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Storm Frank Causes Widespread Flooding

Clean-up operations are underway around Ireland on Wednesday, December 30, 2015, in the wake of Storm Frank, which causes widespread flooding following its landfall in western areas on Tuesday, December 29. Thousands of households and businesses are left without electricity in many areas of the country.

A Met Éireann status orange wind warning is lifted at 2:00 p.m. on Wednesday although the forecasts caution that severe winds of 65-80 km/h and gusts of up 130 km/h are still expected. While the heaviest rainfall from the storm falls overnight, many rivers and lakes have yet to peak meaning further flooding is possible.

According to an ESB Networks spokesman, 7,500 homes are without power in the afternoon, down from the overnight total of 13,000. He says repair crews are working to restore power to those cut off. The biggest single outage overnight is around Bandon and Fermoy in County Cork where 4,000 homes are without power, although it has been restored to almost all homes by the afternoon of December 30.

At 2:00 p.m. on Wednesday, the worst affected areas are County Wicklow with 1,200 houses without power, Macroom in County Cork where 600 are without power and Athlone where 500 homes are cut off. Around 500 homes in Naas, County Kildare, are without power as are 350 houses in Skerries in north County Dublin. It is hoped that power will be restored to all customers by the evening.

County Cork appears to be the worst affected by the storm where 60 mms (almost three inches) of rain falls since the morning of December 29. The threat of further flooding in Cork remains as the ESB increases the flow of water through the Inniscarra Dam to 250 cumecs (cubic metres per second) between 9:00 a.m. and midday which leads to increased flooding downstream. This is higher than the level of flow (180 cumecs) the previous and between December 6 and 12 along the River Lee following Storm Desmond.

Cork County manager Tim Lucey says there has been “extensive flooding” across a range of areas, but that Midleton and Bandon are worst hit with some 90 properties affected in each of the towns. He tells RTÉ Radio that one positive is the fact flood defences in Mallow and Fermoy have done their job. He notes that some five feet of water has built up behind a flood barrier in Mallow and this indicates the damage that could have been done to the town.

South Galway bears the brunt of flooding in the west, with river gauges expected to rise further over the coming days. Overnight rainfall is not as heavy as anticipated in the west, but several properties succumb to the waters. Up to 30 families in the south Galway area are forced to stay with relatives, with several being accommodated in hotels by Galway County Council, as floodwaters cut off access routes to their homes.

In Mayo, the area around the Neale remains underwater and a number of minor roads and thousands of acres of farmland are also affected. With rain continuing to fall across the west, conditions are expected to remain critical over the next few days.

The N11 between Rosslare and Dublin, the N25 from Cork to Waterford, the N71 between Cork and Killarney and the N4 between Dublin and Sligo all have diversions in place. The N25 is closed overnight between Killeagh and Castlemartyr in County Cork due to flooding. The N71 Cork/Bandon Road is also closed overnight at the viaduct due to flooding. There is severe flooding on the N40 South Ring Rd. at J6 Kinsale, particularly on the westbound off-ramp. The N11 Dublin/Wexford Road is impassable through Enniscorthy and also at Kyle’s Cross near Oylegate. The N4 is closed eastbound at Ballynafid in County Westmeath due to flooding. There are also several road closures in Kerry, Waterford and Tipperary.

Midleton is also hit by severe flooding as water levels in the Owenacurra River rise dramatically with up to 30 families having to be evacuated from their homes. Macroom in mid-Cork is also flooded for the first time during the year. Bandon is put on red alert by Cork County Council’s early warning system. Traders and residents are told to take all measures necessary to protect their property and stock. Locals stay up all night preparing the town for the latest round of flooding. Nevertheless, some 20 businesses in Bandon are flooded for the second time in a month after waters start to come up shores and gutters in the town as water levels in the River Bandon rise overnight.

The River Slaney burst its banks in Enniscorthy, County Wexford, causing widespread flooding in the town. Several cars have to be abandoned. High tide in Enniscorthy occurs around 10:30 a.m. on December 30.

Limerick City Council and Limerick County Council say there has been no significant flooding in the county as a result of overnight rainfall but that water levels along the lower River Shannon continue to increase. Water levels on the river rise by some 11cm at Castleconnell and Montpelier.

The ESB says the flow of water through Parteen Weir, which regulates water flow through Ardnacrusha power plant, will remain at 440 (cubic metres per second) on December 30 and that the situation will be reviewed again the following day. “The levels in Lough Derg may reach 2009 levels in the coming days and, as a result, the flow through Parteen Weir may increase to 2009 levels (up to 500 cumecs) in the coming days,” it says.

