Ballydehob Artists' Colony

Flower Power – New Ballydehob Exhibition!

I was around in London in the early sixties, and was definitely part of the swinging Flower Power scene: beatniks, Beatlemania, Carnaby Street, flowery shirts and ties (I’ve still got some of them – below – stashed away in my wardrobe!) – the regulation Afghan coat (and its distinctive smell) . . . What I miss most, perhaps, is the purple velvet flared trousers: sadly an expanding waistline quickly did away with them.

What is less well-known – in my generation at least – is the fact that there was a similar cultural phenomenon in one part of Ireland – our own West Cork! And it was centred on Ballydehob – that’s the main street, above. It’s a colourful village today – as it was then: well-suited to the cultural heritage which the artist community of the time imposed upon it. This building on the main street in those early days was particularly significant:

One of the artists who happened upon Ballydehob at that time lived on here to tell the tale (he still lives in the village and is still a working artist):

BREAKING NEWS: BALLYDEHOB IS DISCOVERED!

. . . During the early 1960s, a group of students at the Crawford School of Art in Cork, heard a rumour that something bizarre was happening in a village called Ballydehob. Here some vestige of Swinging London had taken up residence in a painted-up building called ‘The Flower House’. I was one of those students. We decided to investigate.

      Since nobody owned a car, a parental vehicle must be ‘borrowed’. Somebody’s parent was away so this could be done without controversy. One of the know-it-all students announced that Ballydehob was in County Sligo and we would need money for petrol and have to camp when we got there. Nobody owned a tent. A forever-complaining student said that ‘He didn’t want to end up arrested as a vagrant and to have to sleep in a Garda station’. A few days later we left the Crawford en-route to County Sligo. Fortunately, a more astute student rummaged in the car as we were leaving the city for the West, found a road atlas and announced that Ballydehob was actually in County Cork, a mere two hours drive over the potholes. Tent-less or Garda station camping would not be required.

     We arrived, we saw, we were astonished. Cork was then a darkly conservative place, ditto the Crawford and its staff members. What we found in Ballydehob was a house on the main street of the village with enormous flowers painted on the façade. It might have been in Chelsea or San Francisco. We entered to find a hive of creativity and alternative lifestyles. This was the world of women in flowing batik dresses, bearded men with bead necklaces and leather-thonged trousers. Even a cod-piece was observed. We sat in the café and drank coffee from the brownest of chipped brown ceramic mugs, ate inedible brownies and marvelled at the range of art and crafts being produced by this creative group.

      This establishment, which seemed to have landed from another planet since the remainder of Main Street appeared to have experienced no visual or economic change from the images recorded in the black + white photographs of the 1900s, was run by two women, one German, the other English: Christa Reichel and Nora Golden. Here was a living example of William Morris’s dictum, ‘Have nothing in your homes that you do not know to be useful, or believe to be beautiful’.

       Some ten years later, John and Noelle Verling (participants in that epic car journey) set up the Fergus Pottery in Dripsey outside Cork, later transferring it to Christa Reichel’s former premises in Gurteenakilla, Ballydehob, where it became a fixture of the creative community. A few years following, another member of the car-team, myself and Clair, came to stay with the Verlings, and also remained in the area, setting up an etching studio on the other side of Ballydehob.

       Many of those who established the creative community of West Cork have died. Another generation has grown to maturity, further expanding the tradition of West Cork as a major and continuing centre of creative engagement in all of the arts, an epi-centre of delight. . .

BRIAN LALOR

That’s Brian, in his studio today. Just a few years ago – in 2018 – he and I decided that that creative time in the village needed to be properly celebrated, and we gathered around us like-minded enthusiasts, and opened up the Ballydehob Arts Museum, using a room kindly donated by those who had taken over the disused bank building, right in the centre of town:

That’s the inside of the Museum above: its first exhibition opened in the summer of 2018. We had another the following year, then Covid stopped us until last year, when we featured Ian + Lynn Wright. This year’s exhibition also features a ‘couple’ of working artists: The Verlings – Noelle + John.

