. Stephens reportedly receives two bullet wounds but manages to hide and evade arrest.
Three days later, Stephens proceeds to Ballyneale, near Carrick-on-Suir, County Tipperary, in search of John O’Mahony. He accompanies O’Mahony to meet Michael Doheny, and for six weeks Stephens and Doheny avoid arrest by roaming around the south of Ireland, an adventure that Doheny records in The Felon’s Track (1849). On September 12, Stephens is smuggled out of Ireland by the family of the Skibbereen attorney McCarthy Downing, and four days later manages to reach Paris. O’Mahony and Doheny join him shortly afterwards, although Doheny soon emigrates to the United States.
From their exile Stephens and O’Mahony watch the failure of the ’49 conspiracy of James Fintan Lalor and Philip Gray and witness the barricades against Louis Napoleon’s coup d’état in 1851. Stephens later claims to have joined the French republican insurgents, but according to O’Mahony this is merely a frustrated intention. Equally without foundation is the rumour that Stephens and O’Mahony at this time join a republican secret society as a training ground for their future Irish enterprise.
Stephens remains in Paris from 1848 to 1855, supporting himself by teaching English. He attends Sorbonne University and has plans to obtain a professorship that never materialises. Towards the close of his exile, he is employed by the Le Moniteur Universel, for which he allegedly translates Charles Dickens‘s Martin Chuzzlewit. Late in 1855 he returns to Ireland and undertakes a series of tours throughout the island. He later magnifies the venture as “the 3,000 miles’ walk” and reformulates it as an attempt to measure the country’s nationalist temperature. However, his primary intention at the time is to collect information for a book he is planning to write. The following autumn he returns to Dublin, becomes tutor of French to the children of several well-to-do families including that of the Young Irelander John Blake Dillon, and joins the nationalist circle of Thomas Clarke Luby, Philip Gray, and other veterans of the ’49 conspiracy.
When Gray dies in January 1857, Stephens asks O’Mahony, then living in New York, to collect funds for a funeral monument. This evidence of nationalist activity, coupled with the prospect of “England’s difficulty” awakened by the recent Crimean War and the insurrection in India, give life to O’Mahony’s and Doheny’s Emmet Monument Association (EMA). That autumn the EMA sends an envoy to Ireland with a proposal for Stephens to prepare the country for the arrival of a military expedition. Stephens offers to organise 10,000 men in three months, provided he is given at least £80 a month and absolute authority over the enterprise. On March 17, 1858, Saint Patrick’s Day, he receives the first installment and his appointment as “chief executive” of the Irish movement. The same day he and his associates take an oath to make Ireland “an independent democratic republic.” The nameless secret society thereby inaugurated eventually becomes known as the Irish Republican Brotherhood (IRB). It is organised in cells, each led by a “centre” with Stephens being known as the “head centre.”
The EMA’s failure to send a second installment prompts Stephens to travel to New York in October 1858. While in America he attempts, and fails, to engage the support of the Young Irelanders John Mitchel and Thomas Francis Meagher, but succeeds in establishing a solid partnership with Irish nationalists based in New York. Late in 1858 the surviving members of the EMA reorganise themselves into a modified replica of the IRB, and under John O’Mahony’s inspiration adopt the name of the Fenian Brotherhood (FB). Eventually the label “Fenian” comes to be applied to the members of both organisations. As part of the new arrangements, Stephens obtains a new appointment as head of the movement “at home and abroad.”
Despite Stephens’s success, his labours in America and the secrecy of his own activities in Ireland are almost spoiled in December by the arrest of Jeremiah O’Donovan Rossa and other members of the Phoenix National and Literary Society of Skibbereen, which had been incorporated into the IRB the previous May. On his return from America in March 1859 Stephens takes refuge in Paris and delegates management of the organisation to Luby. He only returns to Dublin in April 1861 when O’Mahony, then on a tour of inspection, suggests establishing an executive council to share Stephens’s power. Stephens succeeds in frustrating this plan, but from the time of O’Mahony’s visit the tension between the two leaders never subsides.
In the autumn of 1861 Stephens takes lodgings on Charlemont Street at the house of John and Rossanna Hopper, owners of a small tailoring establishment, and soon falls in love with their daughter Jane, almost twenty years his junior. The two are married on January 24, 1864, at the church of SS Michael and John, Exchange Street. The marriage produces no children.
