Johnson works on the docks for an Irish fish merchant, spending much of his time in Dunmore East and Kinsale. It is this way that he picks up ideas about socialism and Irish nationalism, joining a Liverpool branch of the Independent Labour Party in 1893. In 1900 he starts work as a commercial traveller, then moves in 1903 with his family to Belfast where he becomes involved in trade union and labour politics.
In 1907 Johnson helps James Larkin organise a strike in the port, but has to watch in dismay as the strike, which begins with remarkable solidarity between labour, Orange, and nationalist supporters, collapses in sectarian rioting. At various times he is the president, treasurer and secretary of the Irish Trades Union Congress (ITUC) which is, at the time, also the Labour Party in Ireland, until officially founded in 1912 by James Connolly and James Larkin. Johnson becomes Vice-president of the ITUC in 1913, and President in 1915.
Johnson sympathizes with the Irish Volunteers, many of whom are sacked from their jobs, for illegal activities. During the Easter Rising, he notes in his diary that people in Ireland paid little heed to the fate of the defeated revolutionaries. He succeeds as leader of the Labour Party from 1917, when the party does not contest the 1918 Irish general election. When the British government tries to enforce conscription in Ireland in 1918, he leads a successful strike in conjunction with other members of the Irish anti-conscription movement.
Johnson is later elected a TD for Dublin County to the Third Dáil at the 1922 Irish general election and remains leader of the Labour Party until 1927. As such, he is Leader of the Opposition in the Dáil of the Irish Free State, as the anti-treaty faction of Sinn Féin refuses to recognise the Dáil as constituted. He issues a statement of support for the Government of the 4th Dáil when the Irish Army Mutiny threatens civilian control in March 1924.
Johnson is the only Leader of the Labour Party who serves as Leader of the Opposition in the Dáil. He loses his Dáil seat at the September 1927 Irish general election, and the following year he is elected to Seanad Éireann, where he serves until the Seanad’s abolition in 1936.
In 1896 he meets Marie Tregay, then a teacher in St. Multose’s National school, outside Kinsale. A native of Cornwall, she has advanced political views. They marry in 1898 in Liverpool. Their only son, Frederick Johnson, is born in 1899, and becomes a well-known actor. Johnson dies on January 17, 1963, at 49 Mount Prospect Avenue, Clontarf, Dublin.
Each summer, Labour Youth holds the “Tom Johnson Summer School” to host panel discussions, debates and workshops.
Described as having an “ardent and self-confident manner,” Hughes is first heard of in an Irish musical capacity (beyond being honorary organist at St. Peter’s Church on Antrim Road at the age of fourteen) collecting traditional airs and transcribing folksongs in North Donegal in August 1903 with his brother Fred, Francis Joseph Bigger, and John Patrick Campbell. Dedicated to seeking out and recording such ancient melodies as are yet to be found in the more remote glens and valleys of Ulster, he produces Songs of Uladh (1904) with Joseph Campbell, illustrated by his brother John and paid for by Bigger. Throughout his career, he collects and arranges hundreds of traditional melodies and publishes many of them in his own unique arrangements. Three of his best-known works are the celebrated songs, My Lagan Love, She Moved Through the Fair, and Down by the Salley Gardens, which are published as part of his four collections of Irish Country Songs, his key achievement. These are written in collaborations with the poets Joseph Campbell and Padraic Colum, and W. B. Yeats himself. A dispute with Hamilton Harty over copyright on My Lagan Love is pursued on Bigger’s advice, but fails.
Hughes has a unique approach to arranging Irish traditional music. He calls upon the influence of the French impressionistClaude Debussy in his approach to harmony: “Musical art is gradually releasing itself from the tyranny of the tempered scale. […] and if we examine the work of the modern French school, notably that of M. Claude Debussy, it will be seen that the tendency is to break the bonds of this old slave-driver and return to the freedom of primitive scales.” He regards arrangements as an independent art form on an equal level with original composition: “[…] under his [i.e. the arranger’s] hands it is definitively transmuted into an art-song, an art-song of its own generation.” His folksong arrangements have been sung all across the English-speaking world. John McCormack and Kathleen Ferrier are the first to record them on gramophone records.
