This colour photograph was taken on the 13th of August 1968 in the County Kerry town of Killorglin (Cill Orglan). This date coincides with the annual Puck Fair, one the oldest fairs in Ireland and the scene of much revelry with public houses remaining open until 3 am. Centred around a cattle fair, the festival also includes traditional music and the capture of a wild goat which is then displayed in the centre of the town!
The two men, sleeping-off the effects of the night before, are oblivious to the rest of the town. In the background, a group of men sit on the street as a Morris Minor car passes by. I love the small details such as the empty Carroll’s No.1 cigarette pack and the half-drunk bottle of milk.
The colour process picks out the reddish brown of the window frame. Similar colours are replicated on the back of the ice-cream van.
I don’t know who the photographer was and it is part of a series of images which I have featured in other posts. A quick look on the Killorgan Archive Society’s excellent website leads me to believe that the photograph was taken at the corner of Michael J. Culloty’s Bar, Main Street.
Posted in Colour Photography in Ireland | Tagged 1960s Colour Photography, 1960s Ireland, Colour photography, Kerry, Photographs of Kerry, Street Photography, Vernacular Irish photography | Leave a Comment »
This early carte-de-visite shows a white Bull Terrier. Its ears are cropped, a practice which became illegal in Britain and Ireland from the 1880s. Bull and Staffordshire terriers are now distinct breeds, however, they were both known as Bull Terriers in the 1860s. Interestingly, the man credited with refining these breeds was Mullingar-born, James Hinks. Perhaps, he was on a return visit to his native town and brought along one of his prize-winning white terriers? Or it might just be a coincidence? I’ve been in touch with fellow librarians in The Kennel Club and they hope to explore the connection.
The photograph is very stark with none of the usual backdrops and accessories that we associate with Victorian portrait studios. However, this is an early image and the owner was probably keen to show off the dog’s features. You can just about make out the variegations of the fabric upon which the dog sits.
The studio is named as Wallis, Mullingar. This is most surely owned by the printer and later newspaper owner, Sampson Wallis (1836-1903), a Wexford man who is listed in Pigot’s Directory of 1870 as a stationer, bookseller and printer. He lived on Earl Street, Mullingar and was the owner and editor of the Westmeath Guardian for over a quarter of century from 1874. He was also listed as a local agent for the scheme offering ‘Free and Assisted Emigration to Queensland, Australia.’
The style of card, thin paper stock and brown tones of the albumen print lead me to believe that this image dates from between 1860 and 1870, most likely in the middle of this period.
Posted in Photographs of Dogs | Tagged Bull Terriers, Bulldogs, Dog Breeding, Dogs, Irish Carte-de-Visite, James Hinks, Mullingar, Sampson Wallis, Staffordshire Bull Terriers, Victorian Dogs, Westmeath | 1 Comment »
There is so much to like in this hand coloured carte-de-visite from the Dublin studio of M. Allen of 12 Westland Row. In addition to the sea themed backdrop, with its sailing boat on the horizon, the papier mâché rock creates a virtual beach for the lavishly dressed young boy. His two-piece suit of light material includes a jacket with long-sleeves gathered into cuffs. These are trimmed with a band of colour as are the side seams and edges of his shorts. A matching ribbon adorns his straw hat. Candy stripped cotton stockings complement his flat buckled slippers. His elaborate hairstyle of long ringlets with a short fringe is very similar to another little boy’s taken by the same studio in May 1873.
The hand tinting is very well executed and is probably the work of Miss Margaret Allen (1832-1914), the daughter of the studio owner, Mark Allen. Her family had a long association with the Dublin art world and sold art supplies and lithographs. She was definitely involved in the photographic side of her father’s business as an advertisement from 1871 states that “Miss Allen pays particular attention to the photographing of babies and young children.” She was an honorary member of the Royal Hibernian Academy and a notice in The Irish Times of the 21st October 1861 states that she ran classes in ‘Drawing and Painting from Life.’ It informed the people of Dublin that “Miss Allen begs to announce that her academy is open on Tuesday and Friday from nine till five o’clock. A living model poses from ten till three.” Miss Allen’s father died in 1879 and she spent her final years in various boarding houses in Dublin listing her income as “an allowance from a friend.”
Posted in 1870s Ireland | Tagged 1870s Dublin, Children's Costume, Children's hairstyles, Fashion 1870s, Hand-coloured Photographs, Irish Carte-de-Visite, Vernacular Irish photography, Victorian Children's Costume | 2 Comments »
Even though people spend many of their waking hours at work, the office is seldom photographed or shown as clearly as it is in this series of images taken in August 1948. These photographs are of a Dublin clothing wholesalers called Robert P. Shaw and Sons, which was located at 46 South William Street for two years’ between 1948 and 1950. The location was the centre of the ‘rag trade’ in Ireland and an area which up until recently housed many wholesalers and workshops.
The Georgian building was partitioned into many units and street directories show that in 1949 there were at least five other businesses and two residential units at number 46. These included Cunningham & Co., manufacturers, importers and wholesale warehousemen and Farrell & Co., typewriting and duplicating services. I was able to deduce the location by enlarging the address on an envelope resting beside the classic Underwood typewriter. A little card on the noticeboard refers to the tardy closing of the front door and the fact that the staff of Cunningham & Co. vacate the building promptly at 6 o’clock every evening!