The first success for Stephens’s IRB comes on November 10, 1861, when the IRB-dominated National Brotherhood of Saint Patrick stages the funeral for the Young Irelander Terence MacManus after an intense tug-of-war with both the Catholic church and constitutional nationalism. Stephens plays a central role in promoting IRB control of the funeral arrangements and although the event lacks the mythical nationalist significance claimed by Fenian apologists, it serves to boost Fenian self-assertion and hasten the divorce between middle-class nationalist elites and a new militant republican working class which has different interests at stake in an independent Ireland.
Despite the McManus funeral success, the IRB continues to endure financial difficulties throughout 1862. In 1863, Stephens resolves to address these difficulties and consolidate the movement’s position by founding a newspaper. The Irish People is first issued on November 28, 1863. He contributes leading articles to its first three numbers but finally abandons his literary efforts in favour of Luby, John O’Leary, and Charles J. Kickham, thereafter the paper’s leading writers and guiding spirits.
In the meantime, the relationship between Stephens and O’Mahony continues to deteriorate. In November 1863 O’Mahony has turned the tables and persuaded the FB to acknowledge Stephens merely as “its representative in Europe.” In March 1864 Stephens again travels to the United States in order to stimulate the flow of funds towards the IRB and regain some hold on the FB. As part of his new policies, he makes the sensational announcement that 1865, at latest, is to be the movement’s “year of action.” After the end of the American Civil War in April 1865, Fenian activity increases spectacularly, and demobilised soldiers travel to Ireland. However, on September 15, 1865, the government takes action, suppresses The Irish People, and arrests most of Stephens’s closest collaborators, including Luby, O’Leary and O’Donovan Rossa. Stephens himself is arrested on November 11 but, in a daring operation that proves a propaganda coup for the Fenians, is rescued from Richmond Bridewell penitentiary thirteen days later and eventually makes his way to America via Britain and France. By the time he arrives in the United States, the FB has split into two “wings,” the partisans of John O’Mahony and those of William R. Roberts, the president of the Fenian “senate,” who advocate shifting military efforts towards invading Canada. The split ends Stephens’s already slender chances of launching a successful rising before the end of December, and he calls a postponement.
On February 17, 1866, the government suspends habeas corpus in Ireland and arrests multiply. Stephens braves the members’ impatience, calls a new postponement, and in May travels to New York in order to try and solve the American crisis in the IRB’s favour. He accepts O’Mahony’s resignation, takes control of his wing, and starts an intensive campaign of propaganda and fund-raising. Again, he proclaims 1866 as the “year of action,” but by December the movement is weaker than ever, and he tries to call a new postponement. This time his lieutenants, led by Col. Thomas J. Kelly, lose patience, depose him from leadership and prepare to launch the insurrection themselves. The result is the ill-fated Fenian Rising of March 5-6, 1867.
After his deposition, Stephens spends most of his remaining years in France, in dire financial distress, but still hoping against hope to regain his position at the head of the movement. However, the IRB is now under the control of the anti-Stephens supreme council, and the FB is quickly losing its influence to the newly emerged Clan na Gael. His reputation, always tainted by his controversial personality and autocratic management, had been ruined forever by the 1866 events and his repeated failure to order the rising. With the exception of a small core of diehard partisans, the majority of his former associates and followers have grown resentful of his leadership and are vehemently opposed to his return.
Apart from occasional English tutoring and a ruinous venture as a wine merchant that takes him to the United States from 1871 to 1874, Stephens’s post-Fenian years are mainly spent in poverty while awaiting the next opportunity to resume leadership of the IRB. In 1880, after a last unsuccessful trip to the United States and a crushing defeat by John Devoy and Clan na Gael, he gives up hope, returns to Paris, and settles down to earn a living as an occasional newspaper contributor. In 1885 he is expelled from France under the unfounded suspicion of involvement in dynamiting activities with his cousins Joseph and Patrick Casey and the journalist Eugene Davis. He then takes up residence in Brussels but is able to return to Paris two years later. Finally, through Charles Stewart Parnell‘s intervention in 1891, he is allowed to return to Ireland. He moves into a cottage in Sutton, near Howth, and settles into retirement. After his wife’s death in 1895 he moves to the house of his in-laws in Blackrock, County Dublin, where he dies on March 29, 1901. Two days later he is given a solemn nationalist funeral and is interred in Glasnevin Cemetery.
