Milligan is the son of an Irish father, Leo Alphonso Milligan, a regimental sergeant major in the British Indian Army, and English mother, Florence Mary Winifred (née Kettleband). He is raised in India and Burma (Myanmar). He is educated at the Convent of Jesus and Mary, Poona, and later at St. Paul’s High School, Rangoon. He moves to England with his family in 1933. He serves in the army during World War II and, when he is wounded in combat, begins a struggle with manic-depressive illness that lasts the rest of his life. Toward the end of the war, he meets Harry Secombe, and they work together entertaining the troops. After the war the pair, along with Peter Sellers and Michael Bentine, begin spending time at the Grafton Arms pub, where they develope their comedy routines. BBC radio begins broadcasting the group’s work in 1951, as Crazy People, and in 1952 it is renamed The Goon Show. As such it continues until early 1960 (though Bentine soon leaves the show) and becomes a cult classic.
Milligan later acts onstage and in small parts in movies—including Monty Python’s Life of Brian (1979)—and writes numerous books of poems, war memoirs, the play The Bedsitting Room (with John Antrobus; first performed 1962), and a number of television series. He also supports a multitude of causes, especially those involving the environment. Because his father is Irish and he is born in India—and despite his years of military service—the British government does not consider him a citizen. Rather than take an oath of allegiance, he takes Irish citizenship. Nonetheless, he is made an honorary Commander of the British Empire in 1992 and is given an honorary knighthood in 2000.
Milligan dies from kidney failure, at the age of 83, on February 27, 2002, at his home on Dumb Woman’s Lane near Rye, East Sussex. On the day of his funeral, March 8, 2002, his coffin is carried to St. Thomas Church in Winchelsea, East Sussex, and is draped in the flag of Ireland. He had once quipped that he wanted his headstone to bear the words: “I told you I was ill.” He is buried at St. Thomas’ churchyard but the Chichester diocese refuses to allow this epitaph. A compromise is reached with the Gaelic translation of “I told you I was ill,” Dúirt mé leat go mé breoite, and in English, “Love, light, peace.” The additional epitaph Grá mhór ort Shelagh can be read as “Great love for you Shelagh.”
According to a letter published in the Rye and Battle Observer in 2011, Milligan’s headstone is removed from St. Thomas’ churchyard in Winchelsea and moved to be alongside the grave of his wife, but is later returned.
Morris’s twin brother John (Johnny) becomes a photographer and marries Thelma Mansfield. Their elder brother, George Redmond, follows in the footsteps of their father, Lord Killanin, by becoming a film producer. His credits include The Reader. They also have one sister, Monica Deborah.
At the age of fifteen Morris’s formal education ends following his diagnosis with dyslexia. He then begins working at racing stables. He earns the nickname “Mouse” when he is an amateur rider.
Initially, Morris comes to prominence as an amateur jockey. In 1974 he rides Mr. Midland to victory at Cheltenham Racecourse giving Edward O’Grady his first Festival winner. In 1975 he turns professional. He rides Skymas in his successive victories in the 1976 and 1977 Queen Mother Champion Chase at Cheltenham. He rides Billycan to victory in the 1977 Irish Grand National, a race he is subsequently to win twice as a trainer. His career as a rider ends after a fall in South Carolina‘s Colonial Cup.
Morris is based in Fethard, County Tipperary. In 1981, he takes out a licence and begins his National Hunt training career. Hus first major breakthrough comes when Buck House wins the 1983 Supreme Novices’ Hurdle, giving him his first winner at Cheltenham.
The 1990s start brightly for the “Mouse” Morris yard when Trapper John, ridden by jockey Charlie Swan, wins the Stayers’ Hurdle at the 1990 Cheltenham Festival. The following year, Cahervillahow is beaten by a short head in the Irish Grand National and merely three weeks later in the Whitbread Gold Cup he is controversially judged to have interfered with runner-up Docklands Express in the closing stages. As a result, Docklands Express is awarded the race. He finishes second in the 1993 Grand National which is voided after a false start. He trains His Song who is one of the best novice hurdlers of the period. His Song finishes second behind the J. P. McManus owned Istabraq in the 1998 AIG Irish Champion Hurdle on his fourth race outing before again finishing second in the Supreme Novice Hurdle at Leopardstown Racecourse. One of his most important wins as a trainer comes in 2006 when he sends out the seven-year-old geldingWar Of Attrition to win the 2006 Cheltenham Gold Cup, beating another Irish challenger, Hedgehunter, on Saint Patrick’s Day. In 2008, he trains Hear The Echo to victory in the Irish Grand National. In 2011, he trains the winner of the Grade 1 Neptune Investment Management Novices’ Hurdle at Cheltenham, First Lieutenant, ridden by Davy Russell. In 2016, he wins the Irish Grand National again this time with Rogue Angel. Also in 2016, he wins the Grand National for the first time with Rule The World.
