CCI-newsletter-1984-45-May-June

MAY/JUNE 1984

Crafts Council of Ireland.Thomas Prior House Merrion Road Dublin 4

Telephone 680764 / 603070

FINANCE BILL BLOW Section 83(B) of the 1984 Finance Bill closes a loophole in the matter of VAT registration and strikes a further blow at the innovative, creative and developing craft studios which have formed a number of companies to avoid the necessity of having to register for VAT once their turnover limit has exceeded IRÂŁ25,000. The new legislation prevents splitting and hence the full effects of 35% VAT will fall on the industry which is in the catch 22 situation of not being able to pass it on without making their business unviable.

The Council has again appealed to the Minister for Finance to give urgent consideration to reducing the 35% VAT rate on those products of the craft sector which have to bear it, arguing that since the craft industry is generally labour intensive, the 35% VAT is in effect a tax on labour and not on materials at value added.

The Minister has been asked to consider reducing the VAT rate for the craft sector as he has already been able to make reductions in favour of the car maintenance and the building industry to soften the effects of the recession.

If a formula is to be found with officials of the Department of Finance, it will have to be based on the Council's register of craftsmen — a good reason why all craftsmen should return their registration forms as soon as possible.

EGG CUP EXHIBITION During the month of April seventy-four specially made egg cups were exhibited at the Kilkenny Shop, Dublin, from amateur, student and professional makers throughout Ireland in materials ranging from paper to perspex. Many of the exhibits were highly inventive including a folding one for campers to an objet d'art which may be hung on the wall when not in use. Accompanying the exhibition were decorated eggs and egg cosies.

Egg cups by Geoffrey Healy from an exhibition at the Kilkenny Shop, Nassau Street, Dublin.

Egg cups by Maxine Mearns (one of the participants just started at the Kilworth Craft Workshops) and Una Deloughry at the Kilkenny Shop.

PRE AT CRAFTS FAIR EXHIBITIONS AT THE FAIR Four exhibitions have been arranged for the week of the Crafts Council's Great Craft Fair in the RDS Main Hall in September. All will be relatively small exhibitions as space will be primarily given over to the main purpose of the Fair which is to help boost craft sales and to promote crafts on a big scale to the public at large to everyone's advantage.

During the European Crafts Conference last September one of the more successful workshops was that held in Ballyvaughan entitled "Miniature Textiles of the West of Ireland". As the "dry run" the previous year had resulte'd in the participants putting their experience into practical works which became the "Textiles of the Burren" exhibition, shown in both Limerick and Dublin, so those who took part so enthusiastically and worked.so hard in Ballyvaughan last September resolved that they would translate their sketches, designs, photographs, discussions and spirit of place into works reflecting the process of exploration, of pushing individual frontiers beyond what they had accepted.

The number and variety of works in the various textile media have not, at the time of writing, been finalised, nor is the number of international entries. It is bound to be an interesting, even provocative, show for professional appreciation. For the general public it will open their eyes to the possibilities in contemporary textile media and away from much that is accepted as craft work in an entirely uncritical way.

The Craft Potters Society of Ireland's annual exhibition "Potters '84" is reviewed elsewhere. A selection of work from this exhibition and possibly augmented by other work will form the basis of the ceramics exhibition at the Fair. As with all the exhibitions this will endeavour to use the opportunity of over 20,000 visitors to interest, and "educate" them as to what ceramics is about at the level of the professional artist craftsman.

The functional work, the every day work of quality and relatively inexpensive will be available from the many exhibitors of pottery, and it is to these pieces that the public will tend more readily to relate.

A well balanced exhibition of one off works will excite interest. The public in 2

Dublin seldom fails to respond to stimulation, especially at a craft exhibition.

A second textile exhibition is being mounted by the Irish Guild of Weavers, Spinners and Dyers. Space considerations will restrict the scope of this group whose work was seen to best advantage in the Bank of Ireland Exhibition Hall last year when exhuberence and size were able to flourish if the work required it. The selection is being made with the venue, occasion and audience in mind and it, too, will reflect much of the best that is being created today in Ireland in this medium, even if some of the more dramatic large size works have to be overlooked.

