Blanchflower is born on February 10, 1926, in the Bloomfield district of Belfast, the first of five children born to John and Selina Blanchflower. He is educated at Ravenscroft public elementary school and is awarded a scholarship to Belfast College of Technology. He leaves school early to become an apprentice electrician at Gallaher’s cigarette factory in Belfast. He also joins the Air Raid Precautions (ARP) and, in 1943, joins the Royal Air Force after lying about his age. By 1946, after a trainee navigator course at the University of St. Andrews in Scotland and further training in Canada, he is back at Gallaher’s in Belfast and building a reputation as an outstanding footballer.
Blanchflower signs with Glentoran F.C. in 1946 before crossing the Irish Sea and signing with Barnsley F.C. for £6000 in 1949 at the age of 23. He transfers from Barnsley to Aston Villa F.C. for a fee of £15,000 and makes his First Division debut in March 1951. He makes 155 senior appearances for Villa before being bought by Tottenham Hotspur F.C. in 1954 for a fee of £30,000. During his ten years playing at White Hart Lane he makes 337 League appearances and 382 total appearances.
The highlight of Blanchflower’s time with the Spurs comes in the 1960–61 season, while serving as captain, the Spurs win their first 11 games and eventually win the league by 8 points. They beat Leicester City F.C. in the final of the FA Cup, becoming the first team in the 20th century to win the League and Cup double and a feat not achieved since Aston Villa in 1897.
In 1962, Blanchflower again captains the Spurs team to victory in the FA Cup in 1962, narrowly missing out on a second double when they finish a close third in the league behind Ipswich Town F.C. and Burnley F.C. In 1963, he captains the team to victory over Atlético Madrid in the final of the European Cup Winners’ Cup, making Spurs the first English team to win a European trophy.
Between 1949 and 1963, Blanchflower earns 56 caps for Northern Ireland, often playing alongside his brother Jackie until the younger Blanchflower’s playing career is cut short as a result of injuries sustained in the Munich air disaster of February 1958. In 1958, he captains his country when they reached the quarter-finals of the FIFA World Cup.
On December 4, 1957, Blanchflower captains the Northern Ireland team against Italy in Belfast in a bad tempered game that comes to be known as the “Battle of Belfast.” He attempts to keep the peace as the game turns nasty.
Blanchflower announces his retirement as a player on April 5, 1964, having played nearly 400 games in all competitions for the Spurs and captains them to four major trophies.
Following his retirement as a player, Blanchflower coachs for the Spurs for a number of years. Manager Bill Nicholson intends for Blanchflower to be his successor but, when Nicholson resigns in 1974, Blanchflower is passed over in favour of Terry Neill. He leaves the Spurs and becomes manager of Northern Ireland for a brief spell in 1978 before being appointed boss of Chelsea F.C. The team wins only three of fifteen games under his charge and he leaves the team in September 1979.
On May 1, 1990, Tottenham holds a testimonial match for Blanchflower at White Hart Lane, but at this point he is in the early stages of what is later diagnosed as Alzheimer’s disease and Parkinson’s disease. He is eventually placed in a nursing home in Staines-upon-Thames where he dies as a result of pneumonia on December 9, 1993, at the age of 67.
Blanchflower’s hometown of Belfast has honoured him with an Ulster History Circle plaque, located at his childhood home at 49 Grace Avenue, recognising the late sportsman as one of the greatest players in the history of Tottenham Hotspur FC.
Hammond is the son of Leslie Hammond, a tram driver, and his wife Annie (née Lamont). His parents are not city people; his mother grew up near Ballybogy in the Ballymoney area of County Antrim, and his father, though from a family with roots in south County Londonderry, had lived in Ballymoney as a boy, and had been apprenticed to a blacksmith there. Both have a strong sense of their rural identity and maintain the Ulster Scots dialect of their childhood. They are never quite at home in the Belfast suburb of Cregagh, and in particular do not share the sectarian attitudes that are much more present in 1930s Belfast than they had been in north Antrim, one of the last strongholds of Presbyterian radicalism. Even as a boy, Hammond is interested in the old songs that his mother sang and realises that the traditions in which his parents had been nurtured are disappearing quickly in an increasingly urbanising and modernising world. When he encounters the work of Emyr Estyn Evans in the early 1940s, he is encouraged to document both rural tradition and the street life of the city, and he and a couple of friends, though still just teenagers, ride off on their bicycles to look for folklore in the hinterland of Belfast.
