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Death of Andrew O’Connor, American Irish Sculptor

Andrew O’Connor, American Irish sculptor whose work is represented in museums in the United States, Ireland, Britain and France, dies in Dublin on June 9, 1941.

O’Connor is born on June 7, 1874, at Worcester, Massachusetts, the eldest of three sons and two daughters of Andrew O’Connor, a stonecutter from Lanarkshire, Scotland, who becomes a professional sculptor, and Marie Anne O’Connor (née McFadden), of County Antrim. Educated in Worcester public schools, at the age of 14 he becomes apprenticed to his father, helping him to design monuments for cemeteries. He is employed in the early 1890s on sculptural work for the World’s Columbian Exposition (Chicago World’s Fair), being active in the studio of William Ordway Partridge, and assisting Daniel Chester French on his colossal Statue of the Republic, a landmark of the 1893 Columbian exposition.

Moving to London (1894–98), O’Connor works on bas-reliefs in the studio of the painter John Singer Sargent, who uses him as a model for his mural Frieze of Prophets for the Boston Public Library. His first independent work, Sea Dreams, a relief of a head, is exhibited at the Royal Academy of Arts in 1896. Returning to the United States (1898–1903), he becomes a studio assistant of French, through whom he receives his first public commission, for the Vanderbilt Memorial Doors for St. Bartholomew’s Episcopal Church, Manhattan, New York, a project completed in 1902 to wide critical acclaim. He also executes the tympanum and lateral friezes.

Around 1900, O’Connor marries an artist’s model named Nora, by whom he has a daughter. In 1902, he hires as studio model Jessie Phoebe Brown from New Jersey and of County Down parentage. The following year he elopes with her to Paris, where they marry and have four sons, the youngest of whom, Patrick O’Connor, becomes an artist and gallery curator. Jessie continues for many years as his primary model, sitting for the heads of both female and male figures, O’Connor coarsening the features for the latter.

During his years in Paris (1903–14), O’Connor is influenced by the work of Auguste Rodin, whom he befriends. Among his pupils in Paris is the American sculptor and heiress Gloria Vanderbilt Whitney. He continues to fulfil numerous commissions for funerary and public monuments in the United States, an example of the former being the Recuillement in Sleepy Hollow Cemetery, near Tarrytown, New York. From 1906 he exhibits annually at the Salon in Paris, where he is the first foreigner to win a second-class medal, for his bronze statue of Gen. Henry Lawton. Included in his only exhibition at the Royal Hibernian Academy (1907) is a bronze relief of the prophet Nehemiah adapted from a panel of the Vanderbilt doors. The relief is subsequently included in his one-man show at the Galerie Hébrard, Paris in 1909.

In 1909, O’Connor wins a competition open to sculptors of Irish descent to execute a monument to Commodore John Barry, the County Wexford-born “father of the American navy,” for Washington, D.C. His design includes a frieze depicting events in Irish history, flanked by a group of three nude Irish emigrants entitled Exile from Ireland, and another group representing the Genius of Ireland, which includes a female figure of the “Motherland.” Probably owing to opposition from the Barry family to the depiction of their ancestor as a rough-and-ready sailor, the commission is not completed. His marble statue of Gen. Lew Wallace (author of Ben-Hur: A Tale of the Christ), a plaster of which is exhibited at the Salon in Paris in 1909, is placed by the state of Indiana in the National Statuary Hall in the United States Capitol, Washington, D.C. Another marble, Peace by Justice, is commissioned as a gift from the United States to the Peace Palace in The Hague in 1913.

O’Connor returns with his family to the United States on the outbreak of World War I, and sets up a studio in Paxton, Massachusetts. In 1918, his standing statue of the youthful Abraham Lincoln is placed outside the Illinois State Capitol at Springfield, Illinois. He later presents a marble head of Lincoln to the American ambassador’s residence, Phoenix Park, Dublin. His memorial in Chicago to President Theodore Roosevelt (1919) is commissioned as a tribute to Roosevelt’s associations with the Boy Scouts of America. The design of four standing scouts, modelled on O’Connor’s sons, is exhibited at the Philadelphia Art Alliance in 1920. He becomes an associate of the National Academy of Design, New York in 1919. In the early 1920s he executes an equestrian statue of the Marquis de Lafayette for South Park, at Mount Vernon, Baltimore, Maryland.