Hughes also composes a limited amount of original chamber music (a violin sonata is mentioned in a letter to Hughes from Bernard van Dieren dated April 4, 1932), and some scores for the stage (like And So to Bed by James Bernard Fagan) and film. Hughes and John Robert Monsell also create songs for a musical version of Richard Brinsley Sheridan‘s The Rivals called Rivals!, which is staged at the Kingsway Theatre in London in October 1935 by Vladimir Rosing and runs for 86 performances.
Married to Lillian Florence (known as Meena) Meacham and Suzanne McKernan, Hughes has three children: Patrick, known professionally as Spike Hughes, Angela and Helena. He dies in Brighton, England, at the relatively early age of fifty-four on May 1, 1937.
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)
Eleanor Charlotte Butler, recluse of Llangollen, is born in Cambrai, France, on May 11, 1739.
Butler is the youngest daughter of Walter Butler of Garryricken, County Tipperary, and his wife, Ellen (née Morres), of Latargh, County Tipperary. Her family are members of the old Catholic gentry, and her father is the sole lineal representative of James Butler, 2nd Duke of Ormonde. In 1740 her family returns to the Garryricken estate, where she spends part of her childhood. She is educated by the English Benedictine nuns of the convent of Our Lady of Consolation in Cambrai, where her Jacobite grand-aunt is a pensioner. Reared in the liberal and anti-clerical environment at Cambrai, she is open about her opposition to Irish Catholicism. She is also well read in literature.
By the time Butler returns to Ireland, her brother John had claimed the family titles and was recognised as 16th Earl of Ormond. Though he never uses the title, his sisters are recognised as the daughters of an earl. As the family is impoverished, and she is not disposed to marriage, a decade is passed in unhappiness. Then, in 1768, the thirteen-year-old Sarah Ponsonby arrives in Kilkenny to attend a local school. Following her visit to the Butler home at Kilkenny Castle, and despite the difference in age, the two form an immediate friendship and corresponded secretly, having discovered their mutual interest in the arts and Rousseau‘s ideal of pastoral retirement.
Ponsonby, upon finishing school, is sent to live with relatives at nearby Woodstock Estate, and there is subject to the uninvited attention of a middle-aged guardian. Butler is discontented with her life and the prospects of her family’s wish to send her back to Cambrai, so the two plan to leave their difficulties behind and settle in England. In their first attempt to flee in March 1778, they leave for Waterford disguised as men and wielding pistols, but their families manage to catch up with them. Butler is then sent to the home of her brother-in-law, Thomas ‘Monarch’ Kavanagh of Borris, County Carlow, but makes a second, successful attempt and runs away to find Ponsonby at Woodstock Estate. Her persistence wins out when both families finally capitulate and accepted their plans to live together.
Butler and Ponsonby set out for Wales in May 1778 and, after an extensive tour of Wales and Shropshire, eventually settle in Llangollen Vale, where they rent a cottage which is renamed Plas Newydd. They are accompanied by Mary Carryll, a former servant of the Woodstock household, who remains in their service until her death in 1809. Having made a deliberate decision to retire from the world, they spend the greater part of their days corresponding with friends, reading, building up a large library and making alterations to Plas Newydd, which takes on a fashionable Gothic look. Their garden, landscaped under their direction, becomes a popular attraction for visitors. Butler meticulously records their daily routine in a series of journals, some of which are now lost.
