McCarthy’s early career was meteoric: his first book, An outline of Irish history from the earliest times, appears in 1883 and is a fast-moving, strongly worded, nationalist sketch of Irish history. This is followed by a heavy-handed dramatic poem, Serapion (1883), about the early Christian era. In June of the following year he is returned as the Home Rule LeagueMP for Athlone on the death of the sitting member, and also publishes, to excellent reviews, England under Gladstone, which runs to a second edition within a year. In November 1884, his first play, The Candidate, is an overnight success in the Criterion Theatre in London. Its plot is thin but the humour and political badinage ensures it a long run.
At the 1885 United Kingdom general election McCarthy is elected nationalist MP for Newry, and he holds this seat until 1892. In the two years after his election he writes a number of novels, translates works from Persian, and writes Ireland Since the Union (1887), which is well researched, nationalist and impassioned in tone, showing a flair for biographical sketches. During this period he is known for his good attendance in the House of Commons though he does not speak much – throughout his life he is more an observer than a participator – and he is said by William O’Brien to conceal “under the gentlest of exteriors the fire of the ‘Spirit of the Nation’ ballad” (New Ireland Review, 523). In London he is well known for his controversial drama reviews in The Gentleman’s Magazine and the Sunday Sun, and in Dublin for his numerous verse and prose contributions to United Ireland. Although he makes a name for himself as a brilliant young man, he never fulfills his early promise.
In later years McCarthy continues to publish prolifically but produces only ephemeral works, and his parliamentary attendance slackens off. His political commitment is soured possibly by the party’s split in 1890. He originally sides with Charles Stewart Parnell, emphasizing in a speech on December 1, 1890, that he believes in the old-fashioned theory of personal loyalty to a leader. However, five days later he causes a minor drama by rising at the last minute to follow his father and the forty-three other anti-Parnellites, claiming that he feels he must abide by the decision of the majority. Two years later he leaves politics for good without standing in the 1892 United Kingdom general election. A sympathetic profile of him in the New Ireland Review in 1894 remarks that “no man of equal talents made so slight an impression on the political world.”
Thereafter McCarthy has less involvement in Irish affairs and writes no more Irish history books, though his novels continue to have Irish themes. He lives in London in Putney Common, and continues to travel widely. In 1894, he marries in some haste a popular comic actress, Cecilia Loftus, and the event is widely reported in the English press. However, the marriage is dissolved in the United States five years later. In 1908, his second marriage is to Loullie, daughter of Henry Killick of Budapest. He continues to enjoy success as a dramatist and has five plays, four sketches, and three duologues performed in London in the 1890s. However, he concentrates increasingly on historical fiction, which he produces at breakneck speed. In the first decade of the twentieth century he writes over twelve novels based on periods in English, Italian, French, and Irish history. The Illustrious O’Hagan (1906), The O’Flynn (1910), and The King Over the Water (1911) pointedly contradict English stereotypes of the “stage Irishman.” The Fair Irish Maid (1911) is an allegory of the Irish Parliamentary Party‘s political marriage to the ordinary Irish people rather than to the Anglo-Irishascendancy.
McCarthy dies at home in Putney on March 20, 1936 aged 79, although his obituaries all put his age at 75.
(From: “McCarthy, Justin Huntly” by Bridget Hourican, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Born to George and Susan Goodfellow (née Nicholson), Goodfellow is raised in a Quaker family. Her father and uncle are builders who construct a row of houses on Morehampton Road, Donnybrook, where she lives for the rest of her life. She is educated at Alexandra College and graduates with an Arts degree from Trinity College Dublin (TCD).
Under the pseudonym Michael Scot, Goodfellow publishes Three Tales of the Times in 1921, a work about life in Ireland under the Black and Tans. She also writes poetry and translates French poetry, notably the works of 15th-century poet François Villon, publishing these translations in The Dublin Magazine between 1924 and 1928.
Goodfellow is independently wealthy, inheriting property in Ireland and England after her mother’s death in 1932. She is a generous patron of the arts, supporting The Dublin Magazine, a literary journal owned by her friend Seumas O’Sullivan, to which she contributes articles, poems, and reviews. She also supports children’s charities and serves on the Board of Governors of the Royal Hospital in Donnybrook.
Her philanthropy extends to securing funding for The Dublin Magazine (1926–1958) and gifting a bird sanctuary, The Grove, in Donnybrook to An Taisce. Despite her influence, she remains modest and private about her contributions, and her own photographic collection is destroyed after her death.
