Hickie attends the Royal Military College, Sandhurst, from 1882 to 1885. He is commissioned into his father’s regiment, the Royal Fusiliers at Gibraltar, in 1885 and serves with them for thirteen years in the Mediterranean, Egypt, and India, during which time he is promoted to captain on November 18, 1892. In 1899 he graduates as captain at the Staff College, Camberley, and is selected when the Second Boer War breaks out as a Special Service Officer in which capacity he acts in various positions of authority and command. He leaves Southampton for South Africa on board the SS Canada in early February 1900 and is promoted from captain of mounted infantry to battalion command as major on March 17, 1900. He is subsequently in command of a corps until eventually at the end of 1900 he is given command of an independent column of all arms. He holds this position for eighteen months. He serves with distinction at the Battle of Bothaville in November 1900 and receives the brevet promotion to lieutenant colonel on November 29, 1900. He serves in South Africa throughout the war, which ends with the Treaty of Vereeniging in June 1902. Four months later he leaves Cape Town on the SS Salamis with other officers and men of the 2nd battalion Royal Fusiliers, arriving at Southampton in late October, when the battalion is posted to Aldershot Garrison. In December 1902 he is elected a Fellow of the Royal Geographical Society (FRGS).
After the end of the war in South Africa there follows various staff appointments, the first from December 1902 as deputy-assistant adjutant general for district staff in the Cork district. In 1907 Hickie is back in regimental service in Dublin and Mullingar with the 1st Royal Fusiliers, where he is in command of the regiment for the last two years. From 1909 to 1912 is appointed to the Staff of the 8th Infantry Division in Cork where for four years he is well known in the hunting field and on the polo ground. In May 1912, he is promoted to colonel and becomes Quartermaster General of the Irish Command at Royal Hospital Kilmainham for which he is appointed a Companion of the Order of the Bath.
When war is declared, the Staff of the Irish Command becomes automatically the staff of the II Army Corps and accordingly with the outbreak of World War I in August 1914, Hickie is promoted to brigadier general and, as part of the British Expeditionary Force in France, takes charge of the Adjutant and Quartermaster-General’s Department during the retreat of the II Corps after the Battle of Mons, to Paris, and during the First Battle of the Marne. In mid-September 1914, he relieves one of the brigadiers in the fighting line as commander of the 13th Brigade (5th Infantry Division) and then commands the 53rd Brigade (18th Infantry Division) until December 1915, when he is ordered home to assume command of the 16th (Irish) Division at Blackburn.
Promoted to major general, Hickie takes over from Lieutenant General Sir Lawrence Parsons. It is politically a highly sensitive appointment which requires the professionalism and political awareness he, fortunately, possesses as the division is formed around a core of Irish National Volunteers in response to Edward Carson‘s Ulster Volunteers. He is much more diplomatic and tactful than his predecessors and speaks of the pride which his new command gives him but does not hesitate to make sweeping changes amongst the senior officers of the Irish Division. After putting the division through intensive training, it leaves under Irish command of which each man takes personal pride. It arrives in December 1915.
In the next two years and four months during which Hickie commands the 16th (Irish) Division, it earns a reputation for aggression and élan and wins many memorials and mentions for bravery in the engagements during the 1916 Battle of Guillemont and the capture of Ginchy, both of which form part of the Battle of the Somme, then during the Battle of Messines, the Third Battle of Ypres and in attacks near Bullecourt in the Battle of Cambrai offensive in November 1917.
During this period the Division makes considerable progress in developing its operational techniques but at a price in losses. The growing shortage of Irish replacement recruits, due to nationalist disenchantment with the war and the absence of conscription in Ireland, is successfully met by Hickie by integrating non-Irish soldiers into the division.
In February 1918, Hickie is invalided home on temporary sick leave, but when in the hospital the German spring offensive begins on March 21, with the result that after his division moves under the command of General Hubert Gough it is practically wiped out and ceases to exist as a division. Although promised a new command, this does not happen before the Armistice in November. He typifies the army’s better divisional commanders, is articulate, intelligent and is competent and resourceful during the BEF’s difficult period 1916–17, laying the foundations for its full tactical success in 1918. He is advanced to Knight Commander of the Order of the Bath in 1918.
Hickie retires from the army in 1922, when the six Irish line infantry regiments that have their traditional recruiting grounds in the counties of the new Irish Free State are all disbanded. He identifies himself strongly with the Home Rule Act and says that its scrapping is a disaster and is equally outspoken in condemning the activities of the Black and Tans. In 1925, he is elected as a member of Seanad Éireann, the Irish Free State Senate.
Hickie holds his seat until the Seanad is dissolved in 1936, to be replaced by Seanad Éireann in 1937. He is President of the Area Council (Southern Ireland) of the Royal British Legion from 1925 to 1948. He never marries.
Hickie dies on November 3, 1950, in Dublin and is buried in Terryglass, County Tipperary.
Ó Brádaigh is born into a middle-class republican family. His father, Matt Brady, is an IRA volunteer who is severely wounded in an encounter with the Royal Irish Constabulary (RIC) in 1919. His mother, May Caffrey, is a Cumann na mBan volunteer and a 1922 graduate of University College Dublin (UCD). His father dies when he is ten and is given a paramilitary funeral led by his former IRA colleagues. His mother, prominent as the Secretary for the County Longford Board of Health, lives until 1974. He is educated at Melview National School at primary level and attends secondary school at St. Mel’s College, leaving in 1950, and graduates from University College Dublin in 1954. That year he takes a job teaching Irish language at Roscommon Vocational School in Roscommon. He is a deeply religious Catholic who refrains from smoking or drinking.
