Harrison’s brother, Henry, is a supporter of Charles Stewart Parnell and a Member of Parliament for Mid Tipperary. She herself becomes the first female city councillor for Dublin Corporation in 1912. She campaigns to have poor relief extended to the able-bodied unemployed and works to promote women’s rights. She is closely involved in Hugh Lane‘s efforts to establish a gallery of modern art in Dublin.
For some 30 years Harrison is part of social reform and women’s rights in Ireland. In 1912 she is the first woman to be elected to the Dublin City Council. Here she works closely with Alderman Alfie Byrne. She is also recognised for her prominent place in the suffrage victory procession and escorting Anna Haslam to vote in the Williams Street Courthouse, Dublin, in the 1918 United Kingdom general election.
Following Hugh Lane’s death on the RMS Lusitania in 1915, Harrison claims that they had been engaged to be married. Her 1914 portrait of Lane is one of her best-known works. She never marries.
Harrison dies on July 23, 1941, in Drumcondra, Dublin. She is buried in Mount Jerome Cemetery, the inscription on her gravestone reads “Artist and Friend of the Poor.”
Antisell is born in Dublin on January 16, 1817, the youngest son of Thomas Christopher Antisell KC (home circuit) and Margaret (née) Daly. He attends the Dublin School of Medicine, the Apothecaries’ Hall of Ireland, and the Royal College of Surgeons of England in London, graduating from the latter with an MD in November 1839. He studies chemistry in Paris and Berlin in 1844. Upon his return to Dublin in 1845, he secures a lectureship in botany at the Peter St. School of Medicine, teaching there until 1848. After this, he opens a clinic at his residence of 25 Richmond Street, Portobello. He works as an assistant to Robert Kane, and between 1845 and 1847, produces textbooks on Irish geology and chemistry. He becomes a member of the Royal Dublin Society (RDS) in 1844.
Antisell is a member of the Young Ireland movement of the 1840s, and joins the Irish Confederation in 1847. With a group of five friends in the republican movement, including Richard D’Alton Williams and Kevin O’Doherty, he sets up a short-lived revolutionary newspaper, The Irish Tribune, in June 1848 to take the place of the suppressed United Irishman, founded by John Mitchel. The paper is closed down on the grounds of sedition in July 1848 after just five issues. Following the closure of the paper, he emigrates to the United States, arriving in New York City on November 22, 1848. Some sources claim this departure is to evade arrest or charges relating to sedition. Although he is no longer politically active following his departure from Ireland, he is a close friend of John Mitchel and his family. He marries his first wife, Eliza Ann Nowlan, in 1841. She dies shortly after their arrival in the United States.
Antisell sets up and operates a clinic and medical laboratory in New York City from 1848 to 1854, while also lecturing in chemistry in a number of medical colleges in Massachusetts and Vermont. He takes up a post as expedition geologist and botanist on state surveys in southern Arizona, New Mexico, and California, working primarily with Lt. John Parke investigating the proposed routes for the Southern Pacific Railroad from 1854 to 1856. His work on the geology of the region adds to greater understanding of the science in America. In 1856, he is employed as chief examiner in the U.S. Patent Office in Washington, D.C., with responsibility for chemical inventions. This work allows him to also lecture in chemistry at Georgetown University, eventually covering other subjects such as toxicology, military surgery, physiology, hygiene, and pathology, over the periods 1858 to 1869, and 1880 to 1882.
Breaking with Mitchel who, as defender of slavery, supports the southern secessionist cause, Antisell serves in the Union Army during the American Civil War. He is a brigade surgeon in the United States Volunteers from 1861, and later the medical director of the 12th army corps. He concludes his service as surgeon-in-charge of Harewood Hospital, Washington, D.C., in October 1865, being granted a brevet commission as colonel. From 1866 to 1871, he is chief chemist in the U.S. Department of Agriculture. He marries his second wife, Marion Stuart Forsyth from Detroit, in 1854. They go on to have twelve children, six daughters and six sons.