The secretary’s office is of particular interest and shows a calendar opened to the weekend of the 21st and 22nd of August. I love her sweater and waved hair which were very typical of the period. The photographs have a formal quality which is rather like the set of a play. There are many details to take in, for example, the beautifully designed advertisements for ranges such as Luxan, Francella and Daphne. The sales room has some chairs which were upholstered in a contemporary fabric and the circular table is complete with an ashtray for the waiting salesmen. Notes on the the photographs refer to the interior features in a manner indicating that the offices had recently undergone a renovation, for example, one caption highlights the ‘effective use of cork tiles.’ By 1951, however, Robert P. Shaw and Sons were gone from the location and the unit was filled by another clothing agent. Perhaps, their line in Shamrock and Britannia unshrinkable all wool underwear was no longer popular!
The photographs were commissioned from Keogh Brothers, a firm who are better known for their images of the aftermath of the 1916 Rising and for several commemorative albums which they created during that period. There is an excellent StoryMap feature on South William Street’s connection with the garment industry and Ruth Griffin’s research into the history of the district provides a great picture of this most interesting street.
Overall, this series of photographs gives us an atmospheric glimpse of mid-twentieth century working life.
Posted in 1940s Fashion Ireland | Tagged 1940s Dublin, 1940s Fashion, 1940s Offices, 1950s Dublin, 1950s Fashion, 1950s Offices, 20th Century Interiors, Irish Fashion History, Irish Photography, Keogh Brothers Photographers, Rag Trade Dublin, Robert P. Shaw and Sons, South William Street Dublin | 2 Comments »
This pair of Northern Irish studio portraits feature two tightly laced ladies whose cinched-in waists are accentuated by belts or corsets worn as outwear. The photograph by J. Glass dates from the 1890s and shows a woman wearing an unusual leather laced belt with an attachment that looks like a telephone cord! The verso of this carte-de-visite incorporates a design which was registered by Marion and Co. in 1894. The woman’s husband wears a Union flag, demonstrating his political affiliation and loyalist leanings.
The photograph from Belfast is very similar to another image I posted about a few years back. I love her precariously balanced hat which includes a large bow and buckle feature. The high neckline accentuated with a brooch; ruched velvet bodice and puffed Juliet sleeves are typical of the time. Her tight lacing may, in fact, be part of the bodice of her dress rather than a separate guêpière or waist cincher. Whilst researching this post, I came across many phrases to describe a variety of exterior corsets, for example, corselets, Swiss waists, waspies, waist cinchers and guêpière. Fortunately, The Dreamstress site had an excellent post which clarifies the difference between some of them and which you can read here.
The firm of McBride and Co., 3 High Street, Belfast, were (see W.A. Maguire’s A Century in Focus: Photography and Photographers in the North of Ireland, 1839-1939) at this location between 1894-1901. This dates both photographs to a similar time period and indeed the women’s silhouettes are remarkably alike.
Posted in 1890s fashions | Tagged 1890s Belfast, 1890s Fashion, Corselets, Corsets, Derry Photographers, Irish Carte-de-Visite, Irish Studio Photography, J. Glass Photographers Londonderry, McBride and Co. Belfast Photographers, Northern Irish Photographic History, Waist cinchers, Waspies | Leave a Comment »
This photographic postcard displays a playful interaction between image and text. It was sent from Gilnahirk, County Down, to a young boy in Malton, Yorkshire, England in late 1904. The oval portrait, with bare trees silhouetted in the background, shows a man with his arms folded. He is wearing a stiff white collar and his well oiled hair is parted in the centre, a style that was very typical of the era.
I really like the sender’s typically Northern Irish use of the word ‘wee’ and the self-deprecating way in which he draws attention to his grumpy demeanour: “Dear George, Do you remember ever seeing this wee chap? Hope you are keeping well. Wishing you a Happy XMas and a bright and prosperous New Year. With love to all, Joe. I’m not always quite so solemn looking.”
The boy in question was Master George Pexton who lived at the Railway Hotel, Norton, Malton, Yorkshire, a photograph of the establishment can be seen here.
The postal mark places the sender in Belfast city on the evening of the 23rd of December and one can imagine the card being received just in time for Christmas. Overall, the document is a delightful snippet of early 20th century life.
Posted in 1900s postcards | Tagged 1900s fashion, 1900s Men's Dress, County Down, Gilnahirk, Irish Postcards, Malton, Northern Ireland, Northern Irish Photographic History, Real postcards, Yorkshire | Leave a Comment »
Just a quick post to bring your attention to an exciting project which features the type of vernacular photography that I love. ‘Man on Bridge’ is a documentary which will look at the work of Arthur Fields, a Dublin street photographer who worked on O’Connell Bridge for over 50 years. I have a few of his images in my collection including this one of a group of young men taken in the 1950s. You can find out more about the project and how to support it here.
The photographs below are slightly earlier and were taken on O’Connell Street. The back of one of the prints outlines the contact details for Irish Walking Films where the photographs could be collected.
Posted in Dublin Street Photography | Tagged Arthur Fields, Irish Walking Films, Man on Bridge, O'Connell Street Dublin, Street Photography, Street Photography Dublin | 2 Comments »