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Tag Archives: World War II


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Birth of Beatrice Moss Elvery Campbell, Painter, Stained Glass Artist & Sculptor

Beatrice Moss Elvery Campbell, Lady Glenavy, painter, stained glass artist and sculptor, is born in Dublin on April 30, 1883.

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 Gort convent 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.

Campbell’s work is in inter alia the Ulster Museum, the National Gallery of Ireland, the Hugh Lane Gallery, and the Crawford Art Gallery in Cork, County Cork.

(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)


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Birth of Gerard Dillon, Painter & Artist

Gerard Dillon, Irish painter and artist, is born in Belfast on April 20, 1916.

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 Singer sewing 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.

(Pictured: “Tory Island” by Gerard Dillon)


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Birth of Spike Milligan, Irish Writer & Comedian

Terence Alan “Spike” Milligan, Anglo-Irish comedian, writer, musician, poet, playwright and actor, is born on April 16, 1918, in Ahmednagar, India. He leads the comic troupe featured on the 1950s BBC radio hit The Goon Show. His anarchic sense of absurdity and unique comic genius make him a model for succeeding generations of comedians and paves the way for the Monty Python brand of alternative comedy.

Milligan is the son of an Irish father, Leo Alphonso Milligan, a regimental sergeant major in the British Indian Army, and English mother, Florence Mary Winifred (née Kettleband). He is raised in India and Burma (Myanmar). He is educated at the Convent of Jesus and Mary, Poona, and later at St. Paul’s High School, Rangoon. He moves to England with his family in 1933. He serves in the army during World War II and, when he is wounded in combat, begins a struggle with manic-depressive illness that lasts the rest of his life. Toward the end of the war, he meets Harry Secombe, and they work together entertaining the troops. After the war the pair, along with Peter Sellers and Michael Bentine, begin spending time at the Grafton Arms pub, where they develope their comedy routines. BBC radio begins broadcasting the group’s work in 1951, as Crazy People, and in 1952 it is renamed The Goon Show. As such it continues until early 1960 (though Bentine soon leaves the show) and becomes a cult classic.

Milligan later acts onstage and in small parts in movies—including Monty Python’s Life of Brian (1979)—and writes numerous books of poems, war memoirs, the play The Bedsitting Room (with John Antrobus; first performed 1962), and a number of television series. He also supports a multitude of causes, especially those involving the environment. Because his father is Irish and he is born in India—and despite his years of military service—the British government does not consider him a citizen. Rather than take an oath of allegiance, he takes Irish citizenship. Nonetheless, he is made an honorary Commander of the British Empire in 1992 and is given an honorary knighthood in 2000.

Milligan dies from kidney failure, at the age of 83, on February 27, 2002, at his home on Dumb Woman’s Lane near Rye, East Sussex. On the day of his funeral, March 8, 2002, his coffin is carried to St. Thomas Church in Winchelsea, East Sussex, and is draped in the flag of Ireland. He had once quipped that he wanted his headstone to bear the words: “I told you I was ill.” He is buried at St. Thomas’ churchyard but the Chichester diocese refuses to allow this epitaph. A compromise is reached with the Gaelic translation of “I told you I was ill,” Dúirt mé leat go mé breoite, and in English, “Love, light, peace.” The additional epitaph Grá mhór ort Shelagh can be read as “Great love for you Shelagh.”

According to a letter published in the Rye and Battle Observer in 2011, Milligan’s headstone is removed from St. Thomas’ churchyard in Winchelsea and moved to be alongside the grave of his wife, but is later returned.


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Death of Denis Santry, Architect & Cartoonist

Denis Santry, Irish architect and cartoonist, dies in Durban, South Africa, on April 14, 1960. He is a pioneer of animated cartoons in South Africa and the architect of the several prominent structures in Singapore, including the Sultan Mosque and The Cenotaph.

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.


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Birth of Michael “Mouse” Morris, Racehorse Trainer & Jockey

Michael Francis Leo Morris, Irish racehorse trainer and former amateur and professional jockey informally known as “Mouse” Morris, is born on April 4, 1951, in Spiddal, County Galway. As a trainer, he has won the Grand National and the Cheltenham Gold Cup, and has won the Irish Grand National twice. In 2016, he wins both the Grand National and Irish Grand National. He is formally known as the Honourable Michael Morris.