After primary school, Hammond wins a scholarship in 1941 to Methodist College Belfast, where he does well in examinations, and then goes to Stranmillis University College to train as a teacher. In his first job, in Harding Memorial primary school in east Belfast, he proves to be a popular, idealistic teacher, and is remembered by his pupils fifty years later as a fine singer and a teller of ghost stories, who had taken the class on memorable youth-hosteling trips to the Mourne Mountains. Youth hosteling and folklore collecting increases his awareness and understanding of the rich traditions of the whole community in the north of Ireland, and he is never constrained by political or religious barriers. His early career mirrors closely that of James Hawthorne, and their paths are to cross in later life.
Hammond is friendly with many others active in the cultural life of Northern Ireland and makes a name for himself as a song collector and eventually as an expert on all aspects of traditional singing. In 1956, he is awarded a scholarship to travel in the United States to meet the important pioneers of folk-music collecting and performance there. He records his first LP record of Ulster songs, I Am The Wee Falorie Man (1958), in the United States, and becomes friends with Pete Seeger, the Appalachian singer Jean Ritchie, with old blues singers, and notably with Liam Clancy, one of the three Clancy brothers who as a quartet with Tommy Makem are to popularise Irish folk music in the United States and elsewhere.
On returning to Belfast, Hammond takes a job in 1958 in Orangefield secondary school in the east of the city, where the highly regarded headmaster John Malone encourages new approaches to education. Among his pupils at Orangefield is George Ivan “Van” Morrison, who credits him with inspiring his interest in Irish traditional music. Hammond enjoys teaching but is increasingly drawn to folk-song performance and recording. He appears regularly on radio programmes of the BBC and Radio Éireann, and in 1964 joins the school’s department in BBC Northern Ireland. There, with colleagues like Sam Hanna Bell, James Hawthorne and others, he works on programmes such as Today and Yesterday in Northern Ireland, which for the first time introduces pupils (and many adults) to local history and to aspects of tradition. In 1968, with two friends, the poets Seamus Heaney and Michael Longley, he puts on poetry and traditional music events in schools all over the province. The Arts Council funds the Room to Rhyme project, which is immensely influential and inspiring, and is still talked about many years later by those who attended as children.
Hammond is creatively involved with hundreds of hours of broadcasting, in television as well as radio, and eventually for adults as well as children. He writes scripts, produces documentary series such as Ulster in Focusand Explorations, and brings an artistic sensibility to filming, as well as working sympathetically with traditional singers and craftspeople. Dusty Bluebells, a sensitively made film of Belfast children’s street games, wins the prestigious Golden Harp award in 1972. After he leaves the BBC to work as a freelance, and founds Flying Fox Films in 1986, he continues making documentaries on many aspects of Ulster life and heritage. His film called Steel Chest, Nail in the Boot and the Barking Dog (1986), about working in the Belfast shipyards, also wins a Golden Harp award. A companion book of the same name is published. Another book is Belfast, City of Song(1989), with Maurice Leyden. In 1979, he edits a volume of the songs of Thomas Moore. His documentary programmes include films about singers from Boho, County Fermanagh, and about the big houses of the gentry in Ireland. The Magic Fiddle (1991/2) examines the role of the instrument in the folk music of Ireland, Scandinavia, Canada, and the American south, while Another Kind of Freedom (1993) is about the experiences of a former Orangefield pupil, the Beirut hostage Brian Keenan. He also produces and directs the films Something to Write Home About (1998), Where Are You Now? (1999), and Bogland (1999), all of which explore Seamus Heaney’s home region and experiences.
The first poem in Heaney’s collection Wintering Out (1972) is entitled “For David Hammond and Michael Longley.” Their lifelong friendship leads to several other creative collaborations. In particular, after a distressing evening in 1972 when Hammond, affected by the despair and terror unleashed by Irish Republican Army (IRA) bombing of his city, is for once unable to sing, Heaney meditates on the experience in an essay and in an important poem, “The singer’s house” (subsequently included in his 1979 Field Work collection). The poem urges the singer to keep singing, to defend the values of art and friendship in a hostile time. Hammond collaborates with Dónal Lunny and other traditional musicians to bring out an LP also called The Singer’s House(1978), which includes Heaney’s poem on the album sleeve, and features some of the songs that he had made famous, such as “My Aunt Jane” and “Bonny Woodgreen,” from his vast repertoire of songs from Ulster. The album is reissued in 1980.