Antisell is one of several scientists that are hired in 1871 as foreign government advisors to work in Hokkaido in northern Japan under Horace Capron. He is selected for his strong background in chemistry coupled with geology. However, he disagrees with Capron on whether or not Hokkaido’s severe winter climate will hinder development, and he also comes into conflict with the Japanese government over his salary. As a result, Hokkaido Colonisation Office hires another geologist, and Antisell’s report is excluded in the 1875 compilation of official reports. He serves his remaining time in Japan as a chemist for the Ministry of Finance, where he develops inks used for the printing of paper currency. For his services, he is awarded the Order of the Rising Sun by Emperor Meiji before his departure in 1876.
Upon returning to the United States, Antisell is conferred with a PhD in 1876 by Georgetown University, and once again takes up duties at the Patent Office, remaining there until his retirement. He publishes widely in numerous journals on topics such as agricultural chemistry, botany, oceanography, city sanitation, and animal disease, but he does not publish a significant treatise.
Antisell dies in Washington, D.C., on June 14, 1893, and is buried in the Congressional Cemetery.
O’Connor’s father, Andrew O’Connor (1846–1924), of Lanarkshire, Scotland, is a stonecutter who becones a professional sculptor. As a teenager, he apprentices to his father, helping him to design monuments for cemeteries.
O’Connor is involved in a minor controversy in 1909 when he is commissioned to design a statue for Commodore John Barry, of the American Revolutionary-era navy. His first design is heatedly attacked by Irish American groups. He submits a second version, but it too is ultimately rejected, and the sculptor John J. Boyle received the commission.
MacNeill is one of five children born to Archibald McNeill, a Roman Catholic working-class baker, sailor and merchant, and his wife, Rosetta McNeill (née McAuley), also a Catholic. He is raised in Glenarm, an area which “still retained some Irish-language traditions.” His niece is nationalist and teacher, Máirín Beaumont.
MacNeill marries Agnes Moore on April 19, 1898. The couple has eight children, four sons and four daughters (though the 1911 census entry for MacNeill notes eleven children, seven of whom are still alive).
The Gaelic League is from the start strictly non-political, but in 1915, a proposal is put forward to abandon that policy and become a semi-political organisation. MacNeill strongly supports this and rallies to his side a majority of delegates at the 1915 Oireachtas. Douglas Hyde, a non-political Protestant, who had co-founded the League and been its president for 22 years, resigns immediately afterward.
Through the Gaelic League, MacNeill meets members of Sinn Féin, the Irish Republican Brotherhood (IRB), and other nationalists and republicans. One such colleague, The O’Rahilly, runs the league’s newspaper An Claidheamh Soluis, and in October 1913 asks MacNeill to write an editorial for it on a subject broader than Irish language issues. He submits a piece called “The North Began,” encouraging the formation of a nationalist volunteer force committed to Irish Home Rule, much as the unionists had done earlier in the year with the Ulster Volunteers to thwart Home Rule in Ireland. In July 1915, he comments on the threat that the unarmed nationalists in Ulster might face: “…a demented…English driven Orange Army would be let loose upon the helpless Catholic people of Ulster, who would be driven out of the province or massacred where they stood.”
Bulmer Hobson, a member of the IRB, approaches MacNeill about bringing the idea to fruition, and, through a series of meetings, MacNeill becomes chair of the council that forms the Irish Volunteers, later becoming its chief of staff. Unlike the IRB, he is opposed to the idea of an armed rebellion, except in resisting any suppression of the Volunteers, seeing little hope of success in open battle against the British army.
The Irish Volunteers have been infiltrated by the Irish Republican Brotherhood, which plan on using the organisation to stage an armed rebellion, to separate Ireland from the United Kingdom and establishing an Irish Republic. The entry of the UK into World War I is, in their view, a perfect opportunity to do that. With the cooperation of James Connolly and the Irish Citizen Army, a secret council of IRB officials plan a general rising at Easter 1916. On the Wednesday before Easter, they present MacNeill with a letter, allegedly stolen from high-ranking British staff in Dublin Castle, indicating that the British are going to arrest him and all the other nationalist leaders. Unbeknownst to MacNeill, the letter—called the Castle Document—is a forgery.
