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Death of Olive Henry, Northern Irish Artist

Olive Henry, Northern Irish artist known for her painting, photography and stained glass design, dies on November 8, 1989, in Crawfordsburn, County Down, Northern Ireland. She is a founding member of the Ulster Society of Women Artists and is believed to be the only female stained glass artist working in Northern Ireland in the first half of the twentieth century.

Henry is born in Belfast on January 15, 1902, the daughter of the tea merchant George Adams Henry. She attends Mount Pottinger National School, and Victoria College, before expanding her studies at night classes at the Belfast School of Art.

Henry completes an apprenticeship at Clokey Stained Glass Studios founded by Walter Francis Clokey where she is to work for over fifty years designing stained glass windows. Her appointment in the autumn of 1919 comes by a chance visit to Victoria College by the firm’s owner who is seeking a suitable apprentice. She retires from the firm at Easter 1972.

In addition to her stained glass work, Henry exhibits her paintings widely in the Oireachtas, Belfast Art Society, Royal Ulster Academy, Royal Hibernian Academy, the Irish Exhibition of Living Art, Water Colour Society of Ireland, Belfast Museum and Art Gallery (now the Ulster Museum) and the National Society in London. She is a founding member, with Gladys Maccabe, of the Ulster Society of Women Artists and is president of the society from 1979 to 1981.

Henry exhibits at the Belfast Art Society for the first time in 1928. She exhibits four works, all landscapes in oil, and then a further two works in the following year. In 1931, she shows a further two works with the successor to the Belfast Art Society, the Ulster Academy of Arts. In 1932, she shows A Derbyshire Village, described by one critic as “a delightful English rural scene.” Between 1931 and 1942 she shows with more than twenty paintings at the Ulster Academy of Arts, exhibiting at each annual show in that time.

Henry has a keen interest in photography from an early age and wins various awards for her photographs. In 1934, she wins the August prize from the Photographic Dealers’ Association for a shot of a child playing with toys in the bath, having received a consolation prize of five shillings in September of the previous year for a shot of a traditional market scene in Boulogne. She goes on to write a regular column for Amateur Photographer throughout the 1930s.

In January 1935, Henry is appointed leader of a local sketching group by the Youth Hostel Association. In December 1935, she is commended for a sketch called River Pool, submitted to a competition judged by James Humbert Craig on behalf of the Youth Hostel Association, presented alongside Port Muckin a show with the sketching group. Maurice Canning Wilks contributes Skernaghan Point, Brown’s Bay to the same show.

The Robinson and Cleaver Art Gallery stages a display of works from Four Ulster Artists in 1936 consisting of paintings from Henry, her sister Marjorie, Theo Gracey and F. H. Hummel. She contributes Green Boat, which she had presented earlier in the year to the Ulster Academy of Arts, and includes Off the Scilly Isles among pictures from Brittany and Bavaria. The reviewer in Belfast’s News Letter refers to her style as “Post-Impressionism.”

In 1937, Henry is elected an Associate of the Ulster Academy of Arts and presents three watercolours to the institution the following year. The exhibition is opened by Oliver St. John Gogarty with participants such as John Luke, Maurice Wilks, James Humbert Craig, Rosamund Praeger and Colin Middleton, who shows three Surrealist works including Angelus.

The Royal Hibernian Academy displays two small works, Flight, 1941 and Lakeside, among an unusually large contingent of Ulster artists in the annual exhibition in the spring of 1942. The Ulster Academy of Arts is united in their commitment to raise funds for the bomb damaged Ulster Hospital for Children and Women in their Spring Exhibition of 1942. Henry displays a sense of humour in her use of black-out paint, roadblocks and air raid shelters in one of the watercolours on show.

Henry is a regular exhibitor with the Water Colour Society of Ireland, and contributes more than one hundred works to their exhibitions between 1943 and 1986.

Henry joins Violet McAdoo in a joint exhibition at the Belfast Museum and Art Gallery in 1944. McAdoo presents with watercolours, however, Henry also presents oils. The paintings are primarily of landscapes but included a number urban scenes.

In 1945, Henry and her sister Margaret join Arthur and George Campbell, Colin Middleton, Gladys and Max Maccabe, Thomas Carr, Maurice Wilks, James McIntyre and others, in the only official exhibition from the Ulster branch of the Artists’ International Association sponsored by the Council for the Encouragement of Music and the Arts (NI) at the Belfast Museum.

The MacGaffin Gallery at Pottinger’s Entry is the venue for a group exhibition of experimental and modernist works with Nevill Johnson, Aaron McAfee and the MacCabes in 1946, where Henry exhibits seven paintings. Quayside is one of three pictures that she presents at the Ulster Academy in 1946. She also shows it with the Water Colour Society of Ireland in the following year and at CEMA’s Some Ulster Paintings exhibition in that same year.

In 1946, the Council for the Encouragement of Music and Art (CEMA) purchases a painting by Henry, in addition to works by other contemporary Ulster artists. Twenty-four of the works from the CEMA collection, including her painting, are later presented at their Donegall Place gallery in 1954.