In 1995, Hammond is one of Heaney’s personal guests at the award of his Nobel prize in Stockholm, characteristically wearing his usual, mustard-yellow, cattle-dealer boots with evening dress. On another formal occasion, when he is awarded an honorary doctorate by Dublin City University in November 2003, he surprises the audience by standing up in his academic robes to sing “My Lagan love,” instead of giving an address. His unique, light mellow voice is an ideal vehicle for the traditional ballads which he knows so well. He records a number of records in the 1960s, including Belfast Street Songs, and publishes the book Songs of Belfast (1978). He also encourages traditional musicians like Arty McGlynn, and collaborates with them on various recording projects. He is well known for live and often impromptu performances at festivals and venues in Ireland and the United States. He also performs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
Hammond is also a notable collaborator with poets and dramatists, especially in the important Field Day Theatre Company project, of which he is a director, along with Seamus Heaney, Tom Paulin, Seamus Deane, Thomas Kilroy, and the project’s founders, Brian Friel and Stephen Rea. He supports the Field Day search for a “fifth province,” where history and community and culture can intersect, believing that to speak unthinkingly of “two traditions” is to perpetuate superficial political divisions. As he says in an interview in The Irish Times on July 4, 1998, songs can “take you out of yourself” and become bridges to unite people.
Hammond receives many honours. In 1994, he receives the Estyn Evans award for his contribution to mutual understanding, and his work is featured in several major events in his honour: in the University of North Florida (1999), in the Celtic Film Festival in Belfast (2003), and in Belfast’s Linen Hall Library (2005). A Time to Dream, a film about his life and work, is broadcast on BBC Northern Ireland in December 2008.
Hammond dies in hospital in Belfast, after a long illness, on August 25, 2008, survived by his wife Eileen (née Hambleton), whom he marries on July 19, 1954, and by their son and three daughters. His funeral in St. Finnian’s Church is a major cultural event, where friends sing, play and speak in his honour.
In Seamus Heaney’s last collection of poetry, Human Chain (2010), he includes a poignant farewell to Hammond. The poet imagines (or perhaps dreams) of another visit to the singer’s house, but this time “The door was open, and the house was dark.”
(From: “Hammond, David Andrew (‘Davy’)” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, December 2014)
According to Sam Smyth in the Irish Independent, Mac Mathúna is “on a mission to collect songs and stories, music, poetry and dance before they were buried under the coming tsunami of pop music.”
Mac Mathúna presents the radio programme, Mo Cheol Thú, for 35 years. Upon his retirement in 2005, the managing director of RTÉ Radio, Adrian Moynes, describes him as “inseparable from RTÉ Radio.” Upon his death in 2009, the Irish Independent describes him as “a national treasure.”
After college Mac Mathúna works as a teacher and later at the Placenames Commission. In 1954, he joins Radio Éireann where his job is to record Irish traditional musicians playing in their own locales. This entails visiting such places as Sliabh Luachra, County Clare and County Sligo, and the resulting recordings feature in his radio programmes: Ceolta Tire, A Job of Journeywork and Humours of Donnybrook.
Mac Mathúna’s long-running Sunday morning radio series, Mo Cheol Thú (You are my music), begins in 1970 and continues until November 2005, when he retires from broadcasting. Each 45-minute programme offers a miscellany of archive music, poetry and folklore, mainly of Irish origin. It is one of radio’s longest running programmes. The last episode is broadcast on November 27, 2005, at 8:10 a.m.
Mac Mathúna wins two Jacob’s Awards, in 1969 and 1990, for his RTÉ Radio programmes promoting Irish traditional music. He receives the Freedom of Limerick city in June 2004. He is also awarded honorary doctorates by NUI Galway and the University of Limerick. In 2007, he receives the Musicians Award at the 10th annual TG4 Traditional Music Awards.
Joe Kennedy in the Sunday Independent in 2007 compares Mac Mathúna to “an amiable rock, rolling gently along, still picking up some moss and morsels of music that he may have missed.”
Mac Mathúna‘s wife, Dolly MacMahon (using the English version of her surname), is a singer of traditional songs. She comes from Galway and meets her husband in 1955. He has two sons named Padraic and Ciarán, one daughter named Déirdre, and four grandchildren at the time of his death: Eoin, Colm, Conor and Liam.
Musicians performing at the ceremony include Peadar Ó Riada, Cór Cúil Aodha and members of The Chieftains and Planxty. The corpse is then taken to Mount Jerome Crematorium. Journalist Kevin Myers says Mac Mathúna’s legacy will be the “rebirth of Irish music,” adding, “Well, if Ciarán Mac Mathúna can die, I suppose anyone can. Actually, I had always thought that he was immortal. He certainly appeared to have all the ingredients.”