Morris is the third son of Michael Morris, 3rd Baron Killanin, who is president of the International Olympic Committee from 1972 to 1980 and Chairman of Ballybrit Racecourse from 1970 to 1985. His mother, Sheila, is the daughter of Canon Douglas Dunlop, Rector of Oughterard and the granddaughter of Henry Dunlop who is involved in the construction of  Lansdowne Road in 1872. During World War II his mother is a cryptographer at Bletchley Park. According to Morris, “she was in Hut 6, but she wouldn’t ever talk about it. Neither of them would talk about the war. She was bound by the Official Secrets Act, but whatever she did, she got an MBE for it.”

Morris’s twin brother John (Johnny) becomes a photographer and marries Thelma Mansfield. Their elder brother, George Redmond, follows in the footsteps of their father, Lord Killanin, by becoming a film producer. His credits include The Reader. They also have one sister, Monica Deborah.

At the age of fifteen Morris’s formal education ends following his diagnosis with dyslexia. He then begins working at racing stables. He earns the nickname “Mouse” when he is an amateur rider.

Initially, Morris comes to prominence as an amateur jockey. In 1974 he rides  Mr. Midland to victory at  Cheltenham Racecourse giving Edward O’Grady his first Festival winner. In 1975 he turns professional. He rides Skymas in his successive victories in the 1976 and 1977 Queen Mother Champion Chase at Cheltenham. He rides Billycan to victory in the 1977 Irish Grand National, a race he is subsequently to win twice as a trainer. His career as a rider ends after a fall in South Carolina‘s Colonial Cup.

Morris is based in Fethard, County Tipperary. In 1981, he takes out a licence and begins his National Hunt training career. Hus first major breakthrough comes when Buck House wins the 1983 Supreme Novices’ Hurdle, giving him his first winner at Cheltenham.

The 1990s start brightly for the “Mouse” Morris yard when Trapper John, ridden by jockey Charlie Swan, wins the Stayers’ Hurdle at the 1990 Cheltenham Festival. The following year, Cahervillahow is beaten by a short head in the Irish Grand National and merely three weeks later in the Whitbread Gold Cup he is controversially judged to have interfered with runner-up Docklands Express in the closing stages. As a result, Docklands Express is awarded the race. He finishes second in the 1993 Grand National which is voided after a false start. He trains His Song who is one of the best novice hurdlers of the period. His Song finishes second behind the J. P. McManus owned Istabraq in the 1998 AIG Irish Champion Hurdle on his fourth race outing before again finishing second in the Supreme Novice Hurdle at Leopardstown Racecourse. One of his most important wins as a trainer comes in 2006 when he sends out the seven-year-old gelding War Of Attrition to win the 2006 Cheltenham Gold Cup, beating another Irish challenger, Hedgehunter, on Saint Patrick’s Day. In 2008, he trains Hear The Echo to victory in the Irish Grand National. In 2011, he trains the winner of the Grade 1 Neptune Investment Management Novices’ Hurdle at Cheltenham, First Lieutenant, ridden by Davy Russell. In 2016, he wins the Irish Grand National again this time with Rogue Angel. Also in 2016, he wins the Grand National for the first time with Rule The World.

Morris is married to Susanna Felicity Clark. They have two sons, James (Jamie) born in 1983 and Christopher (Tiffer) born in 1985. Tiffer dies at the age of 30 in June 2015 of carbon monoxide poisoning while traveling in Argentina.


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Death of Donogh O’Malley, Politician & Rugby Union Player

Donogh Brendan O’Malley, Irish Fianna Fáil politician and rugby union player, dies suddenly in Limerick, County Limerick, on March 10, 1968. He serves as Minister for Education (1966-68), Minister for Health (1965-66) and Parliamentary Secretary to the Minister for Finance (1961-65). He also serves as a Teachta Dála (TD) for the Limerick East constituency (1954-68). He is best remembered as the Minister who introduces free secondary school education in the Republic of Ireland.

O’Malley is born on January 18, 1921, in Limerick, one of eight surviving children of Joseph O’Malley, civil engineer, and his wife, Mary “Cis” (née Tooher). Born into a wealthy middle-class family, he is educated by the Jesuits at Crescent College and later at Clongowes Wood College, County Kildare. He later studies at University College Galway (UCG), where he is conferred with a degree in civil engineering in 1943. He later returns to Limerick, where he works as an engineer before becoming involved in politics.