In 1939, Goodfellow falls while getting off a tram and breaks her leg badly, which leaves her with a limp. She dies at the aged of 89 on May 20, 1980, and is buried with her parents in Mount Jerome Cemetery in Dublin.
A plaque is erected in memory of Goodfellow’s donation at The Grove, a woodland area at the corner of Morehampton Road and Wellington Place, on October 19, 2022. A plaque commemorating Estella Solomons is placed on the opposite gatepost. Goodfellow’s diaries, poems and literary manuscripts are held in the Trinity College Dublin archives.
Goodfellow’s work and life reflect the intersection of Irish literary culture, nationalist history, and cultural patronage in early-to-mid 20th-century Ireland.
Wilson begins his priestly career as a hospital chaplain, where he becomes aware of the systemic neglect and exploitation of women. This experience shapes his later advocacy for marginalized groups. In 1966, he is assigned to St. John’s parish in Ballymurphy, a heavily working class and nationalist area. Confronted with poverty, deprivation, and social neglect, he rejects a purely clerical role and chooses to live among his parishioners, earning deep community trust.
Wilson facilitates grassroots initiatives such as the Springhill Community House and the Conway Education Centre, establishing spaces for alternative education, vocational training, small business incubators, and cultural engagement. These efforts emphasize the empowerment of local communities, adult education, and economic development, drawing inspiration from liberation theology and Worker Priest models.
Wilson’s ministry coincides with some of the most violent years of the Northern Ireland Troubles. He provides support to families affected by violence, offers shelter and practical assistance, and maintains dialogue channels between republican and loyalist communities. He criticizes the Catholic Church for its detachment from the struggles of working class Catholics and refuses to condemn paramilitary groups acting as “alternative police and armies,” reflecting his nuanced approach to community protection and justice. Alongside figures like Fr. Alec Reid, he is instrumental in mediating discussions that contribute toward the peace process.
Wilson’s work earns widespread admiration for his courage, humanity, and commitment to justice. He hosts Mother Teresa in west Belfast, helping to establish charitable outreach in the community. Despite periods of estrangement with his bishop and being barred from celebrating Mass in churches, he continues his ministry at home and through community projects.
Wilson is also a prolific writer, recording diaries, pamphlets, and weekly columns, later commemorated in the documentary “Fr. Des – The Way He Saw It” narrated by Stephen Rea, and in theatre productions celebrating his life. PresidentMichael D. Higgins and countless individuals recognize his significant role in civil rights, education, and peacemaking.
Wilson dies in Belfast on November 5, 2019, at the age of 94, leaving a lasting impact on Belfast and a model for socially committed clergy worldwide. His approach to ministry stands as a testament to living faith in solidarity with marginalized communities, emphasizing education, dialogue, and justice over institutional authority.
The institutions Wilson helps create, notably the Springhill Community House and Conway Mill, continue to support education, enterprise, and community engagement in Belfast, embodying Wilson’s vision of an empowered, inclusive society. His life remains an inspiration for those committed to social justice, peacebuilding, and community-centered ministry.
Wilson is remembered as a priest,educator, community activist, and mediator, whose dedication to the underprivileged and commitment to peace has left an indelible mark on Northern Ireland.
Praeger works in the National Library of Ireland in Dublin from 1893 to 1923. He co-founds and edits The Irish Naturalist, and writes papers on the flora and other aspects of the natural history of Ireland. He organises the Lambay Survey in 1905-06 and, from 1909 to 1915, the wider Clare Island Survey. He is an engineer by qualification, a librarian by profession and a naturalist by inclination.
Praeger is instrumental in developing advanced methodologies in Irish botany by inviting Knud Jessen, the acclaimed Danish expert in Glacial and Post-Glacial flora, to undertake research and teaching in Ireland. This leads to the establishment of “paleoecology” as a distinct field of study in Ireland.
A vice-county system is adopted by Praeger, dividing Ireland into forty vice-counties based on the counties. However, the boundaries between them does not always correspond to the administrative boundaries and there are doubts as to the correct interpretation of them.
Praeger dies in a Belfast hospital on May 5, 1953 and is buried in Dean’s Grange Cemetery, Dublin, together with his wife Hedwig. His younger sister Rosamond Praeger is a sculptor and botanical artist.
(Pictured: Portrait of Robert Lloyd Praeger by Sarah Cecilia Harrison, National Museums Northern Ireland)
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.
