JANUARY/FEBRUARY 1986
Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4
Telephone 680764 / 603070
10TH NATIONAL CRAFTS FAIR The Minister of State at the Department of Industry, Trade, Commerce and Tourism, Mr Eddie Collins, T.D., said increase in sales at the National Crafts Fair to £7.5 m was a clear indication of the growing sic^icance of the craft industry in the Mr Collins refuted allegations that the Crafts Council of Ireland were in any way biased in their choice of exhibitors for the Fair. "I fully accept that the Crafts Council has the ultimate responsibility for ensuring that the highest standards are maintained at such an important exhibition. High standards are absolutely essential at a Fair which is now attracting a high level of international interest. I have made representations to the Crafts Council requesting that every effort be made to provide whatever space is needed to ensure that those who qualify on grounds of standards are able to exhibit" he said. The Minister, commenting on the large niugfcers of overseas buyers who coWrto the Fair said it bore out his strongly held view that our fast developing crafts sector warrants more interest and support from Irish business than it is getting at present. "The quality and standard of the goods on display at this year's Fair was superb. They would for instance make highly attractive sales promotion gifts, or sales awards for Irish firms. Many of the quality products on view would greatly enhance office and reception area decor", he said. Mr Collins said that it was a telling comment on the Fair that despite a less buoy dollar this year export sales rose from £3.2 million. "This is further proof of the international standing of the Fair itself and of the products shown. This Fair was for buyers. When the special Fair for the general public — the man and woman in the street — is held later this year I expect people to flock to it in record numbers" he said.
Minister of State, Eddie Collins, T.D., admiring an exact replica scale model Galway Hooker by Pascal Lequeux, Skibbereen at the New Faces Gallery, National Crafts Trade Fair.
Business being conducted at one of the 330 stands at the fair. Photo: J.B.
TRADE FAIR The weather was kinder than usual and the Main Halland Annexe of the R.D.S. generally were warm and fairly undraughty except for one or two periods of wind change outside when hurried action was needed to stuff the gaps. A busy show and in the comment of some a happy one, not just because business who good but because a meeting of old friends as well. Direct orders taken in the four days trading amounted to £7.75 million, an increase of 37%, with export orders increasing by £1 million to £4.2 million. Opening the Crafts Councils 10th National Crafts Trade Fair on 18th January, Mr. Eddie Collins, Minister of State with responsibility for the craft sector said, "It seems to me that in areas of Irish business and industry there is a collective 'blind spot' in regard to the value and potential of craft goods. I would like to see more Irish firms supporting our crafts workers when for example they are selecting gifts for valued customers, prizes for sales awards, and indeed when choosing attractive items of decoration fortheiroffices. When I see the excellent standards attained by exhibitors at this Fair I cannot help feeling that the comparative neglect of this area by Irish business is a scandal. Total annual sales of Irish craft products ought to be bigger. Despite the growth in business and the steady improvement in the quality of Irish craft work in recent years the fact remains that our craft products are neglected and ignored by too many Irish business and industry. "Giftwares" a leading U.S. Publication in the gifts and crafts field has given this national Crafts Fair of ours an "APlus" rating in every department. It is ironic — some would say typically Irish — that though the most discerning judges in the world applaud the skill of our craftsworkers too many of us here at home are stolidly indifferent to the excellent products produced as it were in our own back garden. The 10th National Crafts Trade Fair promises to be bigger and better than ever. It has been running now for ten years. Under the careful management of the Crafts Council of Ireland and with the solid support of Coras Trachtala both at home and abroad, it has given craftsworkers access to a much wider audience for their work.