John Verling was a contemporary of Brian Lalor (who has written the account above), and they both studied architecture and art in London and at the Crawford in Cork. Brian has penned for us his memories of sharing a studio in London with John Verling:

THE PERILS OF A SHARED STUDIO, LONDON, 1967

. . . During the late 1960s, John Verling and I, then students of architecture in London, shared a quite substantial studio in one of the leafier areas of Kensington. The building, a large brightly lit interior behind a row of decaying Victorian villas (it might originally have been a Victorian studio, we never discovered) had many more recent uses and the first task on gaining possession was to somehow manage to get rid of what had been left behind by earlier tenants; office furniture, old matresses, much unidentifiable plumbing apparatus and a stuffed fox whose pelt had been consumed by moths, were among the challenging contents.

     Conversation among acquaintances in our local, the Norland Arms, evoked interest from other drinkers, an English sculptor and a South African photographer who asked could they share the space and, very willingly offered a down payment on the rent. This was agreed and not long afterwards the studio became operational, with both John and myself busy creating in our new-found haven, with only the occasional appearance of our fellow tenants. John was at that point concentrating on elegant photomontages as well as complex drawings of Portobello costermongers and was extremely productive, while I was engaged in a substantial series of elaborate and brightly coloured timber constructions enhanced by scaffold clamps, in a latter-day Bauhaus manner. Time passed, various local artists called to view the work and admire the space. We were exhibiting successfully and the studio became in W H Auden’s phrase, ‘the cave of making’. Our fellow studio members failed to turn up and when occasionally encountered in the Norland, expressed embarrassment in being behind with the rent while offering a contribution to ‘keep their name in the pot’. This was an extremely satisfactory situation with individuals happy to subsidise the rent but too busy to actually attend the studio.

     A chance encounter in the Norland brought another hopeful artist to our acquaintance, David O’Doherty, Dublin painter, he worked at the international telephone exchange. He came, he admired the studio, and invited himself to join. Fatally, we agreed. An accomplished portrait painter, he often had a sitter posed, but seemed happy to work on, undisturbed by the other occupants. Our new tenant was affable, expansive, a storyteller. He became a permanent fixture. Suddenly we realised that we were entertaining a cuckoo in our midst. O’Doherty had moved in permanently, camp bed, small stove on which there was always a fry-up in progress, an endless stream of visitors, large canvasses propped against the wall, and the catastrophic revelation of his other occupation; he was a keen traditional musician, devoted to the Uillinn pipes. Suddenly the space, ample for John and myself to pursue our work, had begun to feel like a home for the demented. 

     Gradually it became apparent that our studio, which a year before had been, in the midst of the city’s turmoil, as quiet and remote as a stylite’s pillar, had metamorphosed into Picadilly Circus with noise, air pollution and crowd control issues. The dream of having a secure place in which to create had floundered on the fatal choice of an individual whose concept of an ideal workplace was perilously close to Francis Bacon’s taste for irredeemable chaos. I bailed out, John lasted a little longer. And the completed series of brightly coloured scaffold-clamp constructions, what of them?  Occasionally I received reports of their travels. Before he emigrated to Boston, O’Doherty sold them to a construction company and they were later spotted decorating the foyer of a social welfare office in Amsterdam. After that only blessed silence . . .

BRIAN LALOR

Noelle Verling (above) studied ceramics at Hammersmith College of Art. She and John met and married and – when they moved back to Ireland in 1971 – John & Noelle Verling established the Fergus Pottery in Dripsey in 1971 with Noelle as potter. She produced a wide range of domestic ware at Dripsey. When they moved in 1973 to Ballydehob to take over Christa Reichel’s studio, they adapted Reichel’s press-moulds and Gurteenakilla pottery stamp for their own work and from then on, traded as Gurteenakilla Pottery and latterly as Brushfire.