When MacNeill learns about the IRB’s plans, and when he is informed that Roger Casement is about to land in County Kerry with a shipment of German arms, he is reluctantly persuaded to go along with them, believing British action is now imminent and that mobilization of the Irish Volunteers will be justified as a defensive act. However, after learning that the German arms shipment has been intercepted and Casement arrested, and having confronted Patrick Pearse, who refuses to relent, MacNeill countermands the order for the Rising by sending written messages to leaders around the country, and placing a notice in the Sunday Independent cancelling the planned “manoeuvres.” This greatly reduces the number of volunteers who report for duty on the day of the Easter Rising.
Pearse, Connolly and the others agree that the uprising will go ahead anyway, but it begins one day later than originally intended to ensure that the authorities are taken by surprise. Beginning on Easter Monday, April 24, 1916, the Rising lasts less than a week. After the surrender of the rebels, MacNeill is arrested although he has taken no part in the insurrection. The rebel leader Tom Clarke, according to his wife Kathleen, warns her on the day before his execution, “I want you to see to it that our people know of his treachery to us. He must never be allowed back into the National life of this country, for so sure as he is, so sure will he act treacherously in a crisis. He is a weak man, but I know every effort will be made to whitewash him.”
In 1923, MacNeill, a committed internationalist, is also a key member of the diplomatic team that oversees Ireland’s entry to the League of Nations.
MacNeill’s family is split on the treaty issue. One son, Brian, takes the anti-Treaty side and is killed in disputed circumstances near Sligo by Free State troops during the Irish Civil War in September 1922. Two other sons, Niall and Turloch, as well as nephew Hugo MacNeill, serve as officers in the Free State Army. One of his brothers, James McNeill, is the second and penultimate Governor-General of the Irish Free State.
In 1924, the three-man Irish Boundary Commission is set up to settle the border between Northern Ireland and the Irish Free State. MacNeill represents the Irish Free State. He is the only member of the Commission without legal training and has been described as being “pathetically out of his depth.” However, each of the Commissioners is selected out of political expediency rather than for any established competence or insight into boundary making. On November 7, 1925, a conservative British newspaper, The Morning Post, publishes a leaked map showing a part of eastern County Donegal (mainly The Laggan district) that is to be transferred to Northern Ireland, the opposite of the main aims of the commission. Perhaps embarrassed by that, especially since he said that it had declined to respect the terms of the Treaty, MacNeill resigns from the commission on November 20. Hus performance in the Boundary Commission has been deemed highly negative in a 2025 study The Root of All Evil: The Irish Boundary Commission.
On November 24, 1925, MacNeill also resign as Minister for Education, a position unrelated to his work on the commission.
On December 3, 1925, the Free State government agrees with the governments in London and Belfast to end its onerous treaty requirement to pay its share of the United Kingdom’s “imperial debt” and, in exchange, agrees that the 1920 boundary will remain as it is, overriding the commission. This angers many nationalists and MacNeill is the subject of much criticism, but in reality, he and the commission have been sidestepped by the intergovernmental debt renegotiation. In any case, despite his resignations, the intergovernmental boundary deal is approved by a Dáil vote of 71–20 on December 10, 1925, and MacNeill is listed as voting with the majority in favour. He loses his Dáil seat at the June 1927 Irish general election.
MacNeill is an important scholar of Irish history and among the first to study Early Irish law, offering both his interpretations, which at times are coloured by his nationalism, and translations into English. He is also the first to uncover the nature of succession in Irish kingship, and his theories are the foundation for modern ideas on the subject.
MacNeill is a contributor to the Royal Irish Academy‘s Clare Island Survey, recording the Irish place names of the island. His disagreements and disputes with Goddard Henry Orpen, particularly over the latter’s book Ireland under the Normans, generate controversy.
MacNeill retires from politics completely and becomes Chair of the Irish Manuscripts Commission. In his later years he devotes his life to scholarship and publishes several books on Irish history. He dies in Dublin of natural causes, aged 78, on October 15, 1945. He is buried in Kilbarrack Cemetery.