Walker is born in Dublin, son of Cooper Walker, merchant, and educated by Thomas Ball. He suffers from asthma, which prevents him from attending college. Instead he travels to Italy, where he possibly receives some private tuition in Latin, Greek, French, Italian, and Spanish. He takes a special interest in Italian literature and Irish antiquities, and on his return to Ireland (where he is employed in the Irish treasury as third clerk in the upper department) resides in an Italianate villa, St. Valerie, on the road from Bray to Enniskerry.
In 1785, Walker is elected one of the original members of the Royal Irish Academy (RIA) and on March 17, 1786, is requested to sit on its committee of antiquities. In this capacity he submits several essays to the Academy’s Transactions. However, his best-known work is Historical Memoirs of the Irish Bards (1786). His interest in poetry, and in eighteenth-century vernacular survivals of the ancient bardic tradition, suggests important new contemporary and literary dimensions for what had previously been antiquarian and scholarly pursuits. He also breaks new ground by considering modern as well as historical Irish culture, and introduces it to an Anglo-Irish audience by providing English translations of Gaelic songs and poems.
The authorities Walker cites covers the entire range of Irish and Anglo-Irish scholarship on Irish antiquities. He includes excerpts from his correspondence with Charles O’Conor, Charles Vallancey, and Sylvester O’Halloran and carries out an extensive correspondence with Thomas Percy after he becomes Bishop of Dromore in 1782. He focuses on both poetry and music, which according to the popular eighteenth-century view has been the two traditional pursuits of the Irish bards. He presents a historical outline of their progress from the earliest times to the eighteenth century and ends with nine appendices, which are almost as lengthy as the main text. In these, his appreciation of what he considers to be the contemporary survivals of the ancient Irish bardic tradition is apparent in his including an account of Cormac Common, a blind eighteenth-century poet from Mayo, as well as a lengthy biographical notice of Turlough O’Carolan, together with translations of several of his songs. The book brings together many of the literary, scholarly, popular, Celtic, antiquarian, political, and musical dimensions of eighteenth-century Irish culture and prefigures the synthesis of literary modes, cultural theories, and musical styles that would occur in the literary productions of the United Irishmen.
Despite his linguistic skills, Walker has little knowledge of the Irish language, yet he (a member of the Anglo-Irish elite) is consistent in his praise of Gaelic culture, portraying it as sophisticated and literate and, although he highly romanticises his work, he does help to challenge negative appraisals of the Irish character. By the standards of the time it is a work of great erudition. However, today the book is judged to be of limited academic merit as Walker is severely hampered by a shortage of primary documents and by his limited grasp of the Irish language. This is illustrated by his ambiguous use of James Macpherson‘s volumes of Ossianic poems, published in the 1760s, which he quotes as authentic in the text while hinting in the footnotes that they are unreliable.
Charlotte Brooke translates three poems, and in return Walker encourages her to produce her Reliques of Irish Poetry (1789). Her work reflects Walker’s influence and she thanks him in the preface for affording her “every assistance which zeal, judgment and extensive knowledge, could give” as well as for prevailing on people to subscribe to her work and for being a subscriber himself. He is part of a literary circle that includes Edward Ledwich, Charles O’Conor, Edward Berwick, John Philpot Curran, and Henry Grattan. He also writes Historical essay on the dress of the ancient and modern Irish (1788), dedicated to his friend James Caulfeild, 1st Earl of Charlemont, for which he interviews the older generation, consults manuscripts, and even visits tombs to examine the clothing of corpses, and admits he has received copious aid from Elizabeth Rawdon, Countess of Moira. The English Review receives it warmly but Richard Gough, the reviewer for TheGentleman’s Magazine, states he is “much disappointed in the perusal of this high priced history.” Other works by Walker include “an historical essay on the Irish stage,” RIA Trans., ii (1788), Historical Memoir on Italian Tragedy (1799) and contributions to Vallancey’s Collectanea de rebus Hibernicis (Dublin, 1770–1804). In the 1790s he subscribes to Anthologia Hibernica: a monthly collection of science, belles lettres and history and in December 1794 submits an “Historical essay on the Irish stage” which surveys Irish drama from bardic times through to contemporary folk plays.
Walker dies on April 12, 1810, in Enniskerry, County Wicklow, leaving a fine gallery of pictures, a library containing Irish manuscripts, and a collection of antiquities. He is buried on April 14 in St. Mary’s Churchyard, Dublin. His memoirs of Alessandro Tassoni are published posthumously in London in 1815 (with a lengthy preface by his brother Samuel), as is the second edition of Historical Memoirs of the Irish Bards (2 vols., Dublin, 1818).