. . . The Verlings loved the windswept West Cork landscape and felt moved to record a disappearing environment. John’s paintings often depicted the doors, windows and walls of decaying buildings, repositories for the memories of past inhabitants, long gone. The windswept thorn tree is a familiar motif which connects John Verling with West Cork: the tree became his icon and frequently appeared in his paintings and on his ceramic work . . .

Alison Ospina – West Cork Inspires 2011

This is a rare photograph of John working on one of his favourite subjects: the gnarled thorn tree suffering from the ravages of harsh West Cork gales. Among the architectural work he undertook voluntarily was the reordering of the east end of St Bridget’s Catholic Church in Ballydehob. This was a major work.

. . . The gold fish hand drawn in the background of the altar and the depiction of one fish swimming against the shoal continues to evoke admiration from locals and visitors alike. He also designed the two ‘windswept thorn’ stained glass windows and etched the brass surround of the tabernacle. The Altar slab, composed of a vast monolith like the capstone of a dolmen, is a distinguished piece of sculpture and a tribute to his imaginative capacity . . .

John Verling Website: https://www.johnverling.com

Special thanks to Geoff Greenham for giving us this superb photo of St Bridget’s Church, Ballydehob.

The sign for the Brush Fire Ceramics Pottery, created by Noelle and John. They successfully produced a large number of individual pieces, crafted and fired by Noelle, and decorated by John.

John Verling died in 2009. Noelle Verling is living in West Cork and has been extremely helpful in providing material and information for this exhibition. Without her we would have been unable to fully present this story.

That’s John Verling in the picture above having his legs plastered by Ian Wright: this was part of a publicity stunt for the visit of a large group of West Cork artists to Zurich in 1985. John is also singing a folk song! You can read more about that particular enterprise here.

The Ballydehob Arts Museum is grateful to the town’s Community Council for providing the accommodation for the Museum. BAM is: Brian Lalor, Robert Harris, Sarah and Stephen Canty. Their combined knowledge and practical experience has ensured that our ambitions for this – our fourth exhibition – are fully realised.

ballydehobartsmuseum.com

Exhibition opens Jazz Festival Weekend in Bank House: Thursday 27 April @ 5pm, then Friday 28 April to Monday 1 May: 11am – 4pm. It will open with the Tourism Centre from June to September 2023

Working With Glass

Finola and I went to a workshop on creative fused-and-painted glass. It was wonderful! We were guinea-pigs in that the glass artist – Angela Brady – was keen to try running an event and we were privileged to be invited, joining our friends Brian and Clair Lalor.

Top: that’s Angela introducing us to the medium of glass and showing us some of her own work. Centre: she’s encouraging Brian to turn his artist’s mind to the possibilities of the material. Above: Angela Brady and Robin Mallalieu (who are also architects) have taken over the former Brush Fire Pottery, just outside Ballydehob. This was the home and workplace of dynamic artists John and Noelle Verling, who bought the Gurteenakilla premises in 1973 and lived and worked there for very many years. John died in 2009 and Noelle now lives not too far away. To spend the workshop day in such hallowed surroundings added to the ambience, and could only have inspired us in our artistic endeavours!

Back in the 1960s – the heyday of the Ballydehob Artists’ community – the pottery at Gurteenakilla was established by Christa Reichel who – together with her partner Nora Golden – went on to set up the Flower House on the main street in the village as a gallery and meeting place for the artists. They painted the vivid facade of the Flower House (the photo below dates from 1963, and is reproduced with the permission of Andrew Street): similar decorations were applied to the Brush Fire studio, where they survived and are now being restored by Angela and Robin.