Stephens’s controversial historical reputation never accords him a comfortable place in the post-independence nationalist pantheon. His egotism and defects as a leader overshadow the credit he is given as a founder and organiser. Yet his notorious personality is arguably the key to his success and ultimate historical significance. His obsessive self-confidence and single-mindedness turn the EMA’s half-matured proposal into a solid partnership that inaugurates an enduring pattern of American involvement in Irish nationalism. At the same time, by impressing the IRB with his own assertiveness he enables it to break the tacit monopoly of the middle classes on Irish political life. By the time of his downfall, Irish republicanism has acquired a definite shape and a marginal but stable position in the Irish political scene.
Stephens’s name has been incorporated into Kilkenny local heritage in institutions as diverse as a swimming pool, a military barracks, and a hurling team. In 1967 a plaque is unveiled at the site of his childhood home on Blackmill Street. The main collections of his documents are the James Stephens papers, MSS 10491–2, in the National Library of Ireland, and the Michael Davitt papers addenda, MS 9659d, in Trinity College Dublin.
(From: “Stephens, James” by Marta Ramón, Dictionary of Irish Biography, http://www.dib.ie, last revised March 2021)
Alan Bell, policeman and resident magistrate, is tasked by British Intelligence to track down Michael Collins’s war chest. By March 26, 1920, he has successfully confiscated over £71,000 from Sinn Féin‘s headquarters and by investigating banks throughout the country and is set to seize much more. On that day he is pulled off a tram in South Dublin and shot three times in the head.
Bell is born in Banagher, King’s County (now County Offaly), one of at least two sons of the Rev. James Adamson Bell, Church of Ireland clergyman. His mother’s name is unknown. Educated locally, he joins the Royal Irish Constabulary (RIC) in September 1879 as a cadet, serving in the counties of Cavan, Galway, Roscommon, Westmeath, and Cork up to the rank of district inspector. During the Land War (1879–82) he investigates sources of Irish National Land League funds and in 1882 arrests the American land reformer and journalist Henry George in Athenry. He, along with District Inspector William Henry Joyce, compile evidence against the nationalist and agrarian agitation for the special commission of 1888–89 which investigates charges against the nationalist leader Charles Stewart Parnell and his associates. His actions make him popular with unionists but a marked man among nationalists.
After almost twenty years’ police service, Bell becomes a resident magistrate on November 12, 1898, a civil service post under the Constabulary Act, 1836. His districts included Athenry, Claremorris, Armagh, Belfast, and Portadown. With many years’ experience in criminal intelligence, he is transferred to Dublin Castle early in the Irish War of Independence as a special investigator and intelligence gatherer. In December 1919 he questions suspects for the attempted Irish Republican Army (IRA) assassination of the viceroy, Lord French, and place suspect premises under surveillance. His vulnerability is made evident by the shooting in January 1920 of Dublin Metropolitan Police assistant commissioner William C. Redmond, one of his informants. He remains in Dublin to investigate the “republican loan” raised by Michael Collins and Sinn Féin, believed to be hidden in suspect bank accounts. Refusing protective accommodation in Dublin Castle where other officials have already retreated, he opts to live with his wife at a private suburban residence, 19 Belgrave Square, Monkstown, County Dublin. He summons bank managers to his office in early March 1920 and progresses sufficiently to force Collins into taking action.
Carrying a pocket revolver for protection, Bell travels to work daily by tram until the morning of March 26, 1920. At the busy junction of Simmonscourt Road, Sandymount Avenue, and Merrion Road, Ballsbridge, a group of men immobilise the crowded vehicle and surround their target, declaring, “Come on, Mr. Bell, your time has come.” Bundling him on to the street, they shoot him dead in public view and run from the scene. In spite of vivid eyewitness accounts in the press, no killer is identified. His death comes amid almost daily violence and barely a week after the shooting of the Sinn Féin Lord Mayor of Cork, Tomás Mac Curtain, allegedly by police assassins. He acts fearlessly, perhaps expecting a violent death as the outcome of his mission.
King is the son of Henry King, businessman, of Rathdrum, and Susan King (née Crowe). He is educated at the Church of Ireland Ranelagh School, Athlone, and at Mountjoy School, Clontarf, Dublin (1936–39). Subsequently he joins the printing firm of W. & S. McGowan in Dundalk, where he goes on to become a director. During the 1940s his interest in amateur drama leads him to take classes at the Gaiety School of Acting in Dublin, where his fellow students include Milo O’Shea and Eamonn Andrews. Around this time, he is also involved in An Óige (the Irish Youth Hostel Association), in which he serves as honorary national secretary and honorary treasurer. This involvement leads him to travel extensively from the late 1940s around Europe, where he visits many major art museums and galleries.
