‘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.

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After the Race: motorsport in Dublin’s Phoenix Park, 1940s

The Phoenix Park’s association with motorsport started as early as 1903. The Gordon Bennett Cup Race which took place in Ireland in that year is cited as the background for James Joyce’s short story After the Race. Joyce used motor racing to lampoon the aspirations of Dublin’s social climbing nouveau riche. It was one of fifteen stories that appeared in Dubliners and this month marks the 100th anniversary of its publication. A reimagining and rewriting of these stories, Dubliners 100, will be launched today.

This lady was photographed in the Phoenix Park sometime in the late 1940s or early 1950s. Due to petrol rationing racing was suspended during the Second World War and did not re-commence until the late 1940s. On the subject of rationing, I was delighted to have my article ‘Coupons, Clothing and Class: The Rationing of Dress in Ireland, 1942-1948’ published in the latest issue of Costume.

The fashions worn by this women indicate that the photo was taken towards the end of the 1940s or in the early 1950s. Her loose fitting, midi length shift dress and matching jacket were typical of the post-war period. Her stylish outfit reflects the comparative wealth of those involved in motor sport and mirrors the glamour and allure alluded to by Joyce in After the Race.

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Working 9 to 5: photographs of a Dublin office from August 1948

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.

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Stylish lady on a Dublin street, 1948 snapshot

This glamorous lady was photographed as she walked by the railings of Trinity College in 1948. Her outfit adheres to the styles of the day: a black Mandarin hat complete with spotted veil; trapeze swing coat; clutch bag; gloves and a large leaf-shaped brooch. All were the height of fashion for 1948!

The handwriting on the print adds to rather than detracts from the photograph and although it is not a perfectly composed image it gives a real sense of Dublin in 1948 and shows how clothes were worn and fashions adopted on the street.

To get an idea of what else was happening in the city and a flavour of the times, I searched the newspapers for today’s date in 1948. The headlines were full of the Marshall Plan, the Berlin Conference and the ‘Palestine Problem’. According to Seán Ó Faoláin ‘Raidió Éireann was starved of finances’ and another article covered ‘Suggestions to improve Dublin Traffic.’

The Grafton Cinema was showing Spencer Tracey and Mickey Rooney in Boys’ Town and  the Carlton Cinema advertised the following: ‘Gorgeous and Gay! Exotic and Exciting! Lovely glamorous Yvonne de Carlo with George Brent, Brod Crawford, Andy Devine and Arthur Treacher in Slave Girl – dazzling Technicolor! Come to the 3.30 show – house booked out for tonight!’ If you didn’t want to go to the cinema there was always ‘Midget Car Racing’ at Santry Speedway or horseracing at Baldoyle.

Miss Louise Brough won the Ladies’ Singles Championship at Wimbledon and there were advertisements for rubber boots, sandals, pilgrimages to Lough Derg, Andrews Liver Salts, Elastic Stockings and Flak DDT offered to ‘Knock down that louse.’

Speaking of street style, the Where were you? team are putting on an exhibition of images from their Dublin youth culture book. It is part of the amazing Photo Ireland Festival 2012 and  is at the Lighthouse Cinema, Smithfield from Saturday 7^th July.

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Pin-stripe suits and slouch hats, 1940s Dublin weddings

I am giving a talk in August on the subject of Irish fashion during World War Two and in preparation I had a look at some of my photos from the 1940s. As these two Dublin wedding portraits demonstrate, the slouch hat was a ‘must-have’ for any fashionable women. Tilted or asymmetric hats of all styles were very popular including the topper .  

 

The July 1944 advertisement boasts that the high-end Dublin department store Slyne’s was selling slouch hats in a variety of colours. 

 

Neither bride wears white and both of them have sensible shoes and outfits which could be worn again for everyday use. 

Interestingly, both grooms are wearing double-breasted pin-striped suits with large lapels. The trousers are wide-legged with turn-ups. 

What I like about both these studio portraits is that they show how regular Dubliners embraced fashion trends and that despite the formal studio setting and poses, the sitters’ personalities still manage to shine through. 

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Fashionable Portrait, Dublin, 1940s

This striking portrait was pasted down in an album containing mostly Dublin images. Unfortunately, I have no way of seeing if there is any information on the back of it. The woman’s hair, makeup and clothing are typical of the 1940s. Dark lipstick, with the top lip slightly exaggerated, was also popular during this decade.