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.
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)
Brennan is born in Dublin on January 6, 1917, one of four siblings, and grows up at 48 Cherryfield Avenue in the Dublin suburb of Ranelagh. She and her sisters are each named after ancient Irish Queens: Emer, Deirdre and Maeve. Her parents, Robert and Úna Brennan, both from County Wexford, are republicans and are deeply involved in the Irish political and cultural struggles of the early twentieth century. They participate in the 1916 Easter Rising but while Úna is imprisoned for a few days, Robert is sentenced to death. The sentence is commuted to penal servitude.
Robert’s continuing political activity results in further imprisonments in 1917 and 1920. Brennan is born while he was in prison. He is director of publicity for the anti-Treaty Irish Republican Army during the Irish Civil War. He also founds and is the director of The Irish Press newspaper. His imprisonments and activities greatly fragment her childhood. In her story The Day We Got Our Own Back she recounts her memory of how, when she was five, her home was raided by Irish Free State forces looking for her father, who was on the run.
Robert Brennan is appointed the Irish Free State’s first minister to the United States, and the family moves to Washington, D.C. in 1934, when Brennan is seventeen. She attends the Sisters of ProvidenceCatholic school in Washington, Immaculata Seminary, graduating in 1936. She then graduates with a degree in English from American University in 1938. She and her two sisters remain in the United States when her parents and brother return to Ireland in 1944.
Brennan moves to New York City and finds work as a fashion copywriter at Harper’s Bazaar in the 1940s. She also writes a Manhattan column for the Dublin society magazine Social and Personal, and writes several short pieces for The New Yorker magazine. In 1949, she is offered a staff job by William Shawn, The New Yorker‘s managing editor.
Brennan first writes for The New Yorker as a social diarist. She writ’s sketches about New York life in The Talk of the Town section under the pseudonym “The Long-Winded Lady.” She also contributes fiction criticism, fashion notes, and essays. She writes about both Ireland and the United States.
The New Yorker begins publishing Brennan’s short stories in 1950. The first of these stories is called The Holy Terror. In it, Mary Ramsay, a “garrulous, greedy heap of a woman” tries to keep her job as a ladies’ room attendant in a Dublin hotel.
Brennan’s work is fostered by William Keepers Maxwell, Jr., and she writes under The New Yorker managing editors Harold Ross and William Shawn. Although she is widely read in the United States in the 1950s and 1960s, she is almost unknown in Ireland, even though Dublin is the setting of many of her short stories.
A compendium of Brennan’s New Yorker articles called The Long-Winded Lady: Notes from the New Yorker is published in 1969. Two collections of short stories, In and Out of Never-Never Land (1969) and Christmas Eve (1974) are also published.
Brennan’s career does not really take off until after her death which leads many of her stories to be reintroduced to the public and many articles written about her up until her passing.
The love of Brennan’s life is reportedly writer and theatre critic/director Walter Kerr but he breaks off their engagement and marries writer Bridget Jean Collins.
In 1954, Brennan marries St. Clair McKelway, The New Yorker‘s managing editor. McKelway has a history of alcoholism, womanizing and manic depression and has already been divorced four times. She and McKelway divorce after five years.
Brennan is writing consistently and productively in the late 1960s. By the time her first books are published, however, she is showing signs of mental illness. Her previously immaculate appearance becomes unkempt. Her friends begin to find her eccentricities disturbing rather than entertaining. She becomes obsessive.
In the 1970s, Brennan becomes paranoid and alcoholic. Hospitalized on numerous occasions, she becomes destitute and homeless, frequently sleeping in the women’s lavatory at The New Yorker. She is last seen at the magazine’s offices in 1981.
In the 1980s, Brennan vanishes from view and her work is forgotten. After wandering from one transient hotel to another along 42nd Street, she is admitted to Lawrence Nursing Home in Arverne.
Brennan dies of a heart attack on November 1, 1993, aged 76, and is buried in Queens, New York City.
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)
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 socialistSinn Féin political party, which wins three-fourths of all the Irish constituencies in December 1918.
