The killing is widely seen as a political act, with Dunne and O’Sullivan claiming to have acted in defence of Irish nationalist principles, blaming Wilson for the “Orange Terror” and the deployment of the Ulster Special Constabulary (USC). Some historians suggest the assassination may have been intended to pressure Michael Collins to attack the Four Courts garrison, though no conclusive evidence of orders was ever established.
After the shooting, Dunne escapes but O’Sullivan is captured by a hostile crowd. Dunne attempts to rescue him but is himself arrested after wounding two police officers and a passerby. Both are tried quickly, found guilty after just three minutes of deliberation, and sentenced to death by Justice Montague Shearman.
Despite petitions from 45,000 people and appeals from figures like George Bernard Shaw, both men are executed on August 10, 1922, and buried within the prison grounds.
The executions are a major political flashpoint. It is only after the abolition of hanging that the law is changed and Joseph’s brother, with the assistance of the Irish National Graves Association, is able to arrange for the bodies of the two men to be repatriated to Ireland.
Dunne’s trial speech, reprinted in the Irish Independent, remains a notable piece of republican political rhetoric, framing the act as a necessary stand for Irish rights.
(Pictured: Joseph O’Sullivan (left) and Reginald Dunne (right))
Between 1959 and 1977, Trimble is professor of accompaniment and musicianship at the Royal College of Music.
Trimble’s compositional career spans two decades, producing works such as Buttermilk Point (1938), The Heather Glen (1949), Phantasy for Piano Trio (1940), and the suite Ulster Airs (1939–40). In 1957, she makes a notable mark by composing Blind Raftery, the first new opera by a woman to be broadcast on BBC Television.
Later in life, Trimble inherits her father’s newspaper, becoming its proprietor and editor, and takes up composition again in 1990 when commissioned for her 75th birthday. She dies in Enniskillen on August 6, 2000, at the age of 85, two weeks after the death of her husband. She is remembered for her contributions to Irish music, her skill as a pianist, and her role in preserving her family’s legacy in both the arts and journalism.
In 2002, the Joan Trimble Awards Scheme is established by her family in her memory, and administered by the Fermanagh Trust “in recognition of her lifelong commitment to County Fermanagh.” The purpose of the scheme is to encourage and support the involvement of young people in creativity, the performing arts and Irish culture, and to provide bursaries for training and education.
In 2012, Fermanagh County Museum stages an exhibition titled “Buttermilk Point: The Musical Life of Joan Trimble, 1915–2000.”
On June 18, 2015, “Music in Fermanagh” presents A Celebration Concert as part of the Joan Trimble Centenary Celebration at the Ardhowen Theatre in Enniskillen.
The Coalition Government, led by Prime MinisterDavid Lloyd George, is in power from 1918 to 1922 following the end of World War I, continuing the wartime alliance that has included Liberals and Conservatives. By 1920, the Cabinet is navigating Spain’s post-war reconstruction, the political unrest in Ireland, social welfare issues, and economic stabilization following wartime disruption. This period also sees preparation for negotiations over Germany’s reparations and engagement with international diplomacy after the Treaty of Versailles.
The Coalition Cabinet keeps detailed minutes and memoranda, which are recorded in the CAB 23 series as “Cabinet Conclusions,” starting from November 1919 into the interwar years. These records summarize discussions and decisions but are not verbatim transcriptions.
While the specific agenda for July 23 is not directly cited in the sources, relevant Cabinet business during July 1920 includes:
Reconstruction and Post-War Economy: Addressing unemployment, social welfare of returning servicemen, and government budgetary priorities.
International Diplomacy and Reparations: Review of ongoing negotiations concerning German reparations after World War I, potentially preparing for discussions later in London and Paris.
Regarding Ireland, the Cabinet is divided on how to proceed. Some Liberal ministers and Dublin Castle officials are in favour of offering dominion status to Ireland. Conservative ministers argue that the Government must crush the insurgency and proceed with the Government of Ireland Bill. Debate continues after the meeting, with Walter Long warning of “the gravest consequences in Ulster” if the Government changes course.