Henry debuts at the 1948 Irish Exhibition of Living Art with one painting and returns in each of the subsequent ten years with a total of 20 paintings. She is also elected as an Honorary Academician of the Ulster Academy of Arts in 1948.

Henry displays one work, Harbour, Northern Ireland, with Violet McAdoo at the 88th exhibition of the Society of Women Artists at the Royal Institute Galleries in London during the summer of 1949. Just a few months later her work is back in London for the United Society of Artists annual exhibition where she shows Gossip and Shell and Sail.

Henry is awarded a travel scholarship from the Soroptomists of Belgium in 1957, which enables her to study stained glass in the country. She is the President of Soroptomist Club of Belfast from 1960 to 1961, where she had been a member since its foundation in 1932.

Upon her return from Belgium, CEMA stages a solo exhibition with thirty-five of Henry’s oils and watercolours at their Belfast gallery. The exhibition is arranged at short notice when another is unexpectedly cancelled. Writer Nesca Robb opens the exhibition where it is claimed a new painting technique, “monopainting,” is revealed, described as paint drawn through a gauze over glass. The exhibition includes a ‘Breton’ series, Kerry Tangle, Ship Pattern, Barrack Shapes, Lough Shapes, and Backs. In addition, she displays In the Park, an oil previously seen at the Royal Ulster Academy in 1955 and at the Irish Exhibition of Living Art in 1956, and a second oil, City Lunch Hour, exhibited at the Royal Ulster Academy in 1956.

The Ulster Society of Women Artists is founded in 1957 by Gladys Maccabe with the support of Henry and a number of others at a time when no arts societies are accepting female artists into their ranks. The main objective is to ensure the development of quality art and women artists in Ulster. The organisation begins with ten invited artists. Henry exhibits with the society throughout her life.

Henry receives a mention in the local press referring to her exhibits in the Royal Ulster Academy show of 1959 with Kenneth Jamison comparing her work with that of Deborah Brown, “Olive Henry is more decadent by instinct, a fine formaliser. Her pictures Man and Ropes and Riviera Port, well defined and carefully abstracted, contrast in form with Deborah Brown’s freer Oil Over Tempra,[sic] 1959.”

A group exhibition in 1964 at the New Gallery in Belfast includes work from Henry alongside Neil Shawcross, Max Maccabe, Kathleen Bell, Richard Croft and Helen Ross. Among other works she shows Easter and Long Garden.

In 1965, Henry joins twelve Ulster artists including Alice Berger-Hammerschlag, Basil Blackshaw, Colin Middleton, Romeo Toogood, and Mercy Hunter in a diverse exhibition of landscape paintings at the Arts Council of Northern Ireland gallery. In the same year, she completes a commission from the Sullivan Association of Former Pupils to design a window for Sullivan Upper School in Holywood, County Down.

In 1981, the Ulster Society of Womens Artists elects Henry as President. A retrospective of her studio works is hosted by the Shambles Gallery in Hillsborough, County Down in 1986, some thirty years since her last solo exhibition. Henry shows at the Royal Ulster Academy Annual Exhibition in 1987 for the last time.

Henry dies on November 8, 1989, at Crawfordsburn, County Down. Her paintings are held in the collections of the Northern Ireland Civil Service, Ulster Museum, Irish Linen Centre & Lisburn Museum, and the Royal Ulster Academy of Arts Diploma Collection.

(Pictured: “The Gardener,” watercolour by Olive Henry)


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The Bayardo Bar Attack

bayardo-bar-attack

The Bayardo Bar attack takes place on August 13, 1975, in Belfast as a unit of the Provisional Irish Republican Army (IRA), led by Brendan McFarlane, launch a bombing and shooting attack on a pub on Aberdeen Street, in the loyalist Shankill Road area of the city.

By 1975, the conflict in Northern Ireland known as “the Troubles” is more than six years old. On February 10, 1975, the Provisional IRA and the British government enter into a truce and restart negotiations. There is a rise in sectarian killings during the truce, which ‘officially’ lasts until early 1976. The truce, however, is interrupted in the early hours of July 31, 1975, by the Miami Showband killings at Buskhill outside Newry, County Down.

Two weeks later, on August 13, 1975, the Bayardo Bar is crowded with people of all ages. Shortly before closing time a stolen green Audi automobile, containing a three-man unit of the IRA’s Belfast Brigade, pulls up outside. It is driven by the unit’s leader Brendan “Bik” McFarlane, a 24-year-old volunteer from Ardoyne. Volunteers Seamus Clarke and Peter “Skeet” Hamilton get out and approach the pub’s side entrance on Aberdeen Street. One of them immediately opens fire with an ArmaLite, instantly killing doorman William Gracey and his brother-in-law Samuel Gunning, with whom he had been chatting outside. The other volunteer then enters the pub, where patrons are drinking and singing, and drops a duffel bag containing a ten-pound bomb at the entrance. Both men make their getaway back to the waiting car. As panicked customers run to the toilets for safety, the bomb explodes and brings down a section of the old brick-and-plaster building upon them. The bodies of civilian Joanne McDowell and UVF member Hugh Harris are later found beneath the rubble of fallen masonry. Seventeen-year-old civilian Linda Boyle is pulled out alive but dies of her injuries at the hospital on August 21. Over 50 people are injured in the attack.