Morris is married to Susanna Felicity Clark. They have two sons, James (Jamie) born in 1983 and Christopher (Tiffer) born in 1985. Tiffer dies at the age of 30 in June 2015 of carbon monoxide poisoning while traveling in Argentina.
Shillington originally plans to join the Northern Ireland Civil Service, however he wants a more varied career. He joins the Royal Ulster Constabulary on February 8, 1933, as a cadet officer. He completes his training at the Newtownards depot in County Down. He is promoted to district inspector in 1935, and serves as officer in charge of D District in Belfast. In 1944, he is promoted to 1st Class District Inspector and is posted to Derry, County Londonderry.
In 1953, after nine years in Derry, Shillington is promoted to County Inspector and returns to Belfast. There, he joins the Inspector General’s Headquarters and serves in an administrative post. On January 16, 1961, he is appointed Commissioner of Belfast City.
In 1969, Shillington is appointed Deputy Inspector-General of the RUC, as second-in-command to the Inspector-General, Anthony Peacocke, who, like Shillington, had been educated at Sedbergh and Cambridge. When the Battle of the Bogside breaks out in Derry in August 1969, he requests permission to use CS gas for the first time in the United Kingdom. When that does not halt the rioting, he requests that the British Army be brought in. He telephones Peacocke on August 13 in order to persuade him of this. Peacocke, who has long denied the need for army involvement, eventually agrees, but his reputation never recovers and following the publication of the Hunt Report in October he resigns as Inspector-General.
Shortly thereafter, Sir Arthur Young is seconded from the City of London Police to be the last Inspector-General and the first Chief Constable of the RUC. James Callaghan, then Home Secretary, sends him to implement the Hunt Report. Young’s measures introduce the standard British rank system for police officers in Northern Ireland and disbands the Ulster Special Constabulary (USC). Shillington remains as Young’s deputy, and when the latter returns to the mainland in 1970 he succeeds him to become the RUC’s second Chief Constable.
Shillington marries Mary (Peggy) Bulloch in 1935. They have two sons and a daughter. He dies on August 14, 2001, at the age of 90, in a County Armagh nursing home.
After 17 years in prison, the Birmingham Six could be freed within weeks. An announcement on February 25, 1991, by the Director of Public Prosecutions, Alan Green, says the convictions of the Birmingham Six can no longer be considered safe and satisfactory. Hugh Callaghan, Paddy Joe Hill, Gerry Hunter, Richard McIlkenny, Billy Power, and Johnny Walker, all from Northern Ireland, were all jailed in 1975 for an Irish Republican Army (IRA) attack on two pubs in Birmingham, England, in November 1974 in which 21 people died. The Birmingham Six have consistently maintained their innocence.
Speaking during a live radio broadcast by Irish broadcaster RTÉ, one of the six, Hugh Callaghan, speaks about his ordeal. “It should have happened a long time ago. It has been known for years and years that we were innocent,” he says.
The February 25 preliminary hearing is told both scientific and police evidence presented at the original trial can no longer be relied upon and that therefore the Crown‘s case against the men has collapsed.
Their third appeal is to be heard at the Court of Appeal on Monday, March 4, 1991. New evidence collected in the prior year is to be presented to the court, which will make the final decision on whether or not to release the men.
Friends, family and supporters are overjoyed by the news. The Irish government issues a statement saying it shares their relief and joy.
Gareth Peirce, the solicitor for five of the men, says the case is “a national disgrace” and calls for the evidence to be made public.
Patsy Power, William Power’s wife, says, “It’s over and done but the system has to be altered so nothing like this happens again.”
Former Master of the RollsTom Denning, Baron Denning, who rejected the men’s appeal in 1980, says he is saddened by the case. “As I look back I am very sorry, because I always thought that our police were splendid and am very sorry that in this case it appears the contrary,” he says.
The Birmingham Six are released amid scenes of wild jubilation on March 14, 1991, after their convictions are quashed by the Court of Appeal. Their case – and that of the Guildford Four freed in 1989 – lead to the creation of a Royal Commission on Criminal Justice which makes various recommendations in 1993.
The six men struggle to cope with freedom following their release. Several turn to drink and most of their marriages suffer as a result.
George Johnstone StoneyFRS, Irish physicist, is born on February 15, 1826, at Oakley Park, near Birr, County Offaly, in the Irish Midlands. He is most famous for introducing the term “electron” as the “fundamental unit quantity of electricity.” He introduces the concept, though not the word, as early as 1874, initially naming it “electrine,” and the word itself comes in 1891. He publishes around 75 scientific papers during his lifetime.
