Watt is born on November 4, 1853, to Samuel Watt of Thornhill House, then on the northern outskirts of Derry, and his wife Jane Newman, daughter of Captain Robert Newman, R.N.. He is educated at Foyle College in Derry and then at home by tutors. The Watt family are Ulster Scots gentry who had arrived at Claragh, on the outskirts of Ramelton in the north of County Donegal, during the Plantation of Ulster.
Watt is the owner of Watt’s Distillery, located on Abbey Street in the Bogside in Derry, one of the largest distilleries in Ireland, and the creator of many whiskies, including the famous Tyrconnell, which he names after his racehorse that wins the National Produce Stakes against the odds of 100 to 1. The horse itself is named after Tyrconnell (Irish: Tír Chonaill), the ancient túath or Gaelic kingdom that once covered most of what is now County Donegal in the west of Ulster.
During industrial unrest in 1921, brought about by World War I, prohibition in the United States, and the Irish War of Independence, Watt’s workers at the distillery in Derry are made redundant after challenging his authority. He is said to have stood on a barrel outside the gates to his distillery in the Bogside, while the workers are on strike, and shouted, “Well men, I shall put it to you like this …what is it to be? Will you open the gates?” To which the workers retorted, “The gates stay shut!” This prompts Watt to reply, “Shut they are, and shut they shall remain!” He subsequently closes down Watt’s Distillery, at great economic expense to Derry and neighbouring areas of County Donegal.
On October 7, 1875, Watt marries Violet Flora de Burgh, daughter of George de Burgh and Constance Matthews, with whom he had four sons and two daughters.
Watt serves as High Sheriff of County Londonderry from 1886 to 1887. He is a member of Boodle’s. He dies at Easton Hall in Lincolnshire, where he lives in England after he left Ireland. Easton Hall is later demolished in 1951.
Annesley is a prominent figure in Irish politics during the late 1690s. Initially aligned with the Whig faction, he later moves closer to Tory interests, particularly in his opposition to Catholic influence and the growing presence of ScottishPresbyterians in Ulster. His political stance and actions in the Irish Parliament draw criticism from certain factions.
The “Report of the Commissioners” is a formal parliamentary document produced by a committee tasked with examining Ireland’s governance, economic conditions, and political tensions. Annesley’s involvement in drafting or presenting parts of this report is seen by some as politically damaging or controversial. The exact nature of his contribution is not fully detailed in surviving records, but it is sufficient to trigger his expulsion.
The early 1700s in Ireland are marked by ongoing sectarian tensions between Protestants and Catholics, political maneuvering between Whig and Tory factions in the Irish Parliament and economic hardship and poor governance conditions, which are themes in the commissioners’ report.
Annesley’s expulsion reflects the sensitivity of political discourse in Ireland at the time, where even well-intentioned inquiries can be used to target opponents.
Following his expulsion, Annesley continues his political career in England, being returned as MP for Preston in 1705 and later for Westbury. He remains active in Parliament until 1734, when he does not stand for re-election in the 1734 British general election.
In summary, on September 28, 1703, Francis Annesley is expelled from the Irish House of Commons for his part in the “Report of the Commissioners,” a move that underscores the political risks of engaging in sensitive parliamentary inquiries during a volatile period in Irish history.
The Battle of Castlebar takes place on August 27, 1798. A combined force of about 800 French troops under GeneralJean Joseph Amable Humbert and 2,000 United Irishmen rebels defeat a much larger British Crown force of 3,000 to 5,000 men led by General Gerard Lake. The French, though exhausted from long marches, exploit the disorganisation of Lake’s militia-heavy army, routing it in what becomes known as the “Castlebar Races” or “Races of Castlebar.” The British suffer heavy casualties — around 400 killed or wounded and 800 captured, while the French lose about 200 to 220.
The victory at Castlebar is a significant boost to the rebels, but it also alarms the British government. Cornwallis, commanding the Crown forces in the west, is tasked with reasserting control and preventing further advances into Ulster. By September 4, he has moved from Tuam to threaten Castlebar, aiming to recapture the town and disrupt Humbert’s plans to push north into County Sligo and beyond.
Anticipating Cornwallis’s move, Humbert evacuates Castlebar with his remaining troops — roughly 800 French soldiers and 1,000 Irish insurgents — and marches north into County Sligo. His objective is to ignite further rebellion in Ulster, continuing the momentum of the short-lived “Republic of Connacht.” This evacuation leaves the town vulnerable to British reoccupation.
While Humbert’s force is retreating, fresh risings broke out in counties Longford and Westmeath, showing the insurrection’s reach. However, these uprisings are ultimately suppressed, and the British, under commanders like Cornwallis, work to mop up rebel strongholds across Ireland.