O’Malley plays rugby at provincial level for Munster, Leinster and Connacht and at club level for Bohemians and Shannon RFC. His chances at an international career are ruined by the suspension of international fixtures during World War II. It is at a rugby match in Tralee that he first meets Dr. Hilda Moriarty, who he goes on to marry in August 1947.

Although O’Malley runs as a Fianna Fáil candidate, he is born into a politically active family who supports Cumann na nGaedheal until a falling-out with the party in the early 1930s. He first becomes involved in local politics as a member of Limerick Corporation. He becomes Mayor of Limerick in 1961, the third O’Malley brother to hold the office (Desmond from 1941-43 and Michael from 1948-49). He is a strong electoral performer, topping the poll in every general election he runs in.

O’Malley is first elected to Dáil Éireann as a Fianna Fáil TD for Limerick East at the 1954 Irish general election. Fianna Fáil is not returned to government on that occasion. He spends the rest of the decade on the backbenches. However, his party is returned to power in 1957. Two years later, the modernising process begins when Seán Lemass takes over from Éamon de Valera as Taoiseach. Lemass introduces younger cabinet ministers, as the old guard who has served the party since its foundation in 1926 begin to retire.

In 1961, O’Malley joins the government as Parliamentary Secretary to the Minister for Finance. He is part of a new, brasher style of politician that emerges in the 1960s, sometimes nicknamed “the men in the mohair suits.” It is expected that this generation of politician, born after the Irish Civil War, will be a modernising force in post-de Valera Ireland.

Although his sporting background is in rugby and swimming, it is association football which O’Malley gets involved in at a leadership level, becoming President of the Football Association of Ireland despite never having played the sport.

Following Fianna Fáil’s retention of power in the 1965 Irish general election, O’Malley joins the cabinet as Minister for Health. He spends just over a year in this position before he is appointed Minister for Education, a position in which he displays renowned dynamism. Having succeeded Patrick Hillery, another dynamic young minister, he resolves to act swiftly to introduce the recommendations of an official report on education.

As Minister for Education, O’Malley extends the school transport scheme and commissions the building of new non-denominational comprehensive and community schools in areas where they are needed. He introduces Regional Technical Colleges (RTCs), now called Institutes of Technology, in areas where there is no third level college. The best example of this policy is the University of Limerick, originally an Institute of Higher Education, where O’Malley is credited with taking the steps to ensure that it becomes a university. His plan to merge Trinity College Dublin and University College Dublin arouses huge controversy, and is not successful, despite being supported by his cabinet colleague Brian Lenihan. Access to third-level education is also extended, the old scholarship system being replaced by a system of means-tested grants that give easier access to students without well-off parents.

Mid-twentieth century Ireland experiences significant emigration, especially to the neighbouring United Kingdom where, in addition to employment opportunities, there is a better state provision of education and healthcare. Social change in Ireland and policies intending to correct this deficit are often met with strong resistance, such as Noël Browne‘s proposed Mother and Child Scheme. As a former Health Minister, O’Malley has first-hand experience of running the department which had attempted to introduce this scheme and understood the processes that caused it to fail, such as resistance from Department of Finance and John Charles McQuaid. This influences his strategy in presenting the free-education proposal.

Shortly after O’Malley is appointed, he announces that from 1969 all education up to Intermediate Certificate level will be without cost, and free buses will bring students in rural areas to their nearest school, seemingly making this decision without consulting other ministers. However, he does discuss it with Lemass. Jack Lynch, who, as Minister for Finance, has to find the money to pay for the programme, is not consulted and is dismayed at the announcement.

By announcing the decision first to journalists and on a Saturday (during a month when the Dáil is in recess), the positive public reaction tempers resistance to the idea before the next cabinet meeting. O’Malley’s proposals are hugely popular with the public, and it is impossible for the government to go back on his word.

Some Irish commentators consider that O’Malley’s extension of education, changing Ireland from a land where the majority are schooled only to the age of 14 to a country with universal secondary-school education, indirectly leads to the Celtic Tiger boom of the 1990s-2000s when it is followed for some years by an extension of free education to primary degree level in university, a scheme that is launched in 1996 by the Labour Party and axed in 2009 by Fianna Fáil’s Batt O’Keeffe.

In 1967, O’Malley appoints Justice Eileen Kennedy to chair a committee to carry out a survey and report on the reformatory and industrial school systems. The report, which is published in 1970, is considered ground-breaking in many areas and comes to be known as the Kennedy Report. The Report makes recommendations about a number of matters, including the Magdalene laundries, in relation to which they are not acted upon. The report recommends the closure of a number of reformatories, including the latterly infamous reformatory at Daingean, County Offaly.