When researching the fashions of this era, I find the following titles invaluable: Jonathan Walford’s Forties Fashion:From Siren Suit to The New Look (2010) and Colin McDowell’s Forties Fashion and the New Look (1996).

The unusual numerical pattern on the above dress reminds me of a 1941 fabric called ‘Coupons’ which was based on the number of ration coupons required for certain types of clothing during the World War Two. This pattern was reproduced by Persephone Books for the endpapers of their beautiful edition of wartime stories by Mollie Panter-Downes entitled Good Evening, Mrs Craven.

In Ireland, clothes rationing was announced by the Minister for Supplies on the 8^th June 1942. See Clare County Library’s site for examples of Irish ration books in their collections.

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Private Wine Rooms over mystery Dublin pub?

This snapshot is crammed full of amazing details like the sign for ‘private wine rooms upstairs’;  the young fella peaking over the odd little car;  the banner advertising Player’s cigarettes and the shadowy sign in the window. Despite my loathing of Arthur’s Day I am still fond of the ‘Guinness is good for you’ sign.

This photograph has me totally puzzled though as I cannot locate a Dublin pub whose street number is 32 and which is also next door to a stationer’s/tobacconist’s. The name of the shop looks like Hegarty and in the original print I can faintly make out a surname ending in ‘lly’ on the etched pub sign. I have checked one or two Thom’s Street directories for the 1920s, 30s and 40s but to no avail.

Perhaps the photograph wasn’t taken in Dublin which would disappoint me though it really shouldn’t matter as the image is a great snippet of street life wherever it originates. Any suggestions welcome?

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Kodak in Ireland

I came across this advertisement for Kodak in Ireland which dates from 1940. It mentions war time shortages and the fact that Kodak cameras were currently unavailable. The George Eastman House has an extensive collection of Kodak advertisements many of which, like the one above, depict fashionable young women. 

The ad also refers to Kodak House in Rathmines. This Art Deco building was designed by the architectural firm of Donnelly, Moore & Keatinge in 1930 and was used by the firm until 1982. William Sedgwick Keatinge was also responsible for later additions in 1949 and 1951. The building was recently renovated and the following atmospheric photograph demonstrates how well it has survived.

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O’Connell Street from Nelson’s Pillar, 7th September 1942

This photograph shows a view of O’Connell Street from Nelson’s Pillar taken on Monday 7th September 1942. We are always hearing how bleak Ireland was during the 1940s and 50s but to be honest I wouldn’t mind a good look around the shops on this block. The Thom’s Street Directory for 1942 lists the businesses as the Saxone Shoe Company; Dunn & Co., hatters; Rowntree & Co. Ltd., cocoa, chocolate and confectionary manufacturers; Jameson & Co., jewellers; Bobby Morris, ladies’ hairdressers and Clifford’s and Maxwell’s, tailors. It also includes Jordan’s Billiard Saloon.  

The print is actually quite small but I don’t mind that the close-ups are slightly blurred as they still give a real sense of the street showing cyclists, delivery trucks, people chatting and going about their everyday lives. 

According to The Irish Times for the date you could go and see the following films at O’Connell Street cinemas: the Metropole was showing a farce called Charley’s American Aunt with Jack Benny, Kay Francis, James Ellison and Anne Baxter. The Savoy was showing Gone with the Wind and the Carlton featured Elsie Janis and Wendy Barrie in Women in War. Jim Keenan’s Dublin Cinemas: A Pictorial Selection (2005) and Marc Zimmerman’s History of Dublin Cinemas (2007) provide an excellent account of Dublin’s many cinemas.

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Dublin Studio Portraits

 

 

    

These glamorous portraits were taken by Ross Photographers of Dublin in the 1940s. The studio was set up in 1929 and is one of the few independent Irish businesses still operating on Grafton Street today. I really like their colourful yellow sign which brightens up the dull Dublin sky in the photo above. I also located advertisements for the studio in daily newspapers from the 1930s. Jason Bitner of Found magazine discovered an entire studio collection in LaPorte, Indiana and I am a fan of his book which was published by Princeton Architectural Press. A documentary film on the collection is also in production.  

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