Their seclusion, eccentricities, semi-masculine dress and short-cropped powdered hair gain them notoriety, and it becomes fashionable to call on them. Their numerous and illustrious visitors include Hester Lynch Piozzi, Charles and Erasmus Darwin, Sir Walter Scott, Sir Arthur Wellesley, the Duke of Gloucester and Josiah Wedgwood. In 1792 they entertain Stéphanie Caroline Anne Syms, later that year to become the wife of Lord Edward FitzGerald, and her mother, Madame de Genlis. Following the arrest of Edward FitzGerald in 1798, Stéphanie and her suite flee to London and on May 27 pass through Llangollen, where the events in Dublin are already known. On hearing that she is staying in the local inn, Butler and Ponsonby invite her to call in. However, when she wishes to stay for the day, their apprehension of Jacobinism leads them to persuade her “principally for her own sake and a little for [our] own to proceed as fast and as incognito as possible for London.”
Both Anna Seward and William Wordsworth, who stay at Plas Newydd, write poems celebrating their friendship, and Lord Byron sends them a copy of The Corsair. Owing to her support of the Bourbons, Butler is sent the Croix St. Louis, which she wears about her neck. Though generally considered a hospitable couple, Seward, who is a good friend, admits that the “incessant homage” they received could make Butler “haughty and imperious,” while Lady Lonsdale thinks her “very clever, very odd.” Their celebrity does have its drawbacks: an article in the General Evening Post of July 24, 1790, entitled “Extraordinary female affection,” suggests indirectly that their relationship is unnatural. Butler is particularly angered by this publicity and appeals to Edmund Burke for legal advice. Their retirement is also continually dogged by financial difficulties. They live mainly off their respective allowances and Butler’s royal pension (granted through the influence of Lady Frances Douglas), but spend beyond their means and are often in debt. To add to their problems, Butler receives no mention in her father’s will. However, the Gothic eccentricities of their cottage, which they succeed over time in purchasing, and garden attract even the interest of Queen Charlotte.
Though it is claimed that neither woman spends a night away from Plas Newydd, in January 1786 they stay with their friends, the Barretts of Oswestry, and that September they visit Sir Henry Bridgeman of Weston Park, near Staffordshire. In June 1797 they take their only holiday, at the coastal resort of Barmouth. Despite their isolation they are well informed about international events and society gossip. The Irish serjeant-at-law Charles Kendal Bushe recalls how they gave him all the news of Dublin, London, Cheltenham, and Paris.
In later years Butler’s eyesight deteriorates, preventing her from keeping her journal. She is secretly painted as an old woman with Ponsonby by Lady Mary Leighton and sketched by Lady Henrietta Delamere. A distinctive, anonymous silhouette shows the two generously proportioned women in traditional riding habits (National Portrait Gallery, London). Butler dies on June 2, 1829, and is buried alongside Carryll at Llangollen church. Sarah Ponsonby is subsequently buried with them.
(From: “Butler, Lady (Charlotte) Eleanor” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie)
Máire Nic Shiubhlaigh, Irish actress and republican activist, is born Mary Elizabeth Walker in Charlemont Street, Dublin, on May 8, 1883. She starts acting in her teens and appears in the first Irish language play performed in Ireland. She is a founder-member of the Abbey Theatre and is leading lady on its opening night in 1904, when she plays the title role in W. B. Yeats‘s Cathleen ni Houlihan. She later joins the Theatre of Ireland, which she helps to found.
Nic Shiubhlaigh is born into a nationalist and Irish-speaking family. Her father, Matthew, comes from County Carlow and is a printer and publisher who becomes proprietor of the Gaelic Press. Her mother, Mary, is a dressmaker from Dublin. She grows up in 56 High Street in the Dublin Liberties.
Nic Shiubhlaigh joins the Gaelic League about 1898 and comes into contact with Arthur Griffith and William Rooney. She joins the cultural and revolutionary women’s group Inghinidhe na hÉireann in 1900. With the help of drama enthusiasts William and Frank Fay, she starts acting with the drama group of Inghinidhe na hÉireann. In 1901, the drama group takes part in a feis with two plays, Tobar Draoidheachta by Patrick S. Dinneen and Red Hugh by Alice Milligan. George Russell and W.B. Yeats, who are in attendance at the performance, are moved by the dedication of the amateur players. Russell, who had already offered the Fays his mythic play Deirdre, persuades Yeats to offer them his patriotic play, Cathleen ni Houlihan.