In summary, on September 4, 1798, Cornwallis’s advance from Tuam is a direct response to the rebel victory at Castlebar, aiming to regain a key rebel-held town and halt Humbert’s northern push. The move reflects the British strategy of localized offensives to counter the momentum of the Irish Rebellion of 1798.
(Pictured: Charles Cornwallis, 1st Marquess Cornwallis)
The Coalition Government, led by Prime MinisterDavid Lloyd George, is in power from 1918 to 1922 following the end of World War I, continuing the wartime alliance that has included Liberals and Conservatives. By 1920, the Cabinet is navigating Spain’s post-war reconstruction, the political unrest in Ireland, social welfare issues, and economic stabilization following wartime disruption. This period also sees preparation for negotiations over Germany’s reparations and engagement with international diplomacy after the Treaty of Versailles.
The Coalition Cabinet keeps detailed minutes and memoranda, which are recorded in the CAB 23 series as “Cabinet Conclusions,” starting from November 1919 into the interwar years. These records summarize discussions and decisions but are not verbatim transcriptions.
While the specific agenda for July 23 is not directly cited in the sources, relevant Cabinet business during July 1920 includes:
Reconstruction and Post-War Economy: Addressing unemployment, social welfare of returning servicemen, and government budgetary priorities.
International Diplomacy and Reparations: Review of ongoing negotiations concerning German reparations after World War I, potentially preparing for discussions later in London and Paris.
Regarding Ireland, the Cabinet is divided on how to proceed. Some Liberal ministers and Dublin Castle officials are in favour of offering dominion status to Ireland. Conservative ministers argue that the Government must crush the insurgency and proceed with the Government of Ireland Bill. Debate continues after the meeting, with Walter Long warning of “the gravest consequences in Ulster” if the Government changes course.
In summary, the Coalition Cabinet convenes on July 23, 1920, in the context of post-war governance, with ministers like Lloyd George, Bonar Law, Curzon, Balfour, and Churchill participating. While exact meeting details require consulting official CAB series records, the issues at hand involve post-World War I economic recovery, Irish affairs, and international obligations stemming from the Treaty of Versailles.
(Pictured: Prime Minister of the United Kingdom David Lloyd George)
Currie becomes an active member in the Northern Ireland Civil Rights Association (NICRA). He later speaks about the effect of partition on Catholics in Northern Ireland: “Partition was used to try to cut us off from the rest of the Irish nation. Unionists did their best to stamp out our nationalism and, the educational system, to the extent it could organise it, was oriented to Britain and we were not even allowed to use names such as Séamus or Seán. When my brothers’ godparents went to register their birth, they were told no such names as Séamus or Seán existed in Northern Ireland and were asked for the English equivalent.”
Currie contests the 1979 United Kingdom general election and 1986 by-election in the Fermanagh and South Tyrone seat, but is unsuccessful on both attempts. He also is elected to the Northern Ireland Assembly in 1982 for the same seat. That Assembly, which is an attempt by the Government of the United Kingdom to reintroduce devolved power-sharing, collapses in 1986 without executive ministerial functions ever being transferred to it from the UK Secretary of State for Northern Ireland as no political agreement can be reached on power-sharing between the parties owing to nationalists abstentionism over the constituency boundaries used to elect members, and unionist opposition to the Anglo-Irish Agreement of 1985.
Following his decision to quit Northern Ireland politics, and relocate his family to County Kildare, Currie becomes actively involved in politics in the Republic of Ireland. Partly due to his long-standing doubts about the commitment of politicians in the Republic to the plight of northern nationalists, he join the Fine Gael party in 1989. He is elected as a Fine Gael TD for Dublin West at the 1989 Irish general election.
In 1990, Fine Gael selects Currie as their candidate for the 1990 Irish presidential election, running against Tánaiste and Fianna Fáil TD, Brian Lenihan Sr, and Senator Mary Robinson for the Labour Party. The 1990 election is the first contested election for the Irish Presidency in 17 years. Currie receives 267,902 first-preference votes (approximately 17%) and is eliminated on the first count. The distribution of his votes sees Mary Robinson elected as Ireland’s first female president on the second count, beating Lenihan by more than 86,000 votes.
In his 2004 autobiography All Hell will Break Loose, Currie writes about his experience of running in the presidential election, and the prejudice he faced as a nationalist from Ulster in southern politics: “What annoyed, indeed angered me most was the suggestion that because I came from the North, I was not a real Irishman … what I called the partitionist mentality … [during the election campaign] the [then Fianna Fáil] Minister for Justice [Ray Burke] said Fine Gael leader Alan Dukes ‘had to go to Tyrone to find a candidate for the presidency’ … it was hard to take, particularly from so-called republicans.”