Below the Flower House picture is Nora Golden outside the studio at Gurteenakilla; and here are pics of Robin painting the studio building, and Angela’s restoration of the Reichel / Golden decorations. But back to the job in hand: in these venerable surroundings we learned how to cut glass, paint on it and prepare pieces for the kiln. We all had our own ideas: Finola and I decided to paint glass tiles with ancient motifs: Rock Art from Ireland and Scandinavia, some thousands of years old. Brian chose to use cut glass to enhance one of his exquisite sketches, while Clair was perhaps the most ambitious, planning a flower from cut pieces of glass which would require two sessions in the kiln to allow it to be ‘slumped’ to a three-dimensional shape. My view is that all the pieces were equally successful in their execution (but I am prejudiced!)

Top: Angela instructs Finola in the technique of cutting glass shapes, although Finola chose to use glass paint to reproduce some of her own Rock Art images traced during her studies in the 1970s. Above: Clair cuts and assembles a flower shape.

Top: my own pieces: on the left are attendants pushing the sun across the sky, while on the right is a ship carrying souls to the land of the Gods under a potent sun. All these Bronze Age images are found in Norway. Above, Brian working on his cut-glass sketch.

Artists at work in the studio – and the kiln room at Brush Fire. Before going in the kiln, we laminated our pieces with additional glass, to provide a stable background and – in some instances – colour. The firing is carried out overnight at a temperature of at least 760 degrees C. During that time the glass fuses and – hopefully – does not crack.. Angela was firing some of her own pieces at the same time: if you went to the West Cork Creates exhibition in Skibbereen during August of this year you would have seen many examples of Angela’s brilliant work, together with the work of other artists using glass as a medium.

In Angela’s studio are many reminders of past times. John and Noelle Verling specialised in fish imagery – here’s the Brush Fire Ceramics sign that they made back in the day (above – since presented by Noelle to the Ballydehob Arts Museum), while above that is one of Angela’s glass pieces which pays due respect to her predecessors at Brush Fire. Below is a quirky example of Angela’s experimentation: she collected some interestingly shaped bottles from the recycling centre, and fused them together in the kiln:

The following day, Angela took our pieces out of the kiln once it had cooled, and washed them (above). Then we assembled at Nead an Iolair for the reveal. Thank you to Robin for the photos. Clair’s work had to be refired to allow it to ‘slump’, so that was unveiled later on.

Pieces (top to bottom) by Brian, Finola and myself. And – to finish as we started – Clair’s magnificent flower – before and after the second firing! Thank you to Angela for enabling each one of us to experience this most satisfying process. We would all like to take part again another day – and expand our new-found skills!

Castle Island – Facts and Fictions

That’s Castle Island, above, beyond Gaelic Lord Finnin O’Mahony’s dilapidated realm at the entrance to Rossbrin Cove, in Roaringwater Bay. In the fifteenth century there would have been a hive of activity at Rossbrin: quays alive with fishing activity, boats being repaired and prepared, houses, stores and cellars – all full. Castle Island itself would also have been inhabited in those days, as were many of Carbery’s Hundred Isles. Skeam West – to the east of Castle, and roughly in the centre of all the islands of Roaringwater Bay, has the remnants of a church said to date from the ninth century (Fahy – Journal of the Cork Historical and Archaeological Society, Volume 67, 1962).

Upper – Castle island with its close neighbours in Roaringwater Bay; lower – the ancient church on nearby Skeam West, drawn by Fahy in 1962 (courtesy Cork Historical and Archaeological Society). Fahy suggested a ninth century date for this structure, although other commentators have suggested an earlier origin, possibly even before St Patrick’s time

We set foot on Castle Island for the first time in August of last year – during a reprieve in the Covid lockdown measures. Those days seem halcyon now, compared to our current scourge and severe restrictions. We have not been able to return, but I am setting out to bring my reporting a bit more up to date, as I have been provided with further information from a range of sources.

