Catholic Truth Society of Ireland – booklet covers

“Don’t Swear Like That!”, Rev. Daniel A. Lord S.J., Catholic Truth Society of Ireland (1950). Cover design: unknown

My Mind Wanders, Rev. John P. Delaney S.J., Catholic Truth Society of Ireland (1961). Cover design: unknown

Who Made Man?, Rev. J.C. Houpert S.J., Catholic Truth Society of Ireland (1952). Cover design: unknown. From Lux Occulta

How to Make an Act of Perfect Contrition, Rev. L. Dowling S.J., Catholic Truth Society of Ireland (1948). Cover design: unknown. From Lux Occulta

Modesty and Modernity, Catholic Truth Society of Ireland (1951). Cover design: unknown. From Lux Occulta

 

I’ve been aware of the Catholic Truth Society of Ireland booklet covers for some time but was reluctant to post examples as I wasn’t able to establish whether they were designed in Ireland or elsewhere. Many of the texts were originally published in the USA and further afield – Who Made Man? was first published by the Catholic Truth Society of India! Given the various origins of the material I wondered if the covers were merely reprints or adaptations of the original covers and therefore not truly Irish cover designs.

I picked up a few more examples at the recent Trinity booksale and my curiosity was piqued again. Since my last efforts at research a new resource has come online – Lux Occulta – Catholic Pamphlets. Having looked at the Irish booklets on the site, I have established that all of the covers with an artwork credit are by Irish artists, including the ever prolific Karl Uhlemann, Alfred E. Kerr, G. A. (George Altendorf), P. J. Quinn and J. Mulhern (possibly artist John Mulhern). Since none of the signed pieces are by non-Irish illustrators, I feel it is reasonable to believe that the artwork for the booklet covers was prepared in Ireland regardless of whether the contents were being published for the first time or reprints of previous texts.

The Catholic Truth Society of Ireland (later Veritas) was founded in 1899. Its aim is best summed up by this wording that appeared in many of the pamphlets:

This booklet has a Mission – to make God known and loved. Maybe you can place it in the hands of somebody who needs it. Don’t neglect to do so if you can. If you can’t, leave it behind you on a park seat, in a ‘bus, in a theatre, and Providence will guide it aright.

It seems from this that urbanites, in danger from the evils of modern living, were the target audience. The covers above give a good idea of the styles thought best to appeal to the city dweller in need of Truth. There is quite a nod to advertising and showcard design of the era with a hint of modern/deco styling although the crude printing mitigates against producing the desired slick effect. While these publications now appear quaint and often hilarious it is worth remembering that they formed part of an insidious culture which held sway in Ireland through much of the 20th century.

The dates quoted above aren’t, as far as I can discern, the original publication dates but rather the date of that particular printing. Many of the designs are in styles which would have been anachronistic by the time of the stated print date. While My Mind Wanders is dated 1961 another booklet in the series titled My Mind STILL Wanders has a date of 1945 which suggests that the original publication date of the former must have been earlier than 1945.

Reading Pictures at the RHA

After all of that, if ye still seek the Truth, I will be speaking about vintage Irish bookcover design this Saturday, 16th March at 3pm in the RHA. The talk is part of Reading Pictures – A celebration of Irish children’s books and illustration, organised by Irish Design Shop in collaboration with the RHA and Children’s Books Ireland. Admission is free and all are welcome.

Logos covers by Des Fitzgerald 1966-1970

Rethinking the Church, Edited by F.V. Johannes, Logos, (1970). Cover design: Des Fitzgerald

Morals, Law & Authority, Edited by J.P. Mackey, Logos, (1969). Cover design: Des Fitzgerald

Celibacy and Virginity, Auer/Egenter/O’Connor, Logos, (1968). Cover design: Des Fitzgerald

The Council Reconsidered, Louis McRedmond, Logos, (1966). Cover design: Des Fitzgerald

Look Towards the East, John Power, Logos, (1969). Cover design: Des Fitzgerald

Set My Exiles Free, John Power, Logos, (1969). Cover design: Des Fitzgerald

New Ways in Theology, J. Sperna Weiland, Logos, (1968). Cover design: Des Fitzgerald

Logos was an imprint of Gill & Macmillan which published books on theology, philosophy and sociology. Launched in the years following the Second Vatican Council, the cover art reflects the Church’s unlikely embracing of Modernism, particularly in architecture, during this period.