Ó Brádaigh joins Sinn Féin in 1950. While at university, in 1951, he joins the Irish Republican Army. In September 1951, he marches with the IRA at the unveiling of the Seán Russell monument in Fairview Park, Dublin. A teacher by profession, he is also a Training Officer for the IRA. In 1954, he is appointed to the Military Council of the IRA, a subcommittee set up by the IRA Army Council in 1950 to plan a military campaign against Royal Ulster Constabulary (RUC) barracks in Northern Ireland.
On August 13, 1955, Ó Brádaigh leads a ten-member IRA group in an arms raid on Hazebrouck Barracks, near Arborfield, Berkshire, England, a depot for the No. 5 Radar Training Battalion of the Royal Electrical and Mechanical Engineers. It is the biggest IRA arms raid in Britain. Most, if not all, of the weapons are recovered in a relatively short period of time. A van, traveling too fast, is stopped by the police and IRA personnel are arrested. Careful police work leads to weapons that had been transported in a second van and stored in London.
The IRA Border Campaign commences on December 12, 1956. As an IRA General Headquarters Staff (GHQ) officer, Ó Brádaigh is responsible for training the Teeling Column in the west of Ireland. During the Campaign, he serves as second-in-command of the Teeling Column. On December 30, 1956, he partakes in the Teeling Column attack on RUC barracks in Derrylin, County Fermanagh. RUC Constable John Scally is killed in the attack and is the first fatality of the new IRA campaign. Ó Brádaigh and others are arrested by the Garda Síochána across the border in County Cavan the day after the attack. They are tried and jailed for six months in Mountjoy Prison. A leading abstentionist, upon his arrest he refuses to recognize the authority of the Irish government and refuses to renounce violence in exchange for his release.
Upon completing his prison sentence, Ó Brádaigh is immediately interned at the Curragh Camp along with other republicans. On September 27, 1958, he escapes from the camp along with Dáithí Ó Conaill. While a football match is in progress, the pair cuts through a wire fence and escapes from the camp under a camouflage grass blanket. This is an official escape, authorised by the officer commanding (OC) of the IRA internees, Tomás Óg Mac Curtain. He is the first Sinn Féin TD on the run since the 1920s.
In October 1958, Ó Brádaigh becomes the IRA Chief of Staff, a position he holds until May 1959, when Seán Cronin is elected as his replacement. He is arrested in November 1959, refuses to answer questions, and is jailed in Mountjoy Prison under the Offences against the State Act. He is released in May 1960 and, after Cronin is arrested, again becomes Chief of Staff. Although he always emphasises that it is a collective declaration, he is the primary author of the statement ending the IRA Border Campaign in 1962. At the IRA 1962 Convention he indicates that he is not interested in continuing as Chief of Staff.
After Ó Brádaigh’s arrest in December 1956, he takes a leave from teaching at Roscommon Vocational School. He is re-instated and begins teaching again in late 1962, just after he is succeeded by Cathal Goulding in the position of Chief of Staff of the IRA. He remains an active member of Sinn Féin and is also a member of the IRA Army Council throughout the decade.
Ó Brádaigh opposes the decision of the IRA and Sinn Féin to drop abstentionism and to recognise the Westminster parliament in London, the Stormont parliament in Belfast and the Leinster House parliament in 1969/1970. On January 11, 1970, along with Seán Mac Stíofáin, he leads the walkout from the 1970 Sinn Féin Ard Fheis after the majority votes to end the policy of abstentionism, although the vote to change the Sinn Féin constitution fails to receive the required two-thirds majority. The delegates who walk out reconvene at the Kevin Barry Hall in Parnell Square, Dublin, and establish Provisional Sinn Féin.
Ó Brádaigh is voted chairman of the Caretaker Executive of Provisional Sinn Féin. That October, he formally becomes president of the party. He holds this position until 1983. In his presidential address to the 1971 Provisional Sinn Féin Ard Fheis, he says that the first step to achieving a United Ireland is to make Northern Ireland ungovernable. He apparently also serves on the Army Council or the executive of the Provisional Irish Republican Army until he is seriously injured in a car accident on January 1, 1984.
On May 31, 1972, Ó Brádaigh is arrested under the Offences Against the State Act and immediately commences a hunger strike. A fortnight later the charges against him are dropped and he is released. With Dáithí Ó Conaill he develops the Éire Nua policy, which is launched on June 28, 1972. The policy calls for a federal Ireland.
On December 3, 1972, Ó Brádaigh appears on the London Weekend TelevisionWeekend World programme. He is arrested by the Gardaí again on December 29, 1972, and charged in the newly established Special Criminal Court with Provisional IRA membership. In January 1973 he is the first person convicted under the Offences Against the State (Amendment) Act 1972 and is sentenced to six months in the Curragh Camp.
On December 10, 1974, Ó Brádaigh participates in the Feakle talks between the IRA Army Council and Sinn Féin leadership and the leaders of the Protestant churches in Ireland. Although the meeting is raided and broken up by the Gardaí, the Protestant churchmen pass on proposals from the IRA leadership to the British government. These proposals call on the British government to declare a commitment to withdraw, the election of an all-Ireland assembly to draft a new constitution and an amnesty for political prisoners.
The IRA subsequently calls a “total and complete” ceasefire intended to last from December 22, 1974, to January 2, 1975, to allow the British government to respond to proposals. British government officials also hold talks with Ó Brádaigh in his position as president of Sinn Féin from late December to January 17, 1975.
