In 1910, Elvery moves to South Africa to marry Hobart Kay, FRCS. By 1916 they have settled in Port Elizabeth.
Kay is a founder member of the Eastern Province Society of Arts and Crafts. In 1924 she is elected a member of the Royal British Colonial Society of Artists. She paints and makes etchings, and in 1926 her etching Romance is bought by Mary of Teck, Queen of the United Kingdom, at the Dominion Artists’ Exhibition in London. She travels widely in South Africa and sketches as she goes, and is also commissioned to make many portraits of mayors of Port Elizabeth, many of them lost when the City Hall burns down in 1977. During World War II she is commissioned by the government to record the war on the home front, and some of her work is held in the South African National Museum of Military History. From 1927 to 1945 she produces two to four illustrations each week for The Outspan.
Kay’s largest painting is the 1937 work Surgery, showing a patient undergoing abdominal surgery (a cholecystectomy). She portrays herself as the scrub nurse and her husband Hobart as the surgeon. In preparation for this painting she visits three hospitals and observes at least two operations, making 27 pages of preliminary sketches of people and equipment used in surgery. During World War II she paints further medical paintings: Operation in a Base Hospital and Blood to Save Lives.
Kay holds one-woman exhibitions from 1922 to 1955, and retrospective exhibitions of her work are held at the Iziko South African National Gallery in 1965 and 1982.
In her early days at Port Elizabeth, Kay is a keen sailor and is described as “for a time the fastest spinnaker-hand in South Africa.”
Kay has three daughters and one son. Her daughter Joan Wright (1911-91) teaches painting at the Port Elizabeth Technical College School of Art and Design, and her daughter Marjorie Reynolds writes and publishes a biography of her mother in 1989, and a further book about the Elvery family in 1991, and also donates her mother’s collection of works and archives to the Iziko South African National Gallery as “The Kay Bequest” in 1992.
Elvery is the second among seven children of William Elvery , merchant, and Theresa Elvery (née Moss), singer and music teacher, whose parents are English Quakers. Her father’s ancestors were silk merchants from Spain, called Alvarez. Her early childhood is spent in Carrickmines, County Dublin. In 1896 the family moves to Foxrock and she attends the Dublin Metropolitan School of Art. Her mother’s family is artistic – one aunt is the artist Phoebe Anna Traquair – and she and her sisters are talented artists and singers. Her younger sister, Dorothy Kay, becomes a noted portrait painter in South Africa. At the age of sixteen, she wins a three-week scholarship to study at the Royal College of Art in South Kensington, London. Back in Dublin, she models for William Orpen, then teaching in the school. They become friends, and she regrets never studying painting under him. She concentrates on sculpture under John Hughes and has great success, winning the Taylor scholarship three years in a row (1901–03). The first year she wins, the judges, seeking evidence that she had worked unaided, asks her to model a head from life in their presence.
Elvery’s first exhibit in the Royal Hibernian Academy (RHA) is a bronze statuette of a boy in 1902. Thereafter she is a lifelong exhibitor with the RHA, showing almost annually until her death. Friendship with the older Sarah Purser introduces her to Dublin’s artistic milieu and to the arts and crafts movement. In the movement’s 1904 exhibition she shows ten items, including terracotta statuettes, a holy water stoup, and a plaster cast of a lectern, which is cast in bronze in Paris that year and placed in her former parish church in Carrickmines. The movement’s historian, Paul Larmour, calls this lectern “a remarkable piece of organic Art Nouveau . . . There is nothing else like it in Ireland.”
In 1904, after a brief period studying in Paris with her sister and fellow students Estella Solomons and Frances “Cissie” Beckett, Elvery takes lessons in stained glass from Alfred E. Child, and is then persuaded by Purser to join her Tower of Glass (An Túr Gloine) studio. She remains six years, executing windows for St. Stephen’s Church, Mount Street, Dublin; St. Nicholas Church, Carrickfergus; and a war memorial at the Church of Ireland church, Carrickmines. Although her work is generally well received, she does not rate her skill in the medium highly – “I never got the right feeling for glass or the detached, austere quality necessary for ecclesiastical art” – and her window for a Gortconvent leads to a critical review of Purser’s studio by W. B. Yeats. She does not, however, confine herself to glass but also designs for silversmiths and illustrated books for children. For Iosagán agus Sgealta Eile (1907), by Patrick Pearse, she provides a black-and-white frontispiece and four colour illustrations. For the Cuala Press, run by Lily and Elizabeth Yeats, she designs calendars, Christmas cards, and fifteen hand-coloured prints, which continue to be issued until after World War II.
