seamus dubhghaill

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

Tag Archives: London


by Leave a comment

Death of Leo Whelan, Portrait & Genre Painter

(Michael) Leo Whelan, portrait and genre painter, dies from leukemia on November 6, 1956, at the Mater private nursing home in Dublin.

Whelan is born on January 17, 1892, at 20 St. George’s Villas, Fairview, Dublin, one of two sons and three daughters of Maurice Whelan, a draper, of County Kerry ancestry, and Mary Whelan (née Cruise), from County Roscommon. The family subsequently moves to 65 Eccles Street, where his parents operated a small hotel. Educated at Belvedere College, Dublin, he then attends the Dublin Metropolitan School of Art (DMSA) (1908–14), where he is a student of William Orpen, who has a huge influence on his artistic style. His fellow students at the school include Patrick Tuohy and Séan Keating.

Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.

Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.

Coming from a family of militant nationalist sympathies, in 1922 he begins a large group portrait, GHQ Staff of the Pre-Treaty IRA, including Michael Collins, Richard Mulcahy, Rory O’Connor, Liam Mellows and nine others, composed from individual studies of the men rendered during clandestine sittings in his home and studio. The painting, which he leaves unfinished, is in McKee Barracks, Dublin. He receives special praise for his portraits of John Henry Bernard, Provost of Trinity College Dublin (TCD) and of Louis Claude Purser, TCD vice-provost. The latter is awarded a medal at the 1926 Tailteann Games. He exhibits seventeen paintings at the Royal Society of Portrait Painters, London, of which he is a member, and shows two works at the Royal Academy of Arts, London. His 1929 portrait of John McCormack, one of his major patrons, is presented by the tenor’s family some fifty years later to the National Concert Hall, Dublin.

Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).

Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.

In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.

Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.

Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.

(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


by Leave a comment

Death of Terence O’Brien, Catholic Bishop of Emly

Terence Albert O’Brien (Irish: Muiris Ó Briain Aradh), Irish priest of the Dominican Order and Roman Catholic Bishop of Emly, dies on October 30, 1651.

O’Brien is born into the Gaelic nobility of Ireland at Cappamore, County Limerick in 1601. Both of his parents are from the derbhfine of the last Chief of the Name of Clan O’Brien Arradh and claim lineal descent from Brian Boru. His family owns an estate of 2,500 Irish acres centered around Tuogh, which is later confiscated by the Commonwealth of England. He joins the Dominicans in 1621 at Limerick, where his uncle, Maurice O’Brien, is then prior. He takes the name “Albert” after the Dominican scholar Albertus Magnus. In 1622, he goes to study in Toledo, Spain, returning eight years later to become prior at St. Saviour’s in Limerick. In 1643, he is provincial of the Dominicans in Ireland. In 1647, he is consecrated Bishop of Emly by Giovanni Battista Rinuccini.

During the Irish Confederate Wars, like most Irish Catholics, O’Brien sides with Confederate Ireland. His services to the Catholic Confederation are highly valued by the Supreme Council. He treats the wounded and supports Confederate soldiers throughout the conflict. He is against a peace treaty that does not guarantee Catholic freedom of worship in Ireland and in 1648 signs the declaration against the Confederate’s truce with Murrough O’Brien, 1st Earl of Inchiquin, who has committed atrocities such as the Sack of Cashel against Catholic clergy and civilians, and the declaration against the Protestant royalist leader, James Butler, 1st Duke of Ormond, in 1650 who, due to his failure to resist the Cromwellian conquest of Ireland is not deemed fit to command Catholic troops. He is one of the prelates, who, in August 1650 offers the Protectorate of Ireland to Charles IV, Duke of Lorraine.

In 1651, Limerick is besieged and O’Brien urges a resistance that infuriates the Ormondists and Parliamentarians. Following surrender, he is found ministering to the wounded and ill inside a temporary plague hospital. As previously decided by the besieging army, O’Brien is denied quarter and protection. Along with Alderman Thomas Stritch and English Royalist officer Colonel Fennell, he is tried by a drumhead court-martial and sentenced to death by New Model Army General Henry Ireton. On October 30, 1651, O’Brien is first hanged at Gallows Green and then posthumously beheaded. His severed head is afterward displayed spiked upon the river gate of the city.

After the successful fight that is eventually spearheaded by Daniel O’Connell for Catholic emancipation between 1780 and 1829, interest revives as the Catholic Church in Ireland is rebuilding after three hundred years of being strictly illegal and underground. As a result, a series of re-publications of primary sources relating to the period of the persecutions and meticulous comparisons against archival Government documents in London and Dublin from the same period are made by Daniel F. Moran and other historians.

The first Apostolic Process under Canon Law begins in Dublin in 1904, after which a positio is submitted to the Holy See.

In the February 12, 1915 Apostolic decree, In Hibernia, heroum nutrice, Pope Benedict XV formally authorizes the formal introduction of additional Causes for Roman Catholic Sainthood.

During a further Apostolic Process held in Dublin between 1917 and 1930 and against the backdrop of the Irish War of Independence and the Irish Civil War, the evidence surrounding 260 alleged cases of Roman Catholic martyrdom are further investigated, after which the findings are again submitted to the Holy See.

