The Cuala Press operated from different premises during its existence. Initially, under the Dun Emer Press imprint, it was part of Dun Emer enterprises in Dundrum from 1902 until 1908. Elizabeth and Lily Yeats split from Dun Emer and Evelyn Gleeson, in 1908 and moved their printing and embroidery operations to ‘a four roomed cottage’ on Lower Churchtown Road in July of that year. It was housed in William and Georges Yeats home on 82 Merrion Square from August 1923 until February 1925. Cuala then moved to Baggot Street and sub-rented upstairs rooms from the building’s main tenants, Norman Allen Ltd. They remained at Baggot Street until January 1942, by which time W. B. Yeats (the Press’s editor) and Elizabeth were both dead. After 1942 the Press, now managed by George (W.B.’s widow), moved to her house on Palmerstown Road. The thirty-two years in Churchtown and Baggot Street were the most productive. Photographs with decorative and historical detail exist from all locations and are rich sources about Cuala Press life, industry, output, location, and much more.
This blog looks at one photograph taken in the Cuala Press Baggot Street premises in 1932, and the avenues of research that image invites and the questions it asks.
Continue reading “Cuala Press Research. Anatomy of a photograph”
Elizabeth Corbet Yeats’s private press was an important cultural and social enterprise, it operated under the Dun Emer imprint from 1903-1908 and thereafter as The Cuala. The last book was published five years after ECY’s death in 1946. The Press frequently exhibited their publications at home and abroad in arts and crafts exhibitions and these positioned their output among other members of the international private press and the wider Arts and Crafts movement.
Continue reading “Cuala Press among friends”
This blog presents the work of two Cuala Press artists, Eileen Greig and Anne Price, about whom the TCD Schooner Foundation Cuala Press research project is seeking more information on their work and careers. It is an objective of the Project to acknowledge and recover overlooked artists who worked for the Press, and to associate the better-known artists with their often-overlooked Cuala design work.
Continue reading “Two Cuala Press Visual Artists”
While this blog series focuses on the Cuala Industries, it is interesting to look to their Irish contemporaries working in craft printing. With its establishment in 1922, Cluna Studios emerged as the main competitor to the Cuala Press and Industries, most noticeably in the profitable line of hand coloured art prints and cards.
In ‘Announcements by Members of the Guild of Irish Art-Workers’ published in the Arts and Crafts Society of Ireland and Guild of Irish Art-Workers Seventh Exhibition catalogue of 1925, notices for the Cuala and Cluna studios faced each other. Both advertised their hand-coloured prints, cards, calendars, embroidery, and painted wood items such as, candlesticks, bowls, boxes, hairbrushes, and so on. Cuala alone sold hand-printed books. Like Cuala, and the Dun Emer studies, the Cluna Studio was an arts and crafts enterprise established by women craftworkers, namely Gertrude (Gertie) Grew and Margaret (Daisy) O’Keefe, when Ireland was on the cusp of independence.
Continue reading “Cluna Studios. A competitor for Cuala Press art prints”
When Evelyn Gleeson (1855-1944) moved to Ireland to establish the Dún Emer Guild with Lily and Elizabeth Yeats she purchased a house named ‘Runnymede’ in Dundrum, a South Dublin village suburb. The house had been named for Runnymede in England where The Magna Carte was sealed in 1215. Evoking the spirit of Irish Revivalism, the Dundrum house was redesignated Dún Emer by Gleeson, meaning Emer’s fort in Gaelic, after the wife of the legendary Irish hero Cuchulainn. Emer was renowned for her craft and needlework skills. Gleeson oversaw the Guild’s weaving department; Lily (1866-1949) ran the embroidery workshop; and Elizabeth (1868-1940) managed the private printing press.
The recovery and use of Irish legends, the story Cuchulainn in particular, during the Irish Revival in the early twentieth century is well documented. Douglas Hyde and Eoin MacNeill founded the Gaelic League in 1893 to promote the Irish language. Ancient heroic tales were retold by writers such as Standish O’Grady and many of their central characters peopled the poems of W. B. Yeats (1865-1939) such as in “The Death of Cuchulain”, “The Only Jealousy of Emer” and numerous others. Lady Gregory’s translation from the Irish of Cuchulainn of Muirthemne, which W. B. Yeats described in the introduction as ‘the greatest book ever to have come out of Ireland in my time’, was published in 1902.
Continue reading “Cuala Press. Names matter”