Stoney is the son of George Stoney and Anne (née Bindon Blood). His only brother is Bindon Blood Stoney, who becomes chief engineer of the Dublin Port and Docks Board. The Stoney family is an old-established Anglo-Irish family. During the time of the famine (1845–52), when land prices plummet, the family property is sold to support his widowed mother and family. He attends Trinity College Dublin (TCD), graduating with a BA degree in 1848. From 1848 to 1852 he works as an astronomy assistant to William Parsons, 3rd Earl of Rosse, at Birr Castle, County Offaly, where Parsons had built the world’s largest telescope, the 72-inch Leviathan of Parsonstown. Simultaneously he continues to study physics and mathematics and is awarded an MA by TCD in 1852.
From 1852 to 1857, Stoney is professor of physics at Queen’s College Galway. From 1857 to 1882, he is employed as Secretary of the Queen’s University of Ireland, an administrative job based in Dublin. In the early 1880s, he moves to the post of superintendent of Civil Service Examinations in Ireland, a post he holds until his retirement in 1893. He continues his independent scientific research throughout his decades of non-scientific employment duties in Dublin. He also serves for decades as honorary secretary and then vice-president of the Royal Dublin Society (RDS), a scientific society modeled after the Royal Society of London and, after his move to London in 1893, he serves on the council of that society as well. Additionally, he intermittently serves on scientific review committees of the British Association for the Advancement of Science from the early 1860s.
Stoney publishes seventy-five scientific papers in a variety of journals, but chiefly in the journals of the Royal Dublin Society. He makes significant contributions to cosmic physics and to the theory of gases. He estimates the number of molecules in a cubic millimeter of gas, at room temperature and pressure, from data obtained from the kinetic theory of gases. His most important scientific work is the conception and calculation of the magnitude of the “atom of electricity.” In 1891, he proposes the term “electron” to describe the fundamental unit of electrical charge, and his contributions to research in this area lays the foundations for the eventual discovery of the particle by J. J. Thomson in 1897.
Stoney proposes the first system of natural units in 1881. He realizes that a fixed amount of charge is transferred per chemical bond affected during electrolysis, the elementary chargee, which can serve as a unit of charge, and that combined with other known universal constants, namely the speed of lightc and the Newtonian constant of gravitationG, a complete system of units can be derived. He shows how to derive units of mass, length, time and electric charge as base units. Due to the form in which Coulomb’s law is expressed, the constant 4πε0 is implicitly included, ε0 being the vacuum permittivity.
Like Stoney, Max Planck independently derives a system of natural units (of similar scale) some decades after him, using different constants of nature.
Hermann Weyl makes a notable attempt to construct a unified theory by associating a gravitational unit of charge with the Stoney length. Weyl’s theory leads to significant mathematical innovations, but his theory is generally thought to lack physical significance.
Stoney marries his cousin, Margaret Sophia Stoney, by whom he has had two sons and three daughters. One of his sons, George Gerald Stoney FRS, is a scientist. His daughter Florence StoneyOBE is a radiologist while his daughter Edith is considered to be the first woman medical physicist. His most scientifically notable relative is his nephew, the Dublin-based physicist George Francis FitzGerald. He is second cousin of the grandfather of Ethel Sara Turing, mother of Alan Turing.
After moving to London, Stoney lives first at Hornsey Rise, north London, before moving to 30 Chepstow Crescent, Notting Hill, West London. In his later years illness confines him to a single floor of the house, which is filled with books, papers, and scientific instruments, often self-made. He dies at his home in Notting Hill, on July 5, 1911. His cremated ashes are buried in St. Nahi’s Church, Dundrum, Dublin.
Conor is born on May 9, 1881, in Fortingale Street, Belfast, the third son and fourth child of William Connor, a tinsmith and sheet metal worker, who later becomes a gas fitter, and Mary Connor (née Wallace). He is educated at the Clifton Park central national school, where his artistic abilities are noticed by his music teacher. In 1894, he enrolls at the Belfast government school of design. He is a very successful student, and by 1903 has become an assistant teacher. He completes his studies in 1904, and begins an apprenticeship with the Belfast firm of lithographers, David Allen and Son. Through his work in the poster design department he develops an enthusiasm for using crayons on a textured surface. This becomes a characteristic feature of his later drawings. In these early years he first starts recording images of Belfast life, often sketched from behind a folded newspaper in the street. Influenced by the Gaelic revival, in the years 1907–9 he signs his name in several different ways such as “Liam” and “Liam Conor.” In later years he signs himself simply “Conor.”