On September 27, 1992, O’Brien and sixteen other Irish Catholic Martyrs are beatified by Pope John Paul II. June 20th, the anniversary of the 1584 execution of Elizabethan era martyr Dermot O’Hurley, is assigned as the feast day of all seventeen. A large backlighted portrait of him is on display in St. Michael’s Church, Cappamore, County Limerick, which depicts him during The Siege of Limerick.


by Leave a comment

Death of Cathal O’Shannon, Journalist & Television Presenter

Cathal O’Shannon, Irish journalist and television presenter, dies in Dublin on October 22, 2011. He is a former journalist with The Irish Times and television reporter/presenter and documentary film maker with RTÉ. He is probably best known for presenting documentaries on Irish history, produced mainly for Irish television viewers and broadcast by RTÉ.

O’Shannon is awarded lifetime membership of the Irish Film & Television Academy in 2010, to which he says it is “particularly gratifying that it occurs before I pop my clogs”.

The Irish radio and television broadcaster Terry Wogan describes O’Shannon as possibly the greatest Irish television journalist of the 20th century.

O’Shannon is born in Marino, Dublin, on August 23, 1928, the son of Cathal O’Shannon (Sr.), a socialist and Irish Republican. He receives his formal education at Coláiste Mhuire in Parnell Square, Dublin. In 1945, despite his father’s politics, as a 16-year-old, he volunteers for war time service with the Royal Air Force in Belfast during World War II, utilizing a forged birth certificate to disguise being underage for enlistment with the British Armed Forces. After air crew training he is posted to the Far East, as a tail gunner in an Avro Lancaster bomber to take part in the Burma campaign, but the war ends with the downfall of the Japanese Empire before he is required to fly combat sorties.

O’Shannon first becomes a journalist with The Irish Times on leaving the Royal Air Force in 1947. Later he joins the Irish state broadcasting service Raidió Teilifís Éireann (RTÉ).

In July 1972, O’Shannon records a notable television interview with 31-year-old Muhammad Ali, when Ali is in Dublin to compete at Croke Park in a bout with Alvin Lewis.

O’Shannon receives a Jacob’s Award for his 1976 TV documentary, Even the Olives are Bleeding, which details with the activities of the “Connolly Column” in the Spanish Civil War. Two years later he is honoured with a second Jacob’s Award for his television biography Emmet Dalton Remembers (1978).

In 1978, O’Shannon leaves RTÉ to join Canadian company Alcan which is setting up an aluminum plant at Aughinish, County Limerick, in 1978. He is head-hunted to become its Director of Public Affairs, an important post at a time when there are environmental concerns about the effects of aluminum production. He admits that he is attracted by the salary, “five times what RTÉ were paying me,” but he also later says that one reason for the move is that he had become unhappy with working at RTÉ, stating in an interview that: “The real reason I got out of RTÉ was that they wouldn’t let me do what I wanted to do journalistically.” He had submitted proposals to the station’s editors for television documentary series on the Irish Civil War, and also one on the wartime Emergency period, but they had been rejected. While he enjoys the social life with lavish expenses which his public relations duties involve, his friends believe that he misses the varied life and travel of journalism. He retires early from Aughinish in 1992, and returns to making television documentaries with RTÉ.

In January 2007, O’Shannon’s last documentary, Hidden History: Ireland’s Nazis, is broadcast by RTÉ as a two-part series. It explores how a number of former Nazis and Nazi collaborators from German-occupied Europe went to live in Republic of Ireland after World War II, the best known of whom is Otto Skorzeny, who lives for a period in County Kildare. Others include such Breton nationalists as Alan Heusaff, Yann Fouéré and Yann Goulet, as well as two Belgians, Albert Folens and Albert Luykx.

O’Shannon’s wife, Patsy, whom he met while they were working at The Irish Times office in London, dies in 2006. They had been married for more than 50 years.

On January 12, 2007, O’Shannon announces his retirement at the age of 80. In a 2008 television documentary, he admits that throughout his marriage he had been a serial womaniser and had repeatedly engaged in extra-marital affairs unbeknownst to his wife.

After weakening health for two years, and spending his last days in a hospice at Blackrock, O’Shannon dies at the Beacon Hospital in Dublin on October 22, 2011, in his 84th year. His body is reposed at Fanagans Funeral Home in Dublin on October 25, followed by a funeral the following day at Glasnevin Cemetery Chapel, where his remains are cremated afterward.

Director General of RTÉ Noel Curran says O’Shannon had brought into being “some of the great moments in the RTÉ documentary and factual schedule over the past five decades.” In tribute, RTÉ One shows the documentary Cathal O’Shannon: Telling Tales on November 10, 2011. It had originally aired in 2008 to mark his 80th birthday


by Leave a comment

Death of William FitzGerald, 2nd Duke of Leinster

William Robert FitzGerald, 2nd Duke of Leinster, KP, PC (Ire), an Irish liberal politician and landowner, dies at Carton House in Maynooth, County Kildare, on October 20, 1804.

FitzGerald is born on March 13, 1749, in Arlington Place, Piccadilly, London, the second son of nine sons and ten daughters of James Fitzgerald, 20th Earl of Kildare and later 1st Duke of Leinster, and his wife, Lady Emily Lennox. He is educated at Eton College (1758–63). He is the elder brother of the 1790s revolutionary Lord Edward FitzGerald, and is a first cousin of the English liberal politician Charles James Fox.