On February 10, 1975, the IRA Army Council, unanimously endorses an open-ended cessation of IRA “hostilities against Crown forces,” which becomes known as the 1975 truce. The IRA Chief of Staff at the time is Seamus Twomey of Belfast. It is reported in some quarters that the IRA leaders mistakenly believe they had persuaded the British Government to withdraw from Ireland and the protracted negotiations between themselves and British officials are the preamble to a public declaration of intent to withdraw. In fact, as British government papers now show, the British entertain talks with the IRA in the hope that this would fragment the movement further and score several intelligence coups during the talks. This bad faith embitters many in the republican movement, and another ceasefire does not happen until 1994.
In late December 1976, along with Joe Cahill, Ó Brádaigh meets two representatives of the Ulster Loyalist Central Co-ordinating Committee (ULCCC), John McKeague and John McClure, at the request of the latter body. Their purpose is to try to find a way to accommodate the ULCCC proposals for an independent Northern Ireland with the Sinn Féin’s Éire Nua programme. It is agreed that if this can be done, a joint Loyalist-Republican approach can then be made to request the British government to leave Ireland. Desmond BoalQC and Seán MacBrideSC are requested and accepted to represent the loyalist and republican positions. For months they have meetings in various places including Paris. The dialogue eventually collapses when Conor Cruise O’Brien, then Minister for Posts and Telegraphs and vociferous opponent of the Provisional IRA, becomes aware of it and condemns it on RTÉ Radio. As the loyalists had insisted on absolute secrecy, they feel unable to continue with the talks as a result.
In the aftermath of the 1975 truce, the Ó Brádaigh/Ó Conaill leadership comes under severe criticism from a younger generation of activists from Northern Ireland, headed by Gerry Adams, who becomes a vice-president of Sinn Féin in 1978. By the early 1980s, Ó Brádaigh’s position as president of Sinn Féin is openly under challenge and the Éire Nua policy is targeted in an effort to oust him. The policy is rejected at the 1981 Sinn Féin Ard Fheis and finally removed from the Sinn Féin constitution at the 1982 Ard Fheis. At the following year’s Ard Fheis, Ó Brádaigh and Ó Conaill resign from their leadership positions, voicing opposition to the dropping of the Éire Nua policy by the party.
On November 2, 1986, the majority of delegates to the Sinn Féin Ard Fheis vote to drop the policy of abstentionism if elected to Dáil Éireann, but not the British House of Commons or the Northern Ireland parliament at Stormont, thus ending the self-imposed ban on Sinn Féin elected representatives from taking seats at Leinster House. Ó Brádaigh and several supporters walk out and immediately assemble at Dublin’s West County Hotel and set up Republican Sinn Féin (RSF). As an ordinary member, he had earlier spoken out against the motion (resolution 162) in an impassioned speech. The Continuity IRA becomes publicly known in 1996. Republican Sinn Féin’s relationship with the Continuity IRA is similar to the relationship between Sinn Féin and the Provisional IRA when Ó Brádaigh was Sinn Féin’s president.
Ó Brádaigh believes RSF to be the sole legitimate continuation of the pre-1986 Sinn Féin, arguing that RSF has kept the original Sinn Féin constitution. RSF readopts and enhances his Éire Nua policy. His party has electoral success in only a few local elections.
Ó Brádaigh remains a vociferous opponent of the Good Friday Agreement, viewing it as a programme to copperfasten Irish partition and entrench sectarian divisions in the north. He condemns his erstwhile comrades in Provisional Sinn Féin and the Provisional IRA for decommissioning weapons while British troops remain in the country. In his opinion, “the Provo sell-out is the worst yet – unprecedented in Irish history.” He condemns the Provisional IRA’s decision to seal off a number of its arms dumps as “an overt act of treachery,” “treachery punishable by death” under IRA General Army Order Number 11.
In July 2005, Ó Brádaigh hands over a portion of his personal political papers detailing discussions between Irish Republican leaders and representatives of the British Government during 1974–1975 to the James Hardiman Library, National University of Ireland, Galway.
In September 2009, Ó Brádaigh announces his retirement as leader of Republican Sinn Féin. His successor is Des Dalton. He is also a long-standing member of the Celtic League, an organization which fosters cooperation between the Celtic people and promotes the culture, identity and eventual self-determination for the people, in the form of six sovereign states, for the Celtic nations – Wales, Cornwall, Brittany, Scotland, Isle of Man and Ireland.
After suffering a period of ill-health, Ó Brádaigh dies on June 5, 2013, at Roscommon County Hospital. His funeral is attended by 1,800 mourners including Fine Gael TD Frank Feighan and is policed by the Garda Emergency Response Unit and Gardaí in riot gear, for “operational reasons,” a show of force believed to have been to deter the republican tradition of firing a three-volley salute of shots over the final place of rest during the graveyard oration. As a result, there are some minor scuffles between gardai and mourners.
Patrick Anthony HennessyRHA, Irish realist painter known for his highly finished still lifes, landscapes and trompe-l’œil paintings, is born in Cork, County Cork, on August 28, 1915. The hallmark of his style is his carefully observed realism and his highly finished surfaces, the result of a virtuoso painting technique.
Hennessy is the son of John Hennessy an army sergeant major from County Kerry and Bridget Hennessy from Cork. His father is killed in World War I at the Battle of Passchendaele in 1917. In 1921, when he is five years old, his mother remarries in Cork. Her second husband is a Scot named John Duncan and shortly afterwards the whole family moves to Arbroath, Scotland, where Duncan has relatives.