With such obtuse titles as Morals, Law & Authority and Celibacy and Virginity the designer, Des Fitzgerald, has managed to do an admirable job. I can find no biographical information on Mr Fitzgerald but I can reveal that he is the (uncredited) designer behind one of the most well known Irish book covers of the last half century – Soundings – the school poetry anthology edited by Augustine Martin.

I had hoped to include the Soundings cover with this post but haven’t been able to source a clean copy as it was invariably defaced by sullen students. The reissued version sports a cover by the very talented Graham Thew which plays on that very fact, adding the updated information as scrawls on the original cover.

Seán Ó Brádaigh An Clóchomhar covers

Dialann Deoraí, Dónall MacAmhlaigh, An Clóchomhar (Third Edition, 1970). Cover design: Seán Ó Brádaigh

An Dá Thaobh, Eoghan Ó Ceallaigh, An Clóchomhar (1968). Cover design: Seán Ó Brádaigh

Dónall Óg, Seosamh Ó Duibhginn, An Clóchomhar (1960). Cover design: Seán Ó Brádaigh

Ag Scaoileadh Sceoil, Seosamh Ó Duibhginn, An Clóchomhar (1962). Cover illustration: Ristreard Ó Cearbhaill. Cover design: Seán Ó Brádaigh

I’m not sure if the Seán Ó Brádaigh who designed these covers is the same Seán Ó Brádaigh who was Sinn Fein’s Director of Publicity and the editor of An Phoblacht. I have a feeling that it is but I would be very interested to have it confirmed.

Seosamh Ó Duibhginn was one of the founders of An Clóchamhar which began publishing in 1958. Dónall MacAmhlaigh’s Dialann Deoraí from 1960 is easily the imprint’s best known book It is the definitive account of life as an Irish navvy in 1950′s England. It was published in English as An Irish Navvy, Diary of an Exile.

You can see another example of Ó Brádaigh’s work here.

Anne Yeats Sáirséal 7 Dill covers

B’Fhiú an Braon Fola (Front), Séamas Ó Maoileóin, Sáirséal 7 Dill (1958). Cover design: Anne Yeats

B’Fhiú an Braon Fola (Back), Séamas Ó Maoileóin, Sáirséal 7 Dill (1958). Cover design: Anne Yeats

An tSraith ar Lár, Máirtín Ó Cadhain, Sáirséal 7 Dill (1967). Cover design: Anne Yeats

An tSraith Dhá Tógáil, Máirtín Ó Cadhain, Sáirséal 7 Dill (1970). Cover design: Anne Yeats

An tSraith Tógtha, Máirtín Ó Cadhain, Sáirséal 7 Dill (1977). Cover design: Anne Yeats

Codladh an Ghaiscigh, Máire Mhac an tSaoi, Sáirséal 7 Dill (1973). Cover design: Anne Yeats

Anne Yeats (1919-2001) was the daughter of poet WB Yeats and a niece of painter Jack B Yeats. She studied at the Royal Hibernian Academy Schools before working at the Abbey Theatre as chief stage designer. From the early 1940s on she concentrated on painting but over the years she created many covers for Irish language publishers Sáirséal agus Dill.

Much less retrained by commercial considerations than other contemporary publishers, Sáirséal agus Dill’s cover designers were free to explore styles which didn’t have to fit with markets or genres. Most of their designers were primarily artists who dabbled in book design and illustration as an extra income stream. The work that they created has a timeless quality that is lacking from a lot of covers where commercial considerations are foremost.

These examples of Yeats’ designs cover a twenty year period from 1958. It would be hard to guess the year that any of them was designed just from looking at the cover. Particularly strong is the illustration on B’Fhiú an Braon Fola which wraps around to the back. The book is an account of Séamas Ó Maoileóin’s involvement in the Rising, War of Independence and the Civil War. The title translates as ‘The drop of blood was worth it’ but Yeats’ gory depiction is far less glorious.

Less obviously figurative but equally striking is the cover of Máirtín Ó Cadhain’s An tSraith ar Lár. The grey background is in fact a metallic silver ink which really sets off the rough pen and ink illustration.