O’Faolain is born in Dublin on March 1, 1940, the second of nine children of Tomás O’Faolain and Kathleen O’Sullivan. Originally a schoolteacher and Army lieutenant, under the pen name Terry O’Sullivan, her father becomes a prominent social diarist for the Evening Press in Dublin. He is distant from his children and engages in extra-marital affairs which produce at least two half-siblings. Despite earning as much money as the newspaper’s editor, Douglas Gageby, he does not share his income with his family. The family lives in poor conditions, frequently going hungry. Her mother becomes an alcoholic, going to the pub every day at 4 p.m. and not returning home until midnight.
O’Faolain attends convent school in Dublin but is expelled at the age of fourteen after going home from dances with a married man. She then goes to a boarding school in County Monaghan, whose austere environment and strict educational standards benefit her. From there, she studies English literature at University College Dublin (UCD), where she runs in a social circle that includes Mary Lavin, John McGahern, Patrick Kavanagh, and Louis MacNeice. Although she drops out of her studies temporarily and spends time working menial jobs in England, with financial assistance from Lavin and others, she graduates in 1961. On scholarships, she studies medieval English at the University of Hull before completing a postgraduate degree in 19th-century English literature at the University of Oxford. She then returns to Dublin to work at UCD as an academic in the English literature department, which brings her into contact with the bohemian Dublin literary scene of the late 1960s and early 1970s.
In 1970, O’Faolain moves to London to work for the BBC. She is a producer at the Community Programme Unit, which seeks to allow members of the public to create programmes for national broadcast on human interest topics like transgender people, anti-pornography protests, and community organising in the Bogside. She also makes programmes with the arts faculty of the Open University, and teaches evening classes at Morley College. During this period, she shows little interest in Ireland, regarding the country as backward and unsophisticated, but a visit to the Merriman Summer School in County Clare in 1974 sparks new enthusiasm. In 1977, she moves back to Dublin to work for the public broadcaster, RTÉ, where she becomes a colleague of female journalists like Doireann Ní Bhriain, Marian Finucane, and Nell McCafferty – later her partner – who are making programmes about Irish society with a feminist bent. She Is the producer of Women Today, a pioneering radio programme, from 1983 to 1986. One series she works on, Plain Tales, a televised interview programme in which women speak directly to camera about their life experiences, wins a Jacob’s Award in 1985.
O’Faolain has an interest in books from an early age, and credits voracious reading for helping her through a difficult childhood. She works as a book reviewer for The Times. Between 1990 and 1993, she co-presents Booklines, a television programme about books for RTÉ, a programme she says “nobody ever watched because it was on terribly late at night.”
In 1986, Conor Brady, the editor of The Irish Times, offers O’Faolain a newspaper column after hearing her being interviewed by Gay Byrne on the radio. Brady is struck by her ability to “infuse ordinary people’s everyday activities with value and interest.” The column becomes a major success and she is awarded journalist of the year in 1986.
O’Faolain acts as a roving commentator for The Irish Times, covering the 1994 Cregg Wood murders in County Clare, and visiting Northern Ireland at the time of the Good Friday Agreement in 1998. Following periods of leave while she works on her books, she leaves the paper in 2002, and writes a column in the Sunday Tribune from 2005 until her death.
O’Faolain never marries and has no children. Although she writes about her relationships with men and women, she does not identify as bisexual, though others have described her as such. She suffers from alcoholism. After Are You Somebody?, she divides her time between Ireland and New York City. During the final years of her life, she is in a relationship with a Brooklyn-based lawyer, John Low-Beer, whom she meets on Match.com.
O’Faolain is diagnosed with metastatic cancer while living in New York City in early 2008. She experiences a strange feeling in the right side of her body and presents at the emergency department of a hospital, where she is told that she has primary tumours in her lungs which has spread to her brain and liver, and that her cancer is incurable. She refuses chemotherapy.