Having abandoned his career as a lithographer around 1910, Conor concentrates his efforts on painting professionally. He begins exhibiting with the Belfast Art Society in 1910, and in the period that follows he spends time in Craigavad, County Down, the Blasket Islands in County Kerry, Dublin, and Donegal. During a visit to Paris, which he later recalls as being in 1912 and 1913, he meets the painter André Lhote. After his return to Belfast he is elected to the committee of the Belfast Art Society in 1913. On the outbreak of World War I, he is commissioned by the British government to record the everyday activities of munitions workers and soldiers in Ulster. His pictures mostly show soldiers in training and various scenes from the home front, including the work of women in munitions factories and hospitals. Described as “vigorous and personable, if rather folksy . . . effectively uniformed versions of the tinkers and shipyard workers for which he subsequently became known,” these paintings are exhibited and subsequently, in 1916, auctioned for the Ulster Volunteer Patriotic Fund. His long association with the Royal Hibernian Academy (RHA) begins in 1918 and he shows up to 200 works at the academy over the next forty-nine years.
In 1921, Conor moves to London, where he becomes acquainted with, among others, Sir William Orpen, Sir John Lavery, and Augustus John. He becomes a member of the Chelsea Arts Club, and contributes four paintings to the National Portrait Society as part of its spring exhibition in 1921. His friendship with Lavery is significant. Through him Conor receives a commission to paint the opening of the first Northern Ireland parliament in June 1921. He goes on to exhibit with a variety of influential bodies, including the Royal Academy of Arts, the Société Nationale des Beaux-Arts in Paris, and the Royal Society of Portrait Painters. In 1922, The Twelfth, executed c.1918, is shown in the Galerie Barbazanges in Paris, under the title Le cortège Orangiste à Belfast, as part of the World Congress of the Irish Race. He is represented at the Paris salon in 1923 and the following year he has a successful exhibition at the St. Stephen’s Green Gallery, Dublin.
In 1926, Conor travels to Philadelphia and New York, where, during his nine-month stay, he receives numerous commissions for portraits and has work shown in the Babcock Galleries, the Brooklyn Art Gallery, and the American Irish Historical Society. In 1932, he designs the costumes for the principals in the Pageant of St. Patrick, which marks the 1,500th anniversary of the saint’s coming to Ireland. That year also sees the unveiling of his muralUlster Past and Present at the Belfast Municipal Museum and Art Gallery. Measuring 2.8 by 7.4 metres, it is at the time the largest mural in the country. During World War II he is again appointed an official war artist and his work is represented at the exhibition of war artists at the National Gallery, London, in 1941. His book The Irish Scene is published in 1944, and though it sells well, the subsequent bankruptcy of his publishers mean that Conor receives no royalties. He also provides the illustrations for books by Lynn C. Doyle, the pseudonym of his friend Leslie Montgomery.
Although Conor is best known for his depictions of the everyday life of people in his native Belfast, in which he attempts to capture the “flash of humour which lightens their daily toil,” he also produces landscapes and portraits. His sitters included Douglas Hyde, St. John Greer Ervine, Charles D’Arcy, and Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry. The Council for the Encouragement of Music and the Arts organises several successful Conor exhibitions. Their one-man show of 1945 becomes the first to tour the province, while their exhibition of his work in 1954 has an attendance in excess of 2,800. Conor closes his long-established studio on Stranmillis Road in 1960 but continuea to exhibit, notably with the Bell Gallery in 1964, 1966, and 1967.
(From: “Conor, William” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “William Conor,” oil on canvas by Gladys Maccabe, Ulster Folk Museum)
Sir Michael Terence WoganKBEDL, Irish-British radio and television broadcaster who works for the BBC in the United Kingdom (UK) for most of his career, dies on January 31, 2016, at his home in Taplow, Buckinghamshire, England. Between 1993 and his semi-retirement in December 2009, his BBC Radio 2 weekday breakfast programme Wake Up to Wogan regularly draws an estimated eight million listeners. He is believed at the time to be the most listened-to radio broadcaster in Europe.
Wogan, the elder of two children, is born at Cleary’s Nursing Home, Elm Park, Limerick, County Limerick, on August 3, 1938. He is the son of the manager of Leverett & Frye, a high-class grocery store in Limerick, and is educated at Crescent College, a Jesuit school, from the age of eight. He experiences a strongly religious upbringing, later commenting that he had been brainwashed into believing by the threat of going to hell. Despite this, he often expresses his fondness for the city of his birth, commenting on one occasion that “Limerick never left me, whatever it is, my identity is Limerick.”
At the age of 15, after his father is promoted to general manager, Wogan moves to Dublin with his family. While living there he attends Crescent College’s sister school, Belvedere College. He participates in amateur dramatics and discovers a love of rock and roll. After leaving Belvedere in 1956, he has a brief career in the banking profession, joining the Royal Bank of Ireland. Still in his twenties, he joins the national broadcaster of Ireland, Raidió Teilifís Éireann (RTÉ), as a newsreader and announcer, after seeing a newspaper advertisement inviting applicants.
