Marrinan becomes ill with infantile paralysis at the age of five, and as a result is tutored privately. He has no formal training in art but is largely influenced by his reading matter, particularly the American comic strips of Bud Fisher. The variety of facial expressions that Fisher can achieve, with only a pencil, intrigues and inspires him. Likewise, the images evoked by Celtic mythology and religious art also contributes to his visual language, and many hours are spent in the Belfast Museum and Art Gallery studying the paintings in their collection.
Marrinan exhibits with the Ulster Academy of Arts from an address at 524 Donegall Road, Belfast, entering “The Wee Gate, Earl Street, Belfast” (1931) and “The Painter’s Father” and the “Apache” (1934), which is judged “picture of the year.” He last exhibits with a landscape, “Connemara,” along with four other works in 1949.
Marrinan paints and sketches portraits of many notable Irish figures, among which is the charcoal drawing of northern Fenian Robert Johnston (1934; National Gallery of Ireland) and a sketch of the Donegal storyteller Niall Duffy (University College Dublin). His literary portraits include one of Brian Friel. He holds a one-man show in 1951 at 55a Donegall Place, Belfast, where he exhibits a bust of John McLaverty. He takes an interest in sculpture although painting and drawing remain his preferred form of expression. Important commissions are for a memorial portrait (completed 1952) of Éamonn Ceannt for Ceannt Barracks officers’ mess, Curragh Camp, County Kildare, and for a portrait of Vice-brigadier Peadar Clancy for Clancy Barracks, Dublin. He paints two memorial portraits of PresidentJohn F. Kennedy, one of which is in the Irish Club, London.
Marrinan is an honorary member of the Royal Ulster Academy and exhibits with them every year from 1950 onward, showing a portrait of Mrs. Padraig Marrinan in 1967 (no other details of his marriage are known). He is preparing for an exhibition to be held at the Irish Club, London, in 1974, but dies on October 25, 1973, at Tyrone County Hospital in Omagh. He is then living at James Street, Omagh.
(From: “Marrinan, Padraig H.” by Ruth Devine, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “The River Lee, Cork City, Ireland” by Padraig Marrinan, oil on canvas)
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.
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 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)
Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.
Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.
Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).
Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.
In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.
Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.
Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.
(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Born on March 13, 1831, in Lisburn, County Antrim, McCloy is the youngest of five children, born to Peter McCloy, a painter, and his wife Martha Phelan. He studies at the School of Design in Belfast from 1850 to 1851 while serving an apprenticeship in engraving, with J and T Smyth. He then spende a year at the Central School, Somerset House in London before being appointed Master at the Waterford School of Art around 1853, when he also becomes a visiting instructor to several other institutions. In the spring of 1865 he marries his student, the Waterford artist Ellen Lucy Harris, the fourth daughter of a banker named Richard Harris. The dismembered corpse of McCloy’s mother is recovered from the River Suir in September of the same year. She had been missing since the previous November.
McCloy shows just once at the Royal Academy of Arts with a work entitled The Haunt of Meditation in 1859. He exhibits infrequently at the Royal Hibernian Academy between 1862 and 1882, where he displays sixteen works in that time. He displays eleven works in the 1876 Industrial Exhibition at Belfast’s Ulster Hall. In 1880, he shows at Rodman and Company in London where the writer in the Belfast Telegraph indicates that McCloy is becoming a popular artist and is receiving extensive patronage.
After a year-long illness that prevents him from working, McCloy dies in Balham, South London, on October 4, 1904. He is survived by his wife, Ellen, and nine daughters. The Lisburn Museum in his hometown offers a belated retrospective of his work in 1981 to mark the one-hundred fiftieth anniversary of his birth. The exhibition is the first known solo display of McCloy’s work and consists of 58 works. The catalogue for this show is written by Eileen Black and funded by the Arts Council of Northern Ireland.
The youngest daughter of Captain Henry Butler, a grandson of the Edmund Butler, 11th Viscount Mountgarret, and Clara Butler (née Taylor) of the Newarke, Leicester, England. Her father is himself an enthusiastic painter, known for his publication South African sketches: illustrative of the wildlife of a hunter on the frontier of Cape Colony (1841). Her early artistic efforts are mainly copies of romantic subjects, but the influence of the London artist Paul Jacob Naftel, with whom she begins corresponding in the early 1880s, proves to be crucial to her artistic development. Studies with William Frank Calderon, an expert in animal painting, are also significant. She subsequently spends the summers of 1894 and 1895 in Newlyn, Cornwall, England, with the Irish artist Norman Garstin, who introduces her to contemporary French painting.