FitzGerald makes his Grand Tour between 1768 and 1769. During the same time, he is also a Member of Parliament (MP) for Kildare Borough. He then sits in the Irish House of Commons for Dublin City until 1773, when he inherits his father’s title and estates. He is appointed High Sheriff of Kildare for 1772. Politically he is a liberal supporter of Henry Grattan‘s Irish Patriot Party and he co-founds the Irish Whig Club in 1789. He controls about six Kildare members of the Irish House of Commons. In 1779, he is elected colonel of the Dublin Regiment of the Irish Volunteers.

In November 1775, FitzGerald marries Emilia Olivia Usher, daughter of the 1st Baron Saint George and Elizabeth Dominick and sole grand daughter of Sir Christopher Dominick. They have three sons and six daughters.

In 1770, FitzGerald is chosen Grandmaster of the masonic Grand Lodge of Ireland, a post he holds for two years. He is re-elected for another year in 1777. In 1783, he is among the first knights in the newly created Order of St. Patrick.

In 1788–89, FitzGerald is Master of the Rolls in Ireland. In theory a senior judicial office, it is then largely a sinecure, but so blatant a choice of a man who is wholly unqualified for it gives rise to unfavourable comment, and a few years later it becomes the rule that the Master must be a lawyer of repute.

FitzGerald is a supporter of Catholic emancipation and helps to found the Royal College of St. Patrick at Maynooth on land he donates, in 1795. Withdrawing from Parliament with Grattan in 1797, he moves to England to be with his sick wife and remains there during the Irish Rebellion of 1798.

FitzGerald’s homes are at Carton and Kilkea Castle in County Kildare, and at Leinster House in Dublin (now the home of the Oireachtas). He is a founder member of the Order of St. Patrick in 1783 and of the Royal Irish Academy in 1785, and is a large investor in the Royal Canal company launched in 1790. His family’s estates of 60,000 acres (25,000 Ha) in Kildare are in three main parts, around Maynooth, Rathangan and Athy. He rebuilds the main bridge in Athy over the River Barrow.

FitzGerald dies of strangury, a urinary tract disorder, at Carton House on October 20, 1804. He is buried in Kildare Abbey. His funeral is so well attended that the mourners reach across The Curragh. He is succeeded by his second, but eldest surviving, son, Augustus Frederick Fitzgerald, as 3rd Duke of Leinster.


by Leave a comment

Birth of Dairine Vanston, Landscape Artist

Dairine (Doreen) Vanston, Irish landscape artist who works in a Cubist style, is born in Dublin on October 19, 1903.

Vanston is the daughter of solicitor John S. B. Vanston, and sculptor Lilla Vanston (née Coffey). She attends Alexandra College, going on to study at Goldsmiths College, London under Roger Bissière. She then goes to Paris to the Académie Ranson, being sent there following the advice of Paul Henry. While in Paris she meets Guillermo Padilla, a Costa Rican law student at the University of Paris. They marry in 1926 and she takes the name Vanston de Padilla. The couple lives for a time in Italy, before moving to San José, Costa Rica. The marriage breaks down in the early 1930s, at which point she returns to Paris with her son and studies with André Lhote. She is living in France at the outbreak of World War II with Jankel Adler, but is able to escape to London in 1940, and later to Dublin.

Vanston’s time in Paris leaves a lasting impression on her work, including use of primary colours and a strong Cubist influence. She belongs to what critic Brian Fallon calls the “Franco-Irish generation of painters who looked to Paris,” along with Mainie Jellett, Evie Hone, and Norah McGuinness. Her time spent living in Costa Rica in the late 1920s and early 1930s imbues her work with tropical and highly toned colours. In Dublin in 1935, she exhibits 17 paintings, largely Costa Rican landscapes, at Daniel Egan’s gallery on St. Stephen’s Green. This is the closest thing to a solo show she would mount, with this show also featuring Grace Henry, Cecil Ffrench Salkeld, and Edward Gribbon.

Meeting the English artist Basil Rakoczi, who is also living in Dublin during World War II, leads Vanston to become associated with The White Stag group. In November 1941, she exhibits for the first time at a group show with 24 other artists, including Patrick Scott. One work that is shown at this exhibition is the painting Keel dance hall, which demonstrates that she spends time in the west of Ireland. The most important event staged by the group is the Exhibition of subjective art, which takes place at 6 Lower Baggot St. in January 1944. The Dublin Magazine notes her work at this show as the most effective of the experimental vanguard. This work, Dying animal, is a Cubist work with semi-representation forms rendered in bold colours. In 1945, her work is featured in a White Stag exhibition in London of young Irish painters at the Arcade gallery, Old Bond Street.

In 1947, Vanston spends almost a year in Costa Rica where she paints primarily in watercolours. Apart from this period, she lives and works in Dublin, living at 3 Mount Street Crescent near St. Stephen’s Church. At the inaugural Irish Exhibition of Living Art in 1943, she exhibits five works. At the first Exhibition of Independent Artists in 1960, of which she is a founder, she exhibits three landscapes and a work entitled War. She largely exhibits with the Independent Artists, the Irish Exhibition of Living Art, and the Oireachtas na Gaeilge, and does not exhibit with the Royal Hibernian Academy. Later in life, she exhibits with the Figurative Image exhibitions in Dublin, and is amongst the first painters chosen for Aosdána. A number of her works are featured in the 1987 exhibition, Irish women artists, from the eighteenth century to the present arranged by the National Gallery of Ireland and The Douglas Hyde Gallery.