why growth in the craft industry is Enamalist Jim Millar being presented by the Minister of State with a porce- directly related to active promotion. lain plate commemorating ten unbroken years as an exhibitor since the It is reassuring to see many familiar Council's first National Crafts Trade faces here. But the presence of 40 Fair. Also in the picture Mr. E. F. Suttonnew exhibitors is particularly and Council Chairman, Mr. W. D. Fin- welcome. However, it is less lay. (Lensman). reassuring that two out of every three new applicants for entry to the Fair did not meet the Crafts Council's very stringent selection procedure in This opportunity is particularly relation to design and quality welcome in the case of craftspeople standards. The importance of well who are situated in relatively remote designed quality products cannot be areas of the country. This Crafts Fair over-emphasised. provides them with a superb opportunity indeed.it is now recognised as one of the best organised and most successful crafts EXHIBITORS HONOURED trade fairs in Europe. The Minister of State, Mr. Eddie Collins T.D. presented plaques to The craftworker is part of Ireland's representatives of five companies history and tradition and is both a which had exhibited at the Crafts preserver and an interpreter of a Councils National Crafts Trade Fair national heritage and cultural richness without a break since the first fair ten that is known throughout the world. years ago. The plaques, which were Industrialisation and modernisation specially made at the Kilworth Craft have, in some countries, impinged Workshops, were presented to Mr. strongly on traditional craft industries. Paddy Walsh of Puckane Crafts, Mr. We have been fortunate that, to a great Paddy Collins of Mullingar Pewter, Mr. extent, this has not been the case in Paddy O'Carroll of Cuala Press, Mr. this country. In most instances, our Sean Cleary of Irish Pewtermilland Mr. craft industry has been able to share Jim Millar of Clifden Studio. the benefits of modernisation while preserving its richness and individuality. One third of a ton of local elm was mounted on the lathe to turn into this The industry may be traditional but the dramatic bowl which was exhibited at modern pressures of a highly the National Crafts Trade Fair by Keith competitive market are no less real. Mosse. Marketing is important for the craft industry because it falls into a Tree spirit Rachel complements the discretionary category of expenditure. beauty of the wood as well as giving Crafts do not have to be sought. That is scale to the bowl. Photo: E.F.S.
THE PAST AS A PLUNDERBOX There are many Museum collections which tell the story of the artistic achievements of human beings over the centuries. They house the best world ceramics, sculpture, painting and other treasures. The craft collection at The Ulster Folk and Transport Museum is not one of these. We are not interested in showing stylistic development in ceramics or the peaks of achievement in gold. We collect objects which are evidence of the way that ordinary folk lived and worked in times gone by. The bulk of our collection dates to the nineteenth and twentieth centuries. In the early nineteenth century the majority of the population worked on farms but the family community depended on the skills of the craftworkers such as blacksmiths, harness makers, shoemakers, carpenters, wheelwrights, bowl turners, crockmakers or potters, Mr. W. D. Finlay, Chairman — Crafts being a pewter anniversary. Also L. to basketweavers and others. The farming community was not isolated Council accepting an inscribed tankard R. Mr. E. F. Sutton, Minister of State from Mr. Sean O 'deary of Irish Pew- Mr. Eddie Collins T.D., and Miss Maria from developing towns which housed craft and tradeworkers who supplied termill to mark the Tenth National Walsh. objects for the gentry and industry. Crafts Trade Fair, a tenth anniversary Town merchants bought white work from rural dwellers and bakers often commissioned the hampers which were yesterdays answer to the cardboard box from country folk. Farmers sold bog yew to the cabinet makers. Imports were displacing local production and machines were replacing human labour but there remained more than 120 distinct groups of full and part-time craftworkers who produced useful objects, often fashioned from local raw materials and designed for a particular function in the local community. The collection comprises a set of design solutions to yesterday's problems. It houses many objects which do not pretend to be 'great art'. The purpose of this short piece is to ask some provocative questions on what collections like this offertoday. It is not a plea for everyone to engage in the production of replicas and to revert to the use of older forms of equipment such as the pole-lathe. While factories such as Belleek successfully use modern technology to produce traditional forms, I would argue that a more vibrant craft tradition must involve a dynamic approach to craft, design and technology. Copying old ideas is one thing. The creative use of past collections as a plunderbox of ideas about raw materials, techniques and design is quite another. continued on next page* 3
The Folk Museum's collections are characterised by the use of a very wide range of raw materials. Some were imported but many were local. Rushes were used for mats, baskets and St. Bridget's crosses. Willow was woven into a huge variety of functional containers. Small potteries used local earthenware clays for producing tall, flared vessels for keeping milk. Kitchen chairs were made from deal but also from local hardwoods such as ash. Beakers, spoons and combs were fashioned in horn and bone. Sycamore could be bought by the tree and turned easily when green. It did not taint butter and made an ideal cheap material for butter-washing bowls. Local granite and sand-stones were used for carving. Few materials were wasted. The black-smith fashioned useful trivets from worn out horse shoes. Chairs were made from cut down table-legs and quills from old uniforms, coats and dressmakers samples. The by-products of one activity found a use in another. Rush peelings were used for rope. Straw was plaited into hen's nests and coiled into bee skeps. One may lament the passing of the idea of thrift and the integration of agriculture and craft. But a look at the raw material range can provide scope for creative ideas. Today the art schools produce many craftsmen in clay and silver. Kenneth Thompson is a rare worker in localstone and there is only one studio glass blower in Ireland. Perhaps it is time for art schools to review the possibilities of a wider range of raw materials? This is true too of furniture makers. Are we destined forever to live with melamine downmarket and mahogany elsewhere. It is exciting to see people like Andrew Klimacki of Co. Down producing work in oak and elm. Everybody knows that yesterday's craftworker had no art school training. Skills were passed on through family or community via an apprenticeship. The potter for example began with clay preparation and moved on to making small pots. When they could throw 1,200 a day they might become crock men making larger crocks. Piece work made for speed and sureness. I know few studio potters with the skill to throw a half-piece crock. Paddy Murphy of Enniscorthy has this skill. His family were crock-makers. He makes garden pots to-day and they have a place in any collection not just forthe family history but the skill that is evident in this throwing.
