Cat lady cabinet card by Philip Condon, Cahir, County Tipperary, ca. 1890

This unusual cabinet card portrait was taken by Philip Condon (1872-1956) of Cahir, County Tipperary. I have quite a few photographs of pet dogs in photo studios but seldom see cats in this context! The woman’s elaborate outfit typifies the extreme puff sleeve of the late 1890s.

Through a perusal of newspaper archives and the assistance of his grand-daughter, Annette Condon, I have been able to find out quite a bit about Philip Condon. He operated out of his father’s public house and contributed to amateur photographic journals in England. He won a diamond necklace for a portrait of his nephew which was published in Tatler magazine in 1904.

A news clipping provides a lively insight into the comings and goings at Condon’s public house and the role photography played in the town’s life. Published in The Nationalist on the1^st of October 1898, it was entitled Sunday Closing Prosecution in Cahir: A Novel Defence – Drinks or Photos. The photographer’s father Patrick Condon was charged with a breach of the licencing laws as several men were found drinking alcohol on his premises in contravention of Sunday opening hours. In their defence they stated that they were waiting to have their photographs taken:

“Philip Condon, son of the defendant, was examined by Mr. Sargint, and said he was in the habit of taking photos; on the day in question he met the Buckleys and the others in the street, and they asked him to take their photos; he told them to go into his house, and he would be back in half an hour, as he had to go and take another’s photo; on his return he took the men’s photos. The defendant was examined, and said that while the men were waiting in his house for his son’s return he asked them to have a drink which he supplied at his own expense…

Mr Shoveller: ‘Do many people go to your son to get photographed? Yes, nearly every day.’ ”

Unfortunately for the Condons and the Buckleys, they were convicted and fined. This does, however, provide an indication of how novel photography was in the town at the time and Philip Condon’s relationship with his clientele!

Philip Condon appears to have been a man of remarkable energy running a pub/grocery and funeral undertakers as well as a photography studio, framing and hackney business. This hybrid of undertaking, publican and grocer was quite common outside of the larger cities and and I have found several examples, such as that of John Gannon of Cavan town who was selling Lancaster cameras and Ilford photographic plates and papers alongside coffins and wallpaper in 1895! Condon’s many interests included amateur dramatics and sport (especially cycling). He painted backdrops and sets for his photo studio and local plays. He provided photographs for a publication on The Suir from its Sources to the Sea by L. M. McCraith (1912).

Condon was married twice: firstly to Annie Carew who died in childbirth in 1917 and then to Margaret Prendergast. The funeral undertaking business remains in the family. I hope to research and write more about his photographic business and hope to trace some of his customers. His business provides an excellent example of the role of a studio in small town Ireland in the late 19^th and early 20^th century and also reveals how amateur and commercial photography intersected.

Austin R.I.P. 1872, Dublin.

This might look like a prop from a horror film but it is actually a carte-de-visite by an unnamed Dublin studio promoting the business of John Coates, Monumental Works, 173 Great Brunswick street (now Pearse Street). Coates set up in business in 1862 and moved further along the street in 1888 to 26 Brunswick Street. This later address was next door to the firm owned by the father of the 1916 leader, Patrick Pearse. An outline of the street’s development and the Pearse business is available here. I’ve spoken to Brian Crowley, Collections curator, Pearse Museum and Kilmainham Gaol, and author of Patrick Pearse, A Life in Pictures who confirmed that several similar businesses were located on Brunswick Street. The proximity to Westland Row and Amiens Street railway stations facilitated the movement of the heavy raw materials and gravestones around the country.

I like any sort of occupational studio photography (see another example from my collection here) and this one is particularly apt for Halloween night. The photographer has failed to notice that the backdrop behind the headstone has slipped which somewhat distracts the viewer from the monument. Did Austin die in 1872? We’ll never know.

Jane and Peachy Edwards, Dublin, 1860s

Early cartes-de-visite often have a sparse and simple look which makes them appear quite modern in contrast to the more elaborate backdrops and props from later studio portraits. The posing in this early 1860s portrait by Gottlieb Schroder of 28 Grafton Street, Dublin, is carefully choreographed. One sister looks down pensively at a photo album whilst the other stares directly at the camera. Their raised crinolines are of the same design with three lines of piping along the ruffled bottom of the gored skirts. Ribbon ruffles outline their long low-set coat style sleeves (built-in curves close tightly at the wrist). The fan front bodices meet collars which are also ruffled. One of the girls wears buttoned ankle boots. The sisters are identified on the back of the photo as Jane and Peachy Edwards. So far, I haven’t been able to find out anything further about them as the surname is not unusual.