King begins to acquire works of art, by both European and Irish artists, and by the mid-1950s he has amassed one of the most important collections of modern art in Ireland. Around 1954 he himself begins to paint, under the guidance of Barbara Warren and the English artist Neville Johnson. In his early work he focuses on urban scenes, often based on the area of Ringsend, Dublin, where he uses subdued tones to produce poetic images of a sombre mood. Even here his interest in the formal qualities of painting – such as the flatness of the picture surface and the juxtaposition of areas of colour on it, which becomes a defining feature of his art – is evident. In 1964 he leaves his successful business career behind in order to devote himself entirely to art, a bold move considering the limited audience for modern art that exists in Ireland at the time. In his own words he recalls how “Painting was what I wanted to do, I realised I didn’t need a car. I could do without an awful lot of things.” (Sunday Independent, November 7, 1982)
By this time, King is working in a fully abstract style. However, he still draws his inspiration from the external world, particularly the milieu of the circus. A painting such as Trapeze (1976; Allied Irish Bank collection) shows how he responds to acrobatic performance, not in any literal or figurative sense, but to the tensions and balances inherent within it. The overall effect is to convey to the viewer the essence of anticipation of the performance. Indeed, his works can create an almost physical sense of involvement on the part of the viewer. This is especially true of his Berlin Suite, a series of screen-prints produced as a result of a visit to East Berlin and published by Editions Alecto of London (1970). He is also inspired to produce a number of paintings on this theme of the claustrophobia of the divided city. Ultimately, he aspires to create works which, with their economy and restraint, achieve a meticulously balanced harmony. This concern leads him, in such works as the Baggot Street Series, to move away from even the most veiled figurative references, evidence for the fact that he constantly strives to further his artistic explorations.
King often works seven days a week. This quiet determination contributes in no small part to the international standing he soon achieves, as does his prolific record as an exhibitor. Writing a foreword to an exhibition of his work at Kilkenny in 1975, the critic William Packer finds that King’s art “confounds the expectations we might have of Irish art, for it is far from local in ambition, accomplishment, and seriousness.” He mounts over twenty-five one-man exhibitions and contributes to a large number of group shows in Ireland and abroad. A significant proportion of his output is to be found in galleries in Europe and the United States, including the Museum of Modern Art, New York, and the Tate Gallery, London. He is also represented in the major public and corporate collections in Ireland, such as the Irish Museum of Modern Art, Ulster Museum, Trinity College Dublin (TCD), Crawford Municipal Gallery, Dublin City Gallery The Hugh Lane, Arts Council, Aer Lingus, Bank of Ireland, Allied Irish Bank, and ESB. In fact, King, with his hard-edge abstract style, is one of the very few artists working in Ireland at the time whose work is comparable to that of the major (principally American) international exponents of abstraction. The term “hard-edge,” applied to King’s style, may however belie the subtlety he could achieve in terms of his handling of colour and texture. This is particularly true of his works in the media of pastel and tapestry, while his last paintings show a tendency towards more expressive brushwork and a more complex approach to colour.
King enjoys a happy relationship with Oliver Dowling from 1960 to the time of his death, at Dún Laoghaire, County Dublin, on April 7, 1986, having suffered a heart attack just three days before an exhibition of his work is due to open in Dublin at the Oliver Dowling Gallery. His legacy is not alone artistic: he also makes a significant contribution to the promotion of modern art in Ireland in his capacity as a member of the organising committee for the Rosc exhibition since its inception in the 1960s, where his wide knowledge of international art is much respected. A member of Aosdána, he twice serves as commissioner for the Department of Foreign Affairs cultural committee. He is also generous in his encouragement of young artists, whose work he regularly adds to his own collection.