A Belfast Telegraph article later claims that, as the IRA unit drives away down Agnes Street, they fire into a crowd of women and children queuing at a taxi rank although there are no fatalities. Within 20 minutes of the blast, the IRA unit is arrested after their car is stopped at a roadblock. The ArmaLite that had been used to kill Gracey and Gunning is found inside the car along with spent bullet casings and fingerprints belonging to the three IRA men.

The IRA does not initially claim responsibility, however, IRA members later state that the Bayardo was attacked because it was a pub where Ulster Volunteer Force (UVF) members met and planned terrorist assaults against nationalists. The pub is in the UVF-dominated middle Shankill Road area, and the Ulster Banner is displayed from its upper windows. A former IRA prisoner claims that fellow inmate Lenny Murphy told him he had left the Bayardo ten minutes before the attack and that the Brigade Staff had just finished holding a meeting there.

Loyalists, especially the UVF, respond with another wave of sectarian attacks against Catholics. Two days after the pub attack, a loyalist car bomb explodes without warning on the Falls Road, injuring 35 people. On 22 August, the UVF launches a gun and bomb attack on McGleenan’s Bar in Armagh. The attack is strikingly similar to that at Bayardo. One gunman opens fire while another plants the bomb, the explosion causing the building to collapse. Three Catholic civilians are killed and several more are wounded. That same night, another bomb wrecks a Catholic-owned pub in nearby Blackwatertown, although there are no injuries.

In May 1976, Brendan McFarlane, Seamus Clarke, and Peter Hamilton are convicted in a non-jury Diplock court and sentenced to life imprisonment inside the HM Prison Maze for carrying out the Bayardo murders. In 1983 McFarlane leads the Maze Prison escape, a mass break-out of 38 republican prisoners, including Clarke and Hamilton.


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The Ballysillan Postal Depot Shootings

ballysillan-road-shooting

The British Army shoot dead three Provisional Irish Republican Army (PIRA) volunteers and a passing Ulster Volunteer Force (UVF) volunteer at a postal depot on Ballysillan Road, Belfast on June 21, 1978. It is claimed that the PIRA volunteers are about to launch a bomb attack.

William Hanna is walking home with friend David Graham shortly after midnight. He is killed instantly when shooting breaks out between the British army and IRA gunmen. The three other men who die, William Mailey, Dennis Brown and James Mulvenna, are all members of the Provisional IRA.

It is believed the IRA men are challenged as they walk into a trap set up following recent bomb attacks at post office depots. Four petrol bombs are found by the army after the shootings. Three of the bombs are defused while the other is safely detonated.

Local residents, who say more and more soldiers have been seen around the premises in recent weeks, are moved out during the hour-long shooting in which more than 200 rounds are fired.

The Provisional IRA claims its men were not armed. The army does not find any weapons at the scene, but reports suggest accomplices carrying guns may have escaped.

Graham, who is not hurt, describes how shooting broke out when he and Hanna are halfway down the lane by the depot, “We hit the ground. The two of us rolled into the bushes and lay there.”

Roadblocks are immediately set up and a man is shot in the arm when he fails to stop. Police ultimately determine he is not connected with the post office attack.


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The Killings at Coolacrease

The killings at Coolacrease is an incident that takes place in County Offaly on June 30, 1921 during the Irish War of Independence.

In June 1921 the Kinnitty Company of the South Offaly No. 2 Brigade Irish Republican Army (IRA) is ordered to construct a roadblock in the rural area of Coolacrease near Cadamstown as part of county-wide military manoeuvres. The roadblock is located at the boundary of land owned by loyalist farmer William Pearson. At around midnight some of the Pearsons are said to have come to the roadblock and fire a shot or shots as a warning to rebels who are damaging their property. A brief gun battle ensues and a man is injured on each side.

Following official investigation into the identity of the men who attacked the roadblock, Thomas Burke, the IRA Officer Commanding South Offaly No. 2 Brigade, orders that the three brothers Richard, Abraham, and Sidney Pearson are to be executed and their houses destroyed.

On June 30, 1921, about a week after the roadblock shootings, a party of about thirty IRA men arrest Richard and Abraham Pearson. They are taken to their house and held under guard there with their mother, three sisters, younger brother, and two female cousins while the house is prepared to be burned. Their father, William Pearson, and brother Sidney are away from home at the time. The brothers Richard and Abraham Pearson are shot by a firing squad of about ten men, and the house is burned. Richard and Abraham Pearson die after six hours and fourteen hours, respectively.

The medical reports declare that the death of Richard Pearson is due to haemorrhage and shock caused by gunshot wounds to the left shoulder, right groin, right buttock, left lower leg and to the back with the most serious being the wound to the right groin. In the case of Abraham Pearson, death is declared to be the result of shock from gunshot wounds to the left cheek, left shoulder, left thigh, lower third of left leg and through the abdomen.