Gottlieb Shroeder opened his Dublin studio in 1862 and had a presence in the city’s photographic trade until the early 1880s. His adverts appeared regularly in the national press announcing his adoption of new technologies and techniques. In one of his earliest notices he announces, in a somewhat dramatic style, that he has installed a lift (a rarity during the period) and describes it as follows:

“To remedy a long existing evil and to avoid the universal complaints of the trouble and fatigue (especially of aged and invalided persons), of ascending to the top of the building, Mr. J.S. has, at considerable expense, and under the Supervision of an experienced Engineer, built an ‘Ascending Room,’ in which visitors may reach the Galleries safely, and comfortably seated in an armchair.”  Freeman’s Journal, 11^th April 1864.

Photographic studios were located on upper floors in order to avail of the natural light and many were glass ceilinged additions on the rooftop of buildings. The phrase ‘Ascending Room’ didn’t quite catch on!

Schroeder married Emma Raynor in 1865 and they had five children. She died at the early age of 38 in June 1875 and he swiftly remarried later that year. He also outlived this second wife Marion O’Neill who died in 1881 aged 32. Both wives died of tuberculosis an indicator of its prevalence in the city.

Schroeder and his family lived in a variety of locations in the city mainly on the Southside including houses at Camden Street, Harold’s Cross and Rathmines. At one stage his business was such that it could sustain two premises on Grafton Street: one at 28 and another at number 58. A newspaper notice from the 4^th April 1882 states that the Sauvy studio had purchased Schroeder’s negatives. Gottlieb ended his Dublin years with a studio on O’Connell Street before moving to Doncaster sometime in the 1880s where he lived at 15 Frances Street. His studio was at 15 Hall Gate Street. He died in that town in 1897 at the age of 64.

It appears that his son Carl Julius (b.1868) continued in the photographic business in Doncaster for a number of years. Another son, Frederick (b.1870) was in the Royal navy joining up at the age of twelve. I have not been able to ascertain the final fate of his Dublin-born daughters Emma Caroline (b.1863), Ida (b.1865) and Minnie (b.1875) who may or may not have moved to Doncaster with their father. Minie appears in the 1901 London census visiting friends in Stepney.

Connection: Drogheda portraits from the 1860s and after

I’m delighted to have a selection of my collection of 19^th century carte-de-visites from Drogheda on display in the town’s public library for Culture Night, the 18^th of September. The exhibition, which continues for two weeks, is part of wider themed programme entitled Connection curated by Brian Hegarty.

Carte-de-visite by Weston Bros, Drogheda, 1880s

The photographs show inhabitants of the town and were mainly taken in the 1860s and 1870s by the following studios: Charles Farley; Weston Brothers; George W. Neill and Payne & Cuddy. All occupied prime locations on the town’s main streets. The existence of these photos dispels the idea that photography was only available to the very rich in Ireland. The carte-de-visite process produced small inexpensive portraits (54mm x 89mm) and its introduction generated a rise in the number of photographic studios in cities and towns across the world (including Ireland). The fact that Drogheda sustained several photographic studios, from the mid-nineteenth century on, means that there was a wide customer base for these portraits. The price of 7 shillings and 6 pence for a dozen carte-de-visite was equivalent to that for a cough bottle, a third-class train journey or a child’s petticoat (as per Drogheda newspapers).

Carte-de-visite by C.T. Farley, Drogheda, ca.1870

Charles Farley announced that he was to offer the carte-de-visite process from May 1864 with several adverts appearing in the Drogheda Conservative newspaper. Over the years he was based at several locations in the town including 11 West Street at Doctor Grey’s Medical Hall before moving to 8 Lawrence Street. George W. Neill also had a studio at the Lawrence Street address in the 1880s.

Here are some of the images and they show some very stylish individuals reflecting all the fashion trends of 1860s, ‘70s and ‘80s such as bustles, crinolines, feathered hats, top hats and button boots. The backs of the cards also show novel designs and details.

Carte-de-visite by C.T. Farley, Drogheda, ca. 1865

Carte-de-visite by Weston Bros., Drogheda, ca. 1880

C.T. Farley, Drogheda, verso of carte-de-visite, 1870

I have also included below an account of an event that was attended by the photographer Charles T. Farley giving a flavour of life in the town during the period.