Elvery’s social life in Dublin is busy. An active member of the United Arts Club, she is called by Lady Gregory “the beautiful Miss Elvery,” and Orpen’s portrait, showing her long-necked, graceful, and vivacious, bears out this description. Tiring of glass, and wishing to become a painter, she leaves in 1910 for the Slade School of Fine Art in London. There Henry Tonks is less complimentary than her Dublin teachers. He finds her work facile: “The speed, the slickness, the skill. It is horrible!” Orpen also comes to this view: “her only fault was that the transmission of her thoughts from her brain to paper or canvas, clay or stained glass, became so easy to her that all was said in a few hours. Nothing on earth could make her go on and try to improve on her first translation of her thought.”
Back in Dublin, Elvery takes a studio in Kildare Street and teaches for a time in the Metropolitan School of Art, before her parents arrange a marriage with Charles Henry Gordon Campbell, eldest son of the future Lord Chancellor of Ireland, James Campbell. They marry on August 1, 1912, and move to London where he is called to the English bar. It is not initially a love match but they are well-suited – he likes artistic, Bohemian circles and they become friends with D. H. and Frieda Lawrence, the painter Mark Gertler, the publisher John Middleton Murry, and his wife, the writer Katherine Mansfield, who describes Campbell as “a queer mixture for she is loving and affectionate, and yet she is malicious.”
Campbell’s husband becomes secretary of the Department of Industry and Commerce in the Irish Free State and in 1922 the family moves to Clonard, Terenure, Dublin. His government position means that within six months the house is burned down by anti-Treatyites, who are, however, almost comically accommodating – local men, they express distress at the job and allow her to save the children’s Christmas presents. In 1931 she becomes Lady Glenavy after her husband succeeds to his father’s title, an important member of Dublin’s social and artistic scene. She helps establish the Dublin Drama League and assists Shelah Richards in the production of two plays in 1936. Her friendships are wide and varied and her conversation imaginative and engaged. Dressed in beige – what her son calls “variations on a theme of porridge” – she entertains constantly. Her house has what she terms a “caravanserai” character and is constantly full of people.
Appointed an associate of the RHA in 1932, Campbell becomes a full member in 1934 and takes her turn at teaching. She also joins the more radical Society of Dublin Painters and holds in February 1935 a one-person show at their premises, 7 Stephen’s Green, but she never shows with the Irish Exhibition of Living Art, though her work is more avant-garde than that of most academicians. At its best in still lifes and figure compositions, her work has “a sense of drama and an enigmatic or near-surrealist appearance.” Brian Kennedy notes that she is the first Irish painter to go surrealist (though she never thinks of herself in this way) and although she is serious about her work – taking lessons at an advanced age from Patrick Hennessy – she is also diffident. Her memoir does not trace her development as an artist and mentions only one work with approbation – The Intruder (exhibited at the RHA in 1932). Now in the National Gallery of Ireland, it depicts in bold, rich colours a female centaur beckoning a young man from a group of picnickers. It immediately attracts attention. Richard Orpen wants the academy to buy it, but they think it obscene.
About 1941 the Campbells move to a large Georgian house in Rathfarnham, and twenty years later they transfer to a smaller house in Sandycove. After her husband’s death in 1962, she publishes her memoirs, And Today We Will Only Gossip (1964). The title is well chosen as the book is not self-revelatory but full of characters she encountered. Monk Gibbon calls her a “unique mixture: of talent and diffidence; of gregariousness and contempt for the herd; of gentle consideration and a savage determination to wound. Only those who knew her well knew her at all; and even to them she remained something of a mystery” (The Irish Times, December 2, 1980).