Following his defeat in the presidential election, Currie holds his Dáil seat in Dublin West at the 1992 and 1997 Irish general elections. Following the formation of the so-called Rainbow Coalition between Fine Gael, Labour and Democratic Left, on December 20, 1994, newly appointed TaoiseachJohn Bruton appoints him as a Minister of State with responsibility for Children’s Rights at the Departments of Health, Education and Justice, becoming the first ever minister in an Irish Government with dedicated responsibility for children. He holds this post until the appointment of a new Irish Government on June 26, 1997, following the 1997 Irish general election.
At the 2002 Irish general election Currie contests the new constituency of Dublin Mid-West, and fails to be elected. He immediately announces his retirement from electoral politics. He continues to speak and campaign for civil rights across the island of Ireland and for causes he believes in, such as justice for the families of the Disappeared during the Troubles. He and his wife and family are personal friends of the family of one of the Disappeared, Columba McVeigh, from Donaghmore, County Tyrone. His daughter Emer Currie is elected in his former constituency of Dublin West at the 2024 Irish general election.
Following the deaths of Seamus Mallon and John Hume in January and August 2020 respectively, Currie becomes the last surviving founder of the SDLP.
Currie dies on November 9, 2021, at the age of 82 at his residence in Derrymullen, County Kildare. Following an initial funeral mass in Allentown, County Kildare, his remains are transferred to his original family home in Edendork, near Dungannon, County Tyrone, where a second funeral mass was celebrated at St. Malachy’s Church, Edendork. He is buried alongside his parents in the cemetery adjoining the church.
Dillon leaves school at the age of fourteen and for seven years works as a painter and decorator, mostly in London. From an early age he is interested in art, cinema, and theatre. About 1936 he starts out as an artist.
Dillon’s Connemara landscapes provide the viewer with context, portraits of the characters who work the land, atmosphere and idiosyncratic colour interpretations. At the age of 18, he goes to London, initially working as a decorator. With the outbreak of World War II, he returns to Belfast. Over the next five years he develops as a painter in Dublin and Belfast. His works during this period are more than simple depictions of the life and people around him, they are reactions and interactions in paint.
In 1942, Dillon’s first solo exhibition is opened by his friend and fellow artist, Mainie Jellett, at The Country Shop, St. Stephen’s Green, Dublin. “Father, Forgive Them Their Sins” depicts his concerns about the new war that has broken out. Despite a growing reputation, he returns to London in 1944 to work on demolition gangs to restore his finances. In the late 1940s and during the 1950s, he finds himself favouring the town of Roundstone, County Galway. In 1951 he is introduced to Noreen Rice by her piano teacher. She has no formal training and takes Dillon and George Campbell as her mentors for decades and her work is of a similar surrealistic and primitive style.
In 1958, Dillon has the double honour of representing Ireland at the Guggenheim International, and Great Britain at the Pittsburg International Exhibition. He and his sister, Mollie, have a property on Abbey Road in 1958. They let out part of the house to Arthur Armstrong and they let a flat to Noreen Rice and her brother. He and Noreen tour junk yards to find objects like leather and string that they include in their artwork.
Dillon travels widely in Europe and teaches for brief periods in the London art schools.
In 1967, Dillon suffers a stroke and spends six weeks in hospital. From this time his work changes direction. A notion of imminent death sends his work almost into another world, a realm of dreams and paintings intimating his death. In 1968 he is back in Dublin, where he helps to design sets and costumes for Seán O’Casey‘s play Juno and the Paycock. He continues to paint and also to make tapestries, sitting at his Singersewing machine.
In 1969, Dillon pulls his artworks from the Belfast leg of the Irish Exhibition of Living Art in purported protest during the Troubles against the “arrogance of the Unionist mob.” However, he does send work to Ulster when he donates work to Sheelagh Flanagan who had organised an exhibition for the relief of victims of the Belfast riots, in October 1969. His picture is hanged alongside the donated works of T. P. Flanagan, William Scott, F. E. McWilliam, Deborah Brown and Carolyn Mulholland as well as more than twenty others. Michael Longley retorts in a further letter, “Belfast needed creativity, it needed people like Gerard Dillon.” During his last years, he is invited to be involved in a children’s art workshop in the National Gallery of Ireland.
Dillon dies of a second stroke at the age of 55 on June 14, 1971. His grave, as requested, is unmarked in Belfast’s Milltown Cemetery. Danlann Gerard Dillon/The Gerard Dillon Gallery in Cultúrlann McAdam Ó Fiaich is named in his honour.
In his biography of the artist, James White briefly touches on the artists homosexuality: “such was his religious feeling that although he was drawn to people of that type, if he once had an encounter I believe that it never occurred again.” The artist’s nephew, Martin Dillon, recalls that after his uncle’s death he found a diary entry describing a homosexual encounter with a sense of guilt, but the author Gerard Keenan insists he was “a very well-adjusted homosexual.” Reihill expands on this, pointing to a probably unrequited love for the painter Daniel O’Neill and also highlights Dillon’s association with Basil Rákóczi and The White Stag Group‘s Kenneth Hall both strong gay connections. Pictures with both overt and covert references are known.