Cor Klaasen Exhibition

Thank you to everyone who came along and supported the Cor Klaasen exhibition. The reaction was great and it was a pleasure to be able to present such a strong body of work to a wider audience. I would very much like to thank the Klaasen family for being so open and enthusiastic about sharing Cor’s work. You can view photos of the exhibition and opening here. I hope to add much more of his work to the website, www.corklaasen.com over the coming weeks.

Cor Klaasen Exhibition Opening & Offshoot Talk

After a couple of days of  fevered activity, the Cor Klaasen exhibition is almost ready for this evening’s opening (Wed 3rd 6-8pm). It’s been a real struggle to select which covers to show as there is so much quality work to choose from. The show will be open from 11am – 5pm every day up to and including Wed 10th November. Please join us at the opening or drop by during the week and enjoy Cor’s wonderful work.

The following evening (Thurs 4th) I’ll be speaking about Cor’s work at Offshoot 4 in the Sugar Club.

Cor Klaasen: Jackets, Covers & Sleeves

Venue: Adifferentkettleoffishaltogether, 18 Ormond Quay Upper

Times: Daily 11 – 5pm. Thurs 4 – Wed 10 November inclusive

Opening: Wednesday 3 November, 2010, 6 – 8 pm. Guest Speaker: Brian Lalor

Sponsors: The Netherlands Embassy, Gill & Macmillan, Inspired Working and Hudson Killeen.

Cor Klaasen Exhibition opening Wed 3 November

Poetry Leaving Certificate Anthology, WJ Steele, Fallons (1969). Cover design: Cor Klaasen

Introducing English, Augustine Martin, Gill & Macmillan (1970). Cover design: Cor Klaasen

Léamh Só, Proinsias MacSuibhne, Fallons (1972). Cover design: Cor Klaasen

Thank you to everyone who came along to the Culture Night exhibition in Mary’s Abbey. It was a very enjoyable night in a wonderful historic setting. I was delighted to be asked by Ruth Kelly to take part in the event and it was great to share the evening with Donny Keane, whose ‘Life thru my Mobile Phone’ proved to be a personal and witty view of Dublin and beyond, and my brother Barry McCormack who finished the proceedings perfectly with song.

Since then I have been working through Cor Klaasen’s amazing archive of work and selecting pieces for the upcoming exhibition. Above are two examples of his abstract geometric work and also a beautiful two colour overlay illustration for the cover of Léamh Só. The image on the poster for the exhibition is adapted from an illustration on the cover of another book from the same period – When the Saints…

The opening is on Wednesday 3 November from 6-8pm and all are welcome. Brian Lalor, printmaker and editor of The Encyclopedia of Ireland will open the exhibition.

The exhibition will run from Thurs 4 – Wed 10 November inclusive and will be open daily from 11–5.

 

Cor Klaasen: Jackets, Covers & Sleeves

Venue: Adifferentkettleoffishaltogether, 18 Ormond Quay Upper

Times: Daily 11 – 5pm. Thurs 4 – Wed 10 November inclusive

Opening: Wednesday 3 November, 2010, 6 – 8 pm. Guest Speaker: Brian Lalor

Sponsors: The Netherlands Embassy, Gill & Macmillan and Hudson Killeen.

Karl Uhlemann II

Faoi Rún Go hÉirinn, Seán Ó Ciardhuáin, FNT, 1972. Design: Karl Uhlemann

Sléibhte Mhaigh Eo, Mícheál Ó hOdhráin, FNT, 1964. Design: Karl Uhlemann

Crumbling Castle, Patricia Lavelle, Clonmore & Reynolds, 1949. Design: Karl Uhlemann

Old Celtic Romances, P.W. Joyce, Talbot Press, 1963. Design: Karl Uhlemann

An Doras Grianlasta, Lorcán Ó Treasaigh, FNT, 1983. Design: Karl Uhlemann

Since I last posted on the work of Karl Uhlemann I’ve managed to dig up some more nice examples of his work but more importantly I’m now able to fill in some biographical detail. Theo Snoddy’s very informative Dictionary of Irish Artists: 20th Century tells us that Karl Uhlemann Jnr was born in 1912. His father Karl Snr was a landscape painter born near Leipzig. I still can’t say for definite if he was born in Ireland but we do know that his father was resident in Dublin from 1915 when he first exhibited at the R.H.A. Karl Snr obviously had an influence on his son’s choice of career and the creative streak in the family continued with Karl Jnr’s son Rai. I will feature some of Rai’s work in a future post.

