LA1/F Eoin Macneill Additional Papers
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References to Ffrench Mullen in the Allen Library
Dr. Kathleen Lynn Collection IE/AL/KL/1/7 25 June 1910 1 item; 2pp Empty envelope addressed to ‘Miss M. ffrench Mullen, 9 Belgrave Road, Rathmines, Dublin, Ireland.’ A list of names and numbers is written on the back of the envelope. IE/AL/KL/1/14 30 April 1916 1 item Handwritten last will and testament of Constance Markievicz. ‘I leave to my husband Casimir de Markievicz the sum of £100 pounds, to my stepson Stanislas de Markievicz the sum of £100 to Bessie Lynch who lived with me £25. Everything else I possess to my daughter, Medb Alys de Markievicz.’ Michael Mallin and Madeleine ffrench Mullen witnessed it. [Provenance: Given by Dr. Lynn, 10 September 1952]. IE/AL/KL/1/28 12 August 1916 1 item; 2pp Handwritten letter from Constance Markievicz, Holloway Jail to Madeleine ffrench Mullen. Constance Markievicz thanks her for the present and tells her ‘Mrs. Clarke is wonderful, with her bad health, its marvellous how she sticks it out at all. Give Kathleen and Emer my love and thank Emer for fags she sent me. I hope K is well; I heard that she was back from her holiday, but not going about much. I am all right again, gone up in weight and all the better for my enforced rest! …now goodbye much love to you and yours and my soldier girls.’ IE/AL/KL/1/30/1-2 7 November 1916 2 items Envelope and handwritten letter from Eva Gore Booth, 33 Fitzroy, Square, London to Dr. Lynn and Madeleine ffrench Mullen. -
Estella Solomons: a Portrait of the Artist As a Republican
CULTURE Estella Solomons: A portrait of the artist as a Republican Painter concealed ammunition in her studio, writes Róisín Kennedy STELLA SOLOMONS came from a prominent Jewish Dublin family. Her E father, Maurice, was a well-known optician and his practice on Nassau Street is mentioned in James Joyce’s Ulysses. Solomons trained at the Dublin Metropolitan School of Art where Willie Pearse had also been a student. Her contemporary at the school, Beatrice Elvery remembered that ‘it was difficult not to be swept away in a flood of patriotism’. Solomons continued her studies at the Chelsea School of Art in London and at Colorossi’s Studio in Paris where she was accompanied by Elvery and Cissie Beckett, aunt of the future writer Samuel Beckett. A visit to a major exhibition of the work Estella Solomons’ portraits of Erskine Childers and Sinn Féin activist Darrell Figgis, and a self-portrait. of Rembrandt in Amsterdam in 1906 had a decisive impact on one of Seán Milroy, a frequent back in Limerick, discovered that in this endeavour by Kathleen her art practice. Not only did his visitor, and Frank Gallagher, a fellow volunteer was using his Goodfellow, a lifelong friend who approach influence Solomons’ who she painted in 1920 after belt. He had taken it from a Black had joined Cumann na mBan at style of portraiture but the Dutch she moved her studio to No 26 and Tan who had been shot at the the same time. master’s etchings inspired her to Great Brunswick Street. She also Drumkeen ambush weeks before. -
In 1904, George Olden Became the New General Manager. Between 1906 and 1913, the Hotel Enjoyed Great Success
In 1904, George Olden became the new General Manager. Between 1906 and 1913, the hotel enjoyed great success. New additions included the telephone and a lift. Guests started arriving by car and tram. The summer of 1912 saw a great influx of visitors from USA, Japan and Australia. In 1914 with the outbreak of war, several of the hotel’s German staff were interned and The Shelbourne unofficially became the hub of military activity. The Republican Rising of Easter 1916 was a seminal date in the Shelbourne’s history. The hotel owners remained loyal to the Crown during the Easter Rebellion. However, some staff members did not. It emerged later that one hotel porter made regular forays up to the rooftop and signalled the movement of troops within the hotel to the rebel forces across the Green. Yet, despite all the disturbances, the hotel management and staff managed to carry on almost as normal. On Easter Monday when fighting broke out on the Green, afternoon tea was transferred from the Drawing Room to the Writing and Reading Room at the rear of the hotel for safety (this room is now the Horseshoe Bar). On Tuesday afternoon, forty soldiers were sent to garrison the hotel, making it a legitimate target for the rebels across the Green. The Shelbourne came under regular fire for the remainder of the week. The windows were sandbagged and shuttered; the great entrance door was barricaded. A skeleton staff operated the hotel’s services and titled guests acted as waiters. By Wednesday, the hotel opened its doors to receive the injured, irrespective of the side on which side they fought. -
Études Écossaises, 20 | 2018 Smuggling Weapons, Republicans and Spies Across the Irish Sea and the North C