Hennessy is educated in Arbroath at St. Thomas RC Primary School followed by secondary education at Arbroath High School, where he begins to show an aptitude for art, leaving in 1933 with the Dux for Art and an accompanying medal. In the autumn of 1933 he enrolls at the Dundee of Jordanstone College of Art & Design, for a four-year Diploma course in Drawing and Painting under James McIntosh Patrick and Edward Baird. Here he meets Harry Robertson Craig who becomes his lifelong companion. He plays a full part in the social activities of the college, winning a fancy-dress award at the Christmas revels in 1935 and producing a ballet “Paradise Lost” the following year. He gains a First-Class Pass in each year of the course along with winning first prize in 1934 and 1936 for work done during the summer vacation. He graduates with a First-Class Distinction in 1937.
Having gained a scholarship, Hennessy continues his studies at the Dundee of Jordanstone College of Art & Design for a further year by doing a Post-Graduate Diploma course in Drawing and Painting. Within a month of gaining his Post-Graduate Diploma he holds his first joint exhibition at the Art Galleries in Arbroath. In June 1938 he is awarded the Annual Travelling Scholarship for further studies in Paris and Italy. In Paris he meets up with the artists Robert Colquhoun and Robert MacBryde, whom he had met the previous year, the three travelling south together to Marseilles towards the end of that year. On his return to Scotland he is selected for the residential summer school course at Hospitalfield House near Arbroath under James Cowie. Two of his paintings, a still life and a self-portrait, are accepted that year by the Royal Scottish Academy for their Annual Exhibition. However, by the autumn of 1939 with war looming and feeling somewhat disenchanted on his return to Scotland, he decides to return to Ireland.
On arrival in Dublin Hennessy is offered an exhibition in December 1939 at the Country Shop on St. Stephen’s Green which is opened by Mainie Jellett. This attracts favourable attention. During the early 1940s he lives at various addresses in and around Dublin with frequent trips to Cork. In 1940 he is invited to join the Society of Dublin Painters and holds regular annual exhibitions of his work there during the 1940s and early 1950s. These exhibitions are supplemented by an eclectic mix of commissions, mostly portraits which he undertakes during this period. In 1941 he has three of his paintings accepted by the Royal Hibernian Academy (RHA) for their annual exhibition. This is the beginning of a long relationship with the RHA. He exhibits there virtually every year from 1941 until 1979, the year before his death.
From the early 1940s onwards, Hennessey’s work sometimes incorporates a homosexual visual subtext. He re-unites with Harry Robertson Craig in 1946 and soon after they move to Crosshaven, County Cork, and later to Cobh. In 1947, Time magazine selects him as one of Ireland’s outstanding painters, in recognition of the important position he has then attained in the art world. In 1948 he has an exhibition at the Victor Waddington Gallery, Dublin, and that same year is elected an associate of the Royal Hibernian Academy and a full member the following year. In 1950 his painting De Profundis is selected for the Contemporary Irish Painting exhibition that tours North America. As a result of this tour, the American public and critics begin to take notice of his work. In 1951 he visits Italy, taking in Venice and Sicily and returning to Dublin with many of his canvases painted abroad. One of these paintings, Bronze Horses of St. Marks, is exhibited at the Royal Academy of Arts in London in 1954.
In 1956, a friend of Hennessy, David Hendriks, opens the Ritchie Hendriks Gallery on St. Stephen’s Green, Dublin and it is this gallery that is to be the main outlet for his work over the following 22 years. In October 1956 the Thomas Agnew Gallery in London holds an exhibition of his work comprising 38 of his paintings. However, during the winter of 1959 he becomes seriously ill with pneumonia. As a consequence of this, in the autumn of that year he and Craig decide to winter in Morocco. This is the beginning of a new era in both their lives. They would never again spend a full year in Ireland. His exhibitions at the Ritchie Hendriks Gallery had for many years enjoyed favourable reviews from the art critics but in the 1960s this changes with critics claiming his paintings to be dull, repetitive and suggest he needs to explore new areas. Despite the barrage of criticism, in 1965 the Guildhall Gallery in Chicago offers him a major exhibition. Shortly after this exhibition takes place in 1966, he becomes one of the artists on permanent display at the gallery with an annual exhibition. The North American market is extremely lucrative for him and by the end of the decade he is selling more of his work in the United States than in Ireland. In 1968 he finally moves to Tangier, Morocco on a permanent basis and in 1970 sells his studio on Raglan Lane, Dublin.
In Morocco, Hennessy paints prolifically for nine years to keep up with demand from the Hendriks Gallery and Guildhall Gallery along with the RHA. In 1975 the Guildhall Gallery mounts a highly successful Retrospective of his work. In 1978 he has his last exhibition in Dublin at the Hendriks Gallery. By this time he has moved to the Algarve, Portugal and is beginning to have health problems.
In November 1980, with his health deteriorating, Craig brings Hennessy to a hospital in London for treatment. However, on December 30, 1980 he dies from cancer. Following cremation his ashes are buried in nearby Golders Green Crematorium. He leaves his entire estate to Harry Robertson Craig with the proviso that on Craig’s death the Royal Hibernian Academy should be the beneficiary. This legacy has been used to set up the annual Hennessy Craig Scholarship for aspiring artists.
Hennessy falls into the category of painter who develops a distinctive personal style, labelled at various times in his life as a Traditional Realist, Romantic, Photo Realist, Illusionary and Surrealist. However, he always remains intrinsically himself. His subjects range from still life and interiors to landscapes and portraits.
Father and son, both accounted “notorious womanizers,” have a bitter relationship. His father once challenges him to a duel, but he declines, observing that his father is not a gentleman.