Above, traditional style 'Balmoral Punch Bowl, Cups and Ladle'. Made in 1985 by Tyrone Crystal. Below, a Belleek flowerer at work. Circa 1930.
The large milk crock so skillfully thrown was often crudely finished. Yet these objects were in great demand. In the 1830's six kilns in Tyrone produced sufficient pots for every third family in Northern Ireland to buy one each year. I doubt if every fourth home has a hand made pot to-day. Pots were cheap. There were no substitutes. Thrown with skill-but decorated poorly they were a perfect functional answer to a local need. The art of marrying structure and functions seems sadly lacking today. How many sofas today are good for backs?
Above, hand-blown footed glass bowl made in 1985 by Keith Leadbetter. Below left, Paddy Murphy of Enniscorthy throws a pot, 1984. Below right, nineteenth-century farmhouse chair.
The crock was not beautiful but many objects in the collection marry structure, and function with simplicity in design. The large butter bowls made by Joseph Hughes were undecorated but had a design strength that is rare to-day. How often does the wood turner labour at the over decorated spinning wheel?. The community often retains a high level of skill but how often is this coupled with the clear design lines that were there in some traditional objects and which the Scandinavians have developed for use with contemporary techniques to answer the needs of today? All too often we look back only at Victorian parlour pieces. The collection is a reservoir of ideas about techniques. Spongewear bowls have a decorative simplicity which has been well adapted to contemporary forms by potters such as Nicky Mosse. The beautiful old copper plates used to transfer print designs on everyday Belleek earthenware are also there — disused and forgotten. The wedgedowell construction of old kitchen chairs is making a comeback but there are also tables and dressers which bear a closer look. Recently wood turners have begun to look again at the use of green woods and use this traditional techniques for modern artefacts. Unfortunately many of the products are neither 'art' nor 'functional'. In conclusion, somebody once said that all innovation is a recombination of existing ideas. Real discovery is rare. Collections of old artefacts are just one source of ideas that craftsmen can use. Natural objects and modem art exhibitions are another. We have now started to think about collecting contemporary craft objects for the Museum. These objects will not just be replicas copied from one idea plunderbox or another. They will continued in next page §
have to tell the story of how to-days craftworkers married skill with an understanding of structure, function, and design to produce something useful. The stainless steel teapot that falls over when the lid is lifted or the wooden bowl which sacrifices use to decoration or art for function will have no place nor will the, overelaborate cut glass bowl. The collection will contain objects which combine elements in a fresh and dynamic way.
Right above, silver epergne by John Lloyd of Dublin, e. 1770. Ulster Museum specimen. Right, silver decanter and goblets made by Maureen Dalzell in 1978 at Belfast College of Art.
All photographs are published courtesy of The Ulster Folk and Transport Museum.
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DESIGN IN SCANDINAVIA
AWARD
This summer course is arranged by the Danish Cultural Institute in cooperation with various Scandinavian organisations with various Scandinavian organisations representing arts and crafts, applied art and industrial design. The tour, as in other years, will cover Finland, Sweden, Norway and Denmark with lectures on new ideas and initiatives in applied art and design in each country, visits to workshops and factories and opportunities to meet craftsmen and designers.
Mrs. Breda Hayden who will be known to many craftsmen and women who take part in the Crafts Council's fairs as the owner of Flowers of Ireland Ltd., the successful pressed flowers company, was awarded the 1985 Waterford Junior Chamber of Commerce Enterprise Award. Flowers of Ireland employs 9 full time employees, has been five years in business and supplies a large number of shops in this country as well as exporting to North America and Australia and other outlets, including a major mail order catalogue in USA. Attenton to small details and good marketing presentation have made this company and one or two others in
Details and programmes are obtainable from: Det Dauske Selskab, Kultarvet 2, DK 1175 Copenhagen.
the business models of what can be done with a simple idea. THere are many who try to copy who don't attend to these matters and whose products are clumsy and probably won't succeed — it is an area all too easy to get into badly.