Drogheda Conservative, 20^th December 1873, p. 3

“Band of Hope Meeting in Drogheda – A reunion meeting of the Drogheda branch of this society, in connection with the Wesleyan Church was held on Wednesday evening in the School-Room, Lawrence Street. The attendance of friends and members was large, and fully demonstrated the extensive spread of the principles espoused by the admirable society in our town. After tea, &c. had been partaken of, readings and recitations were given by some members. Mr Charles Farley, exhibited a choice selection of dissolving  views, which added much to the enjoyment of the meeting. A number of Temperance melodies were sung with nice effect during the evening. The Misses Creaser and Plunkett presided on the harmonium.”

Comin’ from ‘The Beds’, The Spill on the Hill, Parkgate Street, Sunday 8 p.m.

I’m sad to see that the car free status of the Phoenix Park will end tomorrow on Monday the 18^th of May. It has truly been an oasis of calm during this lockdown. In contrast this carte-de-visite shows a raucous Sunday evening return from the Strawberry Beds via Parkgate Street. The Strawberry Beds are located along the banks of the north side of the River Liffey and were a popular spot for day-trippers whose drunken return journeys could end in mishap. In Weston St. John Joyce’s Neighbourhood of Dublin (1912), he describes trips to the Strawberry Beds as follows:

“On fine Sundays in summer it was visited by large numbers from the city. Cars used to ply between Carlisle (now O’Connell) Bridge and “the Beds” at 3d a seat, and were so well patronised that it was not an infrequent sight to see a procession of these vehicles. amid blinding clouds of dust, extending the whole way from Parkgate Street to Knockmaroon. The outside cars, too, were longer in those days, and carried three passengers on each side without any due compression, not to speak of two or three in the well. The strawberry vendors, pipers, fiddlers, and publicans reaped a rich harvest, the sounds of revelry filled the air, and when the shades of night had fallen, numerous involuntary dismounts were made from the cars on the homeward journey.” p.357

I don’t usually collect non-photographic material but ‘filler’ or ‘photographic scraps’ such as this humorous print were often sold in the carte-de-visite format for inclusion in albums of mainly photographic material.

The print shows the distinctive stone piers leading to Chesterfield Avenue (the central thoroughfare through the Phoenix Park) which were erected in 1810. The piers along with their glass lanterns were removed in 1932 for the Eucharistic Congress and only re-installed in 1986. You can also see the Wellington Monument peaking out of the trees dating from 1861. The mural style drinking fountain in the foreground was commissioned by the Earl of Carlisle and designed by Deane and Woodward. It too dates from 1861 and its construction was part of the Drinking Fountain Movement which sought to provide clean water to the masses whose preference for beer (which was safer than many water supplies) was at odds with the Temperance Movement.

The clothes of those pictured in the print do not provide a strong indicator of its date as the men wear breeches and buckle shoes which were popular with workers throughout the 19^th century. The women’s outfits are not depicted in detail although the skirts are wide and standing out as per the 1860s crinoline. The top-hated and frock coat wearing gentleman standing by the fountain could perhaps indicate that the image is contemporaneous to the Wellington Monument and the drinking fountain of 1861.

Girl at the Civet Cat Bazaar, Dublin 1860s

Carte-de-visite by John Lawrence, Dublin, 1860s Source: Author’s collection

This carte-de-visite photograph was taken in the 1860s at John Fortune Lawrence’s photographic studio and Civet Cat Bazaar. The cat referred to in the business name is a nocturnal mammal associated with ‘fox dung coffee’ which is produced when coffee berries are harvested from the droppings of the Asian palm civet! In addition to a photographic studio, Lawrence also sold toys, sports equipment and fancy goods from his premises at 39 Grafton Street, Dublin.

This little girl, standing doll-like on a studio chair, is wearing an off-the-shoulder wide hemmed silk dress which typifies the 1860s. A single string of coral was believed to protect her health. She wears bloomers and white socks with black patent leather hook-and-eye boots. The hairstyle is very on trend: short, parted in the middle and swept behind her ears with a hairband. Overall her outfit is very like that worn by Princess Beatrice in a photo session from May 1860. In it Beatrice was photographed with her mother Queen Victoria by John Jabez Edwin Mayall and you can see here that her hairstyle, necklace and boots are very similar.

Advertisement for Brown, Thomas, and Co., The Nation, 16th April 1864

In 1864, Lawrence employed the architect William George Murray to design several additions to his building (now a Burger King) including a ‘large wareroom, archery gallery for butt shooting and photographic gallery with waiting rooms.’