In 1902, Nic Shiubhlaigh joins W. G. Fay’s Irish National Dramatic Company, along with others such as Maire Quinn, Brian Callender, Charles Caulfield, James H. Cousins, P. J. Kelly, Dudley Digges and Frederick Ryan. Their first production of the two one-act plays, Cathleen ni Houlihan, with Maud Gonne in the lead role, and Deirdre, is on April 2, 1902. The company, which has no funds to speak of, acquires a couple of bare rooms at 34 Lower Camden Street, which with the help of friends from Irish-revival societies, they turn into a tiny theatre. They rehearse at the Coffee Palace and also use the Molesworth Hall for productions. In March 1903, with other members of her family, she appears in the first production of Yeats’ morality play, The Hour-Glass, in which she plays the part of the Angel.
In 1903, the playwrights and most of the actors and staff from these productions go on to form the Irish National Theatre Society, which has its registered offices in the Camden Street theatre. Nic Shiubhlaigh is a founder member and on the management committee of the society. Yeats is president, while Russell, Maud Gonne and Douglas Hyde are vice-presidents. William Fay is stage manager. The society founds the Abbey Theatre.
Nic Shiubhlaigh acts in the Abbey Theatre from the time of its founding. On its opening night on December 27, 1904, she plays the name part in Cathleen ni Houlihan. Her portrait is painted by John Butler Yeats for the occasion and hangs in the vestibule. She is the principal actress of the company after Máire Quinn’s departure to the United States, and when she leaves, the burden of the chief women’s rôles falls upon Sara Allgood.
In September 1905, the Abbey administrator and financial backer, an English theatre impresario called Annie Horniman, in hopes of improving the artistic quality of the productions at the Abbey, offers to guarantee salaries (a sum of £500 per year) for the actors and for Willie Fay as producer. To her mind, this will allow the actors and Fay to dispense with their day jobs and concentrate wholly upon their acting. The more nationally-minded members of the staff disagree. Nic Shiubhlaigh writes, “It was pointed out that the old Irish National Theatre Society had been founded in 1902 on the understanding that its independence as a national movement was to be secured only through the efforts of its members. It would be contrary to these ideals to accept a subsidy from an independent source.” For them it would mean a choice between a national theatre and an artistic theatre. At a meeting of the society, supported by Yeats, Gregory and Synge, the motion to accept Miss Horniman’s proposition is passed by a majority of shareholdings rather than a majority of votes. Nic Shiubhlaigh along with others resign, but they agree to remain until the end of the year, as part of an upcoming tour of England.
Nic Shiubhlaigh remains with the Abbey until December 1905, when along with Honor Lavelle (also known as Helen Laird), Emma Vernon, Máire Garvey, Frank Walker, Seumas O’Sullivan, Padraic Colum and George Roberts, she leaves. She joins the Theatre of Ireland, which she helps to found. This is formed in June 1906 with aims similar to the Irish National Theatre Society. She returns to the Abbey in 1910.
At the time of the 1916 Easter Rising, Nic Shiubhlaigh is living in Glasthule, a suburb of Dublin. She cycles into the city and, along with other members of Cumann na mBan, makes her way to Jacob’s Biscuit Factory, whose garrison under the command of Thomas MacDonagh guards the city against the troops of Portobello Barracks, and acts as an information and supplies hub for other garrisons around the city. She commands the women of the garrison. They remain there until the surrender, cooking and rendering first aid to the garrison, and bringing despatches through the city.
Nic Shiubhlaigh had retired from professional acting in 1912, and seldom works in professional theatre again. In 1929, she marries former IRA Director of Organisation, Major General Eamon “Bob” Price, and they move to Laytown, County Meath.