Campbell dies in Dublin on May 21, 1970, and is survived by her two sons, the writer and humorist Patrick Campbell and the novelist Michael Campbell, and predeceased by her daughter, Bridget, an Irish international lacrosse player and talented scientist, who is killed by a bomb during the London blitz.
(From: “Campbell, Beatrice Moss” by Bridget Hourican and Pauric J. Dempsey, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Bridgit – a picture of Miss Elvery (Beatrice Elvery),” oil on canvas by William Orpen, 1909)
Santry is born in Cork, County Cork, on May 14, 1879, to Denis Santry, Sr., a carpenter and joiner. He studies at the Cork Municipal School of Art from 1894 to 1896 after serving an apprenticeship as a cabinetmaker. In 1895, he also studies at the Crawford School of Art. In 1897, he is articled to architect James Finbarre McMullen. From 1897 to 1898, he studies at the Royal College of Art in London under a Lane scholarship. While he is at the college, he wins the Queen’s prize for freehand drawing. After graduating, he returns to McMullen’s office and works there for the next two years.
Santry comes to South Africa at the end of 1901 due to ill health. He settles in Cape Town and is employed at Tully & Waters, an architectural firm, from 1901 to 1902. He then spends a year working for architect William Patrick Henry Black. In 1903, his cartoons begin to appear in local newspapers and magazines, including the South African Review. He uses the pseudonym “Adam” in his cartoons. He continues to work as an architect until 1910 when he begins working as a cartoonist, as well as a metalworker, sculptor and filmmaker. He then moves to Johannesburg and is employed at the Sunday Times and The Rand Daily Mail as a cartoonist. During World War I, his cartoons are reproduced in several other countries. He becomes a pioneer of animated cartoons in South Africa. He is a member of the Royal Society of Arts and a council member of the South African Society of Artists.
Santry comes to Singapore in 1918 and joins the architectural firm Swan & Maclaren as a partner. While in Singapore, he serves as the architect of several prominent buildings and monuments, including the Sultan Mosque, The Cenotaph, the Maritime Building, the Hongkong and Shanghai Bank Building and the Telok Ayer Chinese Methodist Church. He serves as the first president of the St. Patrick’s Society Singapore, the first president of the Singapore Amateur Boxing Association, the chairman of the Singapore Art Club, a member of the board of control of the Victoria Theatre and Concert Hall, a member of the Censorship Appeal Board and the vice-president of the Straits Settlements Association. He is also a frequent contributor to the Straits Produce, a satirical magazine. He helps to found the Singapore Society of Architects and the Institute of Architects of Malaya and is the founder and the chairman of the Singapore Musical Society. He retires to England in March 1934.
Santry returns to South Africa in 1940. Following the end of World War II, he resumes his practice as a result of lost income caused by the Japanese occupation of Malaya. In 1950, he becomes a member of the Institute of South African Architects. He designs several private houses in Hillcrest, KwaZulu-Natal.
Santry marries Madeline Hegarty in 1904. From 1910 to 1918, he lives in Kleine Schuur on Rhodes Avenue in Johannesburg. The house is designed by prominent architect Herbert Baker. He dies in Durban, South Africa, on April 14, 1960.
Williams is born on May 4, 1838, in Coleraine, County Londonderry. He claims to be descended on his father’s side from Worcestershireyeomen living in the parishes of Tenbury and Mamble. On his mother’s side he descends from Scottish settlers who planted Ulster in 1610. He is educated at Belfast Academy in Belfast under Dr. Reuben John Bryce and at a Greenwich private school under Dr. Goodwin. Later on, he goes to the southern United States for his health and takes part in a filibustering expedition to Nicaragua, where he sees some hard fighting and reportedly wins the reputation of a blockade runner. He is separated from his party and is lost in the forest for six days. Fevered, he discovers a small boat and manages to return to the nearest British settlement. He serves in the London Irish Rifles and has the rank of sergeant.