Verso of carte-de-visite by John Lawrence, Dublin, 1860s Source: Author’s collection

Advertisements placed by Lawrence reveal Dublin’s rich consumer culture and the wide variety of products that were available. Many of the toys were imported from Germany or France and included magic lanterns, wax and rag dolls, dissected maps, bon-bon boxes, dolls’ houses, clock work toys, panoramas, racing games and tool chests.

Some of the games and toys are unfamiliar to us today, for example, Cannonade was a game of chance played with a teetotum (a small spinning top); Fantoccini figures were puppets imported directly from Italy. Pope Joan was a card game played on a round board. In December 1856, Lawrence offered two very topical games based on the Crimean War: Battle of Inkerman and Siege of Sebastopol.

Siege of Sebastopol game, Bodleian Libraries

Lawrence was constantly diversifying. In the late 1850s he sold birds and bird cages including parrots, java sparrows, waxbills and indigo birds. In March 1854, he announced that he was the pyrotechnic artist to the Lord Lieutenant. Selling many kinds of fireworks and offering to forward them ‘to all parts of the Kingdom, and competent persons sent to fire them, if required.’ He also made rocking horses covered in natural skins!

In 1863 Lawrence advertises that he is offering the carte-de-visite process along with coloured photographs and he sold albums and celebrity carte-de-visites. One of these was a photograph of General Burke ‘taken since his arrest.’ Burke [Bourke in some notices] was a Fenian leader who was arrested in April 1867. Lawrence was not the only studio selling political carte-de-visites. His notice in The Freeman’s Journal of the 7^th of June 1867, appeared alongside one from Lesage’s studio, at 40 Lower Sackville Street which announced the sale of cartes depicting General Burke, John McCafferty and Patrick Doran ‘taken from life in Kilmainham Jail.’ They had been arrested and sentenced to death for high treason causing much uproar during that summer. After large demonstrations their sentences were eventually commuted mainly upon the strength of Burke and McCafferty’s claims to American citizenship. Both had fought in the American Civil War. A photo of McCafferty by Lesage is held in the National Library of Ireland and you can see what he looked like here.

The Freeman’s Journal, 7th June 1867

John Lawrence (1833-1897) ran his Grafton Street studio from 1854 until 1884 when it was taken over by Louis Werner. Lawrence’s negatives were taken over by his brother William Lawrence whose better known studio was on Sackville street (now O’Connell Street).

Altered images: wasp waists in 1880s studio portraits from Cork and Belfast

 

Cabinet Card by Sauvy, 64A Patrick Street, Cork, Ireland, ca. 1885 (author’s collection)

 

 

Carte-de-visite studio portrait by T. Plimmer, 19 High Street, Belfast, ca. 1885. (author’s collection)

These studio portraits from the 1880s show two unfeasibly narrow-waisted women. One was taken in the Cork studio run by Paris-born Adam Alphonse Sauvy and the other by Thomas Plimmer in Belfast. Of course, these women would have been aided by some seriously constricting corsetry, however, upon closer inspection they also reveal that the photographic studio has aided them with some carefully placed retouching or ‘photoshopping.’

Both these close-ups show that the negatives have been doctored to create these wasp waists. If you look closely you can see where the waists were quite crudely reduced through the painting-in of a triangular shape on the negative.

Both outfits typify the mid-1880s. The Belfast lady’s stripped two-piece includes a basque bodice trimmed with jet beads. A high collar with an attached jabot, lace cuffs, and a draped over-skirt. The Cork woman’s lace outfit also includes a draped over-skirt and high neckline. Both wear corsages and the horse-shoe brooch worn at the neck of the Sauvy portrait is typical of the period. Fashionable hair was curled, centre-parted and loosely piled and combed upwards with curls around the forehead.

I love the way the studio props complement and mimic and the textures of the women’s outfits. Brocade curtains and velvet upholstery add to the visual layers in these images.