(From: “King, Cecil” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, May 2012 | Pictured: Abstract, Oil on Canvas by Cecil King)
Beere joins the Civil Service of the Republic of Ireland in 1924 and works initially in the Statistics Branch. In 1925, she wins a Rockefeller Foundation scholarship and travels extensively in the United States before resuming her Civil Service career. From 1939, she works in the Department of Industry and Commerce where during The Emergency, as World War II is known in Ireland, she works in the area of supply with Minister Seán Lemass. She becomes Assistant Secretary of that Department in 1953. She is the first woman to achieve the rank of Department Secretary, the highest-ranking post in a government department, doing so at the Department of Transport and Power in 1959. PresidentMary McAleese calls her the “ultimate civil servant.”
Trinity College Dublin confers an honorary doctorate of Doctor of Laws upon her in 1960. After her retirement in 1967 she is active in public life, serving as a governor of Alexandra College and as a director of The Irish Times. She is requested by the Government to chair the Commission on the Status of Women in 1970, and the Beere Report is presented to the Minister for Finance in December 1972. The report provides a model for change in equal pay, the Civil Service marriage bar (which requires female civil servants to resign from their position upon marriage) and the widow’s pension. Her name is mentioned as a possible candidate for the Irish presidency in 1976.
Beere has a lifelong interest in the proceedings of the Statistical and Social Inquiry Society of Ireland and serves as its President. She is a Governor of The Irish Times Trust and chairwoman of the International Labour Organization office in Geneva, Switzerland. She is a member of the organising committee, which on May 7, 1931, sets up An Óige (the Irish Youth Hostel Association), of which she is President from 1968 to 1974. She also has an extensive interest in the arts, in particular the paintings of Cecil King.
Beere dies on February 19, 1991, in Killiney, County Dublin. She never marries but has a 40-year companionship with businessman JJ O’Leary.
Maurice Walsh, Irish novelist best known for the short story The Quiet Man which is later made into an Oscar-winning movie, dies on February 18, 1964, in Blackrock, Dublin.
Walsh is born on April 21, 1879, in Ballydonoghue near Listowel, County Kerry, the third child of ten and the first son born to John Walsh, a local farmer, and his wife Elizabeth Buckley who live in a three-room thatched farmhouse. John Walsh’s main interests are books and horses and he himself does little work about the farm, preferring to have a hired man. The most famous of these hired men is Paddy Bawn Enright, whose name is immortalised by Walsh in his story The Quiet Man, although the name is not used in the later motion picture. John Walsh passes on to his son not only a love of books but also legends and folk tales that are later featured of many of Walsh’s books.
Walsh goes to school in Lisselton, a mile or so up the road from Ballydonoghue, and later goes to St. Michael’s College in Listowel to prepare for the Civil Service entrance examination. He enters the service on July 2, 1901, as an Assistant Revenue Officer in the Customs and Excise Service. He is posted to Scotland before the year is out and, although he subsequently has a number of postings outside Scotland, he spends most of his time there while in the British service.
Walsh has a life-long interest in writing and, during his early years in Scotland, this interest starts to bear fruit. He submits some of his stories and has two published in the Irish Emerald in 1908. Later that year, on August 8, 1908, Walsh marries Caroline Begg in Dufftown, Banffshire, Scotland.
When the Irish Free State is formed in 1922, Walsh transfers to its excise service and moves to Dublin. Fighting is still going on there at the time, and he leaves his family in Scotland until it is safe for them to join him in 1923. The story The Key Above the Door is written during the months of separation although it is not published until some years later, appearing first in Chambers’ Edinburgh Journal as a serial between December 1925 and May 1926 and then in book form, published by W & R Chambers Ltd., in July 1926.
Sales of Walsh’s books grow steadily, especially in the wake of an unsolicited and generous letter from J. M. Barrie, the creator of Peter Pan, praising The Key Above the Door, which Chambers is subsequently able to use on dust covers of Walsh’s books.
Walsh retires from government service in 1933 but his success as a writer continues. In that same year he sells a story to TheSaturday Evening Post, then a well-known weekly magazine published in the United States. That story, later to be incorporated in the collection of stories published under the title Green Rushes, is The Quiet Man.
Director John Ford reads the story in 1933 and soon purchases the rights to it for $10. Walsh is paid another $2,500 when Republic Pictures buys the idea and receives a final payment of $3,750 when the film is actually made. Filming commences on June 7, 1951, with John Wayne and Maureen O’Hara in the leading roles. All of the outdoor scenes are shot on location in County Mayo and County Galway. The inside scenes are filmed in late July at the Republic Studios in Hollywood. The Quiet Man wins the Academy Award for Best Director for John Ford, his fourth, and for Best Cinematography.