Patterson is born in Belfast on April 18, 1802, the eldest son among three sons and a daughter of Robert Patterson, ironmonger, who supplies equipment for linen mills, and his wife Catherine Patterson (neé Clarke), who is from Dublin. He attends Belfast Royal Academy, and from 1814 is one of the first pupils of the Belfast Academical Institution. He is apprenticed in 1818 to his father, and takes over the business on his father’s death in 1831. Even as a boy, he devotes his leisure time to the study of natural history, and during summer holidays investigates the flora and fauna of the countryside and seaside resorts near Belfast. One of his brothers, William (1805–37), has similar interests.
At the age of 18, Patterson is a founder along with seven others, including James Lawson Drummond, James MacAdam and George Crawford Hyndman, of the Belfast Natural History Society in 1821 (from 1842 “and Philosophical” is added to the society’s name). He is the society’s president for many years, taking a leading role in setting up its museum in 1830–31, and over the years giving many lectures, mostly published in its proceedings. Like many contemporaries, he is an enthusiast for the study of phrenology, and lectures on the subject in Belfast in 1836.
In 1871, Patterson is presented with an illuminated address by the BNHPS for his work to promote the study of natural history, especially as a subject in education. He is the only recipient of the Society’s Templeton medal. Though still engaged in business, he makes a reputation as Belfast’s most distinguished amateur naturalist, publishing monographs such as Letters on the Insects Mentioned by Shakespeare (1838). During dredging excursions in Belfast Lough he discovers several forms of marine life new to Great Britain and Ireland. He is one of the earliest members of the British Association for the Advancement of Science, and secretary of its natural history section from 1839 to 1844. When the Association meets in Belfast in 1852, he acts as local treasurer. He corresponds with prominent naturalists, including Charles Darwin.
In 1843, Patterson publishes in The Zoologist magazine The Reptiles Mentioned by Shakespeare. His Zoology for Schools (2 volumes, 1846, 1848) is followed by First Steps in Zoology (2 volumes, 1849, 1851). A large volume, Zoological Diagrams, with colour illustrations, is published in 1853. All his books have a wide circulation, particularly in the national schools, and stimulates the study of zoology. In accordance with the will of his friend William Thompson, Patterson and James Ramsey Garrett begin to prepare the final volume of Thompson’s Natural History of Ireland for publication. Garrett dies in 1855 and Patterson completes the volume in 1856. He is elected Member of the Royal Irish Academy (MRIA) in 1856, and Fellow of the Royal Society (FRS) in 1859.
Patterson is in the vanguard of a generation of Ulster naturalists who through their work encourage the study of Irish flora and fauna and the establishment of field clubs and natural history societies. He also takes an active part in the public life of Belfast, and in philanthropy. He is a member of the unitarian congregation. He is one of the founders of the Ulster Society for the Prevention of Cruelty to Animals and is particularly interested in the Belfast Society for Promoting Knowledge (the Linen Hall Library), in the Botanic Gardens, and in his old school, Royal Belfast Academical Institution. As a Belfast harbour commissioner (1858–70), he brings commercial and environmental insights to decisions concerning port development.
Patterson marries Mary Elizabeth Ferrar in 1833. She is the daughter of a Belfast magistrate, William H. Ferrar, and writes poetry. Patterson also writes poetry, as well as hymns. Many of their poems are collected in Verses by Robert and Mary Patterson (1886), and they are represented in Selections from the British Poets, published for the use of national schools in 1849. They have five sons and six daughters. His second son, Robert Lloyd Patterson, is also a naturalist. Another son was William H. Patterson. His grandson Robert Patterson, editor of the Irish Naturalist, is secretary of the Belfast Natural History and Philosophical Society, secretary and president of the Belfast Naturalists’ Field Club and secretary of the Ulster Fisheries and Biology Association, which he founds. Robert M. Patterson, a grandson, is a prominent businessman and highly regarded amateur artist. Rosamond Praeger is a granddaughter, and Robert Lloyd Praeger a grandson. The latter writes of his grandfather: “After seventy-five years I can still see him – a man of middle height, and rather formal manner, pursuing his country rambles on Saturday afternoons in black frock-coat and top hat, and pointing out to us delighted children lady-birds and tree-creepers.”
Patterson retires from business in 1865, and dies on February 14, 1872, at his residence in College Square North, Belfast. He is buried in Belfast City Cemetery, where there is a monument to his memory.