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CRAFTS HOUSE and home exhibition at Athy Lions Centre, May 3rd and 4th, starts at 2.00 p.m. (Run by Athy Junior Chamber)
particularly relevant in the crafts industry. Whenever I read about the runaway success of some relatively simple idea like the "cabbage patch" doll or hula hoops or skate boards I can't help asking myself why didn't someone here in Ireland come up with the idea." "These kind of products are easy to produce and we have seen now imaginative selling turned them into big business. We pride ourselves on being an imaginative people with rich folk and sporting traditions. I would be surprised if we couldn't come up with a novelty product that would have a wide international appeal. Novelty items like these might not hold their popularity for very long but they could earn enough in a short time to lay the foundations of a useful industry."
Advice being sought from Craft Council's Crafts Officer Mr. Sean O Terra 11 at a recent I. DA. One Stop Shop seminar in Wexford.
BURREN III April 7th will see the opening of the Burren III Exhibition (final name to be decided) at the Bank of Ireland Exhibition Hall, Dublin 2. This will exhibit the works which will have sprung from the experience of Burren III and already the shape of some pieces is being developed in theory if not in form. As well as those took part, it is also expected that cs will come from the three leaclers — they have advised their wish to participate. Each Burren workshop has produced an exhibition — the first two largely textile, but this time with the participation of ceramacists there will be an added dimension and even some cross fertilisation may be hoped for.
ARNOTTS FAIR Opening the Irish Craft Fair in Arnott's store in Dublin before Christmas Mr. John Bruton Minister for Industry, Trade and Commerce and Tourism said "The Irish craft industry like other sectors of industry in this country must concentrate ond esign, product research and development and marketing if it is to compete on home and overseas markets. A criticism levelled at some sectors of Irish industry is that firms tend to be production-orientated. Such firms are preoccupied with what they produce rather than what the customer wants. Markets are not researched, the search for new business is not given the priority it merits, the competition is not assessed and new trends and tastes are not studied. Unless the emphasis is focussed on the consumer, the company will find itself trying to sell products that are nearing the end of their life cycle. That in any ones language is a definition of a vulnerable company. Craftworkers too have goes into making a craft product is wasted unless that product can be sold." The Minister contrived by touching on the matter of imagination. "It is
Irish Spinners Ltd. Kiltimagh, Co. Mayo Pure new wool bainin and coloured hand knitting yarns. Telephone (094) 81156
O'ROURKES Glenasmole Crafts Restaurant Dublin (Mountains) 24 For Reservations: Phone Esme at 513620
"I am strong advocate of self-help. I want to see more people using and developing their own initiatives and resources without relying on the State for assistance. This year the North Dublin Craftworkers Association and the craftwrokers themselves, without any recourse to stage this Fair. This is why I am glad to be here this evening to open it. I also thank the Crafts Council who have given them valuable professional and technical advice." The Minister thanked Arnott'and Co. and their Mr. Billy Kelly for their help. There were 49 exhibitors and the North Dublin Craftworkers Association found the fair to have been a success. This, with a similar success for the retail fair at the Mansion House at the same time gave a good boost to craftsmens' direct trade. For a number of years now Arnott and Company have made part of their premises adjacent to their main store here in Henry Street available to craftworkers. This has given craftsworkers access to the vast number of shoppers who fill the city centre at Christmas time. A special word of thanks must go to Arnott & Co., and in particular Mr. Bill Kelly for helping the crafts industry in this very practical way. People in the crafts industry appreciate the opportunity to sell a proportion of their yearly output direct to the public ex-studio or workshop. This type of outlet is particularly welcome in the case of craftsmen who are situated in relatively remote areas of the country. Forthem, winter is a lean sales period. They will certainly welcome the numbers of visitors attracted to this Fair.
IDA AWARD Michael Stonware Jackson of Bennettsbridge won the I DA trophy for the best product in a trade fair contest at the National Crafts Trade Fair, an accepted good decision by the jury chaired by Noel Sheridan, Director of the National College of Art and Design. The presentation of the silver trophy was made on behalf of the IDA by Mr. Pat O'Brien, Executive Director at a reception at the RDS at which previous winners were among the special guests.