Vanston dies on July 12, 1988, in a nursing home in Enniskerry, County Wicklow. Her work is greatly admired, but has received little by way of critical attention, which may have been to do with her slow rate of output. A number of her works have proved difficult to trace. She was a private person, even refusing to cooperate with the Taylor Galleries in the 1980s when they wanted to mount a retrospective of her work. The National Self-Portrait Collection in Limerick holds a work by Vanston.

(Pictured: Dairine Vanston with Guillermo Padilla in Paris)


by Leave a comment

Birth of Éamon de Valera, Third President of Ireland

Éamon de Valera, Irish politician and patriot, is born George de Valero on October 14, 1882, in Lennox Hill, a neighborhood on the Upper East Side of Manhattan in New York City. He serves as Taoiseach (1932–48, 1951–54, 1957–59) and President of Ireland (1959–73). An active revolutionary from 1913, he becomes president of Sinn Féin in 1917 and founds the Fianna Fáil party in 1926. In 1937, he makes his country a sovereign state, renamed Ireland, or Éire. His academic attainments also inspire wide respect. He becomes chancellor of the National University of Ireland in 1921.

De Valera is the son of Catherine Coll, who is originally from Bruree, County Limerick, and Juan Vivion de Valera, described on the birth certificate as a Spanish artist born in 1853. His father dies when he is two years old. He Is then sent to his mother’s family in County Limerick, and studies at the local national school and at Blackrock College, Dublin. He graduates from the Royal University of Ireland and becomes a teacher of mathematics and an ardent supporter of the Irish language revival. In 1913, he joins the Irish Volunteers, which had been organized to resist opposition to Home Rule for Ireland.

In the 1916 Easter Rising in Dublin, de Valera commands an occupied building and is the last commander to surrender. Because of his American birth, he escapes execution by the British but is sentenced to penal servitude. Released in 1917 but arrested again and deported in May 1918 to England, where he is imprisoned, he is acclaimed by the Irish as the chief survivor of the uprising and in October 1917 is elected president of the Irish republican and democratic socialist Sinn Féin political party, which wins three-fourths of all the Irish constituencies in December 1918.

After a dramatic escape from HM Prison Lincoln in February 1919, de Valera goes in disguise to the United States, where he collects funds. He returns to Ireland before the Irish War of Independence ends with the truce that takes effect on July 11, 1921, and appoints plenipotentiaries to negotiate in London. He repudiates the Anglo-Irish Treaty of December 6, 1921, that they signed to form the Irish Free State, however, primarily because it imposes an oath of allegiance to the British crown.

After Dáil Éireann ratifies the treaty by a small majority in 1922, de Valera supports the republican resistance in the ensuing Irish Civil War. W. T. Cosgrave’s Irish Free State ministry imprisons him, but he is released in 1924 and then organizes a republican opposition party that does not sit in Dáil Éireann. In 1927, however, he persuades his followers to sign the oath of allegiance as “an empty political formula,” and his new Fianna Fáil (“Soldiers of Destiny”) party then enters the Dáil, demanding abolition of the oath of allegiance, of the governor-general, of the Seanad Éireann (senate) as then constituted, and of land-purchase annuities payable to Great Britain. The Cosgrave ministry is defeated by Fianna Fáil in 1932, and de Valera, as head of the new ministry, embarks quickly on severing connections with Great Britain. He withholds payment of the land annuities, and an “economic war” results. Increasing retaliation by both sides enables de Valera to develop his program of austere national self-sufficiency in an Irish-speaking Ireland while building up industries behind protective tariffs. In the new Constitution of Ireland, ratified by referendum in 1937, the Irish Free State becomes Ireland, a sovereign, independent democracy tenuously linked with the British Commonwealth (under the Executive Authority (External Relations) Act 1936) only for purposes of diplomatic representation.

De Valera’s prestige is enhanced by his success as president of the council of the League of Nations in 1932 and of its assembly in 1938. He also enters negotiations with British Prime Minister Neville Chamberlain in which he guarantees that he will never allow Ireland to be used as a base for attacking Britain in the event of war. This culminates in the Anglo-Irish defense agreement of April 1938, whereby Britain relinquishes the naval bases of Cobh, Berehaven, and Lough Swilly (retained in a defense annex to the 1921 treaty), and in complementary finance and trade treaties that end the economic war. This makes possible de Valera’s proclamation in September 1939, upon the outbreak of World War II, that Ireland will remain neutral and will resist attack from any quarter. In secret, however, de Valera also authorizes significant military and intelligence assistance to both the British and the Americans throughout the war. He realizes that a German victory will imperil Ireland’s independence, of which neutrality is the ultimate expression. By avoiding the burdens and destruction of the war, de Valera achieves a relative prosperity for Ireland in comparison with the war-torn countries of Europe, and he retains office in subsequent elections.