Approaching Castle Island in 2020: upper – view of the island from the shore in Rossbrin townland; centre – proceeding to the island from Rossbrin Cove; lower – the quay on Castle Island, reportedly built in the early 20th century by the Congested Districts Board: “…the beach that it is laid upon was the best natural landing point on the island, well sheltered from the Atlantic swell …” (Mark Wycliff Samuel – The Tower House of West Cork, UCL 1998)

The history of the population of Castle Island is enigmatic and somewhat contradictory. Here is a quotation copied from the Ireland Byways site but uncredited and undated; I can find no other link containing the same information, but it must originally have been written when the island was still inhabited:

. . . Castle Island (Meadhon Inis – “middle island”) lies about 2km offshore, east of the mouth of Schull Harbour on the Mizen Peninsula. The island derives its English name from a ruined C14th Tower House, one of 12 built by the powerful O’Mahony clan in the area. The 1837 census recorded 89 people living on the island. At present there are fewer than 30 permanent residents, who make their living from farming . . .

quoted by ireland byways.co.uk

You will find some accounts which suggest that Castle Island was inhabited only up to the 1870s. These are incorrect: there is no doubt that the island was the home to a number of families in the 1890s as they suffered evictions then. It also seems questionable that the expense of constructing a substantial pier could have been justified only for the benefit of those who might run their cattle and sheep on a deserted island (as happens today). It is possible, therefore, that regular population of the island continued into the early years of the 20th century.

The remains of substantial houses exist on Castle island today: some do not seem to be as ruinous as would be expected if they had been unoccupied for well over 100 years

Recently, my attention was drawn to a Land Register folio recording the title for one of the parcels of land comprising Castle Island: ” . . . a burden, dated April 14, 1904, indicates that the property was transferred at that time subject to the right of . . . Jeremiah Regan to be supported clothed and maintained in the dwellinghouse on the said lands . . . ” That would imply, for sure, that there was at least one person who had the right to live on the island in the twentieth century.

Details from the ruined houses at the settlement of Wester, Castle Island: upper – brick and render chimney stack in reasonable condition; centre – elements from timber window frames still in existence; lower – traces of paint on an internal rendered wall

Accounts of the evictions which occurred on Castle Island have been well summarised in a Mizen Journal article by Liam O’Regan in Volume 6, 1998. The article is much too long to be included here, but it’s worth anyone’s while ferreting it out to get a vividly descriptive picture of the island in the 1890s.

Here’s a brief summary of the eviction story: the villain is on the left, above – he is Thomas Henry Marmion JP, principle landlord of Castle Island. He lived from 1839 to 1921 and – incidentally – his father (who had the same name) was said to have been responsible for providing the ‘soup kitchen’ at the Steam Mill, Skibbereen during the Great Famine of the 1840s. Notwithstanding this, recorded history does not have much that’s good to say about the Marmions, who in the eighteenth century had been land agents for the Bechers and Townsends. At the beginning of March 1890 (as reported, somewhat floridly, in the Cork County Eagle):

. . . A few days ago, the sheriff’s officer from Skibbereen made his appearance in Schull, surrounded by a force of police, on an evicting expedition. After a short delay, they proceeded to the water’s edge where their galleys were found to await them and the sheriff’s representative having secured himself in one of the crafts, the whole party proceeded to sea for a distance of some three miles when they landed on Castle island. This wild and sea-washed home of a few small farmers and fishermen is the property of Mr Thomas Henry Marmion . . . whose interest in recent years appears more of an incumberance or embarrassment than any advantage as the poor creatures who live in it (misnamed farmers) and on the many islands surrounding it, have to live chiefly on the profits of the sea. The fortification of Jerry Nugent was the first laid siege by the invading army, Jerry’s offence being that he owed a few years’ rent which he found impossible to pay and he was, therefore, sent adrift on the sea-washed rocks where he had a full view of the passing emigrant ships which will probably bear him away to seek out a livelihood in the land of the stranger . . .