O’Faolain returns to Ireland and is interviewed by her friend, Marian Finucane, on her radio show about her terminal illness on April 12, 2008. Both O’Faolain and Finucane are in tears during the interview, which is recorded in Galway, where she is undergoing radiotherapy. She tells Finucane: “I don’t want more time. As soon as I heard I was going to die, the goodness went from life”. Her frank discussion of her illness leads to the interview being preceded by a warning that her comments may be upsetting to others with life-threatening conditions. She says that she does not believe in God or an afterlife, but as in the song “Thíos i Lár an Ghleanna,” she is asking for help she knows will not come from a god she does not believe in. The interview has a major public impact in Ireland. After Finucane’s death in 2020, the Irish Independent describes it as “one of the most extraordinary [interviews] in the history of Irish broadcasting.”
In the final weeks of her life, O’Faolain travels Europe with close friends and family, staying in the Ritz Hotel in Paris and visiting the Berlin State Opera and the Prado Museum in Madrid for the first time. She dies in a hospice in Blackrock, Dublin, late on May 9, 2008. Her funeral takes place in the Church of Our Lady of the Visitation in Fairview in north Dublin on May 13. Her ashes are buried in Kilbarrack Cemetery in north Dublin with her maternal grandparents, Terence and Marion O’Sullivan, and her brother, Dermot Phelan.
Hamilton Rowan lives there with his mother and sister for much of his early life. He is admitted to Queens’ College, Cambridge in 1768, but is expelled from the college and rusticated for an attempt to throw a tutor into the River Cam. He is sent for a period in 1769 to Warrington Academy.
Hamilton Rowan travels throughout the 1770s and 1780s, visiting parts of Europe, the Americas, and North Africa. In 1781, he marries Sarah Dawson in Paris, France. The couple has ten children. He is the godfather of the Irish mathematician William Rowan Hamilton.
Hamilton Rowan returns to Ireland in his thirties, in 1784, to live at Rathcoffey near Clane in County Kildare. He becomes a celebrity and, despite his wealth and privilege, a strong advocate for Irish liberty. That same year he joins the KillyleaghVolunteers, a militia group later associated with radical reform. He first gains public attention by championing the cause of fourteen-year-old Mary Neal in 1788. Neal had been lured into a Dublin brothel and then assaulted by Henry Luttrell, 2nd Earl of Carhampton. Hamilton Rowan publicly denounces Luttrell and publishes a pamphlet A Brief Investigation of the Sufferings of John, Anne, and Mary Neal in the same year. An imposing figure at more than six feet tall, his notoriety grows when he enters a Dublin dining club threatening several of Mary Neal’s detractors, with his massive Newfoundland at his side and a shillelagh in hand. The incident wins him public applause and celebrity as a champion of the poor.
In 1790 Hamilton Rowan joins the Northern Whig Club, and by October has become a founding member of the Dublin Society of United Irishmen, working alongside famous radicals such as William Drennan and Theobald Wolfe Tone. He is arrested in 1792 for seditious libel when caught handing out “An Address to the Volunteers of Ireland,” a piece of United Irish propaganda. Unknown to him, from 1791 Dublin Castle has a spy in the Dublin Society, Thomas Collins, whose activity is never discovered. From February 1793, Britain and Ireland join the War of the First Coalition against France, and the United Irish movement is outlawed in 1794.
Hamilton Rowan’s reputation for radicalism and bluster grow during this time when he leaves Ireland to confront the Lord Advocate of Scotland about negative comments made in respect to his character and that of members of the Society of United Irishmen. As a prominent member of the Irish gentry, he is an important figure in the United Irishmen and becomes the contact for the Scottish radical societies as a result of his visit. Upon his return to Dublin, he is charged and is found guilty of seditious libel, even though he is excellently defended by the famous John Philpot Curran. He is sentenced to two years imprisonment, receives a fine of £500, and is forced to pay two assurities for good behaviour of £1,000 each. In January 1794, he retires to his apartments in Dublin’s Newgate Prison.
In the years following, Hamilton Rowan spends time in exile in France, the United States and Germany. He is allowed to return to Ireland in 1806. He returns to the ancestral home of Killyleagh Castle, County Down, receiving a hero’s welcome. While he agrees to be a model citizen under the conditions of his return to Ireland, he remains active in politics and retains his youthful radicalism. Following his last public appearance at a meeting in the Rotunda in Dublin on January 20, 1829, he is lifted up by a mob and paraded through the streets.