In 1948, a reaction against the long monopoly of power and patronage held by de Valera’s party enables the opposition, with the help of smaller parties, to form an interparty government under John A. Costello. Ironically, this precarious coalition collapses within three years after Ireland becomes a republic by means of the repeal of the Executive Authority (External Relations) Act 1936 and the severance of all ties with the British Commonwealth, an act de Valera had avoided. De Valera resumes office until 1954, when he appeals unsuccessfully for a fresh mandate, and Costello forms his second interparty ministry. No clearly defined difference now exists between the opposing parties in face of rising prices, continued emigration, and a backward agriculture. De Valera claims, however, that a strong single-party government is indispensable and that all coalitions must be weak and insecure. On this plea he obtains, in March 1957, the overall majority that he demands.

In 1959, de Valera agrees to stand as a candidate for the presidency. He resigns his position as Taoiseach and leader of the Fianna Fáil party. In June he is elected president, and is reelected in 1966. He retires to a nursing home near Dublin in 1973 and dies there on August 29, 1975.

De Valera’s career spans the dramatic period of Ireland’s modern cultural and national revolution. As an anticolonial leader, a skillful constitutionalist, and a symbol of national liberation, he dominates Ireland in the half century following the country’s independence.

(From: “Éamon de Valera, president of Ireland,” Encyclopedia Britannica, http://www.britannica.com, last updated August 14, 2025)


by Leave a comment

Birth of Sean O’Callaghan, Member of the Provisional IRA

Sean O’Callaghan, a member of the Provisional Irish Republican Army (IRA), who from the late 1970s to the mid-1980s works against the organisation from within as a mole for the Irish Government with the Garda Síochána‘s Special Detective Unit, is born in Tralee, County Kerry, on October 10, 1954.

O’Callaghan is born into a family with a Fenian paramilitary history. His paternal grandfather had taken the Anti-Treaty side during the Irish Civil War, and his father had been interned by the Irish Government at the Curragh Camp in County Kildare for IRA activity during World War II.

By the late 1960s, O’Callaghan ceases to practise his Catholic faith, adopts atheism and has become interested in the theories of Marxist revolutionary politics, which finds an outlet of practical expression in the sectarian social unrest in Northern Ireland at the time, centered on the activities of the Northern Ireland Civil Rights Association. In 1969, communal violence breaks out in Northern Ireland and believing that British imperialism is responsible, he joins the newly founded Provisional IRA at the age of 17.

Soon afterward, O’Callaghan is arrested by local Gardaí after he accidentally detonates a small amount of explosives, which cause damage to the homes of his parents and their neighbours. After demanding, and receiving, treatment as a political prisoner, he quietly serves his sentence.

After becoming a full-time paramilitary with the IRA, in the early to mid-1970s O’Callaghan takes part in over seventy operations associated with Irish Republican political violence including bomb materials manufacture, attacks on IRA targets in Northern Ireland, and robberies to provide funding for the organisation.

In 1976, O’Callaghan ends his involvement with the IRA after becoming disillusioned with its activities. He later recalls that his disenchantment with the IRA began when one of his compatriots openly hoped that a female police officer who had been blown up by an IRA bomb had been pregnant so they could get “two for the price of one.” He is also concerned with what he perceives as an undercurrent of ethnic hatred in its rank and file toward the Ulster Scots population. He leaves Ireland and moves to London. In May 1978, he marries a Scottish woman of Protestant unionist descent. During the late 1970s, he runs a successful mobile cleaning business. However, he is unable to fully settle into his new life, later recalling, “In truth there seemed to be no escaping from Ireland. At the strangest of times I would find myself reliving the events of my years in the IRA. As the years went on, I came to believe that the Provisional IRA was the greatest enemy of democracy and decency in Ireland.”

In 1979, O’Callaghan is approached by the IRA seeking to recruit him again for its paramilitary campaign. In response, he decides to turncoat against the organisation and becomes an agent within its ranks for the Irish Government. He decides to become a double agent even though he knows that even those who hate the IRA as much as he now does have a low opinion of informers. However, he feels it is the only way to stop the IRA from luring teenagers into their ranks and training them to kill.

Soon after being approached by the IRA to re-join, O’Callaghan returns to Tralee from London, where he arranges a clandestine meeting with an officer of the Garda Special Detective Unit in a local cemetery, at which he expresses his willingness to work with it to subvert the IRA from within. At this point, he is still opposed to working with the British Government. A few weeks later, he makes contact with Kerry IRA leader Martin Ferris and attends his first IRA meeting since 1975. Immediately afterward, he telephones his Garda contact and says, “We’re in”.

During the 1981 hunger strike in the Maze Prison, O’Callaghan attempts to start his own hunger strike in support of the Maze prisoners but is told to desist by the IRA for fear it will detract focus from the prisoners. He successfully sabotages the efforts of republicans in Kerry from staging hunger strikes of their own.

In 1984, O’Callaghan notifies the Garda of an attempt to smuggle seven tons of AK-47 assault rifles from the United States to Ireland aboard a fishing trawler named Valhalla. The guns are intended for the arsenal of the Provisional IRA’s units. As a result of his warning, a combined force of the Irish Navy and Gardaí intercept the boat that received the weaponry, and the guns are seized. The seizure marks the complete end of any major attempt by the IRA to smuggle guns out of the United States.

In 1983, O’Callaghan claims to be tasked by the IRA with placing 25 lbs. of Frangex in the Dominion Theatre in London, in an attempt to kill Prince Charles and Princess Diana who are due to attend a charity pop music concert there. A warning is phoned into the Garda, and the Royal couple are hurriedly ushered from the theatre by their police bodyguard during the concert. The theatre had been searched before the concert and a second search following the warning reveals no device.