Returning to Paris in the mid-1920s, O’Connor becomes the first foreigner to win a gold medal at the Salon des Artistes in 1928, for the marble sculpture Tristan and Iseult, now held in the Brooklyn Museum, New York. The French government makes him a Chevalier of the National Order of the Legion of Honour in 1929. In 1926 he had exhibited a plaster group, Monument aux morts de la Grande Guerre, at the Salon in Paris. The sculpture is requested in 1932 by the people of Dún Laoghaire, County Dublin, as a memorial to Christ the King, O’Connor obligingly altering the interpretation of his iconography. Imposed on a “Tree of life” are three figures of Christ, representing in turn “Desolation,” “Consolation” and “Triumph.” Cast in bronze, throughout World War II the statue remains hidden in Paris to avoid its being melted down for the valuable metal. Transported to Dún Laoghaire in 1949, due to clerical opposition to its unconventional iconography, it is not at first erected, but for years lay on its side in a garden in Rochestown Avenue until its eventual unveiling in 1978 as Triple Cross in Haigh Terrace, where it stands in Moran Park. His other chief work in Ireland is a bronze statue of Daniel O’Connell in the Bank of Ireland, College Green, Dublin. Inspired by Rodin’s famous Monument to Balzac, the work is executed at his studio in a converted stable at Leixlip Castle, County Kildare in 1931–32.

During the 1930s, O’Connor lives and works in London and Ireland, where he has residences at Glencullen House, County Wicklow, and 77 Merrion Square, Dublin. He dies at the latter address on June 9, 1941, and is buried in Glasnevin Cemetery. His own bronze relief, Le feu sacré, marks the grave. A portrait painting, executed by his son Patrick in 1940, is in Dublin City Gallery The Hugh Lane, which also holds twenty-six sculptures presented by O’Connor late in his life, and posthumously by his family. The collection includes a marble self-portrait bust of 1940, a bronze of the Lafayette cast by the gallery in 1984 from a reduced plaster model presented by the artist, and a bronze group entitled The Victim, on view in Merrion Square Park, from an uncommissioned and uncompleted war memorial conceived by O’Connor under the general title Le Débarquement. The National Gallery of Ireland has the Desolation maquette for the Triple Cross. A centenary exhibition of his work is held at Trinity College Dublin in 1974. His widow dies in Dublin in 1974.

(From: “O’Connor, Andrew” by Lawrence William White and Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Evie Hone, Painter & Stained Glass Artist

Eva Sydney Hone RHA, Irish painter and stained glass artist usually known as Evie, is born at Roebuck Grove, County Dublin, on April 22, 1894. She is considered to be an early pioneer of cubism, although her best known works are stained glass. Her most notable pieces are the East Window in the Chapel at Eton College, which depicts the Crucifixion, and My Four Green Fields, which is now in the Government Buildings in Dublin.

Hone is the youngest daughter of Joseph Hone, of the Hone family, and Eva Eleanor (née Robinson), daughter of Sir Henry Robinson and granddaughter of Arthur Annesley, 10th Viscount Valentia. Her mother dies two days after her birth. She is related to artists Nathaniel Hone and Nathaniel Hone the Younger.

Shortly before her twelfth birthday, Hone suffers from polio (infant paralysis), suffering a fall while helping to decorate the Taney parish church for Easter. Her resulting ill health leads to her seeking treatment in Harley Street, Marylebone, Central London. She is educated by a governess, continuing her education in Switzerland, and goes on tours to Spain and Italy before moving to London in 1913. Her three sisters all marry British Army officers, and all are widowed in World War I.