With the support of the Grafton ministry and of the Court, in 1769 Luttrell stands in Middlesex against John Wilkes, the radical and popular figure who had already been the constituency’s three-time democratic choice. He loses the poll (1,143 votes to 269) but is seated in Parliament, Wilkes having once again been barred as an adjudged felon. As a result of the affair, for some months, Luttrell dares not appear in the street and is “the most unpopular man in the House of Commons.”
The government rewards Luttrell by appointing him Adjutant General for Ireland in 1770. He continues to sit in the Commons, where he describes the Whigs in their opposition to the conduct of the American War, as “the abetters of treason and rebellion combined purposely for the ruin of their country.”
In 1788, Luttrell is publicly accused in Dublin of the rape of a 12-year-old girl. Having been paid to deliver a message, Mary Neal claims she is bundled into a brothel and there assaulted throughout the night by Luttrell. The keeper of the house, Maria Llewellyn, is charged in a case marked by accusations of witness tampering, the death in prison of Mary’s mother and newborn baby sister and by the insinuation that Mary was already working as a prostitute. The affair becomes a cause célèbre with the public intervention of Archibald Hamilton Rowan, later a founding member of the Dublin Society of United Irishmen. To clear Mary’s name he brings her to Dublin Castle to see the Lord Lieutenant, John Fane, 10th Earl of Westmorland. Westmorland, unmoved, pardons Llewellyn and sets her at liberty. Luttrell is never asked to answer for raping Mary Neal. In 1790 he re-enters the British Parliament as Member for Plympton Erle.
In 1791 and 1792, Luttrell helps vote down bills to abolish the slave trade. Negroes, he proposes, only want “to murder their masters, ravish their women, and drink all their rum.” At the same time, he opposes lifting civil disabilities on Roman Catholics by abolishing the Test Act in Scotland and speaks scathingly of parliamentary reform.
In October 1793, a younger brother, Temple Simon Luttrell, is arrested in Boulogne and, until February 1795, is held in Paris where, on the strength of their sister Anne Luttrell being married to Prince Henry, Duke of Cumberland, he is publicly exhibited as the brother of the king of England.
In 1795, Luttrell is entrusted with the breakup and disarming of Defenders, the agrarian semi-insurgency, in Connacht. His proceedings and impressment of some 1,300 “rebels” into the British navy elicits criticism in otherwise loyal circles.
In 1796, with the leaders of the democratic party, the United Irishmen, preparing for a French-assisted insurrection, Luttrell is given overall command of the Crown forces in Ireland. He demonstrates still greater ruthlessness in attempting to “pacify” the country and suppress the eventual rising in the summer of 1798. His command has the unusual distinction of being upbraided by his successor as Commander in Chief, Sir Ralph Abercromby, for an army “in a state of licentiousness, which must render it formidable to everyone but the enemy.”
Luttrell is seen by his critics as having “fanned the flame of disaffection into open rebellion” by “the picketings, the free quarters, half hangings, flogging and pitch-cappings” he directs.
In July 1799, Luttrell sells his Irish property and by his own later account, he takes no part in the Acts of Union. He claims to be “disgusted at the scene that was passing before me”, and to abandon Ireland because, under a “cowardly” government, he sees “the country likely to become Catholic.” When the Dublin Post of May 2, 1811, erroneously reports his death, he demands a retraction which they print under the headline Public Disappointment.
Luttrell purchases an estate at Painshill Park in Surrey and lives for several years in relative obscurity. From 1813 he harries the government of Robert Jenkinson, 2nd Earl of Liverpool, with the claim that George III had promised him a secure seat in the Commons. In June 1817, five weeks short of his eightieth birthday, he finds his own way back to Parliament as Member for Ludgershall and revenges himself, in the four years remaining to him, by voting with the opposition. This, however, does not extend to joining in the attacks on the domestic spy system in 1818 nor to voting for parliamentary reform in 1819. Moreover, in the wake of the Peterloo Massacre, he supports the government, lauding the use of deadly force against “the Radicals and their system.”
Kathleen Cox, Irish artist, sculptor, and mystic, is born Christina Mary Kathleen Cox in Wo-Sung, China, on July 2, 1904. Cox is considered a pioneer of contemporary Irish pottery.
Cox is the eldest daughter of Dr. R. H. Cox, originally from Dundalk, County Louth, and the port health officer in Shanghai. He is also an amateur geologist and models in clay. In his retirement, he invents a periscope later used during World War I by the Royal Navy. The years living in China leave an impression on the young Cox, visually and culturally. The family returns to Ireland in 1911, first moving to Listowel, County Kerry, and later to Howth, County Dublin. She attends Alexandra College, and later the Dublin Metropolitan School of Art in 1921. While there she studies sculpture under Oliver Sheppard and is considered one of his most talented students, winning the Royal Dublin Society Taylor prize for modelling in 1925, 1926, and 1927. The money from these prizes allows Cox to travel to Paris in 1929.
Cox exhibits in 1924 at the Tailteann exhibitions, and in 1925 submits textile designs to the Arts and Crafts Society of Ireland. She establishes a pottery studio at 7 Schoolhouse Lane, Dublin, with college friend Stella Rayner in 1929. The studio has the first electric kiln in Ireland. The first exhibited piece by Cox shown by the Royal Hibernian Academy (RHA) is in 1930, with a pair of Madonna bookends, and portrait masks of the daughter of Dermod O’Brien, Brigid O’Brien, and writer Norris Davidson. Davidson is a friend and neighbour, who commissions her to design the poster for his 1929 film, Suicide. She exhibits with the RHA from 1931 to 1933, and the Tailteann 1932, while also holding exhibitions in her studio. During this period Hilda Roberts paints her portrait, Strange Spirit. Kathleen Cox in her studio. The theme of womanhood is prominent in her work, including in the sign of her studio.