In 1985, O’Callaghan is elected as a Sinn Féin councillor for Tralee Urban District Council, and unsuccessfully contests a seat on Kerry County Council.

After becoming disillusioned with his work with the Irish Government following the murder of another of its agents within the IRA, which it had failed to prevent despite O’Callaghan’s warnings of the threat to him, and sensing a growing threat to himself from the organisation which had become suspicious of his own behaviour, he withdraws from the IRA and leaves Ireland to live in England, taking his wife and children with him. His marriage ends in a divorce in 1987, and on November 29, 1988, he walks into a police station in Tunbridge Wells, Kent, England, where he presents himself to the officer on duty at the desk, confesses to the murder of Ulster Defence Regiment (UDR) Greenfinch (female member) Eva Martin and the murder of D.I. Peter Flanagan during the mid-1970s, and voluntarily surrenders to British prosecution.

Although the Royal Ulster Constabulary (RUC) offers him witness protection as part of the informer policy, O’Callaghan refuses it and is prosecuted under charges of two murders and 40 other crimes, to all of which he pleads guilty, committed in British jurisdiction with the IRA. Having been found guilty, he is sentenced to a total of 539 years in prison. He serves his sentence in prisons in Northern Ireland and England. While in jail, he publishes his story in The Sunday Times. He is released after being granted the royal prerogative of mercy by Queen Elizabeth II in 1996.

In 1998, O’Callaghan publishes an autobiographical account of his experiences in Irish Republican paramilitarism, entitled The Informer: The True Life Story of One Man’s War on Terrorism (1998).

In 2002, O’Callaghan is admitted to Nightingale Hospital, Marylebone, an addiction and rehab center where he undergoes a rehabilitation program for alcohol dependency. His identity and past activities are not revealed to the other patients. He lives relatively openly in London for the rest of his life, refusing to adopt a new identity. He is befriended in the city by the Irish writer Ruth Dudley Edwards, and works as a security consultant, and also occasional advisor to the Ulster Unionist Party (UUP) on how to handle Irish republicanism in general, and Sinn Féin in particular.

In 2006, O’Callaghan appears in a London court with regard to an aggravated robbery that occurs in which he is the victim.

In 2015, O’Callaghan publishes James Connolly: My Search for the Man, the Myth & his Legacy (2015), a book containing a critique of the early 20th century Irish revolutionary James Connolly, and what he considers to be his destructive legacy in Ireland’s contemporary politics.

O’Callaghan dies by drowning after suffering a heart attack at the age of 63 while in a swimming pool in Kingston, Jamaica, on August 23, 2017, while visiting his daughter. A memorial service is held in his memory on March 21, 2018, at St. Martin’s-in-the-Fields, a Church of England parish church at the northeast corner of Trafalgar Square in the City of Westminster, London. The service is attended by representatives from Ulster Unionist parties and the Irish Government.


by Leave a comment

Birth of Composer Geoffrey Molyneux Palmer

Geoffrey Molyneux Palmer (Irish: Seathrún de Pámar), Irish composer, is born to Protestant Irish parents in Staines, Middlesex, England, on October 8, 1882. His compositions consist mainly of operas and vocal music, among them the first musical settings of poems by James Joyce.

Palmer grows up in South Woodford, an area of East London, where his father, Abram Smythe Palmer, is vicar at Holy Trinity Church. He studies at the University of Oxford where, in 1901, he is the youngest Bachelor of Music (BMus) in college history. Between 1904 and 1907 he studies composition with Charles Villiers Stanford at the Royal College of Music, London. He moves to Ireland in 1910 where he is initially active as a church organist in Dublin suburbs. From his early twenties he suffers from multiple sclerosis, which makes a professional independence increasingly difficult.

Palmer’s music includes at least three operas, a number of choral pieces and many songs. His strong interest in opera comes during a politically difficult period in Irish history. Ireland is struggling for independence, and cultural politicians often regard opera (and classical music in general) as alien to Irish culture. Initially, however, he is successful, his earliest stage work being Finn Varra Maa (a transliteration from the Gaelic meaning “good Finbar”), subtitled The Irish Santa Claus. It survives as a libretto only, published in a drama series by Talbot Press, Dublin, in 1917. Contrary to what the (sub-)title may suggest, the work is a political satire that is much criticised for its nationalism. Sruth na Maoile (“The Sea of Moyle”) is first performed in July 1923 and restaged by the O’Mara Opera Company in the cultural by-programme of the Tailteann Games in August 1924. Its story is based on the legend of the Children of Lir, while the music relies on numerous references to Irish traditional music, including the song Silent O Moylefrom Thomas Moore‘s Irish Melodies. A third work, Grania Goes (1924), conceived as a light, comic opera, cannot be performed in the years following Irish independence. The manuscript scores of the Sruth na Maoile and Grania Goes are in the National Library of Ireland.