Wogan conducts interviews and presents documentary features during his first two years at RTÉ, before moving to the light entertainment department as a disc jockey and host of TV quiz and variety shows such as Jackpot, a top-rated quiz show on RTÉ in the 1960s.
Wogan is a leading media personality in Ireland and Britain from the late 1960s, and is often referred to as a “national treasure.” In addition to his weekday radio show, he is known for his work on television, including the BBC One chat show Wogan, presenting Children in Need, the game show Blankety Blank and Come Dancing. He is the BBC’s commentator for the Eurovision Song Contest from 1971 to 2008 (radio in 1971, 1974–1977; television in 1973, 1978, 1980–2008) and the Contest’s host in 1998. From 2010 to 2015 he presents Weekend Wogan, a two-hour Sunday morning show on BBC Radio 2.
In 2005, Wogan acquires British citizenship in addition to his Irish nationality and is awarded a knighthood in the same year and is therefore entitled to use the title “Sir” in front of his name.
Wogan’s health declines after Christmas 2015. He does not present Children in Need in November 2015, citing back pain as the reason for his absence from the long-running annual show. One of his friends, Father Brian D’Arcy, visits him during January and notices he is seriously ill. He dies of cancer at the age of 77 on January 31, 2016, at his home in Taplow, Buckinghamshire, England.
After Wogan’s death and his private funeral a few weeks later, a public memorial service is held on September 27 of the same year. This is held at Westminster Abbey and is opened by a recording of Wogan himself, and features a number of his celebrity friends making speeches, such as Chris Evans and Joanna Lumley. The service is broadcast live on BBC Radio 2.
On November 16, 2016, the BBC renames BBC Western House, home of BBC Radio 2, in his memory, to BBC Wogan House.
Colin MiddletonMBE, Northern Irishlandscape artist, figure painter, and surrealist, is born on January 29, 1910, in Victoria Gardens in north Belfast. Hus prolific output in an eclectic variety of modernist styles is characterised by an intense inner vision, augmented by his lifelong interest in documenting the lives of ordinary people. He has been described as “Ireland’s greatest surrealist.”
Middleton is the only child of damask designer Charles Middleton. He attends the nearby Belfast Royal Academy until 1927 and then continues his studies with night classes at Belfast School of Art where he trains in design under the Cornish artist Newton Penprase. However, he finds the college too traditional in outlook, as his first influence, his father, had been a follower of European Modernism, particularly the Impressionists.
Middleton shows his first works with the Ulster Academy of Arts in 1931, where he exhibits frequently until the late nineteen-forties. He first comes to public attention with the inclusion of his works in the groundbreaking inaugural exhibition of the Ulster Unit at Locksley Hall, Belfast, in December 1933. The Ulster Unit is a short-lived grouping of Ulster artists who take their inspiration from Paul Nash’s Unit One formed earlier in the same year. Just two years thereafter in the same year, he marries Maye McLain, also an artist and a domestic science teacher, who unfortunately dies four years later. He is also a poet and writer, whom along with his wife, is an active member of the Northern Drama League in the 1930s, with whom he designs sets. After the death of his first wife he destroys all of his early paintings and enters a period of seclusion at his mother’s home outside Belfast. He becomes a follower of Vincent van Gogh and James Ensor after viewing exhibitions in London and Belgium respectively. On his return to Ulster he begins to experiment with styles derived from European Modernism, the antithesis to traditional academism. Throughout the 1930s he is also a keen follower of Paul Nash, Tristam Hillier and Edward Wadsworth. After exposure to the works of Salvador Dalí, he declares himself “the only surrealist painter working in Ireland.”
Middleton’s work first appears at the Royal Hibernian Academy in 1938 where he shows intermittently until the final year of his life. He participates in an exhibition at 36 Arthur Street, Belfast, with the Czech artist Otakar Gregor, Joan Loewenthal and Sidney Smith in aid of the war effort at the end of 1940. He completes three paintings immediately after the Belfast Blitz and the trauma of the events prevent him from working for six months before his work is included in a portfolio of lithographs published by the Ulster Academy in December 1941 to raise money for rebuilding the Ulster Children’s and Women’s Hospital which had been destroyed in the Blitz earlier in the year.
Middleton’s first solo exhibition is given by the Belfast Municipal Museum and Art Gallery in 1943. It is the first exhibition staged at the gallery when it re-opens after the Belfast Blitz. At the time it is the largest one-person show the gallery has staged comprising one hundred fifteen works and it is also the first solo exhibition accorded to a local contemporary artist by the gallery. In an interview with Patrick Murphy in 1980, he says that the paintings represent “a first endeavour to harmonize the seemingly opposed and conflicting tendencies in human nature.” Dickon Hall says of this period that “Middleton’s painting is dominated by the female form; it is only rarely that men appear in his work. In part these women reflect his experience of Belfast and the difficult conditions that so many lived through.” This can be seen in the three female figures of The Poet’s Garden (1943), and even more so in The Conspirators (1942), both of which are featured in the 1943 exhibition. “The female form, pictorially and symbolically, becomes the landscape and the life force.”
