seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA

Tag Archives: Czechoslovakia


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Birth of Sir James Comyn, Irish-born English High Court Judge

Sir James Peter Comyn, Irish-born barrister and English High Court judge, is born at Beaufield House, Stillorgan, County Dublin on March 8, 1921. Considered by many to be “the finest all-round advocate at the English bar”, he is appointed to the High Court of Justice in 1978, serving on the bench until his retirement in 1985.

Comyn is the son of Nationalist barrister James Comyn KC and of Mary Comyn. Through his father he is the nephew of the barrister Michael Comyn KC. Both his father and uncle had been political and legal advisers to Éamon de Valera, who at one point uses Beaufield House as a safe house. However, the Comyn brothers have a falling out with de Valera shortly before he comes to power in 1932, and Michael Comyn is passed over as Attorney General of the Irish Free State. As a result, James Comyn, who is then attending Belvedere College in Dublin, is sent by his father to attend The Oratory School in England. He spends six months as a trainee at The Irish Times under the editor R. M. “Bertie” Smyllie, but abandons journalism after a joke he added to an obituary is printed in the paper, leading to his demotion to the racing department.

Comyn then matriculates at New College, Oxford, where he reads law, graduating with Second Class Honours. In 1940, he defeats Roy Jenkins for the presidency of the Oxford Union, winning by four votes. After suffering the first of several breakdowns through his life, he briefly works for the BBC‘s Empire Service during World War II.

Comyn is called to the English bar by the Inner Temple in 1942, the Irish bar in 1947, and the Hong Kong bar in 1969. In 1944, he begins his pupillage with Edward Holroyd Pearce KC, later a law lord, and joins his chambers at Fountain Court. He practises in London and on the Western circuit, supplementing his earnings by teaching banking, a subject of which he knows nothing. On one occasion, he rises in Lambeth County court to cross-examine a female defendant in an eviction case. Just as he begins by saying “Madam,” the defendant opens her bag, takes out a dead cat, and throws it at him. The judge’s reaction is to tell the defendant, “Madam, if you do that again, I’ll commit you.” Comyn wins the case.

Comyn takes silk in 1961, and acquires a large practice as a senior, appearing in many high-profile cases. In 1964, he wins damages for libel for the former safe-breaker Alfred George Hinds against a Scotland Yard inspector by convincing the jury that Hinds is in fact innocent. In 1970, he successfully defends the Labour MP Will Owen, who is accused of providing information to the Czechoslovak intelligence services. In 1975, he defeats the government’s attempt to obtain an injunction against the publication of the diaries of former minister Richard Crossman.

Comyn is Recorder of Andover between 1964 and 1971 (honorary life recorder from 1972), commissioner of assize for the Western Circuit in 1971, and a Recorder of the Crown Court between 1972 and 1977. He is elected a bencher of the Inner Temple in 1968, and serves as chairman of the Bar council from 1973 to 1974.

Having refused a previous invitation by Quintin Hogg, Baron Hailsham of St. Marylebone to join the bench, Comyn is again nominated by Elwyn Jones, Baron Elwyn-Jones, in 1977, and is appointed a High Court judge in 1978, receiving the customary knighthood upon his appointment. Initially assigned to the Family Division, he does not take to the work and is reassigned to the Queen’s Bench Division in 1979. He has a reputation for leniency in sentencing, first acquired as Recorder of Andover. In 1980–81, he presides over an unsuccessful libel action by a member of the Unification Church, colloquially known as the Moonies, against the Daily Mail, the longest libel trial in England up to that time. His Irish background makes him the target of Irish Republican Army (IRA) action, and in 1981 the Provisional IRA burns his house in Tara.

Recurring bouts of depression lead to Comyn’s early retirement, on grounds of ill health, in 1985. In retirement, he divides his time between England and Ireland, whose citizenship he has retained. He writes a number of books, including memoirs, light verse, and books on famous trials. He also breeds Friesian cattle. He dies in Navan, County Meath on January 5, 1997 at age 75.


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Birth of Mary Swanzy, Landscape & Genre Artist

Mary Swanzy, Irish landscape and genre artist, is born in Dublin on February 15, 1882. Noted for her eclectic style, she paints in many styles including cubism, futurism, fauvism, and orphism, she is one of Ireland’s first abstract painters.