O’Malley’s reforms make him one of the most popular members of the government. He is affectionately known as “the School Man” for his work in education. His sudden death in Limerick on March 10, 1968, before his vision for the education system is completed, comes as a shock to the public. He is buried with a full Irish state funeral.

Following O’Malley’s death, his widow, Hilda O’Malley, does not run in the subsequent by-election for the seat he has left vacant. It is won narrowly by their nephew Desmond O’Malley. Hilda seeks the Fianna Fáil nomination for the 1969 Irish general election, but Fianna Fáil gives the party nomination to Desmond, as the sitting TD. Hilda runs as an Independent candidate in that election. After what proves a bitter campaign against her nephew, she fails to get the fourth seat in Limerick East by just 200 votes.


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Birth of James Chichester-Clark, Prime Minister of Northern Ireland

James Dawson Chichester-Clark, Baron Moyola, the penultimate Prime Minister of Northern Ireland and eighth leader of the Ulster Unionist Party (UUP), is born as James Dawson Clark on February 12, 1923, at Moyola Park, near Castledawson, County Londonderry, his family’s ancestral home.

Chichester-Clark is the eldest of three children of James Lenox-Conyngham Clark and Marion Caroline Dehra (née Chichester). His brother is Robin Chichester-Clark and his sister is Penelope Hobhouse, the garden writer and historian.

In 1924, James Clark Snr. changes the family name to Chichester-Clark by deed poll, thus preventing the old Protestant Ascendancy name Chichester, his wife’s maiden name, from dying out. On his mother’s side the family are descended from the Donegall Chichesters and are the heirs of the Dawsons of Castledawson, who had originally held Moyola Park.

Educated, against his own wishes, at Selwyn House, Broadstairs, and then Eton College, Chichester-Clark leaves school and enters adulthood in the midst of World War II. On joining the Irish Guards, the regiment of his grandfather, in Omagh, he begins his year-long training at the Royal Military College, Sandhurst, before receiving his commission as a second lieutenant.

Chichester-Clark marries widow Moyra Haughton (née Morris) in 1959. Lady Moyola’s first husband, Capt. Thomas Haughton from Cullybackey, had been killed in the RAF Nutts Corner air crash in January 1953. She, while pregnant, is seriously injured in the crash and suffers a broken neck.  He and his wife have two daughters (Tara and Fiona), in addition to Moyra’s son Michael from her previous marriage. Lady Moyola is a cousin of Colonel Sir Michael McCorkell, Lord Lieutenant of County Londonderry (1975–2000). Chichester-Clark serves as his Vice Lord-Lieutenant.

Chichester-Clark is an officer in the 1st Battalion, Irish Guards, part of 24th Infantry Brigade attached to British 1st Infantry Division, and participates briefly in the Anzio landings. He is injured on February 23, 1944, by an 88m shell as he and his Platoon Sergeant take their first look at the ground in the “gullies” to the west of the Anzio–Albano Laziale road. His company is all but wiped out, and he spends most of the war in hospital recovering from injuries, the effects of which stay with him throughout his life.

Following the war, Chichester-Clark’s military career takes him from the dull duties of the post-war occupation of Germany, to Canada as aide-de-camp to Harold Alexander, 1st Earl Alexander of Tunis, then Governor General of Canada. The popularity and competence of his senior officer makes this uneventful two-year period of his life the most remarkable element of his pre-parliamentary career. On returning from Canada, he continues in the Army for several years, refusing promotion to seniority before retiring a major in 1960.

In an uncontested by-election in 1960, Chichester-Clark takes over the South Londonderry seat in the Northern Ireland Parliament that had been held by his grandmother, Dame Dehra Parker, since 1933. As Dehra Chichester, she is an MP for the county of Londonderry until 1929 when she stands down for a first time. Chichester-Clark’s father replaces her in 1929 when the county is split, but he suddenly dies in 1933. Dehra, by then remarried, willingly returns to Northern Ireland from England, and wins the ensuing by-election.

Chichester-Clark retains the seat for the remainder of the Parliament’s existence, and so the South Londonderry area is represented by three generations of the same family for the entire period of the Northern Ireland House of Commons. Between 1929 and the last election in 1969, the family is challenged for the seat on only two occasions, the second being in 1969, when future Westminster MP Bernadette Devlin stands, attracting 39% of the vote.