National Library of Ireland, Lawrence Collection, L_ROY_01918

Thanks to the preservation of the Lawrence photographic collection at the National Library of Ireland, we can see exactly where the Sauvy image was taken. The image above shows the Paris Studio on the upper floors of 64 Patrick Street, Cork. Unlike many of the studios, which sought cachet through fanciful connections with continental Europe, Sauvy was really born in Paris. He ran his Cork studio at this location between 1879 and 1893. This photograph shows that his studio was well-positioned on a main thoroughfare although he did have plenty of local competition. Other studios on Patrick Street alone included Henry Hunter at No. 28; Berlin Studio at No.61; Francis Guy at No.70 and William O’Callaghan at No. 102. Note the roof top addition which was most likely added around the time of this notice which appeared in the Cork Examiner on the 2nd of October, 1882:

“The photographic art – Mr. A. Sauvy’s studio, in Patrick Street, has undergone enlargement and renovation, and it is now among one of the best in the kingdom. New backgrounds and scenery have been erected in the operating room, while specimens of art on view outside and inside the studio are of the newest and best description. Those who patronize Mr. Sauvy are certain to get well executed photographs.”

Sauvy also had a branch on Dublin’s Grafton Street and appears to have lived in Dublin. One of his addresses was on the upmarket Morehampton Road and one of his children, Celestine, was born at Holles Street hospital in 1884. Sauvy died in Paris in 1916.

The Paris Studio on Partick Street was sold to German-born August Tuhten in 1893. Perhaps Tuhten was one of the many European assistants that Sauvy boasted of in his advertisements? Tuhten was resident in Cork from at least 1882 when he was listed as a mason in Cork’s Hibernian lodge. Prior to his Cork career, he had a family in London with Anna Zimmern. Their three children were born in Stoke Newington, London, in the 1870s. He also had several art-associated ventures in London and Leicester. He ran the Paris Studio in Cork up until the early 1890s. In the 1901 census he is listed as a ‘boarder’ in the Leicester home of Cork-born Louisa McCarthy. One wonders if they met in Cork? Their first child, Ivy, was born in Leeds in 1893 and was registered as Ivy McCarthy. A son Fred was born in Leeds in 1898 and another Alan in London in 1906. The entire family went to Canada in 1907 settling at first in British Columbia. This second relationship does not appear to have lasted and by 1916 August is living alone and states that he is a widow. He died in Hardisty, Alberta, in 1932. Louisa died in Powell River, British Columbia in 1961 at the age of 93.

Marching Band and Royal Irish Constabulary Auxiliaries on Ormond Quay, Upper, Dublin, ca. 1920

I have been guilty of neglecting this blog over the last year mainly due to finishing my PhD. I’m getting back to it now with this image of Ormond Quay Upper, Dublin. It dates from early 1920 or 1921 when the quays were still cobbled and had two-way traffic. Young children, some shoeless, follow a military band and marching ‘soldiers.’ These are most likely auxiliaries who formed a paramilitary unit of the Royal Irish Constabulary. Set up during the Irish War of Independence, they were infamous for their reprisals against the civilian population and were generally disliked.

Passengers on the upper deck of the open-topped No. 24 tram lean out to watch them pass. The tram followed a route from Parkgate Street to O’Connell Street. During this period, the Dublin tram system was extensive and by 1911 there were 330 trams criss-crossing the city. The 24 route was first established in 1874 and it closed in 1938.

Capel Street bridge is visible in the distance and it is also possible to make out the sign on No. 20 which was a temporary branch of Bank of Ireland. A new Ormond Quay branch of the bank was built further along the quays. The architects were Millar & Symes.

 

No. 18 Upper Ormond Quay housed Watts Brothers gunsmiths from 1969 to 1999. In 1920 is was a hotel and restaurant and it is currently undergoing restoration by the Dublin Civic Trust. I was also delighted to see that another building on this block is being restored by Sunni L. Goodson and you can find an account of her work on the building here. The photographer David Jazay took some great images of the quays before many of the original buildings were demolished. You can see his work here.

 

Whilst researching this photograph I came across an amazing photograph taken along the same quays ca. in 1900. It shows Roche’s hairdressers at No. 31. It is a beautiful shop front with interesting signwriting. Hairpieces hang in the window. The business was founded in 1889 by Lucinda (Lucy) Roche (nee Byrne). The little boy in the sailor suit is Sean Roche who went on to fight in the 1916 Rising. Thanks to Ciaran Clarke, for permission to re-post the photo. Ciaran is a descendant of Lucy’s and the 5th generation of the family to work in the business. He runs two barbershops in Kildare and you can find out more about the history of the family business here. Thanks also to my colleague Lar Joye for identifying the unit as auxiliaries.