Hone studies at the Byam Shaw School of Art in London and then under Bernard Meninsky at the Central School of Arts and Crafts. She meets Mainie Jellett when both are studying under Walter Sickert at the Westminster Technical Institute. She works under André Lhote and Albert Gleizes in Paris before returning to become influential in the modern movement in Ireland and becoming one of the founders of the Irish Exhibition of Living Art. She is considered an early pioneer of Cubism but in the 1930s turns to stained glass, which she studies with Wilhelmina Geddes.

Hone is extremely devout. She spends time in an Anglican Convent in 1925 at Truro in Cornwall and converts to Catholicism in 1937. This possibly influences her decision to begin working in stained glass. Initially, she works as a member of the An Túr Gloine stained glass co-operative before setting up a studio of her own in Rathfarnham.

Hone’s most important works are probably the East Window, depicting the Crucifixion, for the Chapel at Eton College, Windsor (1949–1952) and My Four Green Fields, now located in Government Buildings, Dublin. This latter work, commissioned for the Irish Government’s Pavilion, wins first prize for stained glass in the 1939 New York World’s Fair. It graces CIÉ‘s Head Office in O’Connell Street from 1960 to about 1983. The East Window of Eton College is commissioned following the destruction of the building after a bomb is dropped in 1940 on the school during World War II. She is commissioned to design the East Window in 1949, and the new window is inserted in 1952. This work is featured on an Irish postage stamp in 1969. From December 2005 to June 2006, an exhibition of her work is on display at the National Gallery of Ireland. Saint Mary’s church in Clonsilla also features her stained glass windows.

Despite ill health, Hone continues to produce a huge number of small stained glass panels as well as oils, watercolours, and gouache landscapes. In 1953, she is represented at the Contemporary Irish Art exhibition at Aberystwyth, Wales, and at the Tate gallery in London, receiving as well an honorary LLD from Trinity College Dublin (TCD). In 1954, she is elected an honorary member of the Royal Hibernian Academy (RHA).

Unmarried, Hone dies on March 13, 1955, while entering her parish church at Rathfarnham. She is survived by two of her sisters. Over 20,000 people visit a memorial exhibition of her work at University College Dublin (UCD), Earlsfort Terrace, Dublin, in 1958.

(Pictured: Portrait of Evie Hone by Hilda van Stockum)


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Death of Arthur Armstrong, Northern Irish Painter

Arthur Armstrong, painter who often works in a Cubist style and produces landscape and still life works, dies in Dublin on January 13, 1996.

Armstrong is born on January 12, 1924, at Carrickfergus, County Antrim, Northern Ireland, one of three sons among six children of James Charlton Armstrong, housepainter and decorator, and his wife Margaret (née Howard). Soon after his birth the family moves to Belfast. He attends Strandtown Primary School. He attends Queen’s University Belfast (QUB) in the early 1940s, where he initially studies political science and later architecture. Having an interest in art, which had been fostered by his father, he takes classes for a short time in the early 1940s at the Belfast School of Art. It is there he meets Gerard Dillon, who introduces him to George Campbell and Daniel O’Neill. He is largely self-taught as an artist. It is his close association with Dillon and Campbell, both some years his senior, that proves to be the most important factor in his development. In Belfast in the early 1940s they associate with the Russian artist Daniel Nietzche, who emphasises to them the importance of personal expression.

After leaving university Armstrong works at the Belfast Gas Office. At this point he is the main support for his widowed mother. Having saved some money, he leaves his job in 1946 to attempt to fulfil his ambition to paint full-time, producing a set of etchings with George Campbell, which are published by Walsh Studios. The following year he takes work as a designer for Ulster Laces in Portadown, County Armagh. In 1957, he leaves for London in the hopes of finding greater opportunities as an artist. His friends Campbell and Dillon are already living there, and he takes lodgings with Dillon’s sister at Abbey Road, north London. Though he continues to paint, he is unable to earn a living and so again has to take other work, this time in a Labour Exchange office. However, he is beginning to gain recognition. In 1957, he is awarded a traveling scholarship by the Council for the Encouragement of Music and the Arts (CEMA), which enables him to travel to Spain. He continues to visit Spain throughout the 1960s, often to see Campbell, who spends much time there.