Williams returns to England in 1859, where he becomes a volunteer, and a leader writer for the London Evening Herald. In October 1859, he begins a connection with The Standard which lasts until 1884. From 1860 until 1863, he works as a first editor for the London Evening Standard and from 1882 until 1884, as editor of The Evening News.
Williams is best known for being a war correspondent. He is described as an admirable war correspondent, a daring rider as well as writer. For The Standard, he is at the headquarters of the Armée de la Loire, a French army, during the Franco-Prussian War in 1870. He is also one of the first correspondents in Strasbourg, where the French forces are defeated. In the summer and autumn of 1877, he is a correspondent to Ahmed Muhtar Pasha who commands the Turkish forces in Armenia during the Russo-Turkish War of 1877 and 1878. He remains constantly at the Turkish front, and his letters are the only continuous series that reaches England. In 1878, he publishes this series in a revised and extended form as The Armenian Campaign: A Diary of the Campaign on 1877, in Armenia and Koordistan, which is a large accurate record of the war, even though it is pro-Turkish. From Armenia, he follows Muhtar Pasha to European Turkey and describes his defence of the lines of Constantinople against the Imperial Russian Army. He is with General Mikhail Skobelev at the headquarters of the Imperial Russian Army when the Treaty of San Stefano is signed in March 1878. He reports this at the Berlin Congress.
At the end of 1878, Williams is in Afghanistan reporting the war, and in 1879 publishes the Notes on the Operations in Lower Afghanistan, 1878–9, with Special Reference to Transport.
In 1887, Williams meets with then General of the United States Army, Philip Sheridan, in Washington, D.C. to update the general on European affairs and the prospects of upcoming conflicts.
Williams is said to possess a voice of thunder and expresses with terrific energy. He conducts a lecture tour of the United States where he describes the six campaigns, illustrated by limelight photographs. His audience in Brooklyn, New York, is described by The New York Times as highly delighted by his lecture about the hardships and adventures. His presentation is “a feast for the eyes and ears and was highly appreciated by the large audience assembled.” He later tours England, Scotland, and Ireland speaking about his then seven campaigns.
Williams also writes fiction, including his book John Thaddeus Mackay, a tale about religious tolerance and understanding. With the sanction of Commander in Chief, Field MarshalGarnet Wolseley, he edits a book Songs for Soldiers for the March The Camp and the Barracks to improve morale and relieve boredom. Included in the book are a number of songs that he composed. He also writes about ecclesiastical questions, and contributes articles and stories to different periodicals.
Williams is a strong adherent to Wolseley’s military views and policy, and has considerable military knowledge. He also publishes military subjects in several publications such as the United Service Magazine, the National Review, and other periodicals. In 1892, he publishes Life of Sir H. Evelyn Wood, which is controversial as he defends the actions of Wood after the Battle of Majuba Hill in 1881. In 1902, he publishes a pamphlet, entitled Hush Up, in which he protests against the proposed limited official inquiry into the South African War and calls for an investigation.
Early in his career, Williams shares an office with friend and colleague Robert Gascoyne-Cecil, who later becomes Prime Minister of the United Kingdom. They have a standing tradition of always sending out for two beers with payment alternating between each man. Many years later, Williams is in the lobby of the House of Lords and Gascoyne-Cecil approaches him with an outstretched hand and asks, “By the way, Mr. Williams, whose turn is it to stand the beer?”
In 1884, the steamer carrying Williams and colleague Frederic Villiers of The Graphic overturns in the Nile River. Their rescue leads Williams to later commission a unique ivory and gold mitre for the Bishop of London as a thank-offering to God for his safe return from Khartoum.
Williams receives a personal invitation from King Edward VII to attend the funeral of his mother, Queen Victoria.
Both of Williams‘a sons became journalists. Frederick is a noted parliamentary reporter, writer, and historian in Canada. Francis Austin Ward Williams practices journalism in Sydney, Australia.
In the Nile Campaign of 1884-85, application is made to the War Office with the support of the Commander in Chief Lord Wolseley for medals for Willams and correspondent Bennet Burleigh. Williams has been twice requested to take command of some of the men by senior officers on the spot. The Secretary of War is unable to grant the recognition under the rules of the day but writes a letter saying that he regrets that this must be his decision.