Nic Shiubhlaigh’s last stage appearance, alongside her sister Gypsy, is in a production of Gaol Gate at the Olympia Theatre, Dublin, on November 21, 1948, staged to mark the 150th anniversary of the death of Theobald Wolfe Tone.
Nic Shiubhlaigh dies on September 9, 1958, in the Drogheda cottage hospital.
Her book, The Splendid Years, written with the help of her nephew Edward Kenny, recalls the years of the national revival and the Easter Rising.
Lehane is the only surviving child of Denis Lehane, an excise officer originally from County Cork, and his wife Mary (née Connolly), a native of the Falls Road, Belfast. He grows up in an Irish-speaking household. Joseph Connolly, the senator, is his uncle on his mother’s side, while Michael O’Lehane, the trade unionist, is his uncle on his father’s side. His family emigrates to Hartlepool, in County Durham, England, in 1912, and then to Dublin in 1920. He is educated at Synge Street CBS and University College Dublin (UCD), where he studies Law and qualifies as a solicitor. He marries Marie O’Neill in 1937, and they have a son and two daughters.
As a solicitor, Lehane takes to defending members of the Irish Republican Army (IRA) in the Irish Courts. In 1927 he obtains permission for IRA prisoners to speak privately to their solicitors from the Irish High Court. He is active in other republican and nationalist circles. He is a member of the Moibhí Branch of Conradh na Gaeilge, and by the 1930s appears to become active in the IRA itself. In 1931 he is involved in Saor Éire, an attempt by the Irish left-wing to create a communist political party that would be linked to the IRA.
Lehane is a member of the IRA’s arms committee and in 1935 he is sentenced to 18-months’ imprisonment by the Military Tribunal for his membership of the IRA.
Lehane is an actor and has a keen interest in Irish language theatre. A committed Irish speaker, Lehane is at home in it, whether on radio, stage or in street conversation. He is one of the leading actors of the Irish Language Theatre Company between 1943 and 1958. He is a member of Dublin City Council and of the Citizens for Civil Liberties committee.
In 1977, the remains of Frank Ryan, one of the leading left-wing Republicans of the 1930s, are repatriated from East Germany, and Lehane delivers the eulogy.
Levinge is the second son of Richard Levinge of Parwich Hall, Derbyshire, Recorder of Chester, and Anne Parker, daughter of George Parker of Staffordshire and his wife Grace Bateman. The Levinges (sometimes spelled “Levin”) are a long-established Derbyshire family with a tradition of public service. Through his mother he is a first cousin of Thomas Parker, 1st Earl of Macclesfield, Lord High Chancellor of Great Britain.
Levinge is one of the first to declare for William III of England at the Glorious Revolution and is sent by the new Government to Ireland as Solicitor-General in 1689. In 1692 he is elected as a member of the Irish House of Commons for Belfast and for Blessington, but chooses to sit for Blessington, a seat he holds until 1695. During this time, he serves as Speaker of the Irish House of Commons. In politics he is a moderate Tory, noted throughout his career for his desire to conciliate. In an age of bitter political faction this earns him the uncharitable nickname “Tom Double.” Although he supports the Penal Laws, as no Irish officeholder then could do otherwise, he is very tolerant in religious matters and has several Roman Catholic friends, including his predecessor as Solicitor-General, Sir Theobald Butler.
Levinge later represents Longford Borough from 1698 to September 1713 and Kilkenny City from 1713 to November 1715 in the Irish Parliament. In 1713 he is also returned for Gowran but chooses to sit for Kilkenny. He is created a Baronet of High Park in the County of Westmeath, in the Baronetage of Ireland on October 26, 1704.