Between 1925 and 1930, Palmer embarks on a cycle of three full-scale operas on the Cuchullain cycle to words by William Mervyn Crofton. In one of them, Deirdre of the Sorrows (1925), Crofton acknowledges Palmer’s “beautiful music.” Despite this, Palmer’s illness prevents the completion of the score, which is later handed over to the composer Staf Gebruers (1902–70), but they are never performed. The manuscript scores of the operas Cuchullain and Deirdre of the Sorrows composed by Gebruers are held by his son Adrian. Unfortunately, despite extensive searching, the score of The Wooing of Emer has not been located, though it is referenced in Gebruers’ own inventories and mentioned as being of three hours duration. In addition, there is a copy of The King’s Song, also composed by Gebruers with lyrics by Crofton and described as from Act 1 of The Black Hag, but whether or not this has any connection with Palmer is unknown.

Palmer is mainly known as the composer of light songs and ballads, often in a folkloristic style, that find publishers in England and are frequently performed. “They show a skilled hand with a talent for vocal harmony but little originality.” His choral music is mainly on a similar miniature scale, an exception being the early cantata The Abbot of Innisfallen (1909). There are some isolated examples of orchestral music performed by the orchestra of Radio Éireann, but the surviving references may not give a full picture of his output.

In the last decades of his life, Palmer was confined to a wheelchair and depends upon the care of his two sisters, who were running Hillcourt, a private girls’ boarding school in Glenageary, near their home in Sandycove (south Dublin). Palmer dies in Dublin on November 29, 1957.


by Leave a comment

Death of Séamus Ennis, Musician, Singer & Music Collector

Séamus Ennis (Irish: Séamas Mac Aonghusa), Irish musician, singer and Irish music collector, dies in Naul, County Dublin, on October 5, 1982. He is most noted for his uilleann pipe playing and is partly responsible for the revival of the instrument during the twentieth century, having co-founded Na Píobairí Uilleann, a nonprofit organisation dedicated to the promotion of the uilleann pipes and its music. He is recognised for preserving almost 2,000 Irish songs and dance-tunes as part of the work he does with the Irish Folklore Commission. He is widely regarded as one of the greatest uilleann pipers of all time.

Ennis’s father, James, works for the Irish civil service at Naul, County Dublin. In 1908, James Ennis is in a pawn shop in London and purchases a bag containing the pieces of a set of old uilleann pipes. They were made in the mid nineteenth century by Coyne Pipemakers of Thomas Street in Dublin. In 1912, he comes in first in the Oireachtas competition for warpipes and second in the uilleann pipes. He is also a prize-winning dancer. In 1916, he marries Mary Josephine McCabe, an accomplished fiddle player from County Monaghan. They have six children, Angela, Séamus, Barbara, and twins, Cormac and Ursula (Pixie) and Desmond. Séamus is born on May 5, 1919, in Jamestown in Finglas, Dublin. James Ennis is a member of the Fingal trio, which includes Frank O’Higgins on fiddle and John Cawley on flute, and performs regularly with them on the radio. At the age of thirteen, Séamus starts receiving lessons on the pipes from his father. He attends a Gaelscoil, Cholmcille, and a Gaelcholáiste, Coláiste Mhuire, which gives him a knowledge of the Irish language that serves him well in later life. He sits in an exam to become Employment Exchange clerk but is too far down the list to be offered a job. He is twenty and unemployed.

Colm Ó Lochlainn is editor of Irish Street Ballads and a friend of the Ennis family. In 1938, Ennis confides in Colm that he intends to move to England to join the British Army. Colm immediately offers him a job at The Three Candles Press. There Ennis learns all aspects of the printing trade. This includes writing down slow airs for printed scores – a skill which later proves important. Colm is director of an Irish language choir, An Claisceadal, which Ennis joins. In 1942, during The Emergency, shortages and rationing mean that things become difficult in the printing trade. Professor Seamus Ó Duilearge of the Irish Folklore Commission hires the 23-year-old to collect songs. He is given “pen, paper and pushbike” and a salary of three pounds per week. Off he goes to Connemara.

From 1942 to 1947, working for the Irish Folklore Commission, Ennis collects songs in west Munster; counties Galway, Cavan, Mayo, Donegal, Kerry; the Aran Islands and the Scottish Hebrides. His knowledge of Scottish Gaelic enables him to transcribe much of the John Lorne Campbell collection of songs. Elizabeth Cronin of Ballyvourney, County Cork, is so keen to chat to Ennis on his visits that she writes down her own songs and hands them over as he arrives, and then gets down to conversation. He has a natural empathy with the musicians and singers he meets. In August 1947, he starts work as an outside broadcast officer with Raidió Éireann. He is a presenter and records Willie Clancy, Seán Reid and Micho Russell for the first time. There is an air of authority in his voice. In 1951, Alan Lomax and Jean Ritchie arrived from the United States to record Irish songs and tunes. The tables are turned as Ennis becomes the subject of someone else’s collection. There is a photograph from 1952/53 showing Ritchie huddled over the tape recorder while Ennis plays uilleann pipes.

Late in 1951, Ennis joins the BBC. He moves to London to work with producer Brian George. In 1952, he marries Margaret Glynn. They have two children, the organist Catherine Ennis and Christopher. His job is to record the traditional music of England, Scotland, Wales and Ireland and to present it on the BBC Home Service. The programme is called As I Roved Out and runs until 1958. Meeting up with Alan Lomax again, he is largely responsible for the album Folk and Primitive Music (volume on Ireland) on the Columbia Records label.