In summary, the Coalition Cabinet convenes on July 23, 1920, in the context of post-war governance, with ministers like Lloyd George, Bonar Law, Curzon, Balfour, and Churchill participating. While exact meeting details require consulting official CAB series records, the issues at hand involve post-World War I economic recovery, Irish affairs, and international obligations stemming from the Treaty of Versailles.
(Pictured: Prime Minister of the United Kingdom David Lloyd George)
Mathew’s family spends time abroad while his father manages business interests. He comes from a Roman Catholic family. His uncle is Theobald Mathew, the famous temperance campaigner. At the age of fifteen, he enters Trinity College Dublin (TCD), where he excels as a gold medalist and senior moderator, graduating in 1850. He then studies law at Lincoln’s Inn, London, and is called to the English Bar in 1851, building a strong foundation for a legal career despite a slow start at the junior bar.
Initially, Mathew’s legal career progresses slowly, though he is active in debating as a founding member of the Hardwicke Society. He handles numerous jury cases at the Guildhall sittings in London, where he gains experience in commercial law. He becomes treasury counsel during the Tichborne Claimant prosecution in 1873, noted for his composed handling of arguments without quarrel with opposing counsel. Despite opportunities, he refrains from applying for Queen’s Counsel due to a naturally weak voice, though his legal acumen and advocacy are highly respected.
In March 1881, Mathew is appointed to the Queen’s Bench Division of the High Court of Justice and is knighted. He becomes known for his keen judgment, practical approach to legal issues, and eventual standing as one of the best nisi prius judges of his time. In 1895, he persuades fellow judges to establish a Commercial List, the precursor to today’s Commercial Court, and serves as the first judge presiding over it. He advances efficiency in commercial law by minimizing procedural delays, focusing on substantive issues, and producing concise judgments that inspire confidence in the mercantile community.
Mathew also chairs a 1892 royal commission on the evicted tenants in Ireland, despite challenges and disputes with landlords and Edward Carson. His recommendations influence the Wyndham Land Purchase Act (1903). In 1901, he is appointed to the Court of Appeal and continues to emphasize clarity and practicality in legal proceedings until a stroke in 1905 forces his resignation.
Mathew marries Elizabeth Biron in December 1861, with whom he has two sons and three daughters. His family includes notable figures, such as his daughter Elizabeth, who marries Irish MPJohn Dillon, and his grandson, James Matthew Dillon, a later politician. He has a deep cultural appreciation, enjoying music and literature, and maintains friendships across religious and political divides.
Mathew dies on November 9, 1908, at his London home, aged 78. He is buried in St. Joseph’s Cemetery, Cork. His legacy is most strongly associated with founding the Commercial Court, reforming commercial law procedures, and demonstrating a balanced mixture of legal rigor and practical common sense that influenced generations of judges and barristers. His contributions remain a cornerstone in the evolution of modern English and Welsh commercial law.
Osborne (née Meikle) is born on February 21, 1926 in Larne, County Antrim, the daughter of William Meikle who is a fitter at Harland & Wolff. She displays artistic talent from a young age, recognized at 20 by painter Paul Nietsche, and earns a scholarship from the Ministry of Education to pursue further studies. She trains at the Camberwell School of Arts & Crafts in London and later completes her National Diploma in Art and Design at the Belfast School of Art.
Osborne’s early career includes exhibitions in Belfast, London, and prominent Canadian galleries after she emigrates to Canada with her husband, fellow artist Dennis H. Osborne, in 1953. She exhibits works such as The Harmonica Player, a portrait of poet Barbara Hunter, and other pieces across Canada, gaining recognition for her skill in landscapes, portraits, and abstract forms.
Declining health due to a brain tumour forces Osborne to return to Northern Ireland in 1959. She settles first in Portadown and later in Lisburn, where she continues to paint despite her illness. She participates in exhibitions, including those of the Royal Ulster Academy of Arts and local art societies, maintaining her influence on the Northern Irish art scene.