In 1885, Butler makes her first visit to the continent, traveling through France, Switzerland, and Italy. From 1905 to 1914 she travels regularly to Europe, most particularly Aix-les-Bains and Wiesbaden, during which time she produces genre views of French and German villages. After 1914 her life at the family home is interrupted only by visits to London exhibitions. She is best known for her paintings of Kilmurry and its environs, many of which display an interest in botany. Much of her work is dominated by detailed representations of animals and birds, often drawn from photographs and stuffed specimens.
Butler’s career as an exhibitor begins in 1882 with the Irish Fine Arts Society, later known as the Water Colour Society of Ireland (WCSI), with which she has a long association. She exhibits regularly with the society from 1892 onward and is a member of its committee for many years. She is also closely associated with the Dudley Museum and Art Gallery in London. Her work is first shown there in 1888, and on this evidence, she is elected to their society. The purchase by the Chantrey bequest for the Tate Gallery of The Morning Bath for £50 in 1896 is a high point in her career. The first painting by a woman to be selected by the council, its purchase is followed by almost consistently good press reviews for her work. The Athenaeum of May 5, 1897, writes: “The young lady knows how to look at her subjects with the eyes of a well-trained artist.”
Butler also comes to the attention of the American artistic press. She contributes to the portfolio of drawings given by the Society of Lady Artists to Princess May on her marriage to the Duke of York in 1893, while in 1922 her work is included in the portfolio presented to Princess Mary on her marriage. Her patrons include Queen Alexandra, and the grand duke of Hesse, who purchases two of her paintings after she is invited to exhibit in Hesse Darmstadt in 1911. In 1914 she is made a member of the Union Internationale des Beaux Arts, and in 1921 her paintings are shown in Japan. She regularly exhibits with the Belfast Ramblers, the Royal Ulster Academy, the Royal Academy of Arts (RA), the Royal Hibernian Academy (RHA), the Society of Lady Artists, and the Royal Watercolour Society, of which she is made an associate member in 1896, and a full member in 1937.
In her later years, severe rheumatism prevents Butler from painting. She has a keen interest in music. She survives all five of her siblings, and inherits Kilmurry, where she dies on October 11, 1941. She is buried at Thomastown, County Kilkenny. Her paintings are represented in the collections of the National Gallery of Ireland, Dublin City Gallery the Hugh Lane, the Ulster Museum, and the Tate, London.
(From: “Butler, Mildred Anne” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Praeger is born on April 15, 1867, in Holywood, County Down. She is the daughter of Willem Emilius Praeger, a Dutch linen merchant who had settled in Ireland in 1860, and Marie Patterson. She has five brothers of who Robert goes on to become a distinguished naturalist. Within months of her birth the family moves to Woodburn House, Croft Road, Holywood, where they have as a neighbour Rev. Charles McElester, a Non-subscribing Presbyterian minister who runs a day school in his church. She both attends this school, and later teaches there. She receives her secondary education at Sullivan Upper School, Holywood, the Belfast School of Art, and the Slade School of Fine Art, London. Before returning to Ireland to open a studio in Belfast and then in Holywood, she studies art in Paris.
Praeger writes and illustrates children’s books but achieves fame with her sculpture The Philosopher which is exhibited at the Royal Academy of Arts in London, bought by an American collector, and is now on display in the Colorado Springs Museum and Art Gallery. She mostly works in plaster, but also uses stone, marble, terracotta and bronze, and her work includes relief panels, memorial plaques and stones. She exhibits in London and Paris, at the Royal Hibernian Academy, as well as at the Irish Decorative Art Association Exhibitions. She is a member of the Guild of Irish Art Workers.
Among Praeger’s other works are The Wai, Johnny the Jig, These Little Ones, St. Brigid of Kildare and The Fairy Fountain. For the Causeway School near Bushmills, County Antrim, she carves Fionnula the Daughter of Lir in stone. She models a heraldic figure for the Northern Bank in Donegall Square West, Belfast, and bronze plaques for the front door of the Carnegie library, Falls Road, Belfast, as well as the angels on Andrews Memorial Hall in Comber, County Down, and some work in St. Anne’s Cathedral, Belfast. She illustrates three books for her brother, Robert Praeger. She is President of the Royal Ulster Academy, an honorary Fellow of the Royal Hibernian Academy, and she receives an honorary doctorate from Queen’s University, Belfast. In 1939 she is awarded the MBE.