‘Give Every Man his Dew’: D.E. Williams, Tullamore Dew and Michael Scott, Dame Street, Dublin, 1957

 

This small snapshot was taken in 1957 and it is captioned on the back as a ‘Dublin liquor store.’ It shows numbers 52 and 53 Dame Street and the side street called Temple Lane South. Although it includes two Georgian buildings, the image is decidedly modern in its composition and atmosphere. Two cars can be seen moving out of the shot, three hat-wearing men are ambling down the street, one with a parcel under his arm. A female cyclist wearing a fashionably tight skirt and knitted sweater has stopped by the path. Bicycles are lined up against the side wall of number 53 on Temple Lane South.

Perhaps the modern feel is heightened by the fact that the front of No. 53 (the headquarters of the wine and spirit distributor, D.E. Williams) was designed by the modernist architecture Michael Scott. When first opened, it was described by The Irish Times on the 16^th of August 1941 as being ‘carried out in teak’ and as ‘a notable example of simplicity and elegance in design.’ By 1957 the exterior is pretty much unchanged excepting for the addition of an incongruous curved wooden flower box over the door. You can click on the above image to see a larger version of the snapshot.

The window display bears the slogan ‘Give Every Man his Dew.’ This refers to the whiskey Tullamore Dew which takes its name from the initials of the distributor D.E. Williams. An article, dating from 1954, on the history of the company can be found here. Now an Italian restaurant called Nico’s (one of the oldest Italian restaurants in the city) which first opened in 1963. It is mentioned in this piece from the Dublin blog ‘Come Here to Me’ that also includes a really nice photograph of the building taken in recent years. This review also references the restaurant’s history.

The next building, No. 52, was occupied by several legal firms. Street directories also give home addresses for the ‘legal eagles’ that were mainly in affluent parts of South county Dublin and Wicklow: John K. Lloyd-Blood, commissioner for oaths, home address Glencot House, Kilmacnogue, County Wickow; Gwynne Stirling, residence Marino Lodge, Killiney; Raymond French, solicitor, Knocksinna House, Stillorgan Road.

Number 52 is now a hair and beauty salon called Preen. It has not been altered too much since this photograph was taken. It now has two doors instead of one, however, the latticed windows have been retained on the upper storey. The ground floor and basement recently sold for 661,000 Euros to an overseas investor.

 

 

As stated above the print is small (3 inches x 4 inches). A stamp on the back includes the Minox logo stating that it is an original Minox print with the date of June 11-1957. Minox cameras were produced in Latvia and after the Second World War in West Germany. They were a desirable luxury item that was widely advertised in Europe and America. The firm was also known for a particular sub-miniature camera favoured by spies. The snapshot is printed on Leonar paper, one of the most popular papers in post-war Europe. You can read a history of the firm with particular reference to their Leigrano paper here.

The use of the phrase ‘liquor store’ suggests that this photograph was taken by an American. One who could afford to travel and purchase a Minox camera. It is amazing the tangents that a single snapshot can take you on: from a Michael Scott designed shop-front to whiskey labels and spy cameras.

“Tight collar he’ll lose his hair”: discomfort and male dress in Joyce’s ‘Ulysses’

James Joyce was an astute observer of both male and female fashions. Within Ulysses he repeatedly mentions the uncomfortable nature of the stiff collars worn by men and also notes how various styles of necktie signified class and status. I’ve gathered together some contemporaneous Irish images from Dublin, Belfast and Kilkenny photographic studios illustrating the type of attire that Joyce was referring to.

“Always know a fellow courting: collars and cuffs. Well cocks and lions do the same and stags. Same time might prefer a tie undone or something.” Nausicaa

“Bloom stood behind the boy with the wreath looking down at his sleek combed hair and at the slender furrowed neck inside his brand new collar.” Hades

“What caused him irritation in his sitting posture? Inhibitory pressure of collar (size 17) and waistcoat (5 buttons), two articles of clothing superfluous in the costume of mature males and inelastic to alterations of mass by expansion. How was the irritation allayed? He removed his collar, with contained black necktie and collapsible stud, from his neck to a position on the left of the table.” Ithaca

“He rustled the pleated pages, jerking his chin on his high collar. Barber’s itch. Tight collar he’ll lose his hair. Better leave him the paper and get shut of him.” Lotus-Eaters

“Master Dignam walked along Nassau street, shifted the pork steaks to his other hand. His collar sprang up again and he tugged it down. The blooming stud was too small for the buttonhole of the shirt, blooming end to it.” Wandering Rocks

“Dull eye: collar tight on his neck, pressing on a blood vessel or something.” Hades