Osborne dies at the age of 39 on July 9, 1965, in Lisburn Hospital due to complications from a brain tumour, which had been a long-standing health struggle. She leaves behind her husband, Dennis, and their daughter, Moya. Posthumously, her work is celebrated in memorial exhibitions, including those organized by the Arts Council of Northern Ireland and the Ulster Society of Women Artists, and several of her paintings, like Roots and Grief, are preserved in the Ulster Museum and Armagh County Museum.
Osborne is remembered as a gifted painter whose contributions to mid-20th-century art in both the United Kingdom and Canada reflect emotional depth, modernist abstraction, and a commitment to capturing natural forms, despite her life and career being cut tragically short.
On July 5, 1790, the Irish mail coach service makes its first run from Dublin to Waterford, marking a significant milestone in Ireland’s postal history. This is part of the broader expansion of the General Post Office’s (GPO) mail coach network, which had been introduced in Ireland in 1789.
A twice-weekly mail coach service operates between Dublin and Drogheda to the north, Kilkenny to the south and Athlone to the west as early as 1737 and for a short period from 1740, a Dublin to Belfast mail coach exists. In winter, this route takes three days, with overnight stops at Drogheda and Newry. In summer, travel time is reduced to two days. In 1789, mail coaches begin a scheduled service from Dublin to Belfast. They meet the mail boats coming from Portpatrick in Scotland at Donaghadee, County Down.
The Irish mail coach system is modeled on the successful English service introduced in 1784 by John Palmer, which uses specially built coaches to carry the Royal Mail under contract to independent operators. These coaches are designed for speed and efficiency, stopping only for mail collection and delivery, and are protected by armed guards. The Dublin–Waterford route is one of the early inland services added to the network, complementing other major routes such as London–Norwich, Liverpool–Leeds, and London–Dover.
The July 5, 1790 run from Dublin to Waterford is notable because it is the first scheduled mail coach service on that route, replacing slower and less secure methods like mounted riders or carts. It demonstrates the GPO’s ability to extend its network to key inland towns, improving communication between Dublin and the southeast of Ireland. It also reflects the rapid expansion of the mail coach system in Ireland by 1790, with many towns already having daily mail delivery and collection.
While the primary purpose is to carry the Royal Mail, passengers can also travel at a premium fare. The coaches can carry four seated passengers inside and more standing outside, with the driver and guard occupying the front seats. The journey from Dublin to Waterford is relatively short for the time, but still requires careful scheduling to meet the strict post office timetable.
This first run lays the foundation for a regular mail service that becomes a vital part of Ireland’s transport and communication infrastructure until the advent of railways in the 1830s. By the mid-19th century, most of the mail coaches in Ireland are eventually out-competed by Charles Bianconi’s country-wide network of open carriages, before this system in turn succumbs to the railways. The Dublin–Waterford route, like others, is eventually replaced by the faster rail services, but its role in modernizing Ireland’s postal system is crucial.
Harrison’s brother, Henry, is a supporter of Charles Stewart Parnell and a Member of Parliament for Mid Tipperary. She herself becomes the first female city councillor for Dublin Corporation in 1912. She campaigns to have poor relief extended to the able-bodied unemployed and works to promote women’s rights. She is closely involved in Hugh Lane‘s efforts to establish a gallery of modern art in Dublin.
For some 30 years Harrison is part of social reform and women’s rights in Ireland. In 1912 she is the first woman to be elected to the Dublin City Council. Here she works closely with Alderman Alfie Byrne. She is also recognised for her prominent place in the suffrage victory procession and escorting Anna Haslam to vote in the Williams Street Courthouse, Dublin, in the 1918 United Kingdom general election.
Following Hugh Lane’s death on the RMS Lusitania in 1915, Harrison claims that they had been engaged to be married. Her 1914 portrait of Lane is one of her best-known works. She never marries.
Harrison dies on July 23, 1941, in Drumcondra, Dublin. She is buried in Mount Jerome Cemetery, the inscription on her gravestone reads “Artist and Friend of the Poor.”