The Belfast exhibition is followed by his first one-man show at the Grafton Galleries, Dublin, in 1944. In the following year he debuts at the Irish Exhibition of Living Art where he returns on a number of occasions, particularly in the periods 1949–55 and 1963–71. In 1945, he is married for the second time, to Kate Giddens, after both are named co-respondents at the Belfast High Court a few months earlier, in civil servant Lionel P. Barr’s application for a decree nisi. The suit is undefended and the couple has costs awarded against them. In the same year Middleton returns to the Belfast Museum for a solo exhibition arranged by the Council for the Encouragement of Music and the Arts. He is a founding member of the Northern Ireland branch of the Artists’ International Association, who show at the Belfast Municipal Gallery in spring 1945. Other members include Joan Loewenthal, Kathleen Crozier, Pat Hicking, Trude Neu, Sidney Smith, Nevill Johnston, George Campbell and Gerard Dillon.
Middleton’s work is displayed in New York‘s Associated American Artists gallery in 1947 with a selection of works chosen by Dublin art critic Theodore Goodman that includes paintings by his Northern contemporaries Daniel O’Neill, George Campbell, Gerard Dillon and Patrick Scott. He also retires from the family business that year to devote his time to painting, having worked at the business since his father’s death in 1933. He then takes his wife and child to live and work on John Middleton Murry’sSuffolk commune for a short period, before returning to Belfast in 1948. Their life in Suffolk is not a success as the family suffers from ill health, but the experience of working the land is to prove a profound influence on his future work.
In 1949, Middleton shows his first works at the Oireachtas na Gaeilge, where he returns periodically until 1977. Upon their return from Suffolk, his wife sends Victor Waddington photos of his work whereupon Waddington comes to represent him for a period of five years, until the Waddington Galleries face financial hardship in 1958. It is Waddington’s patronage that enables the Middleton family to live and work in Ardglass, County Down, for four years from 1949, which Middleton later describes as the happiest time of his life. When his works are displayed at Victor Waddington’s Dublin gallery in that same year, it acts as a springboard that opens Middleton’s work to an international audience. Group exhibitions in Boston and London follow in 1950 and 1951 respectively.
Middleton’s first solo show at London’s Tooth Gallery takes place in 1952, where his work had been shown in the previous year.
In 1953, Middleton moves to Bangor, County Down, where he designs for Marjery Mason‘s The Repertory Theatre. He later designs sets for the Circle Theatre and the Lyric Theatre, including the sets for a series of W. B. Yeats’s plays in 1970, and Seán O’Casey‘s Red Roses for Me in 1972, both at the latter. In 1952, he exhibits alongside Daniel O’Neill, Nevill Johnson, Gerard Dillon and Thurloe Connolly at the Tooth Galleries in London. He begins his career as an art teacher by the invitation of James Warwick who offers him a one year part-time post at the Belfast College of Art in 1954. That year he shows forty-two works at the Belfast Municipal Gallery under the auspices of the Council for the Encouragement of Music and the Arts. In the following year he delivers full-time classes at the Coleraine Technical School, before becoming head of art at Friends’ School, Lisburn in 1961 where he remains until 1970. He lives on Plantation Avenue in Lisburn for nine years next door to fellow artist and pedagogueDennis Osborne, who presents a portrait of Middleton at the annual exhibition of the Royal Ulster Academy in 1965.
A poet and musician, Middleton also produces murals, mosaics and posters. One such mural is commissioned for a house in Ballymena designed by the architect Noel Campbell in an international modernist style in 1951, and other works include a mosaic for a school in Lisburn, and a mural in a health clinic. He shows in many group shows throughout the fifties including the Royal Academy of Arts in 1955, in addition to more solo exhibitions at the Waddington Galleries in 1955, and his first showing at the Richie Hendricks Gallery in 1958. Of the Waddington exhibition TheDublin Magazine writes: “Apart from the brilliance of his paint, he has one rare quality in his inexhaustible capacity for wonder.”
Middleton shows in the Arts Council of Northern Ireland‘s gallery in 1965 with additional works at the Bell Gallery and his Bruges Series is shown at Alice Berger Hammerschlag’s New Gallery upon his return from a Belgian trip in 1966. The Arts Council of Northern Ireland suffers an extensive fire at their storage facility in south Belfast in autumn 1967 which decimates their collection of contemporary art and theatre costumes. Losses include several of Middleton’s paintings, in addition to the works of many other leading Ulster artists such as William Conor and T. P. Flanagan. He Is among the prizewinners at the Arts Council of Northern Ireland’s 4th Open Painting Exhibition in 1968. In the same year, John Hewitt curatea a joint exhibition of his paintings with T. P. Flanagan at the Herbert Art Gallery and Museum in Coventry.