Chichester-Clark makes his maiden speech on February 8, 1961, during the Queen’s speech debate.

For the remainder of Basil Brooke, 1st Viscount Brookeborough‘s premiership, Chichester-Clark remains on the back benches. It is not until 1963, when Terence O’Neill becomes Prime Minister of Northern Ireland, that he is appointed assistant whip, and a month later when William Craig is promoted to the Ministry of Home Affairs, he takes over as Government Chief Whip. Accounts of the period are that he enjoys the Whip’s office more than any other he is to subsequently hold in politics. This despite including references to anti O’Neill MP and future Democratic Unionist Party (DUP) Westminster MP, John McQuade, and the occasional “good row.” From the outset, O’Neill takes the unusual decision to allow Chichester-Clark to attend and speak at all cabinet meetings while Chief Whip. Proving a competent parliamentary party administrator, O’Neill adds Leader of the House of Commons to Chichester-Clark’s duties in October 1966, a promotion that makes him a full member of the Cabinet. He is also sworn into the Privy Council of Northern Ireland in 1966.

In 1967, O’Neill sacks his Minister of Agriculture, Harry West, for ministerial impropriety, and Chichester-Clark is appointed in his place, a position he retains for two quiet years. On April 23, 1969, he resigns from the Cabinet one day prior to a crucial Parliamentary Party meeting, claiming that he disagrees with the Prime Minister’s decision to grant universal suffrage in local government elections at that time. He states that he disagrees not with the principle of one man one vote but with the timing of the decision, having the previous day expressed doubts over the expediency of the measure in Cabinet. It has since been suggested that his resignation was in order to accelerate O’Neill’s own resignation, and to improve his own position in the jostling to succeed him.

O’Neill “finally walked away” five days later on April 28, 1969. In order to beat his only serious rival, Brian Faulkner, Chichester-Clark needs the backing of O’Neill-ite MPs elected at the 1969 Northern Ireland general election, to which end he attends a tea party in O’Neill’s honour only days after causing his resignation.

Chichester-Clark beats Faulkner in the 1969 Ulster Unionist Party leadership election by one vote on May 1, 1969, with his predecessor using his casting vote in the tied election for his distant cousin because “Faulkner had been stabbing him in the back for a lot longer.” Although Faulkner believes, until his death, that he is the victim of an upper-class conspiracy to deny him the premiership, he becomes a high profile and loyal member of Chichester-Clark’s cabinet.

Chichester-Clark’s premiership is punctuated by civil unrest that erupts after August 1969. He suffers from the effects of the Hunt Report, which recommends the disbandment of the Ulster Special Constabulary, which his Government accepts to the consternation of many Unionists.

In April 1970, Chichester-Clark’s predecessor and another Unionist MP resign their seats in the Northern Ireland House of Commons. The by-election campaigns are punctuated by major liberal speeches by senior government figures like Brian Faulkner, Jack Andrews and the Prime Minister himself. Ian Paisley‘s Protestant Unionist Party (PUP), however, takes both seats in the House of Commons. Later that same month the O’Neill-ite group, the New Ulster Movement, becomes the Alliance Party of Northern Ireland, and his party begins passing votes of no confidence in him.

As the civil unrest grows, the British Government, particularly the Home Secretary, James Callaghan, becomes increasingly involved in Northern Ireland’s affairs, forcing Chichester-Clark’s hand on many issues. These include the disbanding of the “B” Specials of the Ulster Special Constabulary and, importantly, the handing over of operational control of the security forces to the British Army General Officer Commanding Northern Ireland.

On March 9, 1971, the Provisional Irish Republican Army lures three off-duty soldiers from a pub in Belfast to a lane way outside the city, where they kill them. Chichester-Clark flies to London on March 18, 1971, to request a new security initiative from the new British prime minister Edward Heath, who offers an extra 1,300 troops, and resists what he sees as an attempt by Chichester-Clark to gain political control over them. Chichester-Clark resigns on March 20.

On March 23, 1971, Brian Faulkner is elected UUP leader in a vote by Unionist MP’s, defeating William Craig by twenty-six votes to four. He is appointed prime minister the same day.