Études écossaises 20 | 2018 The Construction and Reconstruction of Scotland Smuggling Weapons, Republicans and Spies across the Irish Sea and the North Channel (1912–1923): Gaelic Friends or Foes? Trafic d’armes, de républicains et d’espions par la mer d’Irlande : amis ou ennemis gaéliques ? Émilie Berthillot Electronic version URL: http://journals.openedition.org/etudesecossaises/1400 ISSN: 1969-6337 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-047-1 ISSN: 1240-1439 Electronic reference Émilie Berthillot, « Smuggling Weapons, Republicans and Spies across the Irish Sea and the North Channel (1912–1923): Gaelic Friends or Foes? », Études écossaises [Online], 20 | 2018, Online since 01 April 2018, connection on 08 September 2020. URL : http://journals.openedition.org/ etudesecossaises/1400 This text was automatically generated on 8 September 2020. © Études écossaises Smuggling Weapons, Republicans and Spies across the Irish Sea and the North C... 1 Smuggling Weapons, Republicans and Spies across the Irish Sea and the North Channel (1912–1923): Gaelic Friends or Foes? Trafic d’armes, de républicains et d’espions par la mer d’Irlande : amis ou ennemis gaéliques ? Émilie Berthillot 1 After decades of riots throughout the 19th century,1 the Irish rebels fighting for Home Rule decided to foster a rebellion taking advantage of the involvement of Great Britain in the First World War. To fight against British forces, Irish activists were in desperate need of weapons whose importation was banned by the Proclamation of King George V issued on 4 December 1913 (Figgis, 2014, p. XXV). They thus turned to Germany to provide them with illegal ones. -
W.T. Cosgrave Papers P285 Ucd Archives
W.T. COSGRAVE PAPERS P285 UCD ARCHIVES [email protected] www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2015 University College Dublin. All Rights Reserved ii CONTENTS CONTEXT Biographical History iv Archival History vi CONTENT AND STRUCTURE Scope and Content vii System of Arrangement viii CONDITIONS OF ACCESS AND USE Access ix Language ix Finding Aid ix DESCRIPTION CONTROL Archivist’s Note ix iii CONTEXT Biographical history William Thomas Cosgrave was born on 6 June 1880 at 174 James’ Street, Dublin. He attended the Christian Brothers School in Marino, and later worked in the family business, a grocers and licensed premises. His first brush with politics came in 1905 when, with his brother Phil and uncle P.J., he attended the first Sinn Féin convention in 1905. Serving as a Sinn Féin councillor on Dublin Corporation from 1909 until 1922, he joined the Irish Volunteers in 1913, although he never joined the Irish Republican Brotherhood. During the Easter 1916 Rising, Cosgrave served under Eamonn Ceannt at the South Dublin Union. His was not a minor role, and after the Rising he was sentenced to death. This was later commuted to penal servitude for life, and he was transported to Frongoch in Wales along with many other rebels. As public opinion began to favour the rebels, Cosgrave stood for election in the 1917 Kilkenny city by-election, and won despite being imprisoned. This was followed by another win the following year in Kilkenny North. Cosgrave took his seat in the First Dáil on his release from prison in 1919. -
HQ. Sean . 'Duffy, 7. Pall Faggfthg COURTS 1919
REG. NO. OF THE COLLECTION CD. HQ. NAME OF DONOR Sean . 'Duffy, SUB. OBSERVATIONS NO. DOCUMENT FORMAT Etc. PAlL faggftHg COURTS 1919 - 1922. Croup 5. Appointments £c Conferences etc. of Parish & District Court Justices, 1921-22. Circular, undated, from Minister for Home Affairs instructing that a meeting be called of all District Justices - (annotated "Issued during the Truce period"). Republican Court Convention at Annacurra, Saturday, 24tb September, 1921 - Suggested Agen^i. Letter, 28th September, 1921, from Mis* Barton re her intention net to attend a meeting at Togher, Roundwood, on following Thursday. List of persons, addresses tions in connection v/ith meeting at Togher, 29/9/1921 Copy of Circular to be sent to various Registrars, 21st October, 1921, from Sean Iff* Ua Dubhthaigh re proposed meeting of District Justices & Clerks. Election of Parish & District Justices - Convention for East 7/icklow Constituency at Hioklqw on 22nd October, 1921: (a) Notice 10/10/21 convening meeting for 22/10/1921; (b) Suggested Agenda; (c) Letter, 21st October, 1921, from llicheal Ua Duinn, 0/C *F* Coy., Battn. , 2, Enniskerrv, regretting inability to attend convention; (d) Letter, 22nd October, 1921, from Niss Barton, Glendalough House, regretting inability to attend convention; (e) List of personnel in attendance and notes of jjroceedings. 7. Parish Conventions, V/icklow 1st November, 1921, Enniskerry 1st November, 1921, Bray 27th October, 1921, & Delgany 1st November, 1921: (a) Draft & copy of convention notice, 24th October, 1921; (b) Note of Proceedings at Delgany Convention, 1st November, 1921. Papers relating to establishment of Courts in East V/icklow & North Vfexford, October-November, 1921. -
Papers of Josephine Mcneill P234 Descriptive Catalogue UCD Archives