In 1961 he has his first solo exhibition at the CEMA gallery in Belfast. He comes to live in Dublin in 1962, his work having already been exhibited there at the Irish Exhibition of Living Art in 1957 and 1958. He continues to exhibit there annually from 1961 to 1965. During the 1960s and early 1970s his work is regularly included in the Oireachtas exhibition, at which he is awarded the Douglas Hyde Gold Medal in 1968. He also shows his work with the Ritchie Hendriks Gallery and the Tom Caldwell Gallery in Dublin. Ultimately, he is to have over seventy solo exhibitions throughout his career. By 1969, when he is elected an associate member of the Royal Hibernian Academy (RHA), he has established himself as one of the leading landscape painters in Ireland. In 1972 he becomes a full member of the RHA. He exhibits there regularly until 1977.

It is during this period that some of Armstrong’s best work is produced. While landscape is his predominant theme, he never sees himself as a painter of particular views, rather he responds to the abstract qualities of a scene. He sees elements such as the sea, rocks or sky as a series of interlocking textures to be rendered expressively in oil paint. The western coastline of Ireland is a vital source of inspiration for him. Roundstone, County Galway, is a favoured base for painting trips in the company of Dillon and Campbell, who by this time are also living in Dublin.

In 1981, a retrospective exhibition of Armstrong’s work is organised by the Arts Council of Northern Ireland. He is represented in many major public and corporate collections in Ireland. From 1971 he lives at 28 Chelmsford Avenue, Ranelagh, Dublin, in a house he shares with Gerard Dillon.

Armstrong dies unmarried on January 13, 1996, in Dublin. The contents of his studio are sold on February 3, 1998.

(From: “Armstrong, Arthur” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, October 2009, revised November 2013 | Pictured: “Near Ballyhubbock,” oil on board by Arthur Armstrong RHA)


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Death of Margaret Clarke, Portrait Painter

Margaret Clarke RHA (née Crilley), Irish portrait painter, dies in Dublin on October 31, 1961.

Crilley is born in Newry, County Down, (present-day Northern Ireland), on August 1, 1884, one of six children of Patrick Crilley. Her date of birth is often given as July 29, 1888, though local records do not support this, suggesting she is born four years earlier. Having initially trained at Newry technical school with her sister Mary, intending to become a teacher, in 1905, she wins a scholarship to attend the Dublin Metropolitan School of Art. There she studies under William Orpen, who regards her as one of his most promising students. She completes her studies in 1911 attaining an Art Teacher’s Certificate and begins working as Orpen’s assistant.

In 1914, Crilley marries her fellow student Harry Clarke, much to the surprise of their family and acquaintances. The couple moves into a flat at 33 North Frederick Street. They have three children, Michael, David and Ann. Harry’s brother, Walter, marries Margaret’s sister, Mary, in 1915.

Clarke first exhibits with the Royal Hibernian Academy in 1913 and goes on to exhibit over 60 artworks in the forty years until 1953, the majority being portraits. Among the portrait commissions she receives are ones for Dermod O’Brien, President Éamon de Valera, Archbishop John Charles McQuaid, and Lennox Robinson. She spends a great deal of time on the Aran Islands with fellow artist Seán Keating and her husband, from which she produces a number of landscapes and smaller studies.

Clarke becomes the director of the Harry Clarke Stained Glass Studios following the death of her husband in 1931.

A critic notes in 1939 that Clarke produces “remarkable drawings in which individuality is caught in a few swift economical lines.” Over her lifetime she wins many awards including the Tailteann gold, silver and bronze medals in 1924, and another Tailteann bronze in both 1928 and 1932. She is elected an Associate of the Royal Hibernian Academy (ARHA) in 1926, and a full RHA member in 1927. Upon the founding of the Irish Exhibition of Living Art in 1943, she is appointed a member of the executive committee.

Clarke dies in Dublin on 31 October 31, 1961, and is buried in the Redford Cemetery, Greystones, County Wicklow. She is commemorated with a blue plaque at her birthplace in Newry.