Currie becomes an active member in the Northern Ireland Civil Rights Association (NICRA). He later speaks about the effect of partition on Catholics in Northern Ireland: “Partition was used to try to cut us off from the rest of the Irish nation. Unionists did their best to stamp out our nationalism and, the educational system, to the extent it could organise it, was oriented to Britain and we were not even allowed to use names such as Séamus or Seán. When my brothers’ godparents went to register their birth, they were told no such names as Séamus or Seán existed in Northern Ireland and were asked for the English equivalent.”
Currie contests the 1979 United Kingdom general election and 1986 by-election in the Fermanagh and South Tyrone seat, but is unsuccessful on both attempts. He also is elected to the Northern Ireland Assembly in 1982 for the same seat. That Assembly, which is an attempt by the Government of the United Kingdom to reintroduce devolved power-sharing, collapses in 1986 without executive ministerial functions ever being transferred to it from the UK Secretary of State for Northern Ireland as no political agreement can be reached on power-sharing between the parties owing to nationalists abstentionism over the constituency boundaries used to elect members, and unionist opposition to the Anglo-Irish Agreement of 1985.
Following his decision to quit Northern Ireland politics, and relocate his family to County Kildare, Currie becomes actively involved in politics in the Republic of Ireland. Partly due to his long-standing doubts about the commitment of politicians in the Republic to the plight of northern nationalists, he join the Fine Gael party in 1989. He is elected as a Fine Gael TD for Dublin West at the 1989 Irish general election.
In 1990, Fine Gael selects Currie as their candidate for the 1990 Irish presidential election, running against Tánaiste and Fianna Fáil TD, Brian Lenihan Sr, and Senator Mary Robinson for the Labour Party. The 1990 election is the first contested election for the Irish Presidency in 17 years. Currie receives 267,902 first-preference votes (approximately 17%) and is eliminated on the first count. The distribution of his votes sees Mary Robinson elected as Ireland’s first female president on the second count, beating Lenihan by more than 86,000 votes.
In his 2004 autobiography All Hell will Break Loose, Currie writes about his experience of running in the presidential election, and the prejudice he faced as a nationalist from Ulster in southern politics: “What annoyed, indeed angered me most was the suggestion that because I came from the North, I was not a real Irishman … what I called the partitionist mentality … [during the election campaign] the [then Fianna Fáil] Minister for Justice [Ray Burke] said Fine Gael leader Alan Dukes ‘had to go to Tyrone to find a candidate for the presidency’ … it was hard to take, particularly from so-called republicans.”
Following his defeat in the presidential election, Currie holds his Dáil seat in Dublin West at the 1992 and 1997 Irish general elections. Following the formation of the so-called Rainbow Coalition between Fine Gael, Labour and Democratic Left, on December 20, 1994, newly appointed TaoiseachJohn Bruton appoints him as a Minister of State with responsibility for Children’s Rights at the Departments of Health, Education and Justice, becoming the first ever minister in an Irish Government with dedicated responsibility for children. He holds this post until the appointment of a new Irish Government on June 26, 1997, following the 1997 Irish general election.
At the 2002 Irish general election Currie contests the new constituency of Dublin Mid-West, and fails to be elected. He immediately announces his retirement from electoral politics. He continues to speak and campaign for civil rights across the island of Ireland and for causes he believes in, such as justice for the families of the Disappeared during the Troubles. He and his wife and family are personal friends of the family of one of the Disappeared, Columba McVeigh, from Donaghmore, County Tyrone. His daughter Emer Currie is elected in his former constituency of Dublin West at the 2024 Irish general election.
Following the deaths of Seamus Mallon and John Hume in January and August 2020 respectively, Currie becomes the last surviving founder of the SDLP.
Currie dies on November 9, 2021, at the age of 82 at his residence in Derrymullen, County Kildare. Following an initial funeral mass in Allentown, County Kildare, his remains are transferred to his original family home in Edendork, near Dungannon, County Tyrone, where a second funeral mass was celebrated at St. Malachy’s Church, Edendork. He is buried alongside his parents in the cemetery adjoining the church.
