Here is a small collection of street art from Portstewart. Above, is Dan Leo’s osprey in Strand Road. Below, a boy playing hide-and-seek by an unknown stencil artist; and finally, a number of images of JMK’s ‘A Tribute To Henry’ on The Crescent — “Henry” denotes Henry McCullough, Portstewart native and guitarist for Joe Cocker and Wings, who died in 2016 (WP).
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Today (December 20th) is the fifty-firth anniversary of John Steinbeck’s death in 1968. In 1952 he visited Northern Ireland to trace his Hamilton ancestors in Mulkeeragh, Ballykelly, Co. Derry (Irish Times) and wrote about it in Collier’s magazine.
The mural is on the side of (what was) the Hamely Gallery in Bushmills.
Limavady has been the home to an occasional Steinbeck literary festival since 2016 (Steinbeck Now).
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Footsteps through the history of Coleraine, from top to bottom: Martin Luther (c. 1521); John Knox, who led the reformation in Scotland (c. 1560); the plan of Coleraine (c. 1611); the relief of Derry (1689); the Williamite campaign (1690); (and then a jump to) WWI (“Christmas truce, western front”); WWII (“War on the home front”).
These boards replaced a UDA mural in March, 2014 (see Loyalist Ballysally).
Daneshill Road, Coleraine.
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All of the pieces shown here were produced in the summer of 2023 for Coleraine’s ‘Revitalise’ programme, co-ordinated by Michelle McGarvey (ig) for Causeway Coast & Glens borough council with funding by the Department Of Communities. They are on utility boxes and planters all over the town centre.
For some of the large pieces of street art in the town, including many produced for ‘Revitalise’, see Nook Of The Ferns. More information and images can be obtained from Causeway Coast & Glens borough council (press release | map).
The first four are from Marc Holmes’s (ig) Voyage Of Discovery series.
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Here are two pieces by Mark Christie (ig) for the 2021 revitalisation project in Coleraine town centre (Coast & Glens).
On the left, Kitty Of Coleraine, of the famous song (One Irish Rover), as imagined in a postcard by John Carey.
On the right, Major Quality and Miss Sweetly from the lid of a Quality Street tin. The confectionery collection was itself named after J.M. Barrie’s 1901 play and Coleraine native “Hugh Thompson” [Hugh Thomson] (WP | NVTv) provided the illustrations for a 1913 edition (many can be seen at RBKC); these probably inspired the “soldier and lady” characters for the tins (the leads in the play are called Captain Valentine Brown and Miss Phoebe Throssel), though they were drawn by Harold Oakes (WP); the tins and ads from 1936 can be seen at Metro. The image reproduced here is from the 1950s.
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This Ballymoney mural goes all the way back to at least 2004 and to the wave of Ulster-Scots – or as here, “Scotch-Irish” – murals painted in PUL areas after the promotion of Ulstèr-Scotch as a parallel language to Irish by the Good Friday/Belfast Agreement.
As the Visual History page on Ulster-Scots Murals shows, most of these murals made a connection to (what would-become) the United States, to where about a quarter million people emigrated (WP). The mural is intended to tell a story of emigration (signified by the sailing ship), American independence (the McKinley quote), and American expansion (the frontiersman).
The Scotch-Irish were Presbyterians and supporters of breaking the ties to Great Britain. In 1893, Governor Of Ohio (and later US President) (Ulster Nation) William McKinley said, “They were the first to proclaim for freedom in these United States. Even before Lexington [i.e. the outbreak of the Revolutionary War, on April 19, 1775] the Scotch-Irish blood had been shed for American Freedom.” (According to William Marshall’s book Ulster Sails West, the battle McKinley is referring to took place on the Alamace river in North Carolina in 1771 (p. 29).)
The frontiersman on the right is generally taken to be David “Davy” Crockett, from the 1830s (Rolston in Al Jazeera | McCormick J2024); it is in fact a 1991 sketch of a generic frontiersman by David Wright (web), called “The Long Knife”, and the figure is referred to generically as “a trapper” by the artist (BBC).
None of the conquests of European-American colonists provides a good parallel to unionism, due to the complicated nature of political conflicts both there and here. The Americans, of course, threw off British rule in their revolution; Irish unionists want to remain part of the UK. And Crockett died in the Battle Of The Alamo in the Texas Revolution; that is, he died fighting for Texan independence from the Mexican government, which again doesn’t line up well with the desire of Irish unionists to remain part of the United Kingdom. (For another strained analogy involving the Scotch-Irish and US political history, see The War Of Northern Aggression and its discussion in the Ulster-Scots Murals page.)
The reason for its inclusion is the simpler idea that the Scotch-Irish are a rugged and feisty people who are not to be trifled with, whether in North America or Ireland.
Painted by Kenny Blair (Fb) in Hillview Avenue, Ballymoney; sponsored by the North Antrim Cultural And Musical Society and funded by the Heritage Commission. “Ulster Sails West” is the title of a 1943 book by WF Marshall (Isles Abroad).
Hillview Avenue, Ballymoney
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Here is a survey of the UDA boards in Carnany estate, Ballymoney. Many of these have been seen before (in Ulster’s Past Defenders, Ulster’s Present Defenders, The Terror, Threats, And Dread, and Ballymoney UDA). The anti-drugs board in the final image is new (see previously the one in Londonderry: Peace Impact Programme) and the one shown above and immediately below is an updated version of the board shown in Past, Present, For All Time. The dates given in the earlier version were 1972 and 2016; in this one, for “50 years of service”, they are 1971 and 2021. 1971 is the typical date given for the formation (in Belfast) of the the UDA; the 1972 date might have been a specific reference to the North Antrim And Londonderry brigade or the beginning of the Londonderry UDA’s actions, with bomb attacks on a factory and a pub in Donegal in October and November, 1972 (WP).
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“The blood our comrades shed shall not have been in vain. We honour Ulster’s dead and staunch we will remain.” better to die on your knees than live in an Irish republic don’t let drugs destroy your community declaration of arbroath
There was previously a mural of the UDA emblem and flags on the substation on the Loughanhill side of Ballysally (Coleraine) (seen in The Hell They Call Highwood) which has now been replaced by the painting of a daughter greeting her father who is returning home after “Victory 1914-1918”. There is also a new version of the painting of the attack on Highwood, as seen below.
The style of the paintings and their frames is the same as the panels in Footsteps Through Our History.
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This street art, unfortunately by both a hedge and parked cars, is by Shane O’Driscoll (web) in Church Street, Ballymoney, inspired by the town’s history as a market.
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“North Antrim & Londonderry brigade, UFF, Ballymoney 3rd battalion” – hooded men with assault rifles remain on the walls in Alexandra Avenue/The Crescent, Ballymoney.
See also: Fifty Years Of Service.
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Paddy Duffy Collection 