Hamilton Rowan dies at the age of 84 in his home on November 1, 1834. He is buried in the vaults of St. Mary’s Church, Dublin.
Elvery is the second among seven children of William Elvery , merchant, and Theresa Elvery (née Moss), singer and music teacher, whose parents are English Quakers. Her father’s ancestors were silk merchants from Spain, called Alvarez. Her early childhood is spent in Carrickmines, County Dublin. In 1896 the family moves to Foxrock and she attends the Dublin Metropolitan School of Art. Her mother’s family is artistic – one aunt is the artist Phoebe Anna Traquair – and she and her sisters are talented artists and singers. Her younger sister, Dorothy Kay, becomes a noted portrait painter in South Africa. At the age of sixteen, she wins a three-week scholarship to study at the Royal College of Art in South Kensington, London. Back in Dublin, she models for William Orpen, then teaching in the school. They become friends, and she regrets never studying painting under him. She concentrates on sculpture under John Hughes and has great success, winning the Taylor scholarship three years in a row (1901–03). The first year she wins, the judges, seeking evidence that she had worked unaided, asks her to model a head from life in their presence.
Elvery’s first exhibit in the Royal Hibernian Academy (RHA) is a bronze statuette of a boy in 1902. Thereafter she is a lifelong exhibitor with the RHA, showing almost annually until her death. Friendship with the older Sarah Purser introduces her to Dublin’s artistic milieu and to the arts and crafts movement. In the movement’s 1904 exhibition she shows ten items, including terracotta statuettes, a holy water stoup, and a plaster cast of a lectern, which is cast in bronze in Paris that year and placed in her former parish church in Carrickmines. The movement’s historian, Paul Larmour, calls this lectern “a remarkable piece of organic Art Nouveau . . . There is nothing else like it in Ireland.”
In 1904, after a brief period studying in Paris with her sister and fellow students Estella Solomons and Frances “Cissie” Beckett, Elvery takes lessons in stained glass from Alfred E. Child, and is then persuaded by Purser to join her Tower of Glass (An Túr Gloine) studio. She remains six years, executing windows for St. Stephen’s Church, Mount Street, Dublin; St. Nicholas Church, Carrickfergus; and a war memorial at the Church of Ireland church, Carrickmines. Although her work is generally well received, she does not rate her skill in the medium highly – “I never got the right feeling for glass or the detached, austere quality necessary for ecclesiastical art” – and her window for a Gortconvent leads to a critical review of Purser’s studio by W. B. Yeats. She does not, however, confine herself to glass but also designs for silversmiths and illustrated books for children. For Iosagán agus Sgealta Eile (1907), by Patrick Pearse, she provides a black-and-white frontispiece and four colour illustrations. For the Cuala Press, run by Lily and Elizabeth Yeats, she designs calendars, Christmas cards, and fifteen hand-coloured prints, which continue to be issued until after World War II.
Elvery’s social life in Dublin is busy. An active member of the United Arts Club, she is called by Lady Gregory “the beautiful Miss Elvery,” and Orpen’s portrait, showing her long-necked, graceful, and vivacious, bears out this description. Tiring of glass, and wishing to become a painter, she leaves in 1910 for the Slade School of Fine Art in London. There Henry Tonks is less complimentary than her Dublin teachers. He finds her work facile: “The speed, the slickness, the skill. It is horrible!” Orpen also comes to this view: “her only fault was that the transmission of her thoughts from her brain to paper or canvas, clay or stained glass, became so easy to her that all was said in a few hours. Nothing on earth could make her go on and try to improve on her first translation of her thought.”
Back in Dublin, Elvery takes a studio in Kildare Street and teaches for a time in the Metropolitan School of Art, before her parents arrange a marriage with Charles Henry Gordon Campbell, eldest son of the future Lord Chancellor of Ireland, James Campbell. They marry on August 1, 1912, and move to London where he is called to the English bar. It is not initially a love match but they are well-suited – he likes artistic, Bohemian circles and they become friends with D. H. and Frieda Lawrence, the painter Mark Gertler, the publisher John Middleton Murry, and his wife, the writer Katherine Mansfield, who describes Campbell as “a queer mixture for she is loving and affectionate, and yet she is malicious.”