Clarke’s work can be found in the collections of the National Gallery of Ireland, the Hugh Lane Gallery, the Crawford Art Gallery, the Ulster Museum, Limerick City Gallery of Art, The National Self-Portrait Collection of Ireland, and the Pontifical Irish College in Rome.

The exhibition at National Gallery of Ireland in 2017 reevaluates Margaret Clarke’s great artistic reputation.

(Pictured: “Self-portrait,” 1914, by Margaret Clarke, © Artist’s Estate)


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Birth of John Hogan, the “Greatest of Irish Sculptors”

Irish sculptor John Hogan, described in some sources as the “greatest of Irish sculptors,” is born in Tallow, County Waterford, on October 14, 1800. According to the Dictionary of Irish Biography he is responsible for “much of the most significant religious sculpture in Ireland” during the 19th century. Working primarily from Rome, among his best-known works are three versions of The Dead Christ, commissioned for churches in Dublin, Cork, and the Basilica of St. John the Baptist in St. John’s, Newfoundland and Labrador, Canada.

Hogan is the third child of John Hogan, a carpenter and builder of Cove Street, Cork, County Cork, and Frances Cos, the great-granddaughter of Sir Richard Cox, Lord Chancellor of Ireland from 1703 to 1707. As the family feels that she had married beneath her station, she is disinherited.

At the age of fourteen, Hogan is placed as clerk to an attorney, where he spends much of his time carving figures in wood. After two years, he chooses to be apprenticed to the architect Sir Thomas Deane, where his talents for drawing and carving are developed. He carves balusters, capitals, and ornamental figures for Deane’s buildings. At the completion of his apprenticeship in March 1820, Deane encourages him to consider taking up sculpture as a profession. For the next three years, he attends lectures on anatomy, copies casts of classic statuary in the Gallery of the Cork Society of Arts, and makes anatomical studies in wood of feet, hands, and legs. Among the first of his works to attract notice is a life-size figure of Minerva for an insurance building built by Deane.

In 1821, Hogan carves twenty-seven statues in wood for the North Chapel in Cork for the reredos behind the high altar. After subsequent cathedral renovations, these are now positioned in decorative plasterwork over the nave. He also does a bas-relief of the “Last Supper” for the altar. This work keeps him employed for about a year.

In 1823, the engraver William Paulet Carey visits Cork, and impressed with Hogan’s talent, begins to publicise his work in order to raise subscriptions for him to study in Italy. Hogan arrives in Rome, by way of Dublin and Liverpool, in 1824. He works in the galleries of the Vatican but cannot afford a studio. Additional subscriptions allow him to improve his situation, rent a studio, purchase marble, and hire models. Danish sculptor Bertel Thorvaldsen says to him, “My son, you are the best sculptor I leave after me in Rome.”

In 1829, Hogan visits Ireland, bringing several works with him. The Royal Arts Society provides a venue for an exhibition. The Royal Dublin Society awards him a gold medal.

Hogan’s best-known work and masterpiece are the three versions of the statue of The Dead Christ or The Redeemer in Death. Created in flawless Carrara marble, the first version (1829) is located in St. Therese’s Church, Dublin, the second (1833) in St. Finbarr’s (South) Church, Cork, and the third and final version (1854) is located in the Basilica of St. John the Baptist, Newfoundland. His other works include the Sleeping Shepherd and The Drunken Faun. He assures his international reputation in 1829 with The Dead Christ. Thereafter, his creations are snapped up by Irish bishops visiting his Rome studio.

In 1837 Hogan is elected a member of the Virtuosi del Pantheon. During the next several years, he has several works in hand, including a marble statue of Daniel O Connell, for the Repeal Association. The statue stands today at City Hall, Dublin, the same spot where O’Connell gave his first speech against the Acts of Union in 1800.

In 1840, a monumental group in memory of Bishop James Warren Doyle, founder of the Cathedral of the Assumption in Carlow, is brought to Dublin and exhibited at the Royal Exchange. The statue of Bishop Doyle is in the Cathedral of the Assumption, as is a second Hogan work depicting the Holy Family.