In 1932, Cox begins producing a line of more commercial figurines, drawing influence from the Royal Doulton Burslem factory, where she works for a time. One such figurine is The Lavender Man (pictured), modelled on Michael Clifford, a Dublin street trader. In the mid 1930s, she develops a frustration with her work and with her lack of impact on the wider world. In attending the Chinese exhibition in London in 1935, it is confirmed to her that pottery should be practical rather than ornamental. It spurs her to destroy all her moulds and sell her kiln upon her return to Dublin.
Cox marries Alan Palmer in 1937, the couple has two daughters and relocate to England. Palmer is a conscientious objector during World War II, with the couple running a farm at Meopham, Kent, returning to London after the war.
Cox dies in early September 1972 in London. Some of her work is held in the collections of the National Museum of Ireland and with four works featured in the exhibition Not Just Pots: Contemporary Irish Ceramics of the 21st Century.
It is during the 1920s that Cox begins to question mainstream religion and becomes a vegetarian. Finding that her personal philosophy is similar to that of theosophy, she joins the movement and speaks at meetings. She is heavily influenced by the founder of the Order of the Great Companions, the Rev. William Hayes, who is living in Dublin in the 1930s. She writes and illustrates a children’s book on world religions, A story of stories, which she publishes under the pseudonym C.M. Kay in 1970.
Garstin is born on August 28, 1847, in Caherconlish, County Limerick, to Captain William Garstin and Mary Moore Garstin. He is raised by aunts and grandparents following his father’s suicide and his mother’s incapacitating disabilities.
Garstin attends Victoria College on the island of Jersey and then he works in architecture and engineering for brief periods. He then travels to South Africa where he befriends Cecil Rhodes, works as a journalist and is involved in government in Cape Town.
In 1886, Garstin marries Louisa Jones, also known as Dochie. Many of Garstin’s friends from school in Antwerp had settled in Newlyn. He and Dochie move to Mount Vernon in Newlyn by 1886. They have three children: Crosbie, Denis and Alethea. The boys take up journalism and Alethea becomes an artist. The family moves to Penzance by 1895.
In 1888 Garstin becomes a member of the New English Art Club (NEAC). He becomes a member of the Newlyn Society of Artists (NSA) and is on the Newlyn Art Gallery‘s Provisional Committee for its opening in 1895. Regarding the plein-air approach used by St. Ives and Newlyn artists he says they are “filled with this idea of a fresh unarranged nature to be studied in her fields, and by her streams, and on the margin of her great seas – in these things they were to find the motives of their art.”
Garstin is a teacher and takes groups to “his favorite painting haunts on the Continent.” For instance, Frances Hodgkins, a New Zealand artist, attends Garstin’s 1901 and 1902 summer sketching classes in France. He teaches Harold Harvey, the only Cornish Newlyn School painter, and his daughter, Alethea.
Garstin’s work consists primarily of small oil panels in the plein air style, something he had picked up from the French Impressionists, like Édouard Manet. He is also fascinated by Japanese prints and admires the work of the American painter James Abbott McNeill Whistler. Some of his works are at Tate and Penlee House.
One of Garstin’s best and most famous works is his 1889 painting The Rain, It Raineth Every Day of the Penzance promenade. The title of the work comes from William Shakespeare‘s King Lear and Twelfth Night. “The composition of this painting demonstrates Garstin’s admiration for Japanese art,” says Penlee House.
Garstin dies in Penzance on June 22, 1926.
(Pictured: “The Rain It Raineth Every Day” oil on canvas by Norman Garstin, 1889, Penlee House)
Melesina Trench (née Chenevix), Irish writer, poet and diarist, dies in Malvern, Worcestershire, England, on May 27, 1827. During her lifetime she is known more for her beauty than her writing. It is not until her son, Richard Chenevix Trench, publishes her diaries posthumously in 1861 that her work receives notice.
Chenevix is born in Dublin on March 22, 1768, to Philip Chenevix and Mary Elizabeth Gervais. She is orphaned before her fourth birthday and is brought up by her paternal grandfather, Richard Chenevix (1698–1779), the AnglicanBishop of Waterford and Lismore. The family is of Huguenot extraction.
After the death of Richard Chenevix, Chenevix goes to live with her other grandfather, the Archdeacon Gervais. On October 31, 1786, she marries Colonel Richard St. George, who dies only four years later in Portugal, leaving one son, Charles Manners St. George, who becomes a diplomat.
On March 3, 1803, in Paris she marries her second husband, Richard Trench, who is the sixth son of Frederick Trench and brother of Frederick Trench, 1st Baron Ashtown.
After the breakdown of the Peace of Amiens, Richard Trench is detained in France by Napoleon‘s armies, and in August 1805 Melesina takes it upon herself to petition Napoleon in person and pleads for her husband’s release. Her husband is released in 1807, and the couple settles at Elm Lodge in Bursledon, Hampshire, England.
Their son, Francis Chenevix Trench, is born in 1805. In 1807, when they are on holiday in Dublin, their son Richard Chenevix Trench is born. He goes on to be the Archbishop of Dublin, renowned poet and contemporary of Alfred, Lord Tennyson. Her only daughter dies a few years later at the age of four.
Trench corresponds with, amongst others, Mary Leadbeater, with whom she works to improve the lot of the peasantry at her estate at Ballybarney. She dies at the age of 59 in Malvern, Worcestershire on May 27, 1827.