(From: “Patterson, Robert” by Andrew O’Brien, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Robert Patterson” by Thomas Herbert Maguire, printed by M & N Hanhart lithograph, 1849, National Portrait Gallery)
Conor is born on May 9, 1881, in Fortingale Street, Belfast, the third son and fourth child of William Connor, a tinsmith and sheet metal worker, who later becomes a gas fitter, and Mary Connor (née Wallace). He is educated at the Clifton Park central national school, where his artistic abilities are noticed by his music teacher. In 1894, he enrolls at the Belfast government school of design. He is a very successful student, and by 1903 has become an assistant teacher. He completes his studies in 1904, and begins an apprenticeship with the Belfast firm of lithographers, David Allen and Son. Through his work in the poster design department he develops an enthusiasm for using crayons on a textured surface. This becomes a characteristic feature of his later drawings. In these early years he first starts recording images of Belfast life, often sketched from behind a folded newspaper in the street. Influenced by the Gaelic revival, in the years 1907–9 he signs his name in several different ways such as “Liam” and “Liam Conor.” In later years he signs himself simply “Conor.”
Having abandoned his career as a lithographer around 1910, Conor concentrates his efforts on painting professionally. He begins exhibiting with the Belfast Art Society in 1910, and in the period that follows he spends time in Craigavad, County Down, the Blasket Islands in County Kerry, Dublin, and Donegal. During a visit to Paris, which he later recalls as being in 1912 and 1913, he meets the painter André Lhote. After his return to Belfast he is elected to the committee of the Belfast Art Society in 1913. On the outbreak of World War I, he is commissioned by the British government to record the everyday activities of munitions workers and soldiers in Ulster. His pictures mostly show soldiers in training and various scenes from the home front, including the work of women in munitions factories and hospitals. Described as “vigorous and personable, if rather folksy . . . effectively uniformed versions of the tinkers and shipyard workers for which he subsequently became known,” these paintings are exhibited and subsequently, in 1916, auctioned for the Ulster Volunteer Patriotic Fund. His long association with the Royal Hibernian Academy (RHA) begins in 1918 and he shows up to 200 works at the academy over the next forty-nine years.
In 1921, Conor moves to London, where he becomes acquainted with, among others, Sir William Orpen, Sir John Lavery, and Augustus John. He becomes a member of the Chelsea Arts Club, and contributes four paintings to the National Portrait Society as part of its spring exhibition in 1921. His friendship with Lavery is significant. Through him Conor receives a commission to paint the opening of the first Northern Ireland parliament in June 1921. He goes on to exhibit with a variety of influential bodies, including the Royal Academy of Arts, the Société Nationale des Beaux-Arts in Paris, and the Royal Society of Portrait Painters. In 1922, The Twelfth, executed c.1918, is shown in the Galerie Barbazanges in Paris, under the title Le cortège Orangiste à Belfast, as part of the World Congress of the Irish Race. He is represented at the Paris salon in 1923 and the following year he has a successful exhibition at the St. Stephen’s Green Gallery, Dublin.
In 1926, Conor travels to Philadelphia and New York, where, during his nine-month stay, he receives numerous commissions for portraits and has work shown in the Babcock Galleries, the Brooklyn Art Gallery, and the American Irish Historical Society. In 1932, he designs the costumes for the principals in the Pageant of St. Patrick, which marks the 1,500th anniversary of the saint’s coming to Ireland. That year also sees the unveiling of his muralUlster Past and Present at the Belfast Municipal Museum and Art Gallery. Measuring 2.8 by 7.4 metres, it is at the time the largest mural in the country. During World War II he is again appointed an official war artist and his work is represented at the exhibition of war artists at the National Gallery, London, in 1941. His book The Irish Scene is published in 1944, and though it sells well, the subsequent bankruptcy of his publishers mean that Conor receives no royalties. He also provides the illustrations for books by Lynn C. Doyle, the pseudonym of his friend Leslie Montgomery.
Although Conor is best known for his depictions of the everyday life of people in his native Belfast, in which he attempts to capture the “flash of humour which lightens their daily toil,” he also produces landscapes and portraits. His sitters included Douglas Hyde, St. John Greer Ervine, Charles D’Arcy, and Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry. The Council for the Encouragement of Music and the Arts organises several successful Conor exhibitions. Their one-man show of 1945 becomes the first to tour the province, while their exhibition of his work in 1954 has an attendance in excess of 2,800. Conor closes his long-established studio on Stranmillis Road in 1960 but continuea to exhibit, notably with the Bell Gallery in 1964, 1966, and 1967.
(From: “Conor, William” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “William Conor,” oil on canvas by Gladys Maccabe, Ulster Folk Museum)
Colin MiddletonMBE, Northern Irishlandscape artist, figure painter, and surrealist, is born on January 29, 1910, in Victoria Gardens in north Belfast. Hus prolific output in an eclectic variety of modernist styles is characterised by an intense inner vision, augmented by his lifelong interest in documenting the lives of ordinary people. He has been described as “Ireland’s greatest surrealist.”