Clare County Council says water levels on the lower River Shannon at Springfield, Clonlara, have increased by 5-10cm in the last 24 hours and are some 20cm below a peak level recorded on December 13th. It says the Mulkear River in County Limerick, which enters the River Shannon south of Annacotty, is currently in flood and is contributing to increased water levels at Springfield. Council staff are assisted by the Fire Service and Defence Forces at Springfield in their pumping operations and transporting residents of some 12 homes isolated by floodwaters.

Fianna Fáil urges Taoiseach Enda Kenny to call an emergency Cabinet meeting to address the fallout from the storm. The party’s environment spokesman, Barry Cowen, says many communities felt neglected as further significant damage was inflicted on homes and businesses by the rainfall and winds brought by Storm Frank. “The scenes that we are witnessing in communities impacted by the latest storm are truly heart-breaking,” he says. “People feel neglected by the Government. It’s astonishing that the Taoiseach has decided not to interrupt his Christmas holidays in light of the devastation caused by Storm Frank.”

The Government’s National Coordination Group on Severe Weather meets in Dublin on December 30. Sinn Féin MEP Liadh Ní Riada says the Government has displayed “ineptitude in preparing flood defences” and that “more hollow promises” from the Coalition are no substitute for action. “The risk of flooding is increasing and will continue to increase. People across this island need to know that our political leaders have a plan to prevent this happening in the future,” she says.

(From: “Storm Frank causes floods, closes roads and cuts power to thousands” by Ronan McGreevy, Th Irish Times, http://www.irishtimes.com, December 30, 2015 | Pictured: Water flows through buildings and down the street in Graignamanagh, Co Kilkenny on Tuesday night by Paul B via Twitter)


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Birth of Gordon Lambert, Businessman, Senator & Art Collector

Charles Gordon Lambert, Irish businessman, senator and art collector, is born on April 9, 1919, in the family home at Highfield Road, Rathmines, Dublin, the youngest of four sons of Robert James Hamilton Lambert, a veterinarian and renowned cricketer, and his wife Nora (née Mitchell). His eldest brother, Noel Hamilton “Ham” Lambert, is a versatile sportsman and noted veterinary practitioner.

Lambert is educated at Sandford Park School, Dublin, and at Rossall School, Lancashire. He is steered by his mother toward a career in accountancy for which he prepares by studying commerce at Trinity College Dublin (TCD). Graduating in 1940, he joins the accounting firm Stokes Brothers and Pim, qualifying Associate Chartered Accountant in 1943. In 1944, after auditing biscuit manufacturers W. & R. Jacob and Co. Ltd, one of Ireland’s largest and most prestigious industrial companies, he is offered and accepts a £300 a year job at Jacob’s as assistant accountant.

In 1953, Lambert becomes Jacob’s chief accountant as the management grooms him for an executive career. During 1948–56, Jacob’s suffers from profit and price controls, lack of capital investment and complacency brought about by the absence of competition. The entry of Boland’s Bakery into the Irish biscuit market in 1957 is exploited by Lambert who urges the alarmed board, which has long regarded advertising as vulgar, to market its products more vigorously. This assertiveness yields his advancement to the position of commercial manager in 1958. A year later he becomes the first non-member of the Bewley and Jacob families to be appointed to the board.

Between 1959 and 1970, biscuit consumption in Ireland doubles for which Lambert can claim much credit. Recognising that the advent of self-service stores means that manufacturers can no longer rely on retailers to sell their products, he pioneers advanced promotional techniques in Ireland, particularly the use of marketing surveys and of mass advertising in newspapers, on radio and on the emerging medium of television. To further accord with retailers’ preferences, Jacob’s drives the widespread packaging of biscuits in airtight packets rather than tins, and also introduces a striking red flash logo for its packets. His interest in contemporary art enables him to contribute directly to Jacob’s packaging designs.

Lambert is appointed to the board of the Electricity Supply Board (ESB) in 1964, a position he holds until 1977, and serves as president of the National Agricultural and Industrial Development Association (NAIDA) in 1964–65, spearheading a “Buy Irish” campaign. His involvement with NAIDA dates to the mid-1950s and leads to his friendship with Jack Lynch, Minister for Industry and Commerce. This relationship and his admiration for Seán Lemass incline him toward Fianna Fáil. He also believes the party is the one most likely to deliver economic growth.

In 1977, Lambert is appointed to Seanad Éireann by Taoiseach Jack Lynch. He sits as an independent but assures Lynch he will broadly support the government. Dismayed by Ireland’s economic uncompetitiveness, he uses this platform to bemoan the state’s financial profligacy and failure to control inflation, and the indifference of Irish politicians towards the business community, contending that Irish industrialists suffer and need to learn from the expert lobbying of the indigenous agricultural sector and of large multi-national companies based in Ireland. He also articulates his social liberalism, desire for peaceful reconciliation in Northern Ireland and support for cultural and environmental causes. But his commitment to the Seanad wanes as he grasps its irrelevance. When Lynch resigns in December 1979, Lambert joins the Fianna Fáil party in a futile bid to preserve his political influence.