These examples of Karl Uhlemann’s work are from dates between the late forties and the early eighties – almost 35 years. Crumbling Castle is the earliest example and although it is uncredited, the KU in the lower left hand side and the similarity to other covers by him leave us in no doubt.

My favourite of these covers is Faoi Rún Go hÉirinn. The moonlit illustration, which raps around to the back cover, is beautifully rendered and doesn’t suffer a bit from the rough print job. An Doras Grianlasta is the least successful. The typography feels like an after thought and there has been no attempt to tie it in with the illustration. It is a good example of how design quality suffered as a result of technological ‘advances’ in the late seventies and into the eighties.

Sixties Fishing Guides

Ireland Sea Angling Guide, The Inland Fisheries Trust/Bord Fáilte Éireann(1962). Cover design: uncredited

Ireland Salmon and Sea Trout Fishing, The Inland Fisheries Trust/Bord Fáilte Éireann(1962). Cover design: uncredited

Ireland Coarse Fishing, The Inland Fisheries Trust/Bord Fáilte Éireann (n.d.). Cover design: uncredited

These three fishing guides from the early sixties are aimed at international visitors rather than the home market. The illustrations of the fish have been handled quite differently on each yet they still have the feel of a set, helped by the single colour limitation and the repetition of ‘Ireland’ in Perpetua bold italics.

Ceann an Bhóthair by Séamus Ó hAodha

Ceann an Bhóthair, Séamus Ó hAodha, Oifig an tSoláthair (1966). Cover design: uncredited

While I normally like to post a number of similar or related covers together, I’ve been struggling to find anything that I could group with the above design. It’s a beautiful three colour illustration, for a mid-sixties collection of poetry in Irish by Séamus Ó hAodha, but no artist is credited. The textured paper wraps directly onto the hardback boards and feels like a children’s book, an impression that the illustration accentuates. This is a great example of mid-century ‘naïve‘ design that is currently enjoying a revival. The use of the term ‘naïve’ to describe this style is rather inappropriate, while the designs have a childlike quality the artists behind them are invariably well skilled and knowing.

Sixties Mercier paperbacks

A Munster Twilight, Daniel Corkery, Mercier Press (1963). Cover design: uncredited

My Left Foot, Christy Brown, Mercier Press (1964). Cover design: John Skelton

Islanders, Peadar O’Donnell, Mercier Press (1965). Cover design: uncredited

Days of Fear, Frank Gallagher, Mercier Press (1967). Cover design: John Skelton

Self-Portrait, John B. Keane, Mercier Press (1969). Cover design: uncredited

Irish Short Stories, Seamus O’Kelly, Mercier Press (1969). Cover design: uncredited

It may seem strange that I haven’t mentioned Mercier Press covers before. This is not because I don’t deem them of merit or that I was not aware of them but quite the opposite. The Mercier Paperbacks of the 1960s were ubiquitous in Irish homes and it can be hard to see afresh something which is very familiar.

The books were designed to work as a series – always in two colour, black and a spot colour which changed from book to book. The format and back cover layout remained the same on each book. Illustration, in both pen & ink and brush & ink, was the mainstay of the covers although photography crept in as the decade came to a close. I hope that I am not overstating it to say that the Mercier Paperback covers enjoy a position in the Irish psyche akin to that of Penguin covers for British readers.

The artist John Skelton (1925-2009) was Mercier’s main cover designer – he worked as an art director and book illustrator before concentrating full-time on painting in 1975. The line work in his My Left Foot cover has a Ben Shan feel while his brush and ink illustration for Days of Fear is more expressionistic.

John M. Feehan, the founder of Mercier, mentions the design process in his book An Irish Publisher and his World (1969):

The next problem is the jacket of the book. A set of proofs goes to the artist who has been selected to do the job and in due course  he will submit three different designs. The publisher has to decide  which of these is the most suitable. He will probably call in the author to look at them and give his opinion, although he, as publisher, will naturally have the last word. Aesthetic must be balanced against commercial considerations: the two are not necessarily opposed. …  Certainly, an effective jacket has become more and more important  as a weapon in the struggle to sell a book.

Perhaps the use of militaristic language when describing the selling of books can be explained by Feehan’s time as a Captain in the Irish Army before he career as a publisher.