Levinge had expressed his interest in being appointed to the English Bench but meets with no success in his efforts to achieve office in England. Under George I of Great Britain, despite being of the “wrong” political persuasion, and his growing age, his famous moderation, and his 30 years’ experience of Irish public life make him acceptable as an Irish judge to the Government, in which he has a powerful supporter in his cousin Lord Macclesfield. In 1721 he becomes Chief Justice of the Irish Common Pleas for Ireland and a member of the Privy Council of Ireland. He complains bitterly of the poor quality of his junior judges, and asks for suitable replacements, although he complains equally about some of those whose names are put forward as possible replacements. Despite being in great pain from gout in his last years, he remains on the Bench until his death on July 13, 1724.
Levinge divides his time between his ancestral home, Parwich Hall, which he purchases from his childless elder brother, and his newly acquired property Knockdrin Castle, County Westmeath. Most of his estates passes to his eldest son, who extensively rebuilds Parwich.
(Pictured: Knockdrin Castle, County Westmeath, the main Levinge residence in Ireland)
Frederick Edward McWilliamCBERA, Northern Irish surrealistsculptor, is born in Banbridge, County Down, on April 30, 1909. He works chiefly in stone, wood and bronze. His style of work consists of sculptures of the human form contorted into strange positions, often described as modern and surreal.
McWilliam is the son of Dr. William McWilliam, a local general practitioner. Growing up in Banbridge has a great influence on his work. He makes references to furniture makers such as Carson the Cooper and Proctors in his letters to his friend, Marjorie Burnett.
McWilliam attends Campbell College in Belfast and later attends Belfast College of Art from 1926. After 1928, he continues to study at the Slade School of Fine Art in London. He originally intends to become a painter, but influenced by Alfred Horace Gerrard, head of the sculpture department at the Slade, and by Henry Moore whom he meets there, he turns to sculpture. He receives the Robert Ross Leaving Scholarship which enables him and his wife, Beth (née Crowther), to travel to Paris where he visits the studio of Constantin Brâncuși.
During the first year of World War II, he joins the Royal Air Force and is stationed in England for four years where he is engaged in interpreting aerial reconnaissance photographs. He is then posted to India. While there he teaches art in the Hindu Art School in New Delhi.
After his return from India, McWilliam teaches for a year at the Chelsea School of Art. He is then invited by A. H. Gerrard to teach sculpture at the Slade. He continues in this post until 1968.
During the Northern IrelandTroubles McWilliam produces a series of bronzes in 1972 and 1973 known as Women of Belfast in response to the bombing at the Abercorn Tea-Rooms.
In 1964 McWilliam is awarded an Honorary Doctor of Letters from Queen’s University Belfast. In 1966 he is appointed CBE and in 1971 he wins the Oireachtas Gold Medal. He is represented in many public collections, including the Museum of Modern Art in New York City and Tate Britain in London. In 1984 the National Self-Portrait Gallery purchases a McWilliam self-portrait amongst acquisitions from fellow Northerners Brian Ballard, Brian Ferran and T. P. Flanagan.
Wilde is born in March 1815 at Kilkeevin, near Castlerea, County Roscommon, the youngest of the three sons and two daughters of a prominent local medical practitioner, Thomas Wills Wilde, and his wife, Amelia Flynne. His family are members of the Church of Ireland, and he is descended from a Dutchman, Colonel de Wilde, who came to Ireland with King William of Orange‘s invading army in 1690, and numerous Anglo-Irish ancestors. He receives his initial education at the Elphin Diocesan School in Elphin, County Roscommon. In 1832, he is bound as an apprentice to Abraham Colles, the pre-eminent Irish surgeon of the day, at Dr. Steevens’ Hospital in Dublin. He is also taught by the surgeons James Cusack and Sir Philip Crampton and the physician Sir Henry Marsh. He also studies at the private and highly respected school of anatomy, medicine, and surgery in Park Street (later Lincoln Place), Dublin. In 1837, he earns his medical degree from the Royal College of Surgeons in Ireland. In the same year, he embarks on an eight-month-cruise to the Holy Land with a recovering patient, visiting various cities and islands throughout the Mediterranean. Porpoises are flung on board the ship, Crusader, and Wilde dissects them. Taking notes, he eventually composes a two-volume book on the nursing habits of the creatures. Among the places he visits on this tour is Egypt. In a tomb he finds the mummified remains of a dwarf and salvages the torso to bring back to Ireland. He also collects embalmed ibises.