Walsh becomes President of the Irish branch of PEN International in 1938 and visits the United States for an international meeting that year as the Irish delegate. His wife Caroline is able to accompany him although she has been in failing health for some years and ultimately dies in January 1941. Walsh himself dies on February 18, 1964, in Blackrock, a suburb of Dublin, and is buried in the Esker cemetery at Lucan, County Dublin. President Éamon de Valera attended Walsh’s funeral Mass.
Aengus Fanning, Irish journalist and editor of the Sunday Independent from 1984 until his death, dies on January 17, 2012, following a battle with lung cancer. He is also a former editor of farming for the Irish Independent. He is listed at number 31 on a list of “most influential people” in Irish society compiled for Village magazine.
Fanning is born on April 22, 1944, in the family home at Cloonbeg Terrace, Tralee, County Kerry, the fourth child among five sons and one daughter of Arnold (‘Paddy’) Fanning, a teacher, and his wife Clara (née Connell). Originally from Rostrevor, County Down, his mother is born a Presbyterian and converts to Catholicism to marry his father, though neither is religious. His father is a noted organiser of local theatrical productions, having written a one-act play, Vigil, which is staged in the Abbey Theatre in 1929.
Fanning has a keen interest in sport, having represented Kerry in Gaelic football in his youth. He is also passionate about cricket. He also plays the clarinet and is a jazz fan. He is a graduate of University College Cork (UCC).
In May 1964 Fanning is hired as a reporter by his uncle, James Fanning, the owner of the Midland Tribune in Birr, County Offaly, and pursues an unglamorous beat covering court sittings, local authority meetings and GAA matches. Needing a better salary to start a family, he joins Independent Newspapers (IN) in Dublin as a general reporter in May 1969, and soon after marries Mary O’Brien from Streamstown, County Offaly. They settle in Dún Laoghaire, County Dublin, and have three sons.
Fanning covers the Northern Irelandtroubles during 1969–70, before reporting increasingly on farming matters, becoming the IN group’s agricultural correspondent in 1973, as Ireland’s European Economic Community (EEC) accession sparks a farming boom. He is made head of news analysis at the Irish Independent in 1982, improving the op-ed page and using it to advocate more market-driven economic policies.
Fanning is appointed editor of the mid-to-upmarket Sunday Independent in 1984 from. Under his leadership, the newspaper adopts what Irish newspaper historian John Horgan calls a “new emphasis on pungent opinion columns, gossip and fashion” which results in the paper overtaking its main rival, The Sunday Press. For a time, his deputy editor is journalist Anne Harris.
In a 1993 interview with Ivor Kenny in the book Talking to Ourselves, Fanning describes himself as a classical liberal who is opposed to both Ulster loyalist and Provisional Irish Republican Army terrorism. He also expresses a strong advocacy of the free market, arguing that the goal of a good newspaper is to be as commercially successful as possible:
“If three or four papers out of 15 are successful and the others are not, they might say they’re not driven by the market, they have some higher vocation: to serve the public interest or some pompous stuff like that. That’s how they feel good about themselves. Fair enough, if that’s how they want to explain the world. It’s a grand excuse for relative failure… I think we live or die by the market, it will always win through.”
Fanning recruits a number of noted writers to contribute to the newspaper, including historians Conor Cruise O’Brien and Ronan Fanning, journalists Shane Ross and Gene Kerrigan, poet Anthony Cronin and novelist Colm Tóibín. However, his editorship is not without controversy. The columns published by Eamon Dunphy and Terry Keane draw criticism. Michael Foley notes some Irish commentators criticised Fanning’s Sunday Independent, claiming the newspaper was publishing “a mix of sleaze and prurience.”
Fanning also defends the controversial Mary Ellen Synon, who calls the Paralympics games “perverse.” One of the more bizarre incidents occurs in 2001 when he is involved in fisticuffs with a colleague at the newspaper – operations editor Campbell Spray.
Diagnosed with lung cancer in April 2011, Fanning spends his last months undergoing treatment in St. Vincent’s University Hospital, Dublin, dying there on January 17, 2012, at the age of 69. His remains are cremated at Mount Jerome Crematorium.
Anne Harris, Fanning’s second wife, succeeds him as editor and lasts three years. As well as pioneering changes in the domestic print media’s role, Fanning’s Sunday Independent led Irish society’s turn towards free market hedonism, catching the public mood better than its more conventionally liberal rivals by rendering this cultural transformation in an exuberant, somewhat parodied form, and without regard for lingering post-Catholic inhibitions.
