A Keeper of Swans, Patrick Purcell, Talbot Press, 1944. Design: uncredited

The Dawn of All, R.H. Benson, Burns Oates & Washbourne, 1945. Design: uncredited

This Is My Story, Louis Budenz, Browne & Nolan, n.d. (1948). Design: uncredited

I Remember Karrigeen, Neil Kevin, Burns Oates & Washbourne, 1944. Design: uncredited

I Remember Karrigeen, (front flap), Neil Kevin, Burns Oates & Washbourne, 1944.

The above book covers from 1940s Ireland all eschew illustration in favour of typographic treatments. This was more likely to have been a cost-cutting measure than a design choice.

These covers are all from commercial publishers – Talbot Press, Browne & Nolan and Burns Oates & Washbourne – whose sights were firmly on the bottom line. Three of the four titles are essentially religious texts masquerading as secular reading and would have been considered safe bets sales-wise in the newly free Catholic Ireland.

A Keeper of Swans, the only non-religious work in the bunch doesn’t sound any more inviting. Patrick Kavanagh reviewed it in the Irish Times, 18 November 1944: “A Keeper of Swans is a grand piece of sentimentality from the Ould Sod, which should get still better notices in the USA then even Hanrahan’s Daughter.” The cover is a generic template which the Talbot Press used for numerous books during the period.

The output and production standards of these commercial publishers were generally considered poor by the arts and literary set. Liam O’Flaherty dissuaded Peadar O’Donnell from publishing his second book, Islanders, through the Talbot Press, denouncing them as “outrageously vulgar people”.

The final image is from the inside front flap of the I Remember Karrigeen jacket and refers to the rationing of paper which affected book production during the Emergency (a quaint Irish euphemism for the rather less quaint Second World War.) Judging by the book covers of the period, illustration might well have been rationed too as it was surely in short supply.

Culture File RTÉ Lyric FM

This blog was featured in a short piece for Culture File on RTÉ Lyric FM:

http://culturefilepod.tumblr.com/post/44781256034/go-ahead-and-judge-a-book-by-its-cover-with-the

“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.

An Buama Deiridh, Deasún Breatnach, FNT (1962). Cover design: Máirtín DeFuireastail

Seal Thall, Seal Abhus, Deasún Breatnach, Oifig An tSoltáthair (1973). Cover design: Máirtín DeFuireastail

An tÁr sa Mhainistir, S.E. Ó Cearbhaill, Oifig An tSoltáthair (1972). Cover design: Máirtín DeFuireastail

An tÁr sa Mhainistir (back cover), S.E. Ó Cearbhaill, Oifig An tSoltáthair (1972). Cover design: Máirtín DeFuireastail

Máirtín DeFuireastail’s cover design for An Buama Deiridh (The Last Bomb) is a wonderful piece of comic book pop art. On first look it may appear to be yet another tired Lichtenstein appropriation yet, amazingly, DeFuireastail created this in 1962, a full year before Lichtenstein painted Whaam! The cover crackles with Cold War nuclear paranoia – an imaginary metropolis under threat from some diabolical danger.

The comic book influence runs through the other examples of Máirtín DeFuireastail’s art. There is a lovely crispness to his line work. The streetscape in an orange band on the back cover of An tÁr sa Mhainistir is particularly pleasing. It reminds me of the illustrations on the cover of Saoirse Gan Só which I wrote about previously. I have a strong feeling that it is also the work of DeFuireastail but it is no credit on the book.

DeFuireastail produced illustrations and cover designs for books from at least 1956 until sometime in the mid-seventies, other than that I have no biographical details for this talented designer.

Typography Ireland

I will be speaking about typography in Irish book covers at the next Typography Ireland seminar this Friday 1st of February at 2.30pm. Paul Freeney will also be speaking about the work of his father, sign painter, Kevin Freeney. The seminar takes place in the GRADCAM seminar room, John’s Lane West, Dublin 8. The building is a former primary school and the GRADCAM seminar room is on the top floor.

Gleann Airbh go Glas Naíon, Seán MacMaoláin, Oifig an tSoláthair (1969). Cover design: unknown

Ceol na nGiolcach, Pádhraic Óg Ó Conaire, Oifig an tSoláthair (1968, 1976 reprint). Cover design: W.G. Spencer

Réamhchonraitheoirí, Máirín ní Mhuiríosa, Clódhanna Teo. (1968). Cover design: unknown

Vintage Irish Book Covers is delighted to be taking part in Marathon Irish, a celebration of Irish Culture, which is taking place in London until the 15th of September. I will be packing as many Irish books with beautiful jacket and cover artwork and bringing them to the Dialogue Culture Space in Vyner Street, East London for a pop-up exhibition from Thursday 6 to Saturday 8 September.