Papers of Josephine McNeill P234 Descriptive Catalogue UCD Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2009 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical History iv Archival History iv CONTENT AND STRUCTURE Scope and content vi System of arrangement vi CONDITIONS OF ACCESS AND USE Access x Language x Finding Aid x DESCRIPTION CONTROL Archivist’s Note xi iii CONTEXT Biographical History McNEILL, Josephine (1895–1969), diplomat, was born 31 March 1895 in Fermoy, Co. Cork, daughter of James Ahearne, shopkeeper and hotelier, and Ellen Ahearne (née O’Brien). She was educated at Loretto Convent, Fermoy, and UCD (BA, H.Dip.Ed.). With a BA in French and German she began a teaching career, teaching at St Louis’ Convent, Kiltimagh, at the Ursuline Convent, Thurles, and at Scoil Íde, the female counterpart of St Enda’s, established by her friend Louise Gavan Duffy (qv). A fluent Irish-speaker with an interest in Irish language, music, and literature, she took an active part in the cultural side of the Irish independence movement. She was also a member of Cumann na mBan and in 1921 a member of the executive committee of that organisation. She was engaged to Pierce McCann, who died of influenza in Gloucester jail (March 1919). In 1923 she married James McNeill, Irish high commissioner in London 1923–8. Josephine McNeill took reluctantly to diplomatic life, but it never showed in public. Her charm and intelligence were immediately apparent, and in a period when Joseph Walshe (qv), the secretary of the Department of External Affairs, viewed married diplomats and diplomatic wives with disdain, McNeill was a noted hostess, both in London and later in Dublin, where James McNeill was governor general of the Irish Free State (1928–32). -
Darrell Figgis, the Return of the Hero, and the Making of the Irish Nation
Colby Quarterly Volume 31 Issue 3 September Article 6 September 1995 Darrell Figgis, The Return of the Hero, and the Making of the Irish Nation Jose Lanters Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 31, no.3, September 1995, p.204-213 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Lanters: Darrell Figgis, The Return of the Hero, and the Making of the Iri Darrell Figgis, The Return of the Hero, and the Making ofthe Irish Nation by JOSE LANTERS HEN THE RETURNOFTHE HERO was first published in 1923, it appeared under W the pseudonym ofMichael Ireland. The book was well received: Andrew Malone even claims that it "caused something of a sensation" when it was published (25).1 The real identity of"Michael Ireland" was at first a mystery, but as the novel involved fantasy and the use of Irish mythological material, the author was initially widely believed to be James Stephens. The revelation that The Return ofthe Hero had been written by Darrell Figgis was met with general incredulity; upon hearing the news Yeats is reported to have remarked, "'I'm afraid we'll have to recognize Figgis as a literary man, after all'" (quoted in Colum, 28), while James Stephens, in his introduction to the American edition of 1930, expressed the opinion that "... ifDarrell Figgis wrote The Return ofthe Hero, then literarycriticisnl stands baffled, and we mustadmit that occasions can arise in which the impossible becomes possible, and the unbelievable is to be credited" (quoted in Hogan, 238).2 On the surface, Darrell Figgis (1882-1925) seemed indeed an unlikely candidate for the authorship of a work of menippean satire3 based upon the legendary confrontation between Saint Patrick and the Old Irish hero Oisin, son of the great Finn mac Cumhal. -
1 Fighting and Writing: Journalists and the 1916 Easter Rising Mark O
Fighting and Writing: Journalists and the 1916 Easter Rising Mark O’Brien Abstract The relationship between journalists and the Irish rebellion of Easter 1916 is a complex one. While the Rising was led in large part by a miscellany of poets, editors and journalists (many of whom feature prominently in the Rising’s historiography) many lesser-known journalists acted as planners and participants in the insurrection. As well as assessing the contribution of these lesser-known journalists to the events of 1916 and the Rising’s impact on journalistic life in Dublin, it explores how a representative organisation – the Irish Journalists’ Association – acted as a cover for the clandestine insurgent-related activities of many journalists. It finds that the IJA played a key role in facilitating the expression of radical views by this cohort of journalists who could not express their radicalism through their everyday posts on the mainstream media and, by so doing, it played a key, though hitherto unacknowledged, role in the events of Easter 1916. Keywords Journalism, 1916 Rising, Ireland, Press, Irish Journalists’ Association, Trade Unionism Introduction The historiography of the 1916 Rising is well established and, amid its centenary, ongoing.1 Home rule for Ireland was enshrined in the Government of Ireland Act 1914 but was shelved following the outbreak of the First World War – a decision that averted a clash between the Ulster Volunteer Force, formed to prevent home rule being implemented, and the Irish Volunteers which had been established to ensure the realisation of a Dublin parliament. The reaction of both organisations to the war would reverberate through Irish history for decades afterwards. -