Middleton is the only child of damask designer Charles Middleton. He attends the nearby Belfast Royal Academy until 1927 and then continues his studies with night classes at Belfast School of Art where he trains in design under the Cornish artist Newton Penprase. However, he finds the college too traditional in outlook, as his first influence, his father, had been a follower of European Modernism, particularly the Impressionists.
Middleton shows his first works with the Ulster Academy of Arts in 1931, where he exhibits frequently until the late nineteen-forties. He first comes to public attention with the inclusion of his works in the groundbreaking inaugural exhibition of the Ulster Unit at Locksley Hall, Belfast, in December 1933. The Ulster Unit is a short-lived grouping of Ulster artists who take their inspiration from Paul Nash’s Unit One formed earlier in the same year. Just two years thereafter in the same year, he marries Maye McLain, also an artist and a domestic science teacher, who unfortunately dies four years later. He is also a poet and writer, whom along with his wife, is an active member of the Northern Drama League in the 1930s, with whom he designs sets. After the death of his first wife he destroys all of his early paintings and enters a period of seclusion at his mother’s home outside Belfast. He becomes a follower of Vincent van Gogh and James Ensor after viewing exhibitions in London and Belgium respectively. On his return to Ulster he begins to experiment with styles derived from European Modernism, the antithesis to traditional academism. Throughout the 1930s he is also a keen follower of Paul Nash, Tristam Hillier and Edward Wadsworth. After exposure to the works of Salvador Dalí, he declares himself “the only surrealist painter working in Ireland.”
Middleton’s work first appears at the Royal Hibernian Academy in 1938 where he shows intermittently until the final year of his life. He participates in an exhibition at 36 Arthur Street, Belfast, with the Czech artist Otakar Gregor, Joan Loewenthal and Sidney Smith in aid of the war effort at the end of 1940. He completes three paintings immediately after the Belfast Blitz and the trauma of the events prevent him from working for six months before his work is included in a portfolio of lithographs published by the Ulster Academy in December 1941 to raise money for rebuilding the Ulster Children’s and Women’s Hospital which had been destroyed in the Blitz earlier in the year.
Middleton’s first solo exhibition is given by the Belfast Municipal Museum and Art Gallery in 1943. It is the first exhibition staged at the gallery when it re-opens after the Belfast Blitz. At the time it is the largest one-person show the gallery has staged comprising one hundred fifteen works and it is also the first solo exhibition accorded to a local contemporary artist by the gallery. In an interview with Patrick Murphy in 1980, he says that the paintings represent “a first endeavour to harmonize the seemingly opposed and conflicting tendencies in human nature.” Dickon Hall says of this period that “Middleton’s painting is dominated by the female form; it is only rarely that men appear in his work. In part these women reflect his experience of Belfast and the difficult conditions that so many lived through.” This can be seen in the three female figures of The Poet’s Garden (1943), and even more so in The Conspirators (1942), both of which are featured in the 1943 exhibition. “The female form, pictorially and symbolically, becomes the landscape and the life force.”
The Belfast exhibition is followed by his first one-man show at the Grafton Galleries, Dublin, in 1944. In the following year he debuts at the Irish Exhibition of Living Art where he returns on a number of occasions, particularly in the periods 1949–55 and 1963–71. In 1945, he is married for the second time, to Kate Giddens, after both are named co-respondents at the Belfast High Court a few months earlier, in civil servant Lionel P. Barr’s application for a decree nisi. The suit is undefended and the couple has costs awarded against them. In the same year Middleton returns to the Belfast Museum for a solo exhibition arranged by the Council for the Encouragement of Music and the Arts. He is a founding member of the Northern Ireland branch of the Artists’ International Association, who show at the Belfast Municipal Gallery in spring 1945. Other members include Joan Loewenthal, Kathleen Crozier, Pat Hicking, Trude Neu, Sidney Smith, Nevill Johnston, George Campbell and Gerard Dillon.
Middleton’s work is displayed in New York‘s Associated American Artists gallery in 1947 with a selection of works chosen by Dublin art critic Theodore Goodman that includes paintings by his Northern contemporaries Daniel O’Neill, George Campbell, Gerard Dillon and Patrick Scott. He also retires from the family business that year to devote his time to painting, having worked at the business since his father’s death in 1933. He then takes his wife and child to live and work on John Middleton Murry’sSuffolk commune for a short period, before returning to Belfast in 1948. Their life in Suffolk is not a success as the family suffers from ill health, but the experience of working the land is to prove a profound influence on his future work.