WOOD CRAFTSMANSHIP The presentation of examination and completion certificates on Friday 10 January 1986 was the culmination of an intensive training programme in wood craftsmanship skills which was carried out in the Connemara West Centre., Letterfrack between 19821985. The programme was organised and managed by Connemara West and was funded directly by the Youth Employment Agency. All the trainees on the programme came from the North-West Connemara area and, on entry to the programme, were aged between 1522. All of the group were registered with AnCO as apprentice cabinetmakers. The main objective of the programme was to provide fourteen, young people with a range of technical, social and business skills which on completion, they would need to gain employment or to set up and manage their own commercial workshops. The training content centered around cabinetmaking and woodturning as well as carving, sculpture, marquetry, woodfinishing, carpentry/joinery, technical and freehand drawing. In the final year of the programme, courses were provided in mathematics/ calculations, career planning, personal development and business training. As well as the Youth Employment Agency and AnCO, a large number of individuals and agencies assisted in various ways during the course of the programme. These included personnel from Crafts Council of Ireland, the Regional Technical College, Galway, University College Galway, Limerick School of Art and Design, Kilkenny Design and the I.D.A. Since the completion of training in July 1985, five of the trainees have been involved in setting up their own
Michael Jackson, winner of the 1986 IDA Trophy for the best product/product range in the context of the National Crafts Trade Fair pictured with his wife, Mary, and Mr. Pat O'Brien, Executive Director, IDA.
KILN FOR SALE 5 cu. ft. kiln. 3 phase, with furniture, £400, buyer collects. Cork School of Art, Tel: (021) 966777 Ask for Leslie Reed.
commercial workshops, better track woodworkers, in the Connemara West. Four trainees who hope to set upontheirown inthenearfuturehave decided to gain further experience or training and have been successful in getting employment in various woodworking businesses and our others have got jobs in either carpentry/ joinery or cabinetmaking.
3 DAY TEXTILE WORKSHOP A three day intensive workshop, tutored by Linda Brassington, LectuA in Printed and Dyed Textiles at the ^ West Surrey College of Art & Design, will take place from Friday 4th — Sunday 6th April 1986. For Further details, please contact Grania McElligott, Quilt Art Workshops, The Hill House, Naas, Co.Kildare. Telephone: 045-76121.
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THE PAST AS A PLUNDERBOX There are many Museum collections which tell the story of the artistic achievements of human beings over the centuries. They house the best world ceramics, sculpture, painting and other treasures. The craft collection at The Ulster Folk and Transport Museum is not one of these. We are not interested in showing stylistic development in ceramics or the peaks of achievement in gold. We collect objects which are evidence of the way that ordinary folk lived and worked in times gone by. The bulk of our collection dates to the nineteenth and twentieth centuries. In the early nineteenth century the majority of the population worked on farms but the family community depended on the skills of the craftworkers such as blacksmiths, harness makers, shoemakers, carpenters, wheelwrights, bowl turners, crockmakers or potters, Mr. W. D. Finlay, Chairman — Crafts being a pewter anniversary. Also L. to basketweavers and others. The farming community was not isolated Council accepting an inscribed tankard R. Mr. E. F. Sutton, Minister of State from Mr. Sean O'Cleary of Irish Pew- Mr. Eddie Collins T.D., and Miss Maria from developing towns which housed craft and tradeworkers who supplied Walsh. termill to mark the Tenth National objects for the gentry and industry. Crafts Trade Fair, a tenth anniversary Town merchants bought white work from rural dwellers and bakers often commissioned the hampers which were yesterdays answer to the cardboard box from country folk. Farmers sold bog yew to the cabinet makers. Imports were displacing local production and machines were replacing human labour but there remained more than 120 distinct groups of full and part-time craftworkers who produced useful objects, often fashioned from local raw materials and designed for a particular function in the local community.
I
The collection comprises a set of design solutions to yesterday's problems. It houses many objects which do not pretend to be 'great art'. The purpose of this short piece is to ask some provocative questions on what collections like this offertoday. It is not a plea for everyone to engage in the production of replicas and to revert to the use of older forms of equipment such as the pole-lathe. While factories such as Belleek successfully use modern technology to produce traditional forms, I would argue that a more vibrant craft tradition must involve a dynamic approach to craft, design and technology. Copying old ideas is one thing. The creative use of past collections as a plunderbox of ideas about raw materials, techniques and design is quite another. continued on next page3