Melesina Trench’s diaries and letters are compiled posthumously by Richard Chenevix Trench as The remains of the late Mrs. Richard Trench in 1861 with an engraving of her taken from a painting by George Romney. Another oil painting, The Evening Star by Sir Thomas Lawrence, has her as a subject, and she is reproduced in portrait miniatures – one in Paris by Jean-Baptiste Isabey and another by Hamilton that is copied by the engraver Francis Engleheart.
Richards is born to John William Richards, a lawyer, and Adelaide Roper, suffragist who had chained herself to the railings in St. Stephen’s Green. She goes to school at Alexandra College, Dublin, and after that she attends a finishing school in Paris. Though her family is not in the arts, her godmother is Beatrice Elvery. Shes attends Elvery’s salons with her parents as a child. She meets W. B. Yeats when she is sixteen. Her niece, Geraldine Fitzgerald, daughter of her sister, Edith Catherine Richards, is also one of Ireland’s pre-eminent actresses.
Richards’s acting career starts while attending the Dublin drama league and she is asked at short notice to replace Eileen Crowe in Juno and the Paycock, playing the role of Mary Boyle in the Abbey Theatre production. Richards gets the role of Nora Clithero in the 1926 production of The Plough and the Stars, Seán O’Casey‘s next production. This role means that she ends up with police protection for the duration of the run due to the disturbances the play engenders. Another important role is to take on playing the lead in The Player Queen by Yeats. Maire O’Neill had previously made the role her own and Yeats had let no one perform the part since then so taking on such a challenge is intimidating. Richards continues to take on leading roles with the Abbey Theatre but in 1926 she also begins to direct.
On December 28, 1928, Richards marries playwright Denis Johnston in St. Anne’s Church in Dublin. She tours the United States with the Abbey players in 1932 and with the Irish Players in the mid 1930s. A role in 1938 in Molly Keane‘s Spring Meeting starring Gladys Cooper and A. E. Matthews takes her to Broadway in New York City. War in Europe breaks out while the run is still going on and Richards is advised to stay in the United States. However, by then she has two children, producer Micheal and novelist Jennifer Johnston, so she returns to Dublin. There she runs her own theater company at the Olympia Theatre with Nigel Heseltine. Her marriage to Johnston, broken in 1938, ends with divorce in February 1945.
In 1961 Ireland launches its first television service, Raidió Teilifís Éireann. Richards is one of the first producers, recommended to the station by Hilton Edwards. She is one of the few women in the new station. The first Irish play produced during the opening week is directed by her and she is nominated for a Best Actress award in another production, Inquiry at Lisieux. She works as producer on a wide number of programs for the station including documentaries, soap operas and religious programming. Both Tolka Row and The Riordans are produced by her as well as Denis Johnston’s The Moon on the Yellow River, George Bernard Shaw‘s Arms and the Man and John Millington Synge‘s Riders to the Sea.
Richards retires from her RTÉ career in the early 1970s though she continues to raise funds for the Gate Theatre through the Edwards–MacLiammóir Playhouse Society. In 1983, for her 80th birthday, the Abbey puts on a party for her which includes a special rendition of “Nora” from The Plough and the Stars. Richards is the last living member of the original 1926 cast. The song is repeated at her funeral in 1985. She died in Ballybrack, County Dublin, on January 19, 1985. Her funeral is held in St. Anne’s Church in Dublin and she is cremated in Glasnevin Cemetery.
Eleanor Charlotte Butler, recluse of Llangollen, is born in Cambrai, France, on May 11, 1739.
Butler is the youngest daughter of Walter Butler of Garryricken, County Tipperary, and his wife, Ellen (née Morres), of Latargh, County Tipperary. Her family are members of the old Catholic gentry, and her father is the sole lineal representative of James Butler, 2nd Duke of Ormonde. In 1740 her family returns to the Garryricken estate, where she spends part of her childhood. She is educated by the English Benedictine nuns of the convent of Our Lady of Consolation in Cambrai, where her Jacobite grand-aunt is a pensioner. Reared in the liberal and anti-clerical environment at Cambrai, she is open about her opposition to Irish Catholicism. She is also well read in literature.
By the time Butler returns to Ireland, her brother John had claimed the family titles and was recognised as 16th Earl of Ormond. Though he never uses the title, his sisters are recognised as the daughters of an earl. As the family is impoverished, and she is not disposed to marriage, a decade is passed in unhappiness. Then, in 1768, the thirteen-year-old Sarah Ponsonby arrives in Kilkenny to attend a local school. Following her visit to the Butler home at Kilkenny Castle, and despite the difference in age, the two form an immediate friendship and corresponded secretly, having discovered their mutual interest in the arts and Rousseau‘s ideal of pastoral retirement.
Ponsonby, upon finishing school, is sent to live with relatives at nearby Woodstock Estate, and there is subject to the uninvited attention of a middle-aged guardian. Butler is discontented with her life and the prospects of her family’s wish to send her back to Cambrai, so the two plan to leave their difficulties behind and settle in England. In their first attempt to flee in March 1778, they leave for Waterford disguised as men and wielding pistols, but their families manage to catch up with them. Butler is then sent to the home of her brother-in-law, Thomas ‘Monarch’ Kavanagh of Borris, County Carlow, but makes a second, successful attempt and runs away to find Ponsonby at Woodstock Estate. Her persistence wins out when both families finally capitulate and accepted their plans to live together.