Campbell’s husband becomes secretary of the Department of Industry and Commerce in the Irish Free State and in 1922 the family moves to Clonard, Terenure, Dublin. His government position means that within six months the house is burned down by anti-Treatyites, who are, however, almost comically accommodating – local men, they express distress at the job and allow her to save the children’s Christmas presents. In 1931 she becomes Lady Glenavy after her husband succeeds to his father’s title, an important member of Dublin’s social and artistic scene. She helps establish the Dublin Drama League and assists Shelah Richards in the production of two plays in 1936. Her friendships are wide and varied and her conversation imaginative and engaged. Dressed in beige – what her son calls “variations on a theme of porridge” – she entertains constantly. Her house has what she terms a “caravanserai” character and is constantly full of people.
Appointed an associate of the RHA in 1932, Campbell becomes a full member in 1934 and takes her turn at teaching. She also joins the more radical Society of Dublin Painters and holds in February 1935 a one-person show at their premises, 7 Stephen’s Green, but she never shows with the Irish Exhibition of Living Art, though her work is more avant-garde than that of most academicians. At its best in still lifes and figure compositions, her work has “a sense of drama and an enigmatic or near-surrealist appearance.” Brian Kennedy notes that she is the first Irish painter to go surrealist (though she never thinks of herself in this way) and although she is serious about her work – taking lessons at an advanced age from Patrick Hennessy – she is also diffident. Her memoir does not trace her development as an artist and mentions only one work with approbation – The Intruder (exhibited at the RHA in 1932). Now in the National Gallery of Ireland, it depicts in bold, rich colours a female centaur beckoning a young man from a group of picnickers. It immediately attracts attention. Richard Orpen wants the academy to buy it, but they think it obscene.
About 1941 the Campbells move to a large Georgian house in Rathfarnham, and twenty years later they transfer to a smaller house in Sandycove. After her husband’s death in 1962, she publishes her memoirs, And Today We Will Only Gossip (1964). The title is well chosen as the book is not self-revelatory but full of characters she encountered. Monk Gibbon calls her a “unique mixture: of talent and diffidence; of gregariousness and contempt for the herd; of gentle consideration and a savage determination to wound. Only those who knew her well knew her at all; and even to them she remained something of a mystery” (The Irish Times, December 2, 1980).
Campbell dies in Dublin on May 21, 1970, and is survived by her two sons, the writer and humorist Patrick Campbell and the novelist Michael Campbell, and predeceased by her daughter, Bridget, an Irish international lacrosse player and talented scientist, who is killed by a bomb during the London blitz.
(From: “Campbell, Beatrice Moss” by Bridget Hourican and Pauric J. Dempsey, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Bridgit – a picture of Miss Elvery (Beatrice Elvery),” oil on canvas by William Orpen, 1909)
Katherine Wilmot, Irish traveler and diarist, dies in Paris, France, on March 28, 1824. She makes a Grand Tour from 1801 to 1803 and documents her experiences through letters, including encounters with notable figures like Napoleon Bonaparte. She later travels to Russia to join her sister Martha Wilmot and lives there from 1805 to 1807. She later moves to France and dies in Paris in 1824. Her writings, letters, and diaries provide insight into the Napoleonic era, on Russian society and on travel in the 19th century. Her works also include her sister’s transcript of the memoirs of Princess Yekaterina Vorontsova-Dashkova.
Wilmot is born around 1773 in Drogheda, County Louth, to Edward and Martha Wilmot (née Moore). She is the eldest daughter of six daughters and three sons. Her father is the port surveyor in Drogheda, having previously served as captain in the 40th Regiment of Foot. He is transferred to a similar post in County Cork in 1775, where Wilmot is raised. The family settles in Glanmire, near the seat of the Earl Mount Cashell in Moore Park. The earl’s family uses the surname Moore.