Following Jacob’s takeover of Boland’s Bakery in 1966, Lambert becomes joint managing director of a new entity, Irish Biscuits Ltd, the manufacturing and trading company for the Boland’s and Jacob’s biscuits operations. W. & R. Jacob and Co. Ltd becomes a holding company. In 1968, he becomes the sole managing director. From 1977 he begins withdrawing from the active administration of the company, relinquishing his managing directorship in 1979 to become chairman.

Initially, Lambert views art as a hobby but he comes to see it as a calling, drawing inspiration from Sir William Basil Goulding, his predecessor as Ireland’s leading collector and advocate of modern art. From the late 1970s he serves as head of the Contemporary Irish Art Society (CIAS) and on the Arts Council of Northern Ireland, the advisory committee of the Dublin Municipal Gallery, the board of the National Gallery of Ireland, the editorial board of the Irish Arts Review and the international council of the Museum of Modern Art (MoMA) in New York City.

The Irish Museum of Modern Art (IMMA) opens in 1991 and receives through the medium of the Gordon Lambert Trust some 212 works, which form the centerpiece of its collection. Thereafter Lambert gifts another 100 works to IMMA. He sits on IMMA’s board from 1991, and the west wing of the museum is named after him in 1999.

Despite being diagnosed with Parkinson’s disease in 1988, Lambert remains relatively active and plays golf into his 80s. In 1999 he receives an honorary LLD from TCD. From 1997, he relies increasingly on Anthony Lyons, an acquaintance of longstanding, to care for him. His last years are overshadowed by the collapse in autumn 2002 of his close but complex relationship with his family. Thereafter he shuns his relations and changes his will, granting Lyons a substantial portion of his estate while curtailing the amount to be received by his family. He dies in a Dublin hospital on January 27, 2005. Relatives challenge his final will in the High Court in 2009 but it is upheld.

(Pictured: Photograph of director of Jacob’s Biscuits, Gordon Lambert, speaking from a podium at the first Jacob’s Television Awards. The Lord Mayor of Dublin, James O’Keefe, is sitting behind Lambert. The awards ceremony takes place at the Bishop Street factory, Dublin.)


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Birth of Cecil King, Painter & Collector

Cecil King, painter and collector, is born on February 22, 1921, at Rathdrum, County Wicklow.

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)


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Death of Seán Keating, Romantic-Realist Painter

Seán Keating, Irish romantic-realist painter who paints some iconic images of the Irish War of Independence and of the early industrialization of Ireland, dies on December 21, 1977, at the Adelaide Hospital in Dublin.

Keating is born in Limerick, County Limerick on September 28, 1889. He studies drawing at the Limerick Technical School before a scholarship arranged by William Orpen allows him to go study at the Metropolitan School of Art in Dublin at the age of twenty. Over the next few years, he spends two weeks or so during the late summer on the Aran Islands and his many portraits of island people depict them as rugged heroic figures.

In 1914 he wins the RDS Taylor award with a painting titled The Reconciliation. The prize includes £50.00 which allows him to go to London to work as Orpen’s studio assistant in 1915. In late 1915 or early 1916, he returns to Ireland where he documents the Irish War of Independence and the subsequent Irish Civil War. Examples include Men of the South (1921–22) which shows a group of Irish Republican Army (IRA) men ready to ambush a military vehicle and An Allegory (first exhibited in 1924), in which the two opposing sides in the Irish Civil War are seen to bury the tri-colour covered coffin amid the roots of an ancient tree. The painting includes a self-portrait of the artist.

Keating is elected an Associate of the Royal Hibernian Academy (RHA) in 1918, and a full member in 1923. One of the cardinal achievements of the Irish Free State in the 1920s is the building, in partnership with Siemens, of a hydro-electric power generator at Ardnacrusha, near Limerick. Between 1926 and 1927, at his own volition, he produces a considerable number of paintings related to this scheme. He exhibits several examples of the paintings in the RHA exhibitions in 1927 and 1928. Most of the paintings are now in the collection of ESB Group.

In 1936 group of prominent Limerick politicians, artists and patrons establish the first Limerick City Collection of Art from various donations and bequests. Keating is part of this artist-led initiative to form a municipal art gallery in Limerick similar to those already in Dublin and Cork. The collection is formed primarily out of donations and bequests. As a pivotal member of the committee, Keating himself donates many works to the collection which is first exhibited as a municipal collection in the Savoy Cinema, Limerick City on November 23, 1937. It is not until 1948 that an extension to the rear of Limerick Free Library and Museum becomes the home to the City Collection as the Limerick Free Art Gallery. In 1985 the Library and Museum are transferred to larger buildings.