Murphy is born on June 19, 1914, at Lisheen, Gneeveguilla, County Kerry, part of an area in west Munster known as Sliabh Luachra. Her father Bill plays flute, fife and fiddle, and has a fife and drum band. Both she and her brother Denis Murphy, also a musician, are taught the fiddle by the noted traveling fiddler and fiddle teacher from the same area, Padraig O’Keeffe.
Clifford, her brother, O’Keeffe, and other musicians from the Sliabh Luachra area are regarded as a significant influence on Irish traditional music and have given rise to the term Sliabh Luachra style.
In the late 1930s Murphy emigrates to Scotland and then to London where she works as a hotel maid before marrying John Clifford in 1941. He is an accordion player, also from Kerry, and they had two sons, John and Billy. In the 1940s they play the Irish dance halls in London. In the 1950s they return to Ireland for a time, living in Newcastle West in County Limerick. They perform in the Star of Munster Ceili Band with which they make radio recordings.
Back in London, Clifford enjoys greater popularity with the onset of the 1960s folk boom. In 1968, Claddagh Records records her and brother Denis on an album of Kerry music, The Star Above the Garter.
Rediscovered by the British folk club scene of the 1970s, Topic Records in 1977 issues an earlier recording of Clifford with her brother and Padraig O’Keeffe, Kerry Fiddles (Music from Sliabh Luachra). This is followed by two LPs featuring a range of music from various periods played by her, her husband and her son Billy, a flute player.
The wider appreciation of the music of Sliabh Luachra – particularly its Kerry slides and polkas – come late in life for Clifford. The Cliffords live in a small council flat in Hackney in East London before being rehoused in Thetford, Norfolk in the late 1970s.
In the 1980s and 1990s Clifford’s reputation grows, being invited to perform at folk clubs and festivals. She performs on trips back to Ireland and is introduced to television audiences. She also visits the United States. Many young players who seek her out to learn tunes and styles from her Kerry repertoire find her generous and encouraging.
Clifford’s husband John dies in 1981. She dies on June 18, 1997, one day before her 84th birthday, and is buried in Norfolk.
As part of the 2008 Cork Midsummer Festival, 1,100 volunteers gather on the grounds of Blarney Castle in the early hours of Tuesday, June 17, 2008, and strip naked to have their picture taken at the famous location.
The occasion is the first shoot in Ireland by the American photographic artist Spencer Tunick, who has already made quite a name for himself shooting large groups of naked people in public spaces in New York City, Montreal, London and Amsterdam.
Like many of Tunick’s projects, the event in Cork comes about by invitation. “It was Mary McCarthy, the art curator at Dublin Docklands, who contacted me first,” says Tunick, via Zoom from his office in New York, of the organiser who is director of the Crawford Art Gallery in Cork. “Mary thought to make it a two-city project, in Cork and Dublin, and brought Cork Midsummer Festival on board. People think I can choose where I want to work, but it’s not as if I can get up and say, ‘hmm, I want to photograph 1,000 people in a volcanic crater in Hawaii.’ In reality, I need a team on the other side, helping me. And it was Mary who established that team in Ireland.”
McCarthy’s crew works with Tunick on selecting locations for his shoots. Blarney Castle appeals to Tunick. “When you think of a castle, you think of swords, you think of dreams, you think of battle and war,” he says. “But you might also think of the rose. I tried to combine a lot of different ideas or fantasies about the castle and connect them to the body. But there were also a lot of grounds around the castle, so I could have different set-ups and positions to shoot in.”
When Cork Midsummer Festival puts out a call for volunteers, it is inundated with applications. Those chosen are of all ages, and from all walks of life. “I think sometimes people associate my live works with young people. But there’s often a lot of people over 50, and into their 80s, at this great unifying event that touches on the idea of group photo gatherings from the 1920s. When you see a big haul of people lined up, undressed of course, it combines group portraiture with abstraction and the naked body.”