Wilde runs his own hospital, St. Mark’s Ophthalmic Hospital for Diseases of the Eye and Ear, in Dublin and is appointed to serve as Oculist-in-ordinary to Queen Victoria. At one point, he performs surgery on the father of another famous Irish dramatist, George Bernard Shaw.
Wilde had a very successful medical practice and is assisted in it by his natural son, Henry Wilson, who had been trained in Dublin, Vienna, Heidelberg, Berlin, and Paris. Wilson’s presence enables him to travel, and he visits Scandinavia, where he receives an honorary degree from Uppsala University, and is welcomed in Stockholm by Anders Retzius, among others. King Charles XV of Sweden confers on him the Nordstjärneorden (Order of the Polar Star). In 1853, he is appointed Surgeon Occulist in Ordinary to the Queen in Ireland, the first position of its kind, probably created for him.
Wilde is awarded a knighthood in a ceremony at Dublin Castle on January 28, 1864, more for his involvement with the Irish census than for his medical contributions, although he had been appointed medical commissioner to the Irish census in 1841. In 1845, he becomes editor of the Dublin Journal of Medical & Chemical Science, to which he contributes many articles.
Wilde marries the poet Jane Francesca Agnes Elgee on November 12, 1851, who writes and publishes under the pen name of Speranza. The couple has two sons, William (Willie) and Oscar, and a daughter, Isola Francesca, who dies in childhood.
In addition to his children with his wife, Wilde is the father of three children born out of wedlock before his marriage: Henry Wilson, born in 1838, and Emily and Mary Wilde, born in 1847 and 1849, respectively, of different parentage to Henry. He acknowledges paternity of his illegitimate children and provides for their education, but they are reared by his relatives rather than with his wife and legitimate children. Emily and Mary both die in 1871 following a Halloween party at which their dresses accidentally catch fire.
From 1855 until his death in 1876, Wilde lives at 1 Merrion Square, now the headquarters of American College Dublin. The building is named Oscar Wilde House after William Wilde’s son, who also lives at the address from 1855 until 1878. There is a plaque at 1 Merrion Square dedicated to him.
Wilde’s reputation suffers when Mary Travers, a long-term patient of his and the daughter of a colleague, claims that he had seduced her two years earlier. She writes a pamphlet crudely parodying Wilde and Lady Wilde as Dr. and Mrs. Quilp, and portraying Dr. Quilp as the rapist of a female patient anaesthetised under chloroform. She distributes the pamphlets outside the building where Wilde is about to give a public lecture. Lady Wilde complains to Mary’s father, Robert Travers, which results in Mary bringing a libel case against her. Mary Travers wins her case but is awarded a mere farthing in damages by the jury. Legal costs of £2,000 are awarded against Lady Wilde. The case is the talk of all Dublin, and Wilde’s refusal to enter the witness box during the trial is widely held against him as ungentlemanly behaviour.
From this time onwards, Wilde begins to withdraw from Dublin to the west of Ireland, where he had started in 1864 to build what becomes Moytura, his house overlooking Lough Corrib in Connemara, County Galway. His health deteriorates in 1875. He dies, likely of cancer, at the age of 61 on April 19, 1876. He is buried in Mount Jerome Cemetery in Dublin.
(Pictured: Sketch of William Wilde by J.H. Maguire, 1847)
To seek to achieve unity among the Irish people on the issue of restoring national sovereignty and to promote the revolutionary ideals of republicanism and to this end involve itself in resisting all forms of colonialism and imperialism.
To seek the immediate and unconditional release of all Irish republican prisoners throughout the world.