(From: “Walker, Joseph Cooper” by Rosemary Ritchie, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Stokes is educated at St. Columba’s College where he is taught the Irish language by Denis Coffey, author of Primer of the Irish Language. Through his father he comes to know the Irish antiquariesSamuel Ferguson, Eugene O’Curry, John O’Donovan and George Petrie. He enters Trinity College Dublin in 1846 and graduates with a BA in 1851. His friend and contemporary Rudolf Thomas Siegfried (1830–63) becomes assistant librarian at TCD in 1855, and the college’s first professor of Sanskrit in 1858. Stokes likely learns both Sanskrit and comparative philology from Siegfried, thus acquiring a skill-set rare among Celtic scholars in Ireland at the time.
Stokes qualifies for the bar at Inner Temple. His instructors in the law are Arthur Cayley, Hugh McCalmont Cairns, and Thomas Chitty. He becomes an English barrister on November 17, 1855, practicing in London before going to India in 1862, where he fills several official positions. In 1865 he marries Mary Bazely by whom he has four sons and two daughters. One of his daughters, Maïve, compiles a book of Indian Fairy Tales in 1879 when she is 12 years old, based on stories told to her by her Indian ayahs and a man-servant. It also includes some notes by Mrs. Mary Stokes. Mary dies while the family is still living in India. In 1877, Stokes is appointed legal member of the viceroy’s council, and he drafts the codes of civil and criminal procedure and does much other valuable work of the same nature. In 1879 he becomes president of the commission on Indian law. Nine books he writes on Celtic studies are published in India. He returns to settle permanently in London in 1881 and marries Elizabeth Temple in 1884. In 1887 he is made a Companion of the Order of the Star of India (CSI), and two years later an Order of the Indian Empire (CIE). He is an original fellow of the British Academy, an honorary fellow of Jesus College, Oxford and foreign associate of the Institut de France.
Stokes is perhaps most famous as a Celtic scholar, and in this field he works both in India and in England. He studies Irish, Breton and Cornish texts. His chief interest in Irish is as a source of material for comparative philology. Despite his learning in Old Irish and Middle Irish, he never acquires Irish pronunciation and never masters Modern Irish. In the hundred years since his death he continues to be a central figure in Celtic scholarship. Many of his editions have not been superseded during this time and his total output in Celtic studies comes to over 15,000 pages. He is a correspondent and close friend of Kuno Meyer from 1881 onwards. With Meyer he establishes the journal Archiv für celtische Lexicographie and is the co-editor, with Ernst Windisch, of the Irische Texteseries. In 1876 his translation of Vita tripartita Sancti Patricii, along with a written introduction, is published.
Stokes dies at his London home, 15 Grenville Place, Kensington, on April 13, 1909, and is buried in Paddington Old Cemetery, Willesden Lane, where his grave is marked by a Celtic cross. Another Celtic cross is erected as a memorial to him at St. Fintan’s Cemetery, Sutton, Dublin. The Gaelic League newspaper An Claidheamh Soluis calls him “the greatest of the Celtologists” and expresses pride that an Irishman has excelled in a field which is at that time dominated by continental scholars. In 1929 the Canadian scholar James F. Kenney describes him as “the greatest scholar in philology that Ireland has produced, and the only one that may be ranked with the most famous of continental savants.”
A conference entitled “Ireland, India, London: The Tripartite Life of Whitley Stokes” takes place at the University of Cambridge on September 18-19, 2009. The event is organised to mark the centenary of Stokes’s death. A volume of essays based on the papers delivered at this conference, The Tripartite Life of Whitley Stokes (1830–1909), is published by Four Courts Press in autumn 2011.
In 2010 Dáibhí Ó Cróinín publishes Whitley Stokes (1830–1909): The Lost Celtic Notebooks Rediscovered, a volume based on the scholarship in Stokes’s 150 notebooks which had been resting unnoticed at the Leipzig University Library, Leipzig since 1919.
Williams is born on May 4, 1838, in Coleraine, County Londonderry. He claims to be descended on his father’s side from Worcestershireyeomen living in the parishes of Tenbury and Mamble. On his mother’s side he descends from Scottish settlers who planted Ulster in 1610. He is educated at Belfast Academy in Belfast under Dr. Reuben John Bryce and at a Greenwich private school under Dr. Goodwin. Later on, he goes to the southern United States for his health and takes part in a filibustering expedition to Nicaragua, where he sees some hard fighting and reportedly wins the reputation of a blockade runner. He is separated from his party and is lost in the forest for six days. Fevered, he discovers a small boat and manages to return to the nearest British settlement. He serves in the London Irish Rifles and has the rank of sergeant.