Hogan marries Cornelia Bevignani in Rome in 1838. The figure of Hibernia, in Hogan’s work Hibernia with the Bust of Lord Cloncurry (1844), is reportedly modelled on his wife. A representation of this work is later used as the watermark on all Series A banknotes printed in Ireland from the 1920s to the 1970s. The couple has four sons and eight daughters.

With the revolutionary movement growing in Italy during the 1840s, and after spending twenty-four years in Rome, Hogan returns with his family to Ireland in 1848. At first, he finds little work in the aftermath of the Great Famine, but gradually commissions increase. He can be impatient with ignorance, intolerant of professional inferiority, and independent. He holds aloof from other artists and refuses to join the Royal Hibernian Academy.

Hogan has a stroke in 1855 and, though he recovers somewhat, his health begins to fail. By the year prior to his death, he can no longer work and his sons, John Valentine Hogan and James Cahill, assist at his studio and complete some of the work.

Hogan dies at his home at 14 Wentworth Place (later renamed Hogan Place), Dublin, on March 27, 1858. He is buried at Glasnevin Cemetery in Dublin.

(Pictured: Scan of a drawing depicting the Irish sculptor John Hogan with his sculpture The Drunken Faun in background, published in the Dublin University Magazine, January 1850)


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Death of Sculptor Conor Fallon

Irish sculptor Conor Hubert Fallon dies of lung cancer at the Blackrock Clinic, County Dublin, on October 3, 2007.

Fallon is born at Holles Street Hospital, Dublin, on January 30, 1939, the third of six sons of Padraic Fallon, the Irish poet and playwright, and Dorothea Maher. The family moves to Clonard, County Wexford, where he grows up. He has three surviving brothers, Brian, Ivan and Padraic, who have all had journalism careers. His early interest in literature and the arts is nourished by his father and elder brothers, and by contact with the cultured circle of writers, artists, musicians and intellectuals within which his father moves.

Fallon is educated at St. Peter’s College, Wexford, and Trinity College, Dublin. He begins painting in 1957 while at Trinity College, where he is studying natural science but is advised to pay more attention to his art. His interest in painting is probably inspired by the example of Tony O’Malley, a close family friend. As a compromise with his father, who does not see his talent, he also studies accountancy at night.

Largely self-taught in painting, he learns fundamentals of technique from Richard Kingston, to whom he is introduced by O’Malley. He largely paints landscapes in acrylic and gouache, in a manner heavily influenced by that of Jack Butler Yeats.

In 1964, Fallon visits O’Malley in St. Ives, Cornwall, where he had emigrated several years earlier, intending also to meet the Cornish abstract landscape painter Peter Lanyon, the chief creative force in the thriving artists’ colony centred on St. Ives. His arrival, however, coincides with Lanyon’s death from injuries suffered in a gliding accident. A gently sympathetic stranger amid the bereaved artistic community, he finds an immediate empathy and rapport with Nancy Wynne-Jones, a Welsh-born painter sixteen years his senior who had studied under Lanyon. They marry in 1966. They adopt two children in 1970, siblings John and Bridget.

Encouraged to take up sculpture, English sculptor Denis Mitchell becomes Fallon’s mentor in Cornwall, and with Breon O’Casey, he develops his sculpting. He becomes notable for his cast steel and bronze work, especially birds, horses and hares. He has his first solo exhibition in Newlyn in 1972, showing both painting and sculpture.

In May 1972, Fallon moves with his family back to Ireland, settling at Scilly House, on a hillside overlooking the harbour at Kinsale, County Cork. Removed from any centre of artistic activity, he devotes himself fulltime to a solitary development of his sculpture, refining his methodology and technique, and his skills in working various metals, beginning in 1974 to work in steel. In 1975, he first exhibits in Ireland at a solo show at the Emmet Gallery, Dublin, again showing both painting and sculpture, including his first steel sculptures to be exhibited.