In 1958, after his contract with the BBC is not renewed, Ennis starts doing freelance work, first in England then back in Ireland, with the new TV station Teilifis Éireann. Soon he is relying totally on his musical ability to make a living. About this time, his marriage breaks down and he returns to Ireland. He suffers from tuberculosis and is ill for some time. In 1964, he performs at the Newport Folk Festival. His father gives him the pipes he had bought in 1908. Although most pipers can be classed as playing in a tight style or an open style, Ennis is in between. He is a master of the slow air, knowing how to decorate long notes with taste and discreet variation.

Two events will live in legend among pipers. The first is in Bettystown, County Meath, in 1968, when the society of Irish pipers, Na Píobairí Uilleann, is formed. Breandán Breathnach is playing a tape of his own piping. Ennis asks, “What year?” Breandán replies, “1948.” Ennis says, “So I thought.” For a couple of hours the younger players perform while Ennis sits in silence. Eventually he is asked to play. Slowly he takes off his coat and rolls up his sleeves. He spends 20 minutes tuning up his 130-year-old pipes. He then asks the gathering whether all the tape recorders are ready and proceeds to play for over an hour. To everyone’s astonishment he then offers his precious pipes to Willie Clancy to play a set. Clancy demurs but eventually gives in. Next, Liam O’Flynn is asked to play them, and so on, round the room. The second unforgettable session is in Dowlings’ Pub in Prosperous, County Kildare. Christy Moore is there, as well as most of the future members of Planxty.

Ennis never runs any school of piping but his enthusiasm infuses everyone he meets. In the early 1970s, he shares a house with Liam O’Flynn for almost three years. Finally, he purchases a piece of land in Naul and lives in a mobile home there. One of his last performances is at the Willie Clancy Summer School in 1982. He dies on October 5, 1982. His pipes are bequeathed to Liam O’Flynn. Radio producer Peter Browne produces a compilation of his performances, called The Return from Fingal, spanning 40 years.

Séamus Ennis Road in his native Finglas is named in his honour. The Séamus Ennis Arts Centre in Naul is opened in his honour, to commemorate his work and to promote the traditional arts. He is also the subject of Christy Moore’s song “The Easter Snow.” This is the title of a slow air Ennis used to play, and one after which he named his final home in Naul.


by Leave a comment

Death of Artist Samuel McCloy

Samuel McCloy, Irish artist who trains at Belfast School of Design and later at Somerset House, dies in Balham, South London, on October 4, 1904. He exhibits widely in group shows across the British Isles and is known for his watercolours, genre paintings, still life and landscapes. He is also a commercial designer, illustrator, and an educator who is for a time Master at Waterford School of Art.

Born on March 13, 1831, in Lisburn, County Antrim, McCloy is the youngest of five children, born to Peter McCloy, a painter, and his wife Martha Phelan. He studies at the School of Design in Belfast from 1850 to 1851 while serving an apprenticeship in engraving, with J and T Smyth. He then spende a year at the Central School, Somerset House in London before being appointed Master at the Waterford School of Art around 1853, when he also becomes a visiting instructor to several other institutions. In the spring of 1865 he marries his student, the Waterford artist Ellen Lucy Harris, the fourth daughter of a banker named Richard Harris. The dismembered corpse of McCloy’s mother is recovered from the River Suir in September of the same year. She had been missing since the previous November.

Between 1873 and 1891 McCloy shows nine works at the Royal Society of British Artists. Upon his return to Belfast around 1874, he works freelance designing greetings cards for Marcus Ward & Co., and in creating damask designs for linen manufacturers. He illustrates Lucy Sale-Barker‘s Sunny Childhood, published by Routledge in 1887, and he is for a time employed by The Illustrated London News.

McCloy shows just once at the Royal Academy of Arts with a work entitled The Haunt of Meditation in 1859. He exhibits infrequently at the Royal Hibernian Academy between 1862 and 1882, where he displays sixteen works in that time. He displays eleven works in the 1876 Industrial Exhibition at Belfast’s Ulster Hall. In 1880, he shows at Rodman and Company in London where the writer in the Belfast Telegraph indicates that McCloy is becoming a popular artist and is receiving extensive patronage.

Following his relocation to London in 1881, McCloy contributes works to numerous regional exhibitions, including the spring exhibition of the Derby Sketching Club in 1883, Nottingham Castle Museum’s autumn exhibition of 1888, and at Exeter‘s Eland Art Gallery in 1892. He exhibits with the Royal Scottish Academy in 1882 and with the Royal Institute of Painters in Water Colours in 1887. He is also a member of the Belfast Art Society, an antecedent to the Royal Ulster Academy.

After a year-long illness that prevents him from working, McCloy dies in Balham, South London, on October 4, 1904. He is survived by his wife, Ellen, and nine daughters. The Lisburn Museum in his hometown offers a belated retrospective of his work in 1981 to mark the one-hundred fiftieth anniversary of his birth. The exhibition is the first known solo display of McCloy’s work and consists of 58 works. The catalogue for this show is written by Eileen Black and funded by the Arts Council of Northern Ireland.

McCloy’s work can be seen in many public collections including the Ulster Museum, the Victoria and Albert Museum, Amgueddfa Cymru – Museum Wales, the National Gallery of Ireland, and in the Irish Linen Centre and Lisburn Museum.