Williams returns to England in 1859, where he becomes a volunteer, and a leader writer for the London Evening Herald. In October 1859, he begins a connection with The Standard which lasts until 1884. From 1860 until 1863, he works as a first editor for the London Evening Standard and from 1882 until 1884, as editor of The Evening News.
Williams is best known for being a war correspondent. He is described as an admirable war correspondent, a daring rider as well as writer. For The Standard, he is at the headquarters of the Armée de la Loire, a French army, during the Franco-Prussian War in 1870. He is also one of the first correspondents in Strasbourg, where the French forces are defeated. In the summer and autumn of 1877, he is a correspondent to Ahmed Muhtar Pasha who commands the Turkish forces in Armenia during the Russo-Turkish War of 1877 and 1878. He remains constantly at the Turkish front, and his letters are the only continuous series that reaches England. In 1878, he publishes this series in a revised and extended form as The Armenian Campaign: A Diary of the Campaign on 1877, in Armenia and Koordistan, which is a large accurate record of the war, even though it is pro-Turkish. From Armenia, he follows Muhtar Pasha to European Turkey and describes his defence of the lines of Constantinople against the Imperial Russian Army. He is with General Mikhail Skobelev at the headquarters of the Imperial Russian Army when the Treaty of San Stefano is signed in March 1878. He reports this at the Berlin Congress.
At the end of 1878, Williams is in Afghanistan reporting the war, and in 1879 publishes the Notes on the Operations in Lower Afghanistan, 1878–9, with Special Reference to Transport.
In 1887, Williams meets with then General of the United States Army, Philip Sheridan, in Washington, D.C. to update the general on European affairs and the prospects of upcoming conflicts.
Williams is said to possess a voice of thunder and expresses with terrific energy. He conducts a lecture tour of the United States where he describes the six campaigns, illustrated by limelight photographs. His audience in Brooklyn, New York, is described by The New York Times as highly delighted by his lecture about the hardships and adventures. His presentation is “a feast for the eyes and ears and was highly appreciated by the large audience assembled.” He later tours England, Scotland, and Ireland speaking about his then seven campaigns.
Williams also writes fiction, including his book John Thaddeus Mackay, a tale about religious tolerance and understanding. With the sanction of Commander in Chief, Field MarshalGarnet Wolseley, he edits a book Songs for Soldiers for the March The Camp and the Barracks to improve morale and relieve boredom. Included in the book are a number of songs that he composed. He also writes about ecclesiastical questions, and contributes articles and stories to different periodicals.
Williams is a strong adherent to Wolseley’s military views and policy, and has considerable military knowledge. He also publishes military subjects in several publications such as the United Service Magazine, the National Review, and other periodicals. In 1892, he publishes Life of Sir H. Evelyn Wood, which is controversial as he defends the actions of Wood after the Battle of Majuba Hill in 1881. In 1902, he publishes a pamphlet, entitled Hush Up, in which he protests against the proposed limited official inquiry into the South African War and calls for an investigation.
Early in his career, Williams shares an office with friend and colleague Robert Gascoyne-Cecil, who later becomes Prime Minister of the United Kingdom. They have a standing tradition of always sending out for two beers with payment alternating between each man. Many years later, Williams is in the lobby of the House of Lords and Gascoyne-Cecil approaches him with an outstretched hand and asks, “By the way, Mr. Williams, whose turn is it to stand the beer?”
In 1884, the steamer carrying Williams and colleague Frederic Villiers of The Graphic overturns in the Nile River. Their rescue leads Williams to later commission a unique ivory and gold mitre for the Bishop of London as a thank-offering to God for his safe return from Khartoum.
Williams receives a personal invitation from King Edward VII to attend the funeral of his mother, Queen Victoria.
Both of Williams‘a sons became journalists. Frederick is a noted parliamentary reporter, writer, and historian in Canada. Francis Austin Ward Williams practices journalism in Sydney, Australia.
In the Nile Campaign of 1884-85, application is made to the War Office with the support of the Commander in Chief Lord Wolseley for medals for Willams and correspondent Bennet Burleigh. Williams has been twice requested to take command of some of the men by senior officers on the spot. The Secretary of War is unable to grant the recognition under the rules of the day but writes a letter saying that he regrets that this must be his decision.