Beginning in 1983, Fallon exhibits regularly with the Taylor Galleries, Dublin. Desiring closer proximity to Dublin art activities, and with their children attending university in the city, Fallon and his wife move in 1987 to Ballard House, Ballinaclash, Rathdrum, County Wicklow.

In 1980, Fallon is awarded the Oireachtas gold medal for sculpture. He becomes an honorary associate of the National College of Art and Design in 1993. He is secretary of the Royal Hibernian Academy, becoming a full member in 1989, and on the board of the National Gallery of Ireland. He is also elected to Aosdána in 1984.

In the summer of 2007, some six months after his wife’s death, Fallon wis diagnosed with advanced metastatic lung cancer. He dies on October 3, 2007, at the Blackrock Clinic, County Dublin, and is buried beside his wife in Ballinatone churchyard, Greenan, Rathdrum, County Wicklow.


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Birth of Patrick Hennessy, Irish Realist Painter

Patrick Anthony Hennessy RHA, 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.

Examples of Hennessy’s work can be found in the public collections of the Crawford Art Gallery, the Dublin City Gallery The Hugh Lane, the Irish Museum of Modern Art (IMMA), the Limerick City Gallery of Art (LCGA), the National Gallery of Ireland (NGI), the National Self-Portrait Collection of Ireland (NSPCI) at the University of Limerick (UL), and in the collections of University College Cork (UCC) and University College Dublin (UCD).


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Birth of Cecil Ffrench Salkeld, Painter, Critic & Writer

Cecil Ffrench Salkeld, Irish painter, printmaker, critic and writer, is born in Assam, India on July 9, 1904.

Salkeld’s parents are Henry Lyde Salkeld, a member of the Indian Civil Service (ICS), and Blanaid Salkeld (née Mullen), a poet. He returns to Ireland with his mother in 1910 following the death of his father in 1909. He attends Mount St. Benedict’s, Gorey, County Wexford, and the Dragon School in Oxford, England. He wins a scholarship to Oundle School in Oundle, North Northhamptonshire, but returns to Dublin where he enters the Dublin Metropolitan School of Art in 1919 to study under Seán Keating and James Sleator. He marries Irma Taesler in Germany in 1922. They have two daughters, Celia and Beatrice. The latter marries Brendan Behan in 1954.

Salkeld works in tempera and oil, as well as etching and wood engraving. In 1921 he travels to Germany to study under Ewald Dulberg at the Kassell Kunstschule. He attends the Union of Progressive International Artists in Düsseldorf in May 1922, and is exhibited at the Internationale Kunstausstellung. Upon his return to Dublin in 1924, he holds his first solo exhibition in the Society of Dublin Painters gallery. He becomes a member of the Dublin Painters in 1927. With Francis Stuart, he co-edits the first two issues of To-morrow in 1924. His studio is in a converted labourer’s cottage at Glencree, County Wicklow. He also exhibits with the New Irish Salon and the Radical Painters’ Group.

Salkeld wins the 1926 Royal Dublin Society‘s Taylor scholarship, and has his first exhibited work with the Royal Hibernian Academy (RHA) in 1929. He lives in Berlin for a year in 1932. He exhibits in Daniel Egan’s Gallery in Dublin in 1935. He has a wide circle of literary friends, including Samuel Beckett and Flann O’Brien. In O’Brien’s At Swim-Two-Birds, the character of Michael Byrne is designed for Salkeld, reflecting his debilitating alcoholism. He also teaches at the Dublin Metropolitan School of Art, teaching artists such as Reginald Gray.

From 1937 to 1946 Salkeld runs a private press called Gayfield Press. This is co-founded with his mother, and operates from a garden shed at their home, 43 Morehampton Road. The press is a small Adana wooden hand press. He illustrates her 1938 The Engine Left Running, as well as Ewart Milne‘s Forty North Fifty West (1938) and Liam O’Flaherty‘s Red Barbara and Other Stories (1928). In 1951, he loans the press to Liam and Josephine Miller to found the Dolmen Press.