Praeger maintains her studio in Hibernian Street, Holywood, up until 1952, at the age of 85. She dies at Rock Cottage, County Down, on April 17, 1954. She is buried in the Priory Cemetery, Holywood. Her work in included in the collections of the Ulster Museum and the National Gallery of Ireland, and some private collections around the world
(From: “Sophia Rosamond Praeger (1867 – 1954): Sculptor” by Kate Newmann and Richard Froggatt, Dictionary of Ulster Biography, http://www.newulsterbiography.co.uk)
Shawcross studies at Bolton College of Art from 1955 to 1958, and Lancaster College of Art from 1958 to 1960, before moving to Belfast in 1962 to take up a part-time lecturer’s post at the Belfast College of Art, becoming full-time in 1968. He continues to lecture there until his retirement in 2004.
Shawcross has exhibited nationally, with one-man shows in London, Manchester, Dublin and Belfast, and internationally in Hong Kong and the United States, and his work is found in many private and corporate collections.
Shawcross is elected an Associate of the Royal Ulster Academy of Art in 1975, and is made a full Academician in 1977. He wins the Academy’s Conor Award in 1975, its gold medal in 1978, 1982, 1987, 1994, 1997 and 2001, and its James Adam Prize in 1998. He is also a member of the Royal Hibernian Academy (RHA). He is awarded the Gallaher Portrait Prize in 1966.
In 2010, the Merrion Hotel, Dublin, hosts a private collection of the works of Shawcross. In 2015, he exhibits a collection of six foot tall book covers inspired by original Penguin paperbacks at the National Opera House in Wexford, County Wexford. In 2018, he donates to Belfast City Council a collection of 36 paintings dedicated to ‘Writers of Belfast’ in a show of appreciation to his adopted home city. A major retrospective of his works are exhibited at the F.E. McWilliam Gallery and Studio, Banbridge, County Down, in the same year.
Shawcross is a Patron of the charity YouthAction Northern Ireland. He lives in Hillsborough, County Down, Northern Ireland.
Thomas James Carr, British artist who is associated with the Euston Road School in the 1930s and has a long career as a painter of domestic scenes and landscapes, is born in Belfast to a well-to-do family on September 21, 1909.
Although essentially a realist painter, Carr is included in the 1934 Objective Abstractionists exhibition at Zwemmer’s Gallery. In 1937, he shares an exhibition with Victor Pasmore and Claude Rogers at the Storran Gallery and subsequently becomes associated with the representational style of the Euston Road School. Starting in 1940, at Georges Wildenstein‘s gallery, he holds a series of one-man exhibitions at various galleries including at the Leicester Galleries, The Redfern Gallery and also at Thomas Agnew & Sons.
After the war, Carr teaches at the Belfast College of Art and moves to Belfast in 1955. After the death of his wife in 1995, he moves to Norfolk, England to be nearer one of his three daughters and her family. He continues to paint into old age and tends to concentrate on landscape painting.
Artist William Conor is born on May 6, 1881, in the Old Lodge Road area of north Belfast, the son of a wrought-iron worker.
Celebrated for his warm and sympathetic portrayals of working-class life in Ulster, Conor studies at the Government School of Design in Belfast in the 1890s. His artistic talents are recognized at the early age of ten when a teacher of music, Louis Mantell, notices the merit of his chalk drawings and arranges for him to attend the College of Art.
Conor is one of the first Academicians when the Belfast Art Society becomes the Ulster Academy of Arts in 1930. He becomes an Associate RHA in 1938 and a full member in 1946. Exhibitions at the Victor Waddington Galleries are held in 1944 and 1948. In 1952 he is awarded the Order of the British Empire (OBE) and in 1957 he is elected President of the Royal Ulster Academy, an office he holds until 1964.
More than 50 works of his in crayon and watercolour are in the permanent collections of the Ulster Museum.
(Pictured: Bronze statue of William Conor at Conor’s Corner, Shankill Road, Belfast)
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