In 1939 Keating is commissioned to paint a mural for the Irish pavilion at the New York World’s Fair. He is President of the RHA from 1950 to 1962 and shows at the annual exhibition for 61 years from 1914. Although he is an intellectual painter in the sense that he consciously sets out to explore the visual identity of the Irish nation, and his paintings show a very idealised realism, he fears that the modern movement will bring back a decline in artistic standards. Throughout his career, he exhibits nearly 300 works at the RHA and also shows at the Oireachtas.

Seán Keating dies on December 21, 1977 at the Adelaide Hospital in Dublin and is buried at Cruagh Cemetery, Rathfarnham. The 1978 RHA Exhibition features a small memorial collection of his work.

Posthumous exhibitions of his work are mounted by The Grafton Gallery, Dublin (1986) and the Electricity Supply Board (1987). Sean Keating – The Pilgrim Soul, a documentary presented and written by his son Justin Keating, airs on RTÉ in 1996.

(Pictured: Photograph of Keating’s “An Allegory” painted between 1922 and 1924. The painting represents Keating’s own disillusionment and loss of idealism resulting from the outbreak of the Irish Civil War. The only figure of the group addressing the observer is a self-portrait of the artist.)


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Birth of Seán Keating, Romantic-Realist Painter

sean-keating-an-allegory

Seán Keating, Irish romantic-realist painter who painted some iconic images of the Irish War of Independence and of the early industrialization of Ireland, is born in Limerick, County Limerick on September 28, 1889.

Keating studies drawing at the Limerick Technical School before a scholarship arranged by William Orpen allows him to go study at the Metropolitan School of Art in Dublin at the age of twenty. Over the next few years, he spends two weeks or so during the late summer on the Aran Islands and his many portraits of island people depict them as rugged heroic figures.

In 1914 he wins the RDS Taylor award with a painting titled The Reconciliation. The prize includes £50.00 which allows him to go to London to work as Orpen’s studio assistant in 1915. In late 1915 or early 1916, he returns to Ireland where he documents the Irish War of Independence and the subsequent Irish Civil War. Examples include Men of the South (1921–22) which shows a group of Irish Republican Army (IRA) men ready to ambush a military vehicle and An Allegory (first exhibited in 1924), in which the two opposing sides in the Irish Civil War are seen to bury the tri-colour covered coffin amid the roots of an ancient tree. The painting includes a self-portrait of the artist.

Keating is elected an Associate of the Royal Hibernian Academy (RHA) in 1918, and a full member in 1923. One of the cardinal achievements of the Irish Free State in the 1920s is the building, in partnership with Siemens, of a hydro-electric power generator at Ardnacrusha, near Limerick. Between 1926 and 1927, at his own volition, he produces a considerable number of paintings related to this scheme. He exhibits several examples of the paintings in the RHA exhibitions in 1927 and 1928. Most of the paintings are now in the collection of ESB Group.

In 1936 group of prominent Limerick politicians, artists and patrons establish the first Limerick City Collection of Art from various donations and bequests. Keating is part of this artist-led initiative to form a municipal art gallery in Limerick similar to those already in Dublin and Cork. The collection is formed primarily out of donations and bequests. As a pivotal member of the committee, Keating himself donates many works to the collection which is first exhibited as a municipal collection in the Savoy Cinema, Limerick City on November 23, 1937. It is not until 1948 that an extension to the rear of Limerick Free Library and Museum becomes the home to the City Collection as the Limerick Free Art Gallery. In 1985 the Library and Museum are transferred to larger buildings.

In 1939 Keating is commissioned to paint a mural for the Irish pavilion at the New York World’s Fair. He is President of the RHA from 1950 to 1962, and shows at the annual exhibition for 61 years from 1914. Although he is an intellectual painter in the sense that he consciously sets out to explore the visual identity of the Irish nation, and his paintings show a very idealised realism, he fears that the modern movement will bring back a decline in artistic standards. Throughout his career, he exhibits nearly 300 works at the RHA and also shows at the Oireachtas.

Seán Keating dies on December 21, 1977 at the Adelaide Hospital in Dublin and is buried at Cruagh Cemetery, Rathfarnham. The 1978 RHA Exhibition features a small memorial collection of his work.

Posthumous exhibitions of his work are mounted by The Grafton Gallery, Dublin (1986) and the Electricity Supply Board (1987). Sean Keating – The Pilgrim Soul, a documentary presented and written by his son Justin Keating, airs on RTÉ in 1996.

(Pictured: Photograph of Keating’s “An Allegory” painted between 1922 and 1924. The painting represents Keating’s own disillusionment and loss of idealism resulting from the outbreak of the Irish Civil War. The only figure of the group addressing the observer is a self-portrait of the artist.)