The Arts Council hosts a joint retrospective of Middleton’s work in co-operation with the Scottish Arts Council in 1970. A major retrospective is to follow at the Ulster Museum and the Hugh Lane Municipal Gallery of Modern Art in Dublin in 1976. Comprising almost three hundred exhibits, the show is accompanied by a monograph written by Middleton’s lifelong friend, the patron and poet John Hewitt. Hewitt later bequeaths his art collection, including several of Middleton’s paintings to the Ulster Museum.
The Royal Mail uses Middleton’s painting of Slieve na Brock in the Mourne Mountains to commemorate the Ulster ’71 exhibition in a series of postage stamps that also feature the work of Thomas Carr and T. P. Flanagan. In 1972, Middleton tours extensively with his wife visiting Australia for two months and shows his works from the trip at the McClelland International Galleries on Belfast’s Lisburn Road the following year. In 1973 he also visits Barcelona and later shows a series of surrealist works inspired by the two trips at the Tom Caldwell Gallery in Belfast.
Middleton lives the last twelve years of his life in Bangor, County Down.
Middleton dies of leukemia in Belfast City Hospital on December 23, 1983. He is survived by his wife Kate, their daughter and a step-daughter. His son predeceases him by a year. Christie’s of London is entrusted with the sale of his studio works in 1985. The works are displayed before auction in both Dublin and Belfast during August 1985. In 2005, the Ulster History Circle unveils a commemorative blue plaque at his former home on Victoria Road in Bangor.
In September 2023, eighty years since the ground-breaking exhibition Middleton held at the Belfast Museum and Art Gallery, now the Ulster Museum, and forty years after his death, the Ulster Museum holds a new exhibition of his works, celebrating his association with Belfast, the city of which he says, “I belong here as I never belonged anywhere else in the country.” This exhibition brings together works held in the public collection with those from private lenders to provide a full picture of the artist’s talent and life.
Middleton wins the Royal Dublin Society‘s Taylor Scholarship worth £50 in 1932, and two further awards of £10 in 1933. In 1935, he is elected associate of the Ulster Academy, inducted alongside Helen Brett, Kathleen Bridle, Patrick Marrinan, Maurice Wilks, Romeo Toogood and William St. John Glenn,and in 1948 he becomes an elected Academician at the same.
In 1968, Middleton is appointed MBE in the Queen’s birthday honours list, and in 1969 he is elected an associate at the Royal Hibernian Academy with full membership conferred just a year later. He is awarded an honoraryMaster of Arts degree from Queen’s University Belfast in 1972. The Arts Council of Northern Ireland grants him a substantial subsistence award in 1970 which covers two years enabling him to retire from teaching to concentrate on painting full-time. In the same year, the Arts Council of Northern Ireland also commissions him to paint a portrait of their director, Kenneth Jamison.
The Kingsmill massacre, also referred to as the Whitecross massacre, is a mass shooting that takes place on January 5, 1976, near the village of Whitecross in south County Armagh, Northern Ireland. Gunmen stop a minibus carrying eleven Protestant workmen, line them up alongside it and shoot them. Only one victim survives, despite having been shot 18 times. A Catholic man on the minibus is allowed to go free. A group calling itself the South Armagh Republican Action Force claims responsibility. It says the shooting is retaliation for a string of attacks on Catholic civilians in the area by Loyalists, particularly the killing of six Catholics the night before. The Kingsmill massacre is the climax of a string of tit for tat killings in the area during the mid-1970s, and is one of the deadliest mass shootings of the Troubles.
On January 5, 1976, just after 5:30 p.m., a red Ford Transit minibus is carrying sixteen textile workers home from their workplace in Glenanne. Five are Catholics and eleven are Protestants. Four of the Catholics get out at Whitecross and the bus continues along the rural road to Bessbrook. As the bus clears the rise of a hill, it is stopped by a man in combat uniform standing on the road and flashing a torch. The workers assume they are being stopped and searched by the British Army. As the bus stops, eleven gunmen in combat uniform and with blackened faces emerge from the hedges. A man “with a pronounced English accent” begins talking. He orders the workers to get out of the bus and to line up facing it with their hands on the roof. He then asks, “Who is the Catholic?” The only Catholic is Richard Hughes. His workmates, now fearing that the gunmen are loyalists who have come to kill him, try to stop him from identifying himself. However, when Hughes steps forward the gunman tell him to “get down the road and don’t look back.”