On July 20, 1971, Chichester-Clark is created a life peer as Baron Moyola, of Castledawson in the County of Londonderry, his title taken from the name of his family’s estate. He endorses the Good Friday Agreement in the 1998 Northern Ireland Good Friday Agreement referendum. He remains quiet about his political career in his retirement. Lady Moyola, however, says that her husband does enjoy the time – contrary to popular opinion – and that he thinks of life as an MP as akin to that of an army welfare officer.

Chichester Clark dies on May 17, 2002, at the age of 79, following a short illness. His funeral takes place at Christ Church in Castledawson on May 21. He is the last surviving Prime Minister of Northern Ireland.


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Death of Artist William Conor

William Conor, figure and portrait painter, dies on February 6, 1968, at his home in Salisbury Avenue, Belfast, Northern Ireland.

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 mural Ulster 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.

The first Irishman to become a member of the Royal Institute of Oil Painters, Conor is a founder member of the Ulster Academy (later the Royal Ulster Academy), and from 1957 to 1964 serves as its president. In 1938 he becomes an associate member of the RHA, and in 1947 he receives full membership. He is awarded the Order of the British Empire (OBE) in 1952, an honorary MA from Queen’s University Belfast (QUB) in 1957, and a civil-list pension in 1959.

Conor dies on February 6, 1968, at his home in Salisbury Avenue, Belfast, and is buried in Carnmoney churchyard. He never marries. His work is represented in galleries and institutions throughout Ireland and Great Britain, including the Ulster Museum, Ulster Folk and Transport Museums, Dublin City Gallery the Hugh Lane, the Imperial War Museum, and the Victoria and Albert Museum.

(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)


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Death of John Luke, Northern Irish Artist

Northern Irish artist John Luke dies in Belfast on February 4, 1975.

Luke is born at 4 Lewis Street in Belfast on January 19, 1906, the fifth of seven sons and one daughter of James Luke and his wife Sarah, originally from Ahoghill, County Antrim. He attends the Hillman Street National School and in 1920 goes to work at the York Street Flax Spinning Company. He goes on soon after to become a riveter at the Workman, Clark shipyard. While working there he enrolls in evening classes at the Belfast School of Art.

Luke excells at the college under the tutelage of Seamus Stoupe and Newton Penpraze. His contemporaries include Romeo Toogood, Harry Cooke Knox, George MacCann and Colin Middleton. In 1927 he wins the coveted Dunville Scholarship which enables him to attend the Slade School of Fine Art in London, where he studies painting and sculpture under the celebrated Henry Tonks, who greatly influences his development as a draughtsman.

Luke remains at the Slade School of Fine Art until 1930, in which year he wins the Robert Ross Scholarship. On leaving the Slade School he stays in London, intent on establishing himself in the art world. For a time he shares a flat with fellow Ulsterman F. E. McWilliam, and enrolls as a part-time student of Walter Bayes at the Westminster School of Art to study wood engraving. He begins to exhibit his work and in October 1930 shows two paintings, Entombment and Carnival, in an exhibition of contemporary art held at Leger Galleries. The latter composition, depicting a group of masked merry-makers, is singled out by the influential critic, Paul George Konody of the Daily Mail (October 3, 1930), as “one of the most attractive features of the exhibition.” But the economic climate is deteriorating and a year later, at the end of 1933, he is driven back to Belfast by the recession. He remains in Belfast, apart from a time during World War II when he goes to Killylea, County Armagh.

Luke paints in the style known as Regionalism, whose main proponents are Thomas Hart Benton, Grant Wood, John Steuart Curry and Harry Epworth Allen. His painting technique is painstakingly slow, his manner precise. “I’m afraid I’m very much a one job man,” he once writes to John Hewitt, continuing, “my strength lies in making the most of one job at a time, in sustained thought and effort, to bring it to the highest level of organisation and completeness I desire: the other way I lead to disintegrate in looseness and frustration with its inevitable weakness.” The precision characteristic of his work is manifested, too, in his appearance and personal manner. Dark haired, in stature he is erect and spare of build. Always tidy, his clothes brushed, his hair short, he is, in Hewitt’s words, “not at all close to the romantic stereotype of the artist.”

Apart from Luke’s work as a practising artist, he teaches from time to time in the Belfast School of Art, where he influences a generation of students “especially in the matter of drawing,” as he once puts it. Although principally a painter, throughout his career he occasionally makes sculptures, such as the Stone Head, Seraph of c. 1940 (Ulster Museum). Indeed it is for sculpture that he wins the Robert Ross Prize at the Slade School of Fine Art. He is also much interested in philosophical theories of art. In the 1930s, for example, as John Hewitt records, topical books such as Roger Fry’s Vision and Design, Clive Bell’s Art and R. H. Wilenski‘s Modern Movement in Art direct his thinking.