Butler and Ponsonby set out for Wales in May 1778 and, after an extensive tour of Wales and Shropshire, eventually settle in Llangollen Vale, where they rent a cottage which is renamed Plas Newydd. They are accompanied by Mary Carryll, a former servant of the Woodstock household, who remains in their service until her death in 1809. Having made a deliberate decision to retire from the world, they spend the greater part of their days corresponding with friends, reading, building up a large library and making alterations to Plas Newydd, which takes on a fashionable Gothic look. Their garden, landscaped under their direction, becomes a popular attraction for visitors. Butler meticulously records their daily routine in a series of journals, some of which are now lost.
Their seclusion, eccentricities, semi-masculine dress and short-cropped powdered hair gain them notoriety, and it becomes fashionable to call on them. Their numerous and illustrious visitors include Hester Lynch Piozzi, Charles and Erasmus Darwin, Sir Walter Scott, Sir Arthur Wellesley, the Duke of Gloucester and Josiah Wedgwood. In 1792 they entertain Stéphanie Caroline Anne Syms, later that year to become the wife of Lord Edward FitzGerald, and her mother, Madame de Genlis. Following the arrest of Edward FitzGerald in 1798, Stéphanie and her suite flee to London and on May 27 pass through Llangollen, where the events in Dublin are already known. On hearing that she is staying in the local inn, Butler and Ponsonby invite her to call in. However, when she wishes to stay for the day, their apprehension of Jacobinism leads them to persuade her “principally for her own sake and a little for [our] own to proceed as fast and as incognito as possible for London.”
Both Anna Seward and William Wordsworth, who stay at Plas Newydd, write poems celebrating their friendship, and Lord Byron sends them a copy of The Corsair. Owing to her support of the Bourbons, Butler is sent the Croix St. Louis, which she wears about her neck. Though generally considered a hospitable couple, Seward, who is a good friend, admits that the “incessant homage” they received could make Butler “haughty and imperious,” while Lady Lonsdale thinks her “very clever, very odd.” Their celebrity does have its drawbacks: an article in the General Evening Post of July 24, 1790, entitled “Extraordinary female affection,” suggests indirectly that their relationship is unnatural. Butler is particularly angered by this publicity and appeals to Edmund Burke for legal advice. Their retirement is also continually dogged by financial difficulties. They live mainly off their respective allowances and Butler’s royal pension (granted through the influence of Lady Frances Douglas), but spend beyond their means and are often in debt. To add to their problems, Butler receives no mention in her father’s will. However, the Gothic eccentricities of their cottage, which they succeed over time in purchasing, and garden attract even the interest of Queen Charlotte.
Though it is claimed that neither woman spends a night away from Plas Newydd, in January 1786 they stay with their friends, the Barretts of Oswestry, and that September they visit Sir Henry Bridgeman of Weston Park, near Staffordshire. In June 1797 they take their only holiday, at the coastal resort of Barmouth. Despite their isolation they are well informed about international events and society gossip. The Irish serjeant-at-law Charles Kendal Bushe recalls how they gave him all the news of Dublin, London, Cheltenham, and Paris.
In later years Butler’s eyesight deteriorates, preventing her from keeping her journal. She is secretly painted as an old woman with Ponsonby by Lady Mary Leighton and sketched by Lady Henrietta Delamere. A distinctive, anonymous silhouette shows the two generously proportioned women in traditional riding habits (National Portrait Gallery, London). Butler dies on June 2, 1829, and is buried alongside Carryll at Llangollen church. Sarah Ponsonby is subsequently buried with them.
(From: “Butler, Lady (Charlotte) Eleanor” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie)
Frederick Edward McWilliamCBERA, Northern Irish surrealistsculptor, is born in Banbridge, County Down, on April 30, 1909. He works chiefly in stone, wood and bronze. His style of work consists of sculptures of the human form contorted into strange positions, often described as modern and surreal.
McWilliam is the son of Dr. William McWilliam, a local general practitioner. Growing up in Banbridge has a great influence on his work. He makes references to furniture makers such as Carson the Cooper and Proctors in his letters to his friend, Marjorie Burnett.
McWilliam attends Campbell College in Belfast and later attends Belfast College of Art from 1926. After 1928, he continues to study at the Slade School of Fine Art in London. He originally intends to become a painter, but influenced by Alfred Horace Gerrard, head of the sculpture department at the Slade, and by Henry Moore whom he meets there, he turns to sculpture. He receives the Robert Ross Leaving Scholarship which enables him and his wife, Beth (née Crowther), to travel to Paris where he visits the studio of Constantin Brâncuși.
During the first year of World War II, he joins the Royal Air Force and is stationed in England for four years where he is engaged in interpreting aerial reconnaissance photographs. He is then posted to India. While there he teaches art in the Hindu Art School in New Delhi.
After his return from India, McWilliam teaches for a year at the Chelsea School of Art. He is then invited by A. H. Gerrard to teach sculpture at the Slade. He continues in this post until 1968.
During the Northern IrelandTroubles McWilliam produces a series of bronzes in 1972 and 1973 known as Women of Belfast in response to the bombing at the Abercorn Tea-Rooms.
In 1964 McWilliam is awarded an Honorary Doctor of Letters from Queen’s University Belfast. In 1966 he is appointed CBE and in 1971 he wins the Oireachtas Gold Medal. He is represented in many public collections, including the Museum of Modern Art in New York City and Tate Britain in London. In 1984 the National Self-Portrait Gallery purchases a McWilliam self-portrait amongst acquisitions from fellow Northerners Brian Ballard, Brian Ferran and T. P. Flanagan.
seamus dubhghaill 