Mary Spring Rice to Michael Joseph (The) O’Rahilly, 1 and 9 May 1914
HistoryHub.ie May 2014 Mary Spring Rice to Michael Joseph (The) O’Rahilly, 1 and 9 May 1914 O’Rahilly papers, UCD Archives, IE UCDA P102/335 www.historyhub.ie School of History and Archives, University College Dublin. 1 HistoryHub.ie May 2014 Mary Spring Rice to Michael Joseph (The) O’Rahilly, 1 and 9 May 1914 O’Rahilly papers, UCD Archives, IE UCDA P102/335 May’s ‘From the Archives’ documents are a pair of letters written by Mary Spring Rice to The O’Rahilly on 1 and 9 May 1914. They detail the early planning phases of what would ultimately become the Howth gun-running: the importation of a consignment of 1,500 rifles and 45,000 rounds of ammunition that had been purchased at Hamburg by Darrell Figgis and Erskine Childers. The latter captained the yacht which brought the majority of these weapons ashore on 26 July at Howth. The remaining 600 rifles came ashore at Kilcoole, Co. Wicklow on 1 August, the day Germany declared war on Russia. In the background of the Howth and Kilcoole landings was the Larne gun-running. On the night of 24-25 April, Ulster unionists had successfully landed approximately 25,000 rifles and 3 million rounds of ammunition at Larne, Bangor, and Donaghadee on the north Antrim coast. April’s UVF gun-running, coupled with the loss of confidence in the British military in Ireland after the Curragh crisis of 20-23 March (see March’s From the Archives), created a wave of panic in nationalist Ireland. Historian Aodogán O'Rahilly estimates that the nationalist Irish Volunteers were signing up 1,000 new recruits per week in this period. -
68 Sir John Lavery Ra Rha Rsa (1856
68 SIR JOHN LAVERY RA RHA RSA (1856 - 1941) The Gap of Dunloe Oil on board, 50 x 60cm (19¾ x 24”) Signed, also signed, inscribed “For the High Commissioner of the Irish Free State in London from the Artist” and dated 1924 verso The William Rodman Gallery Belfast (original label verso) and label from John Magee Gallery Provenance : A gift from the artist to James McNeill, Ireland’s first High Commissioner to the Court of St. James, London. In August 1924 Lavery and his wife Hazel made their annual trip to Dublin for the Horse Show staying at the Vice-Regal lodge with Tim Healy . They also attended the Aonach Tailteann games in Croke Park at the invitation of W.B. Yeats.The Lavery’s then took an automobile tour of Wicklow,Wexford and Cork where they visited Bealnablath on route to Kerry, staying with Lord Castlerosse at Kenmare House and at The Great Southern Hotel at Parknasilla. The paintings done in the gardens of Kenmare House are well known but Lavery also endeavoured to paint a series of southern landscapes taking their inspiration directly from the Kerry countryside, with the intention of staging an ‘Irish’ exhibition. Unfortunately bad weather thwarted the artists intentions but he did manage to paint several views of the Kerry Hills,such as this one, between showers . Another work from this suite of paintings was “Bringing home the turf : The Kingdom of Kerry” which was sold in these rooms 4th December 2013 Lot 22. The artist was intent on capturing the elusive and shifting light patterns of the moody Kerry landscape. -
Anne Yeats Gift, 1996 (Fonds)
Anne Yeats gift (1996) National Gallery of Ireland: Yeats Archive IE/NGI/Y1 Anne Yeats gift, 1996 (fonds) 1. Identity statement area ................................................................................................ 6 2. Context area ................................................................................................................ 6 3. Content and structure area ........................................................................................... 7 4. Conditions of access and use ........................................................................................ 8 5. Allied materials area .................................................................................................... 8 6. Description control area ............................................................................................... 8 1. Anne Yeats’s catalogues to the collection .......................................................................... 10 Jack Butler Yeats archives (sub-fonds) 1. Identity statement area .............................................................................................. 12 2. Context area .............................................................................................................. 12 3. Content and structure area ......................................................................................... 14 4. Allied materials area .................................................................................................. 15 1. Original art by Jack Butler