Williams is a recipient of the Queen’s Sudan Medal, an award given to British and Egyptian forces which took part in the Sudan campaign between 1896 and 1898.
Field Marshall Garnet Wolseley recognizes the contributions of Williams on the battlefield. He says in a speech that from “Charles Williams, he had at various times received the greatest possible help in the field.”
Williams dies in Brixton, London, on February 9, 1904. He is buried in Nunhead Cemetery in London. His son, journalist Fred Williams, first learns of his father’s death on the wire service he is monitoring at his newspaper in Toronto, Ontario, Canada.
Williams’s funeral is well attended by the press as well as members of the military including Field Marshal Sir Evelyn Wood. Colleague Henry Nevison writes a long reflection on Williams. It includes, “On the field he possessed a kind of instinctive sense of what was going to happen. When I went to big field-days with him he was already an elderly man, and much broken down with the hardships of a war correspondent’s life; but he invariably appeared at the critical place exactly at the right moment, and I once heard the Duke of Connaught, who was commanding, say, ‘When I see Charlie Williams shut up his telescope, I know it’s all over.’ And now he is gone, with his rage, his generosity, his innocent pride, his faithful championship of every friend, and his memories of so many a strange event. His greatest joy was to encourage youth to follow in his steps, and the world is sadder and duller for his going.”
Patrick Pollen, a British stained glass artist who spends most of his life working in Ireland, is born Patrick La Primaudaye Pollen in London on January 12, 1928.
In 1952, Pollen’s father takes him to see Evie Hone‘s “Crucifixion and Last Supper” window in Eton College Chapel. Upon seeing it he announces, “That’s what I want to do.” He moves to Dublin to study with the stained glass cooperative Evie Hone is a member of, An Túr Gloine, which is run by Catherine O’Brien and she and Hone become his mentors. When Hone dies in 1955, she leaves him her brushes.
Following the Second Vatican Council, newly designed churches feature less stained glass, and Pollen finds he is receiving less commissions. As a consequence he and his family move to the United States in 1981. They settle in Winston-Salem, North Carolina but there is very little work there and in 1997 they return in Ireland, living in his wife’s native County Wexford.
Pollen marries sculptor Nell Murphy in 1963, with the couple buying a house in Dublin in which Pollen had his studio. Murphy works in plaster, clay and stone, her works often featured in churches with those of her husband. They hav four sons, Peter, Ciaran, Laurence and Christopher, and a daughter, Brid.
Pollen dies on November 30, 2010, in Enniscorthy, County Wexford. His remains are cremated and the location of his ashes is unknown.
Doran tours with Benson and other managements, and plays in the West End before setting up his own company in 1920. He leads it for eleven years, before leaving Britain to work in India. On his return he works on stage and makes occasional television appearances.
Doran is the son of Charles Jenkins Doran. He is educated in Cork and privately. In 1899, he makes his stage debut as a member of Frank Benson’s touring company, in Julius Caesar at the Theatre Royal, Belfast. He remains with Benson for two and a half years, during which he makes his London debut, as Captain MacMorris in Henry V at the Lyceum Theatre.
In October 1910, returning to England, Doran plays La Tribe in Count Hannibal at the New Theatre, after which he is Pistol in The Merry Wives of Windsor at the Garrick Theatre to the Falstaff of Asche. For the next ten years he plays in new, ephemeral works, interspersed with classics. Among his roles in the latter are Constantine Levin in Anna Karenina (1913), Douglas in Henry IV, Part 1and the Constable of France in Henry V (1914) in London, and a variety of Shakespeare parts at the Memorial Theatre, Stratford-upon-Avon (1919).
In February 1920, Doran begins touring with his own Shakespearean company, playing Hamlet, Shylock in The Merchant of Venice, Brutus in Julius Caesar, Malvolio in Twelfth Night, Prospero in The Tempest, Petruchio in The Taming of the Shrew, Macbeth, Falstaff, Henry V, and Jaques in As You Like It. He has a keen eye for rising talent, and among his recruits are Noel Streatfeild, Cecil Parker, Ralph Richardson, Edith Sharpe, Norman Shelley, Abraham Sofaer, Francis L. Sullivan and Donald Wolfit.
