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Tag Archives: Richard Rowley


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Birth of E. M. O’R. Dickey, Wood Engraver & Painter

E. M. O’R. Dickey, wood engraver and oil painter who is active at the beginning of the twentieth century, is born Edward Montgomery O’Rorke Dickey in Belfast on July 1, 1894. He is a founder member of the Society of Wood Engravers.

Dickey is the son of Edward O’Rorke Dickey. He later marries Eunice Emmeline Howard and they have one son, Daniel. He is educated at Wellington College and Trinity College, Cambridge. He studies painting under Harold Gilman at the Westminster School of Art.

Dickey is art master at Oundle School in Oundle, Northamptonshire, England, and then becomes professor of fine art and director of King Edward VII School of Art, Armstrong College, Durham University from 1926 to 1931. He is then staff inspector of art from 1931 to 1957 for the Ministry of Education.

At the beginning of World War II Dickey is seconded from the Ministry of Information and, from 1939 to 1942, is secretary of the War Artists’ Advisory Committee. He is a full member of the committee from 1942 to 1945. During this period he establishes a close relationship with Eric Ravilious. He is appointed a CBE in 1952.

Dickey becomes the first curator of The Minories in Colchester, Essex, a post he holds for five years from 1957 to 1962.

Dickey is a founder member of the Society of Wood Engravers in 1920, and exhibits with them from 1920 to 1924. He is at his most active in the early 1920s and virtually all his engravings date from this period.

In 1922 Dickey contributes a wood engraving to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Gerald Duckworth and Company and an enthusiast for the new style of wood engravings. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, writes about him in his introduction to the book Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces. This is a limited edition of 550 copies, as is the only book that he illustrates with wood engravings, Workers by the Irish writer Richard Rowley, published by Balston at Duckworth in 1923.

Dickey devotes more time to working in oils. He is one of the most experimental painters in Ireland technically and stylistically. He paints extensively on the continent, and shows at the Royal Academy of Arts and the New English Art Club. He is elected to the London Group in 1920. He has several one-man exhibitions, at the Leicester Galleries in 1923, at the Manchester City Art Gallery in 1924, and the Beaux Arts Gallery in 1935.

Dickey dies on August 12, 1977. There are a number of examples of his oil paintings in public collections.

Dickey’s lasting legacy, rather than his wood engravings and oils, is his distinguished contribution to arts administration and art education.

(Pictured: “Kentish Town Railway Station” by Edward Montgomery O’Rorke Dickey, oil on canvas, 1919, Hollytrees Museum, United Kingdom)


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Birth of Richard Rowley, Poet, Playwright & Writer

Richard Valentine Williams, who writes poetry, plays and stories under the pseudonym of Richard Rowley, is born on April 2, 1877, at 79 Dublin Road in Belfast, in what is now Northern Ireland.

At the age of sixteen, Rowley enters the family firm, McBride and Williams, which manufactures cotton handkerchiefs and eventually becomes its managing director. After the collapse of the company in 1931 he is Chairman of the Northern Ireland Unemployment Assistance Board. His early poems, in The City of Refuge and Other Poems (1917), are rhetorical celebrations of industry. His next volume, City Songs and Others (1918), includes his most quoted poem, The Islandmen, and is regarded as containing his most original work: “Browning-like monologues straight from the mouths of Belfast’s working-class.”

In 1918, Rowley goes to live in the Mourne country, residing in Brook Cottage, Bryansford Rd., Newcastle, County Down. He writes short stories, including Tales of Mourne (1937), as well as at least one highly successful play, Apollo In Mourne (1926). During World War II, he founds, and runs from his Newcastle home, the short-lived Mourne Press. He publishes first collections of Sam Hanna Bell and Michael McLaverty, but the press fails in 1942.

With Bell, Rowley is one of a set of Linen Hall Library members who retires regularly to Campbell’s Cafe. The regulars, at various points, include writers John Boyd and Denis Ireland, actors Joseph Tomelty, Jack Loudon and J. G. Devlin, poets John Hewitt and Robert Greacen, artists Padraic Woods, Gerard Dillon, and William Conor and the Rev. Arthur Agnew, an outspoken opponent of sectarianism. The ebullient atmosphere the circle creates is a backdrop for the appearance of Campbell’s Cafe in Brian Moore‘s wartime Bildungsroman, The Emperor of Ice-Cream.

In 1946, Rowley sells Brook Cottage, which has since been demolished, and moves with his wife, the former Margaret Pollock, to Drumilly, Loughgall, County Armagh, as paying guests of their friends, Mr. and Mrs. Ralph Cope. He dies there on April 25, 1947.

George MacCann and Jack Loudan presents a commemoration of Rowley’s life on the radio in 1952. The programme uses recordings of his friends Lady Mabel Annesley, who illustrated several of his publications, along with the poet John Irvine, the playwright Thomas Carnduff and William Conor. In Newcastle, Rowley’s name is remembered through the Rowley Meadows housing development and the Rowley Path, which runs along the southern boundary of the Islands Park.

(Pictured: Blue plaque at Richard Rowley’s birthplace in Belfast, Northern Ireland)


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Death of E. M. O’R. Dickey, Wood Engraver & Painter

E. M. O’R. Dickey, wood engraver and oil painter who is active at the beginning of the twentieth century, dies on August 12, 1977. He is a founder member of the Society of Wood Engravers.

Edward Montgomery O’Rorke Dickey is born in Belfast on July 1, 1894, the son of Edward O’Rorke Dickey. He later marries Eunice Emmeline Howard and they have one son, Daniel. He is educated at Wellington College and Trinity College, Cambridge. He studies painting under Harold Gilman at the Westminster School of Art.

Dickey is art master at Oundle School in Oundle, Northamptonshire, England, and then becomes professor of fine art and director of King Edward VII School of Art, Armstrong College, Durham University from 1926 to 1931. He is then staff inspector of art from 1931 to 1957 for the Ministry of Education.

At the beginning of World War II Dickey is seconded from the Ministry of Information and, from 1939 to 1942, is secretary of the War Artists’ Advisory Committee. He is a full member of the committee from 1942 to 1945. During this period he establishes a close relationship with Eric Ravilious. He is appointed a CBE in 1952.

Dickey becomes the first curator of The Minories in Colchester, Essex, a post he holds for five years from 1957 to 1962.

Dickey is a founder member of the Society of Wood Engravers in 1920, and exhibits with them from 1920 to 1924. He is at his most active in the early 1920s and virtually all his engravings date from this period.

In 1922 Dickey contributes a wood engraving to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Gerald Duckworth and Company and an enthusiast for the new style of wood engravings. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, writes about him in his introduction to the book Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces. This is a limited edition of 550 copies, as is the only book that he illustrates with wood engravings, Workers by the Irish writer Richard Rowley, published by Balston at Duckworth in 1923.

Dickey devotes more time to working in oils. He is one of the most experimental painters in Ireland technically and stylistically. He paints extensively on the continent, and shows at the Royal Academy of Arts and the New English Art Club. He is elected to the London Group in 1920. He has several one-man exhibitions, at the Leicester Galleries in 1923, at the Manchester City Art Gallery in 1924, and the Beaux Arts Gallery in 1935.

There are a number of examples of Dickey’s oil paintings in public collections.

Dickey’s lasting legacy, rather than his wood engravings and oils, is his distinguished contribution to arts administration and art education.

(Pictured: “Kentish Town Railway Station” by Edward Montgomery O’Rorke Dickey, oil on canvas, 1919, Hollytrees Museum, United Kingdom)