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 MinisterNeville 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)
She is the fifth child and youngest daughter of pork butcher and grocer, John Kearney (1854–97), and his wife Kathleen Kearney (née McGuinness) (1860–1907). She has four brothers and two sisters. Her father is from Rosybrook, County Louth and her mother is from Rathmaiden, Slane, County Meath, both coming from prosperous farming families. Her father has a business on Lower Dorset Street, with a grocery, pub and a row of houses. Owing to his own poor management, by the time she is born he has a smaller business on Dolphin’s Barn Lane. Following his death in 1897, she and her sisters are placed in the Goldenbridge orphanage at Inchicore by their mother. She is there from 1898 to 1904 where she becomes an avid reader. When she leaves, she rejoins her family in a one-room tenement flat on Gloucester Street.
Her oldest sibling, Peadar Kearney, is an ardent republican who writes the lyrics to the song that becomes the Irish national anthem, ”Amhrán na bhFiann”(English: “The Soldier’s Song”). It is through him that she meets a printer’s compositor and member of the Irish Volunteers, Jack Furlong. They marry in 1916. She is an active member of Cumann na mBan, and serves as a courier to the General Post Office, Dublin and other outposts during the 1916 Easter Rising. At the same time, Furlong fights in the Jacob’s factory garrison. The couple has two sons: Roger Casement (Rory) Furlong (1917–87) and Sean Furlong (born March 1919). Sean is born six month’s after she is widowed when Furlong dies in the Spanish flu epidemic of 1918. She lives with her mother-in-law, who is also a republican and seamstress who makes Irish Volunteer uniforms. She is arrested for running an Irish Republican Army (IRA) safe house. She works for a short time for Maud Gonne as a housekeeper, where she meets W. B. Yeats and Sarah Purser. A study painted of her by Purser (above) is now in the National Gallery of Ireland entitled The Sad Girl. From 1918 to 1922 she works as a clerk in the Dublin Corporation, while also a caretaker in the Harcourt Street branch of the Irish White Cross republican aid association.
In 1922 she marries Stephen Behan, house painter, trade unionist and fellow republican. The couple has four sons and one daughter: Brendan (b. 1923), Seamus (b. 1925), Brian (b. 1926), Dominic (b. 1928), and Carmel (b. 1932). Brendan is born while his father is imprisoned during the Irish Civil War, and Behan claims that Michael Collins gives her money while she is pregnant. Stephen’s mother owns three slum tenements, so the Behans live rent-free in a one-room basement flat at 14 Russell Street. Owing to her disdain at gossiping on the house steps, she is nicknamed “Lady Behan” by her neighbours. When Stephen’s mother dies in 1936, the Behans moved to a newly built council house in Crumlin, living at 70 Kildare Road. The family finds the new house far from work and school, and the local area devoid of community.
The family experiences extreme poverty frequently, owing to Stephen’s unemployment and during the nine month long building strike of 1936. Behan attempts to claim a pension as her first husband had served in 1916, but her application is rejected. She had said the exposure to flour had effected Furlong’s lungs negatively. It is declined as she had remarried before the enactment of the Army Pensions Act 1923. Despite their circumstances, the house attracts conversation, music, books and politics. The Behan’s republican, socialist, labour activist and anti-clericalism have a strong effect on their sons, particularly Brendan and Dominic. Such is the volume of radical meetings that take place at the Behan home, it is dubbed “the Kremlin” by their neighbours, and a “madhouse” by Stephen. During The Emergency of 1939 to 1945 she fights against local shopkeepers who ignore price controls, and is labelled as “red” for her anti-Franco and pro-Stalin sympathies. Her reply to the branding of her as such is “I’m not red, I’m scarlet.”
From the 1950s onwards, Behan shares international fame with her sons Dominic and Brendan. She often travels to London to see their plays, eventually appearing on British and Irish television and cultivating her own following. She is badly injured when she is struck by a motorcycle, a day before Stephen’s death in 1967. Owing to the effect of these injuries, she moves in 1970 to the Sacred Heart Residence of the Little Sisters of the Poor, Sybil Hill, Raheny.
In 1981, she records an album When All the World Was Young. Taped conversations of her reminiscences are made into an autobiographic book, Mother of all the Behans, by her son Brian in 1984. A one-woman stage adaptation of the book by Peter Sheridan and starring Rosaleen Linehan is acclaimed in Ireland, Britain and North America.
Lynch is called to the bar in 1949, and becomes a senior counsel in 1970. His practice is centered on the Midland circuit.
Lynch becomes a judge of the High Court in 1984. In December 1984, he is appointed the sole member of the tribunal into the Kerry Babies case. He is among three judges who sit in a divisional High Court which hears an unsuccessful challenge by Des Hanafin to result of the 1995 divorce referendum. He hears the High Court hearing of Bula Ltd v Tara Mines Ltd (No 6) in 1996 which runs for 277 days.