In 1931, Doran goes to India as director of Shakespeare’s plays at the State Theatre in Jhalawar and then on to Bombay where he performs primarily in Shakespeare on the radio. He returns to England in 1937. His last London appearance is in Song of Norway (1949). His last Shakespearean role in the theatre is Time in The Winter’s Tale (1951). He continues to act on stage in other parts until 1954. He appears on BBC Television as a senator in Othello in 1950 and Adabashev, the tragedian in Curtain Down in 1952.
Doran dies in Folkestone on the south coast of England on April 5, 1964, at the age of 87. An article on him published by Emory University in 2003 sums up his career thus:
On stage in one role or another, Doran’s fifty-seven years in the theatre made him a major force in the profession, particularly in his productions of Shakespeare. Such was his energy and enthusiasm that he kept alive for a few more years the actor-manager system when the major talents, men like Tree, Benson, and Irving, had dissolved their companies. Doran was indeed the last of his theatrical breed.
Mary Esperance (“Nancy”) Wynne-Jones is born on December 10, 1922, in Penmaenucha, Wales, to landowner Charles Llewellyn Wynne-Jones and Sybil Mary Gella Scott. The family spends half the year in Wales and half the year in Thornhill, Stalbridge, Dorset. She has two brothers, Andrew and Ronald (“Polly”), both of whom die in Africa during World War II.
Wynne-Jones is educated at home. Her skill in art leads to her getting lessons in Sherborne from a children’s book illustrator. Her music is encouraged by the family doctor and she begins to compose and study the violin, receiving lessons in Bournemouth with the first violinist of the symphony orchestra. After the start of World War II, she continues in Aberystwyth. She goes on to study the violin and composition at the Royal Academy of Music, London (1940–43). While in London she also serves as a Voluntary Aid Detachment nurse until 1943 and later as a draughtswoman at the Ordnance Survey.
After the war, Wynne-Jones purchases and manages a bookshop on the King’s Road in Chelsea, but it is not a financial success. She returns to painting, studying at the Heatherley School of Fine Art, London, from 1951 to 1952 and the Chelsea School of Art from 1952 to 1955. She travels extensively through Portugal and Italy painting landscapes. An interest in completing landscapes in an abstract manner leads her to study with Peter Lanyon in St. Ives, Cornwall.
In 1962, Wynne-Jones purchases Trevaylor House near Penzance and provides accommodation for other artists including renowned Irish painter Tony O’Malley, sculptor Conor Fallon and English poet and writer W. S. ‘Sydney’ Graham. In the 1970s she exhibits in Ireland at the Project Arts Centre, Dublin (1970) and at the Emmet Gallery, Dublin (1975 and 1977). During the 1980s she exhibits at the Lincoln and Hendricks galleries in Dublin before joining the Taylor Gallery, run by John and Patrick Taylor. She is elected an honorary member of the Royal Hibernian Academy (RHA) in 1994 and becomes a member of Aosdána in 1996. Originally an abstract artist, her contact with the Irish countryside slowly transforms her work to that of a landscape artist, albeit with an influence of abstraction attached to it. She becomes well-known in Irish art circles as an eminent Irish landscape artist.
Wynne-Jones is involved with artist Derek Middleton before moving to Cornwall. There she becomes romantically involved with Graham who is in an open marriage, however, it is the death of her mentor Peter Lanyon which devastates her. She meets the sculptor Conor Fallon through their mutual friend, Tony O’Malley. Fallon had arrived in Cornwall ostensibly to meet Lanyon. They marry in 1966. Their honeymoon in Provence is immortalised in expressionist paintings done by her. The couple adopts a boy and a girl, siblings, John and Bridget. In 1972, she moves with her family to Kinsale, County Cork. It is in the area around here that a number of her paintings are created. Later she paints the mountain visible from her Wicklow home after the family moves in the late 1980s. She moves to Ballard House, near Rathdrum, County Wicklow in 1987.