In 1949, Middleton shows his first works at the Oireachtas na Gaeilge, where he returns periodically until 1977. Upon their return from Suffolk, his wife sends Victor Waddington photos of his work whereupon Waddington comes to represent him for a period of five years, until the Waddington Galleries face financial hardship in 1958. It is Waddington’s patronage that enables the Middleton family to live and work in Ardglass, County Down, for four years from 1949, which Middleton later describes as the happiest time of his life. When his works are displayed at Victor Waddington’s Dublin gallery in that same year, it acts as a springboard that opens Middleton’s work to an international audience. Group exhibitions in Boston and London follow in 1950 and 1951 respectively.
Middleton’s first solo show at London’s Tooth Gallery takes place in 1952, where his work had been shown in the previous year.
In 1953, Middleton moves to Bangor, County Down, where he designs for Marjery Mason‘s The Repertory Theatre. He later designs sets for the Circle Theatre and the Lyric Theatre, including the sets for a series of W. B. Yeats’s plays in 1970, and Seán O’Casey‘s Red Roses for Me in 1972, both at the latter. In 1952, he exhibits alongside Daniel O’Neill, Nevill Johnson, Gerard Dillon and Thurloe Connolly at the Tooth Galleries in London. He begins his career as an art teacher by the invitation of James Warwick who offers him a one year part-time post at the Belfast College of Art in 1954. That year he shows forty-two works at the Belfast Municipal Gallery under the auspices of the Council for the Encouragement of Music and the Arts. In the following year he delivers full-time classes at the Coleraine Technical School, before becoming head of art at Friends’ School, Lisburn in 1961 where he remains until 1970. He lives on Plantation Avenue in Lisburn for nine years next door to fellow artist and pedagogueDennis Osborne, who presents a portrait of Middleton at the annual exhibition of the Royal Ulster Academy in 1965.
A poet and musician, Middleton also produces murals, mosaics and posters. One such mural is commissioned for a house in Ballymena designed by the architect Noel Campbell in an international modernist style in 1951, and other works include a mosaic for a school in Lisburn, and a mural in a health clinic. He shows in many group shows throughout the fifties including the Royal Academy of Arts in 1955, in addition to more solo exhibitions at the Waddington Galleries in 1955, and his first showing at the Richie Hendricks Gallery in 1958. Of the Waddington exhibition TheDublin Magazine writes: “Apart from the brilliance of his paint, he has one rare quality in his inexhaustible capacity for wonder.”
Middleton shows in the Arts Council of Northern Ireland‘s gallery in 1965 with additional works at the Bell Gallery and his Bruges Series is shown at Alice Berger Hammerschlag’s New Gallery upon his return from a Belgian trip in 1966. The Arts Council of Northern Ireland suffers an extensive fire at their storage facility in south Belfast in autumn 1967 which decimates their collection of contemporary art and theatre costumes. Losses include several of Middleton’s paintings, in addition to the works of many other leading Ulster artists such as William Conor and T. P. Flanagan. He Is among the prizewinners at the Arts Council of Northern Ireland’s 4th Open Painting Exhibition in 1968. In the same year, John Hewitt curatea a joint exhibition of his paintings with T. P. Flanagan at the Herbert Art Gallery and Museum in Coventry.
The Arts Council hosts a joint retrospective of Middleton’s work in co-operation with the Scottish Arts Council in 1970. A major retrospective is to follow at the Ulster Museum and the Hugh Lane Municipal Gallery of Modern Art in Dublin in 1976. Comprising almost three hundred exhibits, the show is accompanied by a monograph written by Middleton’s lifelong friend, the patron and poet John Hewitt. Hewitt later bequeaths his art collection, including several of Middleton’s paintings to the Ulster Museum.
The Royal Mail uses Middleton’s painting of Slieve na Brock in the Mourne Mountains to commemorate the Ulster ’71 exhibition in a series of postage stamps that also feature the work of Thomas Carr and T. P. Flanagan. In 1972, Middleton tours extensively with his wife visiting Australia for two months and shows his works from the trip at the McClelland International Galleries on Belfast’s Lisburn Road the following year. In 1973 he also visits Barcelona and later shows a series of surrealist works inspired by the two trips at the Tom Caldwell Gallery in Belfast.
Middleton lives the last twelve years of his life in Bangor, County Down.
Middleton dies of leukemia in Belfast City Hospital on December 23, 1983. He is survived by his wife Kate, their daughter and a step-daughter. His son predeceases him by a year. Christie’s of London is entrusted with the sale of his studio works in 1985. The works are displayed before auction in both Dublin and Belfast during August 1985. In 2005, the Ulster History Circle unveils a commemorative blue plaque at his former home on Victoria Road in Bangor.