Elizabeth Corbet Yeats, known as Lolly, Anglo-Irisheducator and publisher, dies on January 16, 1940. She works as an art teacher and publishes several books on art and is a founder of Dun Emer Press which publishes several works by her brother, W. B. Yeats. She is the first commercial printer in Ireland to work exclusively with hand presses.
Yeats is born at 23 Fitzroy Road, London, on March 11, 1868. She is the daughter of the Irish artist John Butler Yeats and Susan Yeats (née Pollexfen). She is sister to W. B., Jack and Susan Mary “Lily” Yeats. From the age of four she lives in Merville, Sligo, at the home of her grandfather William Pollexfen. In November 1874 her family moves to 14 Edith Villas, West Kensington, London. Her governess is Martha Jowitt from 1876 until 1879 before the family moves to Bedford Park, Chiswick, in 1878.
The family moves to Eardley Crescent, South Kensington, London, in 1886. While there Yeats starts to write fiction and publishes a homemade magazine, The Pleiades, with six friends, contributing “Story without a plot” to the Christmas 1888 issue. In addition, she publishes “Scamp and three friends” in The Vegetarian.
Yeats also attends the Chiswick School of Art with her sister Susan and brother Jack Butler Yeats, learning “Freehand drawing in all its branches, practical Geometry and perspective, pottery and tile painting, design for decorative purposes.”
In the 1890s Yeats lives at 3 Blenheim Road, Bedford Park, London, and trains as a kindergarten teacher at the Froebel College in Bedford, Bedfordshire. She undertakes her teaching practice at the Bedford Park High School. In 1892, when her training is completed, she teaches as a visiting art mistress at the Froebel Society, Chiswick High School and the Central Foundation School.
Yeats earns a good income from lecturing and publication of four popular painting manuals: Brushwork (1896), Brushwork Studies of Flowers, Fruits and Animals (1898), Brushwork Copy Book (1899), and Elementary Brushwork Studies (1900).
Yeats trains and works as an art teacher and is a member of William Morris‘s circle in London before her family returns to Dublin in 1900. She writes and creates the artwork for Elementary Brush-Work Studies (1900), an educational book that teaches young children the technique of painting flowers and plants using her simple method. At the suggestion of Emery Walker, who works with Morris on the Kelmscott Press, she studies printing with the Women’s Printing Society in London.
In Dublin, Yeats accepts the invitation to join Evelyn Gleeson to form the Dun Emer Guild along with Lily, who is an embroiderer. She manages the Dun Emer Press from 1902 with a printing press acquired from a provincial newspaper. The Press is located at Runnymede, the house of Evelyn Gleeson. This is set up with the intention of training young women in bookbinding and printing as well as embroidery and weaving. In 1903 she starts printing and Dun Emer’s first book is W. B. Yeats’s In the Seven Woods (1903).
Despite being a gifted printer, the costings exceed the quality of work that Yeats produces with the result that the press is often at risk financially. Eleven books, decorated with pastels by George William Russell, appear under the Dun Emer imprint produced from a first-floor room. She has several disagreements with her brother William over his directions as literary editor. She also dislikes Evelyn Gleeson. In October 1906 she travels to New York to advertise her products but publishes Dun Emer’s last book, William’s Discoveries (1907), in late November when she returns to Dublin.
After many years of strained relations between the Yeats sisters and Evelyn Gleeson, their business relationship is finally ended. Subsequently, in 1908, Lolly and her brother William start the Cuala Press, publishing over 70 books including 48 by the poet. Yeats manages the press while her sister Lily controls the embroidery section. Cuala continues to be a family strain. Their father, John Butler Yeats, has to castigate his son William for sending overtly critical letters to his sisters about the press. However, Cuala produces magnificent books: W. B. Yeats’ The Green Helmet and Other Poems (1910) and a series of Broadsides (published 1908–15, with illustrations from Jack Yeats).
Yeats works with Cuala Press until just before her death in Dublin on January 16, 1940, after a diagnosis of high blood pressure and heart trouble.
(Pictured: “Elizabeth Corbet Yeats” by Jack Butler Yeats, oil on canvas, circa 1899, National Gallery of Ireland)
seamus dubhghaill 