At Blarney Castle, beginning around 5:30 a.m., he shoots the crowd in a variety of poses on the castle lawns, facing toward and away from the camera, then lying on their backs as they each held a single rose aloft (pictured above), red for the women and white for the men. He then photographs a small number on their knees in the river that runs through the grounds, and a smaller number again kissing the Blarney Stone. Some participants see the photo shoot as an opportunity to challenge the general disapproval of nakedness that prevails in the Ireland of their youth. Others see it as a way to make peace with their body image.
Later that morning, Tunick photographs about 50 naked volunteers covered in foam at White Street Carpark in Cork city centre. “As a kid, I was always fascinated by the bubble scene in Willie Wonka and the Chocolate Factory, the film,” says Tunick. “So, I wanted, in a whimsical and surreal way, to amplify my memories of that. But I also wanted to work with the history of the area, so I infused Murphy’s beer into four bubble machines and created a snow globe effect with the nudes. That was beautiful.”
Looking back on the photographs, one is struck by how most of the bodies are white. If it is true that Cork has become far more ethnically diverse city since that day in 2008, one must also wonder if Tunick’s call for volunteers appealed to a certain demographic. “I always ask the organisers to do community outreach in different areas, so we can get more colour and ethnicities into the work,” he says. “But sometimes it doesn’t really resonate, and sometimes the population is not there, you know. And often, where that population exists, it might not be connected to the body in contemporary art. But I’ve always tried, and now I insist that the organisers make an extra effort.”
Tunick’s shoots at Blarney Castle and White Street attract lavish coverage in the media, a reflection perhaps on how they coincide with a change in the public perception of nudity. The project would almost certainly have caused an uproar even twenty years previously. Participants describe a sense of joy and liberation. “This was definitely pre-Instagram, right? And now when we’re on Instagram, we think the whole world is accepting of nudity in public, but back then, there was not that same outlet for my images. But there was that documentation by the press, and through that, I think people realised that something had happened that went against the grain in a positive way.”
Four days later, Tunick photographs 2,500 naked volunteers on the South Wall in Dublin. Again, the event attracts headlines, but already, it seems, the culture has moved on, and there is not quite that same element of surprise and delight as there had been in Cork.
Tunick has done many projects since. Some of his favourites include those in Kingston upon Hull in 2016 and on the Dead Sea in 2011 and again in 2021. “I like working with props. In Cork, I used roses and beer foam. But now I like working with body paint. In Hull, we covered around 4,000 people in four shades of blue. The blues were those of the water I saw in a number of paintings in the Maritime Museum in the city. I asked Pantone to replicate the colours, and those were the blues we used. Not many people know that.”
“My projects in the Dead Sea were partly about showing how the salt in the water could elevate the body. That created a very interesting, otherworldly effect in the photographs. But they also aimed to raise awareness of how the Dead Sea is disappearing because of irrigation to serve the need for drinking water by adjoining countries such as Israel and Jordan. It’s a very difficult situation.”
Many photographers find their work curtailed by pandemic restrictions of the early 2020s. Tunick too is forced to postpone photographing groups of people on location, but he does find a way to go on creating. “An art collective called Studio 333 in Mexico asked me if I wanted to do group works on video chats, and offered to manage it technically. So we started making group works with people from all walks of life, all around the world. We had someone in Saudi Arabia posing with someone in Israel. We had people in Australia, people in Europe, people all over the world. I think the only place we weren’t able to work with was Antarctica, but who knows? Maybe that’s in the future.” The resulting images are published online, on Tunick and Studio 333’s websites and social media accounts, under the collective title ”Stay Apart Together.”
As for the future, Tunick would love to work in Ireland again, he says. “It’s always been my dream to do a work in Northern Ireland, maybe with 100 or 200 people on the Giant’s Causeway? I can’t have too many, because then you wouldn’t see the rocks. Northern Ireland, the Giant’s Causeway… that project’s been on my mind for a long time, so hopefully some museum or curator will invite me to do it.”
(From: “Cork in 50 Artworks, No 49: Spencer Tunick’s nude installation at Blarney Castle” by Marc O’Sullivan, Irish Examiner, http://www.irishexaminer.com, April 11, 2022 | Pictured: Blarney Castle with the crowd assembled by Spencer Tunick)
seamus dubhghaill 