Lynch is appointed to the Supreme Court of Ireland in April 1996. He is delayed from first sitting on the court as the Bula case has not yet completed. He retires in December 1999.
Lynch is married to Bernadette, with whom he has five children. He dies at the age of 85 on October 31, 2013, in a nursing home near Croom, County Limerick.
Ffrench-Mullen is born on December 30, 1880, in Malta, where her father, St. Lawrence ffrench-Mullen, a Royal Navy surgeon, is stationed. She has two brothers, St. Lawrence Patrick Joseph (1890–1891) and Douglas (1893–1943).
Ffrench-Mullen’s interest in politics starts young. Her father is a committed Parnellite and their Dundrum home is a campaign headquarters. She is a radical feminist and republican during her life. Like many others of the time, she regards it as a woman’s right to vote. She joins the suffrage movement, and meets women with a similar worldview and values. The women’s suffrage movement is included in the Movements of Extremists reports of the Dublin Metropolitan Police. Ffrench-Mullen goes on to join Inghinidhe na hÉireann, a radical nationalist women’s group founded by Maud Gonne in 1900. The organisation develops into Cumann na mBan in 1913. Suffragist values are central to Cumann na mBan’s goal of standing side-by-side with men in the fight for the Irish Republic. Some members see this as women regaining the rights that had belonged to them in pre-invasion Gaelic civilisation. She is on the socialist wing of the moment, holding to the ideals of universal social equality of the syndicalist James Connolly and the Irish Citizen Army (ICA).
During the 1916 Easter Rising, ffrench-Mullen serves as a lieutenant in the Irish Citizen Army. She sees action with the St. Stephen’s Green and Royal College of Surgeons garrison. In St. Stephen’s Green she is in command of the 15 Citizen Army women who set up a medical station and field kitchen. While occupying St. Stephen’s Green, she and her comrades come under sustained heavy fire from the Shelbourne Hotel and buildings on the north side of the Green. After the surrender of the College of Surgeons garrison, ffrench-Mullen is one of the 77 women who had fought in the Rising who are imprisoned, among them her life partner Kathleen Lynn. While in captivity ffrench Mullen is moved three times, spending time in Richmond Barracks, Kilmainham Gaol and Mountjoy Prison. She is released on June 5, 1916.
Ffrench-Mullen meets Kathleen Lynn through Inghinidhe na h-Éireann. In 1915, she moves into Lynn’s home in Belgrave Road, Rathmines, where they live together for thirty years, until ffrench-Mullen’s death in 1944.
Ffrench-Mullen records in her prison diary in 1916 that she can face prison without fear once Lynn (whom she refers to as “the Doctor”) and she are together. Katherine Lynch of the Women’s Studies Centre at University College Dublin (UCD) describes them as partners, calling them part of a network of lesbians living in Dublin—which includes Helena Molony, Louie Bennett and Elizabeth O’Farrell—who meet through the suffrage movement and later become involved with the national and trade union movement. These women are featured, along with Eva Gore-Booth and others, in a 2023 TG4 documentary about “the radical queer women at the very heart of the Irish Revolution”: Croíthe Radacacha (Radical Hearts).
In 1919, Madeleine ffrench-Mullen and Kathleen Lynn establish Saint Ultan’s Children’s Hospital, also known as Teach Ultan, which is a female-run hospital for infants at 37 Charlemont Street, Dublin. The hospital focuses on children’s health and wellbeing, an area that is perceived at the time as women’s concern. In the aftermath of World War I many health problems have arisen including a rise in venereal diseases such as syphilis, carried from soldiers returning home from war. Many of Ireland’s infants of the time suffer from congenital syphilis (inherited disease from mother at birth), and this is a driving factor in the opening of St Ultan’s hospital. Tuberculosis is endemic in Ireland during its time as a British colony. Against steadfast opposition by the State and the Catholic Church, Lynn and ffrench-Mullen establish a vaccination project, vaccinating thousands of impoverished children who would have died of tuberculosis without their vaccines. Their success leads to the foundation of Ireland’s BCG vaccine programme, which has vaccinated all babies since the 1950s.
Ffrench-Mullen dies at the age of 63 in a Dublin nursing home on May 26, 1944. She is interred with her parents as well as her younger brothers (whom she outlives) in the ffrench-Mullen family plot in Glasnevin Cemetery. Her funeral takes place on the same day as the 1944 Irish general election.
seamus dubhghaill 