Wilmot is friendly with Lady Mountcashell, formerly Margaret King, an early and eager pupil of Mary Wollstonecraft. She is invited to accompany the party of Stephen Moore, 2nd Earl Mount Cashell, and his wife on a grand tour of the continent. Her letters from the time survive, in France from November 1801 to October 1802, and in Italy until July 1803. The Mount Cashells entertain lavishly, especially during the first nine months in Paris, and through them she meets Napoleon Bonaparte, and becomes friends with the Austrian painter Angelica Kauffman. She also meets the French diplomat and politician Charles Maurice de Talleyrand-Périgord, and the Irish republicanRobert Emmet fleetingly. She recounts her meeting in Rome with the English aristocrat Frederick Augustus Hervey, and her audience with Pope Pius VII. She returns to London from Italy in October 1803, via Germany and Denmark, after England and France resume hostilities.
Wilmot then goes to Russia to bring home her sister Martha, and ends up spending two years there. Martha is in the country as a favourite of Princess Dashkova, one of the key figures of the Russian Enlightenment and a close friend of Catherine the Great. Martha is living at the Princess’s estate in Troitskoe on the Oka River, about 100 km from Moscow. Wilmot arrives on August 4, 1805, having set out from Cork on June 5. Her writings from this time record the Russian aristocracy‘s opulence and attitudes to the servile classes (the serfs). The sisters come to know the customs of the Russian elite, as well as the festivals and religious rites of the country people. She leaves Moscow on July 4, 1807, a combination of passport problems, wars and storms at sea, resulting in delays and in her reaching Yarmouth on September 7, 1807, and returning to Ireland in October 1807.
Wilmot moves to France to live in a warmer, drier climate than Ireland. Her health declines when she moves to Paris, and she dies there on March 28, 1824. Her nephew by Martha, Wilmot Henry Bradford, lives to be “Father of the Army.”
Wilmot had taken Martha’s transcript of the memoirs of the Princess Dashkova when she left Russia. These are published by Martha in 1840, as she had burned the original manuscript before her departure from Russia in 1808.
Wilmot’s letters are published a century later, and have been described as a unique portrayal of the Napoleonic period. They describe the social scene, as well as the experience of traveling by coach and ship at that time. The family makes transcriptions of the letters. The collection belonging to Martha is donated to the library of the Royal Irish Academy by Elisabeth van Dedem Lecky, the historian and writer. Among these Russian letters are a number written by Eleanor Cavanagh, who describes the lives of servants. Wilmot’s diaries are published in 1920 by Thomas Sadleir, and later by H. Montgomery Hyde and Edith Vane-Tempest-Stewart, Marchioness of Londonderry.
TheGrand Tours of Katherine Wilmot, France 1801-1803, and Russia 1805-07(Weidenfeld & Nicolson, 1992)
An Irish Peer on the Continent, 1801-03 (1920)
The Russian Journals of Martha and Catherine Wilmot (1934)
More letters from Martha Wilmot; Vienna 1819-29 (1935)
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)
Patrick Pollen, a British stained glass artist who spends most of his life working in Ireland, is born Patrick La Primaudaye Pollen in London on January 12, 1928.
In 1952, Pollen’s father takes him to see Evie Hone‘s “Crucifixion and Last Supper” window in Eton College Chapel. Upon seeing it he announces, “That’s what I want to do.” He moves to Dublin to study with the stained glass cooperative Evie Hone is a member of, An Túr Gloine, which is run by Catherine O’Brien and she and Hone become his mentors. When Hone dies in 1955, she leaves him her brushes.
Following the Second Vatican Council, newly designed churches feature less stained glass, and Pollen finds he is receiving less commissions. As a consequence he and his family move to the United States in 1981. They settle in Winston-Salem, North Carolina but there is very little work there and in 1997 they return in Ireland, living in his wife’s native County Wexford.
Pollen marries sculptor Nell Murphy in 1963, with the couple buying a house in Dublin in which Pollen had his studio. Murphy works in plaster, clay and stone, her works often featured in churches with those of her husband. They hav four sons, Peter, Ciaran, Laurence and Christopher, and a daughter, Brid.
Pollen dies on November 30, 2010, in Enniscorthy, County Wexford. His remains are cremated and the location of his ashes is unknown.
seamus dubhghaill 