The 32CSM does not contest elections but acts as a pressure group, with branches, or cumainn, organised throughout the traditional counties of Ireland. It has been described as the “political wing” of the now defunct Real Irish Republican Army (Real IRA or RIRA), but this is denied by both organisations. The group originates in a split from Sinn Féin over the Mitchell Principles.
The organisation is founded on December 7, 1997, at a meeting of like-minded Irish republicans in the Dublin suburb of Finglas. Those present are opposed to the direction taken by Sinn Féin and other mainstream republican groups in the Northern Ireland peace process, which eventually leads to the Good Friday Agreement, also known as the Belfast Agreement, the following year. The same division in the republican movement leads to the paramilitary group now known as the Real IRA breaking away from the Provisional Irish Republican Army at around the same time.
Most of the 32CSM’s founders had been members of Sinn Féin, with some having been expelled from the party for challenging the leadership’s direction, while others felt they had not been properly able to air their concerns within Sinn Féin at the direction its leadership had taken. Bernadette Sands McKevitt, wife of Michael McKevitt and a sister of hunger strikerBobby Sands, is a prominent member of the group until a split in the organisation.
The name refers to the 32 counties of Ireland which were created during the Lordship of Ireland and Kingdom of Ireland. With the partition of Ireland in 1920–22, twenty-six of these counties form the Irish Free State which is abolished in 1937 and is now known as Ireland since 1949. The remaining six counties of Northern Ireland remain part of the United Kingdom. Founder Bernadette Sands McKevitt says in a 1998 interview with The Mirror that people did not fight for “peace” – “they fought for independence” – and that the organisation reaffirms to the republican position in the 1919 Irish Declaration of Independence.
Before the referendums on the 1998 Good Friday Agreement, the 32CSM lodges a legal submission with the United Nations challenging British sovereignty in Ireland. The referendums are opposed by the 32CSM but are supported by 71% of voters in Northern Ireland and by 94% in the Republic of Ireland. It is reported in February 2000 that the group had established a “branch” in Kilburn, London.
In November 2005, the 32CSM launches a political initiative titled Irish Democracy, A Framework for Unity.
On May 24, 2014, Gary Donnelly, a member of the 32CSM, is elected to the Derry and Strabane super council. In July 2014, a delegation from the 32CSM travels to Canada to take part in a six-day speaking tour. On arrival the delegation is detained and refused entry into Canada.
In 2015, the 32CSM organises a demonstration in Dundee, Scotland, in solidarity with the men convicted of shooting Constable Stephen Carroll, the first police officer to be killed in Northern Ireland since the formation of the PSNI. The organisation says the “Craigavon Two” are innocent and are victims of a miscarriage of justice.
The 32CSM also operates outside of the island of Ireland to some extent. The Gaughan/Stagg Cumann covers England, Scotland and Wales, and has an active relationship of mutual promotion with a minority of British left-wing groups and anti-fascist organisations. The James Larkin Republican Flute Band in Liverpool and the West of Scotland Band Alliance, the largest section of which is the Glasgow-based Parkhead Republican Flute Band, are also supporters of the 32CSM. As of 2014, the 32CSM’s alleged paramilitary wing, the Real IRA, is reported to still be involved in attempts to perpetrate bombings in Britain as part of the dissident Irish republican campaign, which has been ongoing since 1998.
The 32CSM is currently considered a foreign terrorist organization (FTO) in the United States, because it is considered to be inseparable from the Real IRA, which is designated as an FTO. At a briefing in 2001, a spokesman for the U.S. Department of State states that “evidence provided by both the British and Irish governments and open-source materials demonstrate clearly that the individuals who created the Real IRA also established these two entities to serve as the public face of the Real IRA. These alias organizations engage in propaganda and fundraising on behalf of and in collaboration with the Real IRA.” The U.S. Department of State’s designation makes it illegal for Americans to provide material support to the Real IRA, requires U.S. financial institutions to block the group’s assets and denies alleged Real IRA members travel visas into the United States.
seamus dubhghaill 