Cork County Eagle, march 7th, 1890

There’s much more – and it’s a harrowing story – not untypical, of course, of what was happening all over Ireland during the nineteenth century. In the portrait gallery, above, the figure in the middle is a ‘hero’: he is William O’Brien MP, a founder of the National League who, in September 1890 visited West Cork and held a meeting on Middle Calf island to support the case of tenants evicted from Castle Island and the Calves. On the right is James Gilhooly, MP, Bantry, who was chairman of the ‘All for Ireland League’ and who strongly supported the Castle Island tenants and attended many official meetings on their behalf. Matters rumbled on laboriously into the mid 1890s: eventually, it seems that the introduction of new land purchase acts (benefitting tenants), enabled six tenants to return to, and continue to occupy, Castle Island. As yet I have found no further records to help us establish how long occupation of this sparse rocky outcrop in Roaringwater Bay continued into the twentieth century.

The Mizen Journal, Volume 5 1997, has published a study by Anthony Beese of the place-names on Castle Island. I have been unable to locate this article online, but here is Anthony’s excellent map, above.

When we visited the island on a brooding August day we sensed its many ghosts, perhaps including those who returned over a hundred years ago and, possibly, lived out their working lives there. I have called this post ‘Facts and Fictions’ . . . You have had the facts. After I wrote my first post, last year, I received a communication from a writer: William Wall. I was delighted to learn that he had written a book – Grace’s Day – published in 2018, part of which is set on Castle Island. I obtained the book and read it avidly: it has opened up for me a new dimension in the story of the island – and it’s thoroughly believable.

. . . A long time ago I had two sisters and we lived on an island. There was me and Jeannie and Em. They called me Grace, but I have never had much of that. I was an awkward child. I still am all these years later. Our house had two doors, one to the south, one to the north. Its garden looked towards the setting sun. It was a garden of apple trees and fuchsia and everything in it leaned away from the wind. Dry stone walls encircled it and sheep and children broke them down. My mother lived there with us. Boats came and went bringing food and sometimes sheep, and there were times when we lived by catching fish and rabbits, though we were not so good at either . . .

Grace’s Day – a novel by William Wall, published by new island books 2018

William Wall is familiar with West Cork: he has stayed here many times, and has visited Castle Island. It’s not just the island, but the whole story of 1960s West Cork that has been his inspiration. Readers of this Journal will be aware of my own interest in the days when Ballydehob became the hub of an artists’ community: I have helped to set up the Ballydehob Arts Museum, which has celebrated this era and is now in ‘suspended animation’ due to the Covid outbreak. I also look after a website for the Museum. Grace’s Day is set in this era, and follows the unconventional lives of a family who is ‘getting away from it all’ and trying to survive following the then prevalent bible of self-sufficiency. It’s perfectly feasible that an abandoned island in Roaringwater Bay could be the setting for such a romantic pursuit of ideals. I won’t give away any spoilers, but one more extract could help to persuade you that this book is for you. You should find it in all good bookshops: please support them in these tricky times.

. . . One day on our island my sister Jeannie ran in to say that she had seen a whale in the sound and I ran out after her, my mother calling me: Grace, it’s your day, take Em. But I was too excited. And there were three fin whales making their way into the rising tide. We heard their breathing. It carried perfectly in the still grey air, reflected back at us now by the low cloud. The sea was still and burnished. We ran along the rocks watching for their breaching. We decided it was a mother, a father and a calf. They were in no hurry. When we reached the beacon, a small unlit concrete marker indicating the western edge of the island, we watched them breaching and diving into the distance until we could see them no more. But they left behind their calmness and the unhurried but forceful sound of their blows . . .

GRACE’S DAY – A NOVEL BY WILLIAM WALL, PUBLISHED BY NEW ISLAND BOOKS 2018
Our own view of Castle Island in the distance, surreally shadowed by the full moon’s glimmer, while the Fastnet Lighthouse winks away on the horizon