The lead gunman then says, “Right,” and the others immediately open fire on the workers. The eleven men are shot at very close range with automatic rifles, which includes Armalites, an M1 carbine and an M1 Garand. A total of 136 rounds are fired in less than a minute. The men are shot at waist height and fall to the ground, some falling on top of each other, either dead or wounded. When the initial burst of gunfire stops, the gunmen reload their weapons. The order is given to “Finish them off,” and another burst of gunfire is fired into the heaped bodies of the workmen. One of the gunmen also walks among the dying men and shoots them each in the head with a pistol as they lay on the ground. Ten of them die at the scene: John Bryans (46), Robert Chambers (19), Reginald Chapman (25), Walter Chapman (23), Robert Freeburn (50), Joseph Lemmon (46), John McConville (20), James McWhirter (58), Robert Walker (46) and Kenneth Worton (24). Alan Black (32) is the only one who survives. He had been shot eighteen times and one of the bullets had grazed his head. He says, “I didn’t even flinch because I knew if I moved there would be another one.”
After carrying out the shooting, the gunmen calmly walk away. Shortly after, a married couple comes upon the scene of the killings and begin praying beside the victims. They find the badly wounded Alan Black lying in a ditch. When an ambulance arrives, Black is taken to a hospital in Newry, where he is operated on and survives. The Catholic worker, Richard Hughes, manages to stop a car and is driven to Bessbrook Royal Ulster Constabulary (RUC) station, where he raises the alarm. One of the first police officers on the scene is Billy McCaughey, who had taken part in the Reavey killings. He says, “When we arrived it was utter carnage. Men were lying two or three together. Blood was flowing, mixed with water from the rain.” Some of the Reavey family also come upon the scene of the Kingsmill massacre while driving to hospital to collect the bodies of their relatives. Johnston Chapman, the uncle of victims Reginald and Walter Chapman, says the dead workmen were “just lying there like dogs, blood everywhere”. At least two of the victims are so badly mutilated by gunfire that immediate relatives are prevented from identifying them. One relative says the hospital mortuary “was like a butcher’s shop with bodies lying on the floor like slabs of meat.”
Nine of the dead are from the village of Bessbrook, while the bus driver, Robert Walker, is from Mountnorris. Four of the men are members of the Orange Order and two are former members of the security forces: Kenneth Worton is a former Ulster Defence Regiment (UDR) soldier while Joseph Lemmon is a former Ulster Special Constabulary (USC) officer. Alan Black is appointed a Member of the Order of the British Empire (MBE) in the 2021 New Year Honours, for his cross-community work since the massacre.
The next day, a telephone caller claims responsibility for the attack on behalf of the “South Armagh Republican Action Force” or “South Armagh Reaction Force.” He says that it was retaliation for the Reavey–O’Dowd killings the night before, and that there will be “no further action on our part” if loyalists stop their attacks. He adds that the group has no connection with the Irish Republican Army (IRA). The IRA denies responsibility for the killings as it is on a ceasefire at the time.
However, a 2011 report by the Historical Enquiries Team (HET) concludes that Provisional IRA members were responsible and that the event was planned before the Reavey and O’Dowd killings which had taken place the previous day, and that “South Armagh Republican Action Force” was a cover name. Responding to the report, Sinn Féin spokesman Mitchel McLaughlin says that he does “not dispute the sectarian nature of the killings” but continues to believe “the denials by the IRA that they were involved”. Social Democratic and Labour Party (SDLP) Assemblyman Dominic Bradley calls on Sinn Féin to “publicly accept that the HET’s forensic evidence on the firearms used puts Provisional responsibility beyond question” and to stop “deny[ing] that the Provisional IRA was in the business of organising sectarian killings on a large scale.”
The massacre is condemned by the British and Irish governments, the main political parties and Catholic and Protestant church leaders. Merlyn Rees, the British Secretary of State for Northern Ireland, condemns the massacre and forecasts that the violence will escalate, saying “This is the way it will go on unless someone in their right senses stops it, it will go on.”
The British government immediately declares County Armagh a “Special Emergency Area” and deploys hundreds of extra troops and police in the area. A battalion of the Ulster Defence Regiment (UDR) is called out and the Spearhead Battalion is sent into the area. Two days after the massacre, the British Prime MinisterHarold Wilson announces that the Special Air Service (SAS) is being sent into South Armagh. This is the first time that SAS operations in Northern Ireland are officially acknowledged. It is believed that some SAS personnel had already been in Northern Ireland for a few years. Units and personnel under SAS control are alleged to be involved in loyalist attacks.
The Kingsmill massacre is the last in the series of sectarian killings in South Armagh during the mid-1970s. According to Willie Frazer of Families Acting for Innocent Relatives (FAIR), this is a result of a deal between the local UVF and IRA groups.
(Pictured: The minibus carrying the textile factory workers is left peppered with bullet holes and blood stains the ground after the massacre, as detectives patrol the scene of the murders)
seamus dubhghaill 