I’ve been looking for an excuse to post the three covers above for some time. All three are from the late sixties, employ two shades of green in varying degrees of abstraction and are printed paper cases. But other than that, I’m afraid, I know little about them except that their simplicity really appeals to me.

W.G. Spencer, who designed the abstracted reeds on a river bank for the cover of Ceol na nGiolcach, may be the architect of the same name who contributed sketches of old Dublin buildings to The Irish Builder from 1963-4.

Meas na Filíochta, Odhrán Ó Duáin OFM, FNT, (1968). Cover design: Karl Uhlemann

Sladmhargadh, Donach de Róiste, FNT, (1968). Cover design: Karl Uhlemann

Ó Rabharta Go Mallmhuir, Seán ‘ac Fhionnlaoich, FNT, (1975). Cover design: Karl Uhlemann

Fir Chlaímh, Seán Ó Mulláin, FNT, (1976). Cover design: Karl Uhlemann

Slán Leis an gComhluadar, Mícheál Ó hOdhráin, FNT, (1961). Cover design: Karl Uhlemann

Feoil an Gheimhridh, Colm Ó Baoill, FNT, (1980). Cover design: Karl Uhlemann

Is Glas na Cnoic, Seán ‘ac Fhionnlaoich, FNT, (1977). Cover design: Karl Uhlemann

Foilseacháin Náisiúnta Teoranta (FNT) (National Publications Limited) published Irish language books until 1988 and, despite the very formal moniker, it wasn’t a State run publisher but in fact a commercial enterprise (although it did receive some subsidies over the years). The company was incorporated in Westport in 1947 when it bought the printing works of the Mayo News. It continued to publish that paper but it’s main focus was the Irish language newspaper Inniu which had been founded by Ciarán Ó Nualláin and Proinsias Mac an Bheatha’s Glúin na Bua (a breakway from Conradh na Gaeilge) in 1943. Ciarán Ó Nualláin was Flann O’Brien’ brother and, more importantly from our point of view, also the brother of Mícheál Ó Nualláin whose design work we have featured previously.

FNT’s book publishing activity started as a sideline to the newspaper business but the number of titles grew steadily over the years. Karl Uhlemann was FNT’s main cover artist for a considerable portion of its existence. Above are examples of his work for them over a twenty year period from 1961 to 1980. It is interesting to see how his skills developed with time, particularly when comparing his treatment of the Traveller’s caravans in the covers from 1961, Slán Leis an gComhluadar, and 1975, Fir Chlaímh.

My favourites are Meas na Filíochta, with its Japanese feel, and the pop art sci-fi explosion of Sladmhargadh. You can see more of Mr Uhlemann’s work and what little I’ve been able to ascertain of his biography in these two earlier posts.

In Monavalla, Joseph Brady, Gill & Son, (1963). Cover design: Fergus O’Ryan

Legends of Killarney, Donal O’Cahill, published by author, (n.d. 8th ed.). Cover design: Fergus O’Ryan

Fergus O’Ryan RHA ANCA (1911-1989) is better known today as a painter but he spent most of his working life as ‘a professional designer and commercial artist’ as a 1949 catalogue described him.

He worked with McEvoy’s Advertising Services in Dublin in the early 1940s and in 1943 he was with the Rank Organisation working at the Theatre Royal. He became art director and remained there until it closed down in 1962, designing backdrops and scenery as well as cinema posters. From there he went on to teach lithography at the National College of Art until his retirement in 1976.

His paintings, though well executed, are quite anodyne and hark back to Impressionism. What little I’ve seen of his commercial and print work is much more interesting. I would quite happily have a print of the In Monavalla cover on my wall. The character on the cover looks like the Man in the Gray Flannel Suit although I’m not sure if that was the intention.

63 pieces of O’Ryan’s commercial work sold as part of a lot of ’60s and ’70s Irish Sweepstakes advertising art in 2005.

Freemantle Mission, Seán Ó Lúing, Anvil Books, (1965). Cover design: Joe O’Byrne

The mystery of the Casement ship, Captain Karl Spindler, Anvil Books, (1965). Cover design: Joe O’Byrne

The Clanking of Chains, Brinsley MacNamara, Anvil Books, (1965). Cover design: Joe O’Byrne

Above are three covers for Anvil Books designed by Joe O’Byrne in 1965. The post-nominal initials MIAPI after his credit for the Fremantle cover were the vital clue to who he might be. A member of the Institute of Advertising Practitioners in Ireland, O’Byrne was working for O’Kennedy Brindley when he designed these covers, on the side, for Anvil. He later went on to found his own advertising agency, O’Byrne Associates, which gave Brennan’s Bread their distinctive yellow and red wrappers and the slogan “Today’s Bread Today”.