Wynne-Jones dies on November 9, 2006, and is buried in Ballinatone (Church of Ireland), Rathdrum.
The Royal Irish Constabulary (RIC), the police force in Ireland from 1822 until 1922, when all of the island was part of the United Kingdom, is disbanded on August 17, 1922, and replaced by the Garda Síochána.
A separate civic police force, the unarmed Dublin Metropolitan Police (DMP), patrols the capital and parts of County Wicklow, while the cities of Derry and Belfast, originally with their own police forces, later have special divisions within the RIC. For most of its history, the ethnic and religious makeup of the RIC broadly matches that of the Irish population, although Anglo-IrishProtestants are overrepresented among its senior officers.
The Peace Preservation Act 1814, for which Sir Robert Peel is largely responsible, and the Irish Constabulary Act 1822 forms the provincial constabularies. The 1822 act establishes a force in each province with chief constables and inspectors general under the United Kingdom civil administration for Ireland controlled by the Dublin Castle administration.
The RIC’s existence is increasingly troubled by the rise of the Home Rule campaign in the early twentieth century period prior to World War I.
In January 1922, the British and Irish delegations agree to disband the RIC. Phased disbandments begin within a few weeks with RIC personnel both regular and auxiliary being withdrawn to six centres in southern Ireland. On April 2, 1922, the force formally ceases to exist, although the actual process is not completed until August 17. The RIC is replaced by the Civic Guard (renamed as the Garda Síochána the following year) in the Irish Free State and by the Royal Ulster Constabulary (RUC) in Northern Ireland.
According to a parliamentary answer in October 1922, 1,330 ex-RIC men join the new RUC in Northern Ireland. This results in an RUC force that is 21% Roman Catholic at its inception in 1922. As the former RIC members retire over the subsequent years, this proportion steadily falls.
Just thirteen men transfer to the Garda Síochána. These include men who had earlier assisted Irish Republican Army (IRA) operations in various ways. Some retire, and the Irish Free State pays their pensions as provided for in the terms of the Anglo-Irish Treaty agreement. Others, still faced with threats of violent reprisals, emigrate with their families to Great Britain or other parts of the British Empire, most often to join police forces in Canada, Australia, New Zealand, South Africa and Southern Rhodesia. A number of these men join the Palestine Police Force, which is recruiting in the UK at the time.
Foley’s most recent work includes Cold Courage, a TV series thriller for Lionsgate, Viaplay and Luminoir shot in Europe in 2019 and The Man Who Died, a series for Elisa-Viaplay.
Foley writes, produces and directs The Riddle in 2006, starring Jones, Sir Derek Jacobi and Vanessa Redgrave. In September 2007, The Riddle becomes the world’s first feature film to be released as a DVD premiere by a national newspaper. The UK’s The Mail on Sunday buys UK DVD rights and distributes 2.6 million copies, making the film one of the most widely watched independent films in the UK.
During 2006–07, Foley writes and directs Assault of Darkness, a satirical horror film set in rural Ireland, starring Jones, Jason Barry and Nora-Jane Noone. It is released by Lionsgate in the United States on DVD in 2009. He co-creates and is a writer on Shelldon, a children’s environmental animated TV series on NBC (2010–12) and Byrdland (five seasons of animated TV series in Asia with GMM Grammy).
In 2015, Foley starts developing a new TV detective series for BBC Television, Farmoor (makers of The Fall) and Northern Ireland Screen (UK home of Game of Thrones) and, in 2016, he develops Tunnel Kings, a mini-series on World War IIPOW “escape-artists” for the Canadian Broadcasting Corporation and Dream Street, Canada. He completes pilot scripts for SOS, a new eco-thriller series by Finnish producers Luminoir, and Kvenland, set in the Dark Ages. Previously he writes the pilot for drama Dr. Feelgood for Monday TV (Denmark).
Cold Courage, described as a Nordic noir series involving Finnish characters in present-day London made by Finnish producers Luminoir for Lionsgate and Viaplay, shot in London, Dublin, Belgium and Finland in 2019. Actor John Simm tells Variety that he is attracted to the series by the quality of the writing and the fact that it is a pan-European thriller.