Swanzy is the second of three daughters of Sir Henry Rosborough Swanzy, an eye surgeon, and his wife Mary (née Denham). She attends Alexandra College, Earlsfort Terrace, a finishing school at the Lycée in Versailles, France, and a day school in Freiburg, Germany. This education means that she is fluent in French and German. She goes on to take art classes at Mary Manning‘s studio, under the direction of John Butler Yeats. Manning encourages her to study modelling with John Hughes at the Dublin Metropolitan School of Art.

Living within walking distance of the National Gallery of Ireland, she spends a lot of time studying and copying the great masters. Her first exhibition is with the Royal Hibernian Academy (RHA) in 1905 with Portrait of a child, continuing to exhibit portraits every year until 1910. In 1905 she goes to Paris and works at the Académie Delécluse, an atelier-style art school. She goes on to attend the studio of Antonio de La Gándara in 1906, and takes classes at Académie de la Grande Chaumière and Académie Colarossi. While in Paris she is exposed to the works of Gauguin, Matisse, and Picasso, which make a lasting impression on her.

On her return to Dublin, Swanzy paints portraits and genre scenes and holds her first show at Mill’s Hall, Merrion Row in 1913. She holds another show there in 1919, where she exhibits nearly 50 pieces. This exhibition is reviewed by Sarah Purser who notes the lack of melancholy and light optimism in Swanzy’s Irish landscapes. Swanzy paints in a number of styles, often reflecting the major art developments in Paris.

After the deaths of her parents, she is financially independent and can travel, spending her time between Dublin and Saint-Tropez during World War I while continuing to paint. She also exhibits with the Société des Artistes Indépendants in 1914 and 1916, being elected to the committee in 1920. While visiting her sister who is involved with the Protestant relief mission in Yugoslavia and Czechoslovakia, she paints landscapes, village life, and peasant scenes. These works are shown in the autumn of 1921 in the Dublin Painters’ Gallery with six other artists including Jack Butler Yeats, Paul Henry, and Clare Marsh with whom she shares a studio.

Swanzy begins to travel to more exotic countries from the 1920s, Honolulu around 1923, and later Samoa. As a result, she paints local tropical flowers, trees, and native women, with a palette and style similar to that of Fauvism. She stays for a time in Santa Barbara, California, working in a local studio and exhibiting some of her Samoan work at the Santa Barbara Arts Club Gallery. She returns to Ireland in February 1925 and exhibits three of her Samoan paints at the RHA, and 14 at her one-woman show in the Galerie Bernheim-Jeune, Paris in October 1925. Gertrude Stein writes her to congratulate her on her Paris exhibition.

In the mid 1920s Swanzy settles in Blackheath, London, making regular trips to Dublin and abroad. In 1932 Purser holds an exhibition of Swanzy’s work for invited guests in her house. At this time her painting is influenced by orphism and is reviewed positively. Her work becomes more allegorical in later years, with The message in the Hugh Lane Gallery demonstrating this. During World War II she stays with her sister in Coolock for three years. In 1943, she holds a one-woman show at the Dublin Painters’ Gallery, and is also featured at the first Irish Exhibition of Living Art. She is exhibited at St. George’s Gallery, London in 1946 along with Henry Moore, Marc Chagall, and William Scott.

Swanzy is made an honorary member of the RHA in 1949, showing with them in 1950 and 1951. She does not exhibit in Ireland for a number of years, but the Hugh Lane Gallery holds a major retrospective of her work in 1968. Following this she holds two one-woman shows at the Dawson Gallery in 1974 and 1976. In 1975 she is featured at the Cork ROSC art exhibition and resumes showing with the RHA. She continues to paint until her death at her home in London on July 7, 1978.

In 1982 the Taylor Galleries holds an exhibition to mark the centenary of Swanzy’s birth. More recently she is featured in the Irish Museum of Modern Art (IMMA) 2013 exhibition Analysing Cubism. From October 2018-February 2019, also in IMMA, she is the subject of the solo exhibition Mary Swanzy Voyages.

(Pictured: Sunlit Landscape, oil-on-canvas, by Mary Swanzy)