Salkeld’s most famous public work is his 1942 three-part mural in Davy Byrne’s pub. He is a co-founder of the Irish National Ballet School in the 1940s in his capacity as a pianist. In 1946 he is appointed an associate member of the RHA. In 1953 his play Berlin Dusk is staged at 37 Theatre Club, Dublin. During the 1950s he is a broadcaster with Radio Éireann as well as a director of cultural events for An Tóstal. He dies on May 11, 1969, in St. Laurence’s Hospital, Dublin.

The National Gallery of Ireland holds a portrait by Salkeld of his daughter, Celia.

(Pictured: “Figures In Moonlight” by Cecil Ffrench Salkeld, oil on canvas)


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Birth of Kathleen Cox, Artist, Sculptor & Mystic

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.


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Death of Daniel Murray, Roman Catholic Archbishop of Dublin

Daniel Murray, Roman Catholic Archbishop of Dublin, dies in Dublin on February 26, 1852.

Murray is born on April 18, 1768, at Sheepwalk, near Arklow, County Wicklow, the son of Thomas and Judith Murray, who are farmers. At the age of eight he goes to Thomas Betagh‘s school at Saul’s Court, near Christ Church Cathedral, Dublin. At sixteen, Archbishop John Carpenter sends him to the Irish College at Salamanca, completing his studies at the University of Salamanca. He is ordained priest in 1792 at the age of twenty-four.

After some years as curate at St. Paul’s Church, Dublin, Murray is transferred to Arklow and is there in 1798 when the rebellion breaks out. The yeomanry shoots the parish priest in bed and Murray, to escape a similar fate, flees to the city where for two years he serves as curate at St. Andrew’s Chapel on Hawkins Street. As a preacher, he is said to be particularly effective, especially in appeals for charitable causes, such as the schools. He is then assigned to the Chapel of St. Mary in Upper Liffey Street where Archbishop John Troy is the parish priest.

In 1809, at the request of Archbishop Troy, Murray is appointed coadjutor bishop and consecrated on November 30, 1809. In 1811 he is made Administrator of St. Andrew’s. That same year he helps Mary Aikenhead establish the Religious Sisters of Charity. While coadjutor he fills for one year the position of president of St. Patrick’s College, Maynooth.

Murray is an uncompromising opponent of a proposal granting the British government a “veto” over Catholic ecclesiastical appointments in Ireland, and in 1814 and 1815, makes two separate trips to Rome concerning the controversy.

Murray becomes Archbishop of Dublin in 1825 and on November 14, 1825, celebrates the completion of St. Mary’s Pro-Cathedral. He enjoys the confidence of successive popes and is held in high respect by the British government. His life is mainly devoted to ecclesiastical affairs, the establishment and organisation of religious associations for the education and relief of the poor. With the outbreak of cholera in the 1830s, in 1834 he and Mother Aikenhead found St. Vincent’s Hospital. He persuades Edmund Rice to send members of the Christian Brothers to Dublin to start a school for boys. The first is opened in a lumber yard on the city-quay. He assists Catherine McAuley in founding the Sisters of Mercy, and in 1831 professes the first three members.

Edward Bouverie Pusey has an interview with Murray in 1841, and bears testimony to his moderation, and John Henry Newman has some correspondence with him prior to Newman’s conversion from the Anglican Church to the Roman Catholic Church in 1845. A seat in the privy council at Dublin, officially offered to him in 1846, is not accepted. He takes part in the synod of the Roman Catholic clergy at Thurles in 1850.

Towards the end of his life, Murray’s eyesight is impaired, and he reads and writes with difficulty. Among his last priestly functions is a funeral service for Richard Lalor Sheil who had died in Italy, and whose body had been brought back to Ireland for burial. Murray dies in Dublin on February 26, 1852, at the age of eighty-four. He is interred in the St. Mary’s Pro-Cathedral, Dublin, where a marble statue of him has been erected in connection with a monument to his memory, executed by James Farrell, president of the Royal Hibernian Academy of Fine Arts.

(Pictured: Portrait of Daniel Murray, Archbishop of Dublin, by unknown 19th century Irish portrait painter)