From the late 1930s until 1943, when Luke produces Pax, there is a gap in his output, occasioned, no doubt, by his move to County Armagh in order to escape Belfast after the Blitz. In 1946, he holds his first one-man exhibition at the Belfast Museum and Art Gallery, and this is followed two years later by a similar show, held under the aegis of CEMA, nearby at number 55A Donegal Place. In 1950, to celebrate the Festival of Britain the following year, he is commissioned to paint in Belfast City Hall, a mural representing the history of the city, a work which brings his name to the attention of a wider audience. In later years, other commissions follow for murals in the Masonic Hall, Rosemary Street, in 1956, and the College of Technology at Millfield in the 1960s. He also carves in relief coats of arms for the two Governors of Northern Ireland, John Loder, 2nd Baron Wakehurst (1959) and John Erskine, 1st Baron Erskine of Rerrick (1965). He is also a member of the Royal Ulster Academy.

Having been in declining health for some years, Luke dies, unmarried, at the Mater Infirmorum Hospital in Belfast on February 4, 1975, just a month into his sixty-ninth year. A retrospective exhibition of his work is held, in association with the Arts Councils of Ireland, in the Ulster Museum in 1978, and is accompanied by a short monograph on his life and career written by John Hewitt. Since that time his reputation has grown enormously, his loss rekindling memories in many of his former students of a fastidiously arranged life-room in the College of Art, his coat folded to perfection and his soft, gentle manner of instruction.


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The Funerals of the Bloody Sunday Victims

The funerals of eleven of those killed on Bloody Sunday take place on February 2, 1972. Prayer services are held across Ireland. In Dublin, over 30,000 march to the British Embassy, carrying thirteen replica coffins and black flags. They attack the Embassy with stones and bottles followed by petrol bombs. The building is eventually burned to the ground.

On the morning of Bloody Sunday, January 30, 1972, the 1st Battalion of the British Parachute Regiment enters Derry to assume their positions. The planned march is due to start at Bishop’s Field in the Creggan housing estate and continue to the Guildhall in the city center, where the day is to end in a peaceful rally. Ten to fifteen thousand people set off at 2:45 p.m.

The march makes its way down William Street, but when it approaches the city center, the protestors find their way blocked by the British Army. At approximately 3:45 p.m., the organizers tell the protestors to change the direction of the march to go down Rossville Street, intending to hold the rally at Free Derry Corner instead. Most of the marchers follow the organizers’ instructions. At this point, some protestors break away from the march and start throwing stones at the soldiers handling the barriers. The soldiers fire rubber bullets, tear gas, and water cannons at the breakaway contingent. At this stage, witnesses report that the discord is no more violent than usual. Some of the rioters continue throwing rocks at the soldiers, but they are not close enough to the military men to inflict any damage. At about 3:55 p.m., the paratroopers start firing at the protestors. More than one hundred rounds are fired by the soldiers, who do not issue a warning before they open fire. In total, of the 26 civilians who are shot, 13 died that day, and one dies more than four months later.

On February 2, 1972, the funerals of eleven of the dead are held. Thousands of mourners gather at St. Mary’s Church for a mass funeral, with Northern Ireland MP Bernadette Devlin in attendance. The event is a significant demonstration of the civil rights movement’s commitment to the cause of the victims and their families. The funeral procession is a symbol of the ongoing struggle for civil rights and justice in Northern Ireland.

The Republic of Ireland holds a national day of mourning, while a general strike is held the same day. The strike is the largest that Europe has seen since World War II in relation to the size of Ireland’s population. Catholic and Protestant churches as well as synagogues hold memorial services across Ireland. In Dublin, between 30,000 and 100,000 march to the British Embassy carrying thirteen coffins and black flags. A crowd later attacks the embassy, burning the Chancery down to the ground.

The President of Ireland, Éamon de Valera, and Taoiseach Jack Lynch, attend special church services in Dublin, while at the demonstrations outside effigies of the British Prime Minister, Edward Heath, are burned alongside pictures of the Prime Minister of Northern Ireland, Brian Faulkner.

(Pictured: Thousands congregate at St. Mary’s Chapel in Creggan for the funerals on February 2, 1972, photo credit: Derry Journal)