Foley has written books for U.S. and UK publishers. Under The Wire, a World War II POW escape drama, which he writes along with its subject, pilot William Ash, is published by Random House, London and St. Martin’s Press, New York, in 2005 and 2006. It becomes a best-seller, reaching number one on Amazon UK‘s history and biography charts. In 2018/19, a related TV series is developed as a future miniseries by CBC in Canada and Northern Ireland Screen.
Foley’s next book, Archerfield, a novel, published in 2015, covers 16,000 years of history in one square mile of Scotland.
In 2004, Bacik’s book Kicking and Screaming: Dragging Ireland into the 21st Century, is published by The O’Brien Press.
In 2007, she contested the Seanad Éireann elections for the third time in the Dublin University constituency, and is elected to the third seat, behind sitting Independent senators Shane Ross and David Norris. She initially sits as an Independent senator.
In February 2009, Bacik is included in an ‘All Star Women’s Cabinet’ in the Irish Independent. In March 2009, she confirmed claims made on a TV programme that she had taken two voluntary pay cuts of 10% in addition to a pension levy. In June 2009, she is the Labour Party candidate for the Dublin Central by-election. She comes in third with 17% of the first preference votes. She joins the Labour Party group in the Seanad in September 2009, and becomes Labour Party Seanad spokesperson for both Justice and Arts, Sports and Tourism. In November 2009, a feature by Mary Kenny of the Irish Independent includes Bacik in a list of women who “well deserved their iconic status.”
In May 2010, Bacik seeks Labour’s nomination to contest the next election in the Dublin South-East constituency but is not selected. In December 2010, she is added to the ticket as the second candidate beside Labour Party leader, Eamon Gilmore, in the Dún Laoghaire constituency for the 2011 Irish general election. Gilmore tops the poll, with Bacik receiving 10.1% of first preference votes but she is not elected. She is re-elected to Seanad Éireann at the subsequent election, after which she becomes Deputy Leader of the Seanad. She holds her seat in the Seanad in 2016 and in 2020.
On April 27, 2021, after the resignation of Eoghan Murphy from his Dáil seat in Dublin Bay South, Bacik announces her intention to stand in the upcoming by-election. She campaigns with an emphasis on providing affordable housing, as well as improving healthcare and childcare, tackling climate change, and achieving “a true republic in which church and state are separated.” During the campaign, she describes herself as having “more bills passed into law than any other Senator, on issues such as workers’ conditions, women’s health rights, and LGBT equality”. She also campaigns on increasing the number of sports amenities for children in the area, calling for unused Defence Forces football fields at the Cathal Brugha Barracks to be freed up for local sports, with the suggestion rejected by Fine GaelMinister for DefenceSimon Coveney. Fine Gael complains to RTÉ after she features prominently on National Treasures, a prime-time TV show broadcast by RTÉ during the campaign. RTÉ has strict rules about fair coverage of candidates during campaigns. The national broadcaster blames an “inadvertent error” for the programme being shown three days before the election. A steering group within the broadcaster tells Fine Gael that “the broadcast should not have happened.” Consequentially, RTÉ has to show a special report on the by-election on Prime Time to “ensure fair coverage is given to all candidates.”
Bacik wins this election, receiving 8,131 (30.2%) first-preference votes. It is her fourth attempt as a Labour candidate, and she expresses her delight at the success at the count centre in the RDS. Following the election, she is described by The Irish Times as “a formidable activist and public intellectual” and that Fine Gael’s perceived antipathy towards their former TD, Kate O’Connell, may have contributed to the surge in support to Bacik from women voters. The newspaper claims that her election is “a long overdue morale boost” for Labour.
In March 2022, Bacik confirms she will run to succeed Alan Kelly as Labour Party leader. Kelly states that he believes that Bacik will succeed him. On March 24, 2022, she is confirmed as Labour Party leader unopposed at a party conference in Dublin. In a speech, she says she will focus on the rising cost of living and the serious and global problems facing the country. She pledges that Labour will fight the next election as a “standalone party” rather than joining any left-wing alliance.
seamus dubhghaill 