In September 2023, eighty years since the ground-breaking exhibition Middleton held at the Belfast Museum and Art Gallery, now the Ulster Museum, and forty years after his death, the Ulster Museum holds a new exhibition of his works, celebrating his association with Belfast, the city of which he says, “I belong here as I never belonged anywhere else in the country.” This exhibition brings together works held in the public collection with those from private lenders to provide a full picture of the artist’s talent and life.
Middleton wins the Royal Dublin Society‘s Taylor Scholarship worth £50 in 1932, and two further awards of £10 in 1933. In 1935, he is elected associate of the Ulster Academy, inducted alongside Helen Brett, Kathleen Bridle, Patrick Marrinan, Maurice Wilks, Romeo Toogood and William St. John Glenn,and in 1948 he becomes an elected Academician at the same.
In 1968, Middleton is appointed MBE in the Queen’s birthday honours list, and in 1969 he is elected an associate at the Royal Hibernian Academy with full membership conferred just a year later. He is awarded an honoraryMaster of Arts degree from Queen’s University Belfast in 1972. The Arts Council of Northern Ireland grants him a substantial subsistence award in 1970 which covers two years enabling him to retire from teaching to concentrate on painting full-time. In the same year, the Arts Council of Northern Ireland also commissions him to paint a portrait of their director, Kenneth Jamison.
The first siege of Enniskillen takes place at Enniskillen in Fermanagh, present day Northern Ireland, beginning on January 25, 1594, during the Nine Years’ War. In February 1594, the English have captured Enniskillen Castle from the Irish after a waterborne assault and massacre the defenders after they surrender. From May 1594, an Irish army under Hugh Maguire and Cormac MacBaron O’Neill besiege the English garrison in the castle, and in August they defeat an English relief force. A second relief force is allowed to resupply the garrison, but the castle remains cut off. Eventually, in May 1595, the English garrison surrenders to the Irish and are then massacred.
In 1593, Hugh Maguire, Chief of the Name and Lord of Fermanagh, objects to the behaviour of the newly-appointed English Crown sheriff Humphrey Willis. As he had done before being expelled by Hugh Roe O’Donnell from Tyrconnell in 1592, Willis is cattle raiding and plundering throughout Clan Maguire territory. Maguire is not strong enough to resist the sheriff, but after receiving reinforcements from Hugh O’Neill, Earl of Tyrone, Maguire expelled Willis. In May and June 1593, Maguire and Brian Oge O’Rourke of West Breifne raids lands held by the English Lord President of Connaught, Richard Bingham. They destroy the town around Ballymote Castle. This is part of a proxy war waged to distract the Crown while Hugh O’Neill strengthens his position in Ulster. As hoped for, the Crown responds by sending an army under Sir Henry Bagenal and Gaelic leader Hugh O’Neill, Earl of Tyrone (outwardly still loyal to the Crown), who defeats Maguire’s force at the Battle of Belleek in October 1593. However, Maguire’s main force remains unscathed.
Enniskillen Castle sits on the River Erne and commands the strategic bottleneck between Upper and Lower Lough Erne. On January 25, 1594, English Captain John Dowdall arrives at Enniskillen by boat with three infantry companies. They dig trenches in which they place light cannons and musketeers, but the cannons are too small to make much of an impact on the castle walls. On January 30, Captain George Bingham arrives with 300 men.
They launch a waterborne assault on the castle. While musketeers in boats and artillery on land fire at the castle, a large boat holding 67 men anchors at a vulnerable part of the walls. They make a breach in the wall with pickaxes, forcing the Irish to take shelter in the keep. Dowdall threatens to destroy the castle with gunpowder if the garrison does not surrender. An Irish witness claims there are 36 fighting men and 40 women and children in the castle, while Dowdall claims there are 200. After they surrender, Dowdall has them put to the sword and claims to have killed 150. Captain Thomas Lee, who is present, describes this as a great dishonor to the Queen as the defenders had surrendered “uppon composicion, And your majesties worde being past to the poore beggars that kept it, they were all notwithstandinge dishonourably putt to the sworde in a most miserable state.”
Dowdall writes on February 2 to the Lord Deputy of Ireland that he has captured the castle from the “rebel” Hugh Maguire. An English garrison is left in place. A detailed coloured illustration of the siege was made shortly after.
A second siege begins on May 17, 1594. Now acting with the covert support of Hugh O’Neill, Hugh Maguire and Cormac MacBaron O’Neill lay siege to Enniskillen which is now isolated in hostile country. This siege ends on August 30 when Lord Deputy William Russell’s beleaguered garrison withdraws. Following this, there is a truce, but “subterfuge and deception were the hallmarks of this stage of the war.”
A third siege begins when Maguire raises the clan and attacks the castle again in January 1595. In May 1595 the garrison agrees to surrender Enniskillen to the Irish in exchange for their lives. However, the entire garrison is then massacred.