Anvil Books specialised in Irish history with a heavy leaning to Republican themes. The Clanking of Chains stands out for being a novel. O’Byrnes’ design echos MacNamara’s most infamous work, Valley of the Squinting Windows, placing a figure in a window as the only illustration in a predominately typographic treatment. To my mind, the Fremantle Mission is the most striking cover of the three. The orange of the sun really jumps out from the rust background.

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.

The Book of Famous Irish Ghost Stories, Edited by Daniel O’Keeffe, Irish Pocket Books (c. 1956). Design: Michael Gallivan. (Courtesy of Larry Hynes)

Memorable Irish Trials, Kenneth E.L. Deale, Irish Pocket Books (c. 1956). Design: Osborne. (Courtesy of Larry Hynes)

Valentine Vaughan Omnibus, R. Thurston Hopkins, Grafton (1947). Design: unknown

A Case Book of Ghosts, F.W. Gumley & M.P. Mahon, Northern Whig (1971). Design: unknown

Triúr don Chómgargadh, Eoghan Ó Grádaigh, Sáirséal 7 Dill Scéalta Mistéir Uimhir 5 (1968). Design: Úna Ní MhaoilEoin

Ruathar Anall, Eoghan Ó Grádaigh, Sáirséal 7 Dill Scéalta Mistéir Uimhir 3 (1962). Design: Seoirse Mac Aodhagáin

Genre fiction has never really taken hold with Irish publishers. The zealous censorship of publications during the first few decades of the State probably played a role but it is more likely that there just isn’t a big enough population to sustain indigenous mass market paperbacks. The above examples of crime, mystery and horror covers display a charming amateurishness.

The first three are from The Mercier Press’ Irish Pocket Books imprint which operated in the mid-fifties. Michael Gallivan illustrated the first two and the third is by a mysterious ‘Osborne’. I’m afraid I can find no information on either artist. Larry Hynes kindly provided two of the examples which he included in a beautiful poster design celebrating 21 years of Charlie Byrne’s book shop in Galway.

There are 24 years between the next two examples, 1947′s Valentine Vaughan Omnibus and A Case Book of Ghosts from 1971, although the latter cover could easily be from the same period. Unfortunately, I don’t own a copy of the Valentine Vaughan book. The October 2010 issue of Book and Magazine Collector, from which the image is taken, estimates it’s value at £150-£200 sterling! The book is set in London but was published in Dublin by Grafton.

The final two covers are from Sáirséal agus Dill’s Scéalta Mistéir (Mystery Stories) series from the sixties. Úna Ní MhaoilEoin presents a rather naive rendering of a smoking pistol on the fifth book in the run, Triúr don Chómgargadh. I previously posted another of her designs for the series, An Masc. Ní MhaoilEoin wrote and illustrated a number of travel books for Sáirséal agus Dill during the sixties including An Maith Leat Spaigiti? (Do You Like Spaghetti?) (1965) and Turas Go Tuinis (Trip to Tunisia) (1969). According to Manchán Magan the Sunday Dispatch described her books as the most amusingly outspoken books ever to have appeared in the Gaelic language.

Ioldánas: Irish Crafts Exhibition, Irish Section World Crafts Council (1970). Design: unknown

Transportation in Dublin, An Foras Forbartha (1973). Design: Dara Ó Lochlainn Associates

Here are two booklet covers from the early Seventies. The first is a catalogue for an exhibition of Irish Crafts and the second is a report on transportation in Dublin.

The Ioldánas Irish Crafts Exhibition was organised by the Irish section of the World Crafts Council to coincide with the fourth general assembly of the World Crafts Council in Dublin, 1970. Despite Ireland’s impressive craft lineage (the cover image is a 3,500 year old gold lunula), Ida Grehan in The Irish Times was disparaging of the whole endeavour asking “will it be up to the high standard of Trinity College Library where Picasso, Lurçat and a succession of international artists have been exhibited?” (The Irish Times, May 27, 1970). Nevertheless, the exhibition was a success and directly led to the establishment of the Crafts Council of Ireland the following year.

The font on the cover is Helvetica, still a fresh and modern face in 1970. The rest of the catalogue utilises the beautiful Colmcille typeface, designed by Colm Ó Lochlainn with Karl Uhlemann at the Sign of the Three Candles.

The second cover, Transportation in Dublin, was designed by Colm Ó Lochlainn’s son Dara’s design agency. Although it is from 1973 it feels very sixties. This is no doubt due to the use of  Sans Serif No 7 (the digitised version is more commonly called Bureau Grotesque) by Stephenson Blake, a quintessentially British typeface popular in the 1960s. Also, the cars in the photo look a little out of date. I have a feeling the photo is from a few years earlier although it may be a reflection of the recession of the seventies beginning to bite with motorists making do with the old car rather than splashing out on a new model.

Many of the recommendations in the report were implemented, including the East Link bridge and the M50 motorway. The “Possible Underground System” has yet to materialise.