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

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

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

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

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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

Karl Uhlemann II

August 8, 2010

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.

E.C. Talbot Press 1940s

April 23, 2010

I Can’t Help Laughing, John D. Sheridan, Talbot Press (1949). Cover design by E.C. (Eileen Coghlan)

Statue for a Square, Francis MacManus, Talbot Press (1945). Cover design by E.C. (Eileen Coghlan)

These two ‘forties covers from the Talbot Press are both signed E.C. After a bit of digging I was able to figure out that E.C. is Eileen Coghlan (1909-90) and thanks to Theo Snoddy’s excellent Dictionary of Irish Artists: 20th Century we have some biographical detail.

Coghlan was born in Kilbeggen, Co Westmeath and attended the Dublin Metropolitan School of Art for a short period. She spent the majority of her career working as a book illustrator, particularly children’s books and schoolbooks for Browne and Nolan, the Educational Company and later Folens.

Coughlan also illustrated/designed many covers for the the Talbot Press. Her jacket for I Can’t Help Laughing (I featured a later edition of the book in an earlier post) shows her lively drawing style which she put to good use in her children’s books. Her style has a nice cartoon feel and she contributed to Dublin Opinion as a cartoonist.

In 1944 she was living at 25 Bachelor’s Walk and won £3 from the Irish Red Cross for the design of a Tuberculosis awareness poster.

Roísín Daly

On the trail of another mystery, I now believe that Roísín Daly (the designer of the beautiful Prayers of Life cover which I posted recently) is in fact the maiden name of Roísín Hogan, the first Director of Dun Laoghaire Institute of Art, Design & Technology.

Karl Uhlemann

December 10, 2009

The Miracle Maker, Charles C. O’Connell, Talbot Press, 1960

Rícheol agus Rómánsaíocht, Gearóid Mac an Bhua, FNT, 1963

A History of Ireland, J.J. Feeney, Educational Company of Ireland, n.d.

Cosmhuintir, Liam Ó Murchú, FNT, 1975

When I first came across Karl Uhlemann’s name I assumed that he was yet another talented Dutch designer who found himself working in Ireland in the 1950s. In fact he was born to a German father and Irish mother sometime around 1910. Although I can’t confirm that he was Irish born we do know that he was educated at Synge Street CBS and went to work at Colm Ó Lochlainn’s Sign of the Three Candles press upon leaving school. He is probably best known for drawing the initial sketches for the Colum Cille typeface (1936) which Ó Lochlainn developed with Stanley Morrison at Monotype.

Above are four examples of Uhlemann’s book cover work – 2 three colour designs from the early sixties and 2 later two colour designs. His illustration style is hard to pin down as it varies widely over these four covers yet he achieves a very pleasing design with each one. I particularly like the lettering on the title of The Miracle Maker.

The few biographical details I could find come from Dermot McGuinne’s excellent book Irish Type Design: A History of Printing Types in the Irish Character. Karl Uhlemann passed away in 1992.

Talbot Press Covers

October 28, 2009

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These four covers are from the 1968 Talbot Press editions of humourous works by John D. Sheridan. Originally published in the forties and fifties, these books are collections of short stories, some of which had appeared first in the Irish Independent. Unfortunately I can find little information on the Talbot Press and the cover designer is uncredited. I have a feeling whoever the designer was had a few Faber Paper Covered Editions in their collection.

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