Williams is a recipient of the Queen’s Sudan Medal, an award given to British and Egyptian forces which took part in the Sudan campaign between 1896 and 1898.
Field Marshall Garnet Wolseley recognizes the contributions of Williams on the battlefield. He says in a speech that from “Charles Williams, he had at various times received the greatest possible help in the field.”
Williams dies in Brixton, London, on February 9, 1904. He is buried in Nunhead Cemetery in London. His son, journalist Fred Williams, first learns of his father’s death on the wire service he is monitoring at his newspaper in Toronto, Ontario, Canada.
Williams’s funeral is well attended by the press as well as members of the military including Field Marshal Sir Evelyn Wood. Colleague Henry Nevison writes a long reflection on Williams. It includes, “On the field he possessed a kind of instinctive sense of what was going to happen. When I went to big field-days with him he was already an elderly man, and much broken down with the hardships of a war correspondent’s life; but he invariably appeared at the critical place exactly at the right moment, and I once heard the Duke of Connaught, who was commanding, say, ‘When I see Charlie Williams shut up his telescope, I know it’s all over.’ And now he is gone, with his rage, his generosity, his innocent pride, his faithful championship of every friend, and his memories of so many a strange event. His greatest joy was to encourage youth to follow in his steps, and the world is sadder and duller for his going.”
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.
O’Hegarty is born to John and Katherine (née Hallahan) Hegarty. His parents’ families emigrate to the United States after the Great Famine, and his parents are married in Boston, Massachusetts. His father is a member of the Irish Republican Brotherhood (IRB).
O’Hegarty is educated at North Monastery CBS, where he forms an enduring friendship with Terence MacSwiney. In 1888, his father dies of tuberculosis at the age of 42. Left destitute, his mother pawns her wedding ring to pay for an advertisement looking for work, and eventually becomes a cook.
O’Hegarty serves at the main Postal Sorting Office in Mount Pleasant, London, from 1902 to 1913. Along with J. J. Walsh, he spends three years at King’s College London, studying for the Secretary’s Office. While he succeeds in his studies, Walsh does not and returns to Ireland. O’Hegarty becomes the IRB representative for South East England and joins the Gaelic League and Sinn Féin and becomes a strong advocate of the Irish language. In 1905, he is elected secretary of the local Dungannon Club, which draws in as members Robert Lynd, Herbert Hughes and George Cavan. In 1907, as Sinn Féin’s London Secretary, he approves and signs the membership card of Michael Collins, later becoming friend and mentor to Collins.
O’Hegarty has to return to Ireland for a break due to overwork in 1909 and gives up some of his work for the Gaelic League. However, he takes over as editor of the IRB publication, Irish Freedom. It is in this publication that he famously writes, concerning the visit of King George V to Ireland in 1911: “Damn your concessions, England: we want our country!” In 1912, at the height of the Playboy riots, he writes four articles entitled “Art and the Nation” in Irish Freedom, which take a very liberal and inclusionist approach to Anglo-Irish literature and art in general but invokes the wrath of many of the paper’s readers.
In 1913, he is re-posted to Queenstown (present-day Cobh) as postmaster. He continues editing nationalist newspapers such as Irish Freedom (founded in 1910 and suppressed in December 1914 on account of its seditious content) and An tÉireannach and joins the Irish Volunteers. At the outbreak of war he is moved to Shrewsbury, probably on account of his political activities. In 1915, he marries Wilhelmina “Mina” Smyth, a schoolteacher and suffragist, and is then moved to Welshpool, Montgomeryshire. In the aftermath of the 1916 Easter Rising, he is opposed to physical force. In 1918, he refuses to take the British Oath of Allegiance and resigns his position in the Post Office.
O’Hegarty feels that the Abbey Theatre is “doing good for Ireland” and supports W. B. Yeats against attacks from Arthur Griffith and like-minded Nationalists. He opposes the extremist views of D. P. Moran, who seeks a Roman Catholic Irish-speaking Ireland.
O’Hegarty is Secretary of the Irish Department of Post and Telegraphs from 1922 to 1945. He is elected a member of the Irish Academy of Letters in 1954.
O’Hegarty’s son, Seán Ó hÉigeartaigh, is a founder of the Irish-language publishing house Sáirséal agus Dill. His daughter Gráinne, a harpist, marries Senator Michael Yeats, son of W. B. Yeats.