The Irish Patchwork Society's exhibition may also suffer a little from limits being imposed on size, but the selected works of members of this Society will certainly find sympathy with the public. As with all the exhibitions they will see a lot that will be unexpected and far from their usual concept of handcraft.

Almost all the items on exhibition will be for sale. There will be opportunity at the Fair to buy at every level from the simple and functional, decorative or ornament right up to the relatively expensive one off work of the craftsman as an artist.

It is hoped that buyers will range from the housewife, teenager, young marrieds to the collectors and corporate purchasers.

DEMONSTRATIONS AT THE FAIR The public like to see craft demonstrated.

This has proved to be so at the various craft shows that have been held down the years. There is a fascination about it which is evident in the success of David Shaw-Smiths T.V. series such as "Hands" and "Patterns".

The Crafts Council, as organiser of the Great Crafts Fair, has planned for four demonstrations: enamelling, pottery, basket making and wood turning. They are all relatively instant in their effect and have been chosen for this reason.

The public can see the end result without having to wait too long as might be the case with, say a big tapestry.

Liam O'Neill will demonstrate wood turning. Founder of the Wood Turners Guild, and exhibitor at a number of exhibitions in recent years he is

enthusiastic about his craft and can put this across.

Adrienne Crowe is another enthusiast and communicator and it is planned that on the final day she will embark on a "Mug Marathon" which should have the public cheering and make a contribution to charity.

Vincent Meehan has considerable experience in his craft and, again, the visitors will find the progress fascinating.

Finally a lady basket maker! And why not? Catherine Hayden is from Waterford and was trained by the famous Shanahan Brothers in Carrick-on-Suir. This should create great interest in the many women visitors who may have considered basket making as belonging to a man's world.

NEW AWARDS AND CLASSES IN '84 RDS C R A F T S COMPETITION The Prize Schedule for the Royal Dublin Society's 1984 Crafts Competition and Exhibition is now available.

The competition is open to all craft workers and designers in Ireland, including students and apprentices.

A total of 28 classes are included in the new look schedule. Included for the first time are classes for Stone Carving and Creative and Expe§imental Fabrics.

The main sponsor of the Crafts Competition is the Educational Building Society, which has made available a prize fund in excess of £4,000, each class will carry a first prize of £100, a second prize of £50 and a third prize of £25.

One of the new special awards, sponsored by the Howard Charitable Foundation, will be the facility for the winner to stage an exhibition for two weeks during the year in the RDS Library.

The exhibition will be open to the public and will give the winner an opportunity to display a broader range and samples of his or her work.

Other Special Awards will be the Muriel Gahan IR£1,000 Scholarship or Development Grant (sponsored by the Irish American Cultural Institute), the Crafts Council of Ireland Medal and the Californian Gold Medal.

All prizewinning entries and other works of good standard will be displayed at the .

RDS Crafts Exhibition during the Dublin Horse Show (Tuesday 7th to Saturday 11th August, 1984, inclusive).

The closing date for receiving entries will be Friday, 13th July, 1984, and entry forms are now available from Miss Betty Searson, Arts Administrator, Royal Dublin Society, Ballsbridge, Dublin 4.

Tel: (01) 680645, ex. 312.

POTTERS '84 The immediate impression of this years exhibition by the Craft Potters Society of Ireland was one of spaciousness and light.

This was not because of the usual excellent layout of the exhibition but came from the exhibits themselves. The gradual move away from heavy brawns and undistinguished glazes, however traditional, is welcome, and one can begin to see and appreciate the trees from the wood.

Fidelma Massey's "Figure of a King on a Chessboard" is an exercise in control both of the original modelling and its translation through firing. Fine solid work, as expected from Michael Jackson (Large Square Dish), from Geoffery Healy (Handled Platter) and Paul Martin, the latter's Handthrown Forms particuterly taking the eye.

Lisa Young's tiles show considerable good breeding and quiet authority and, on reflection, are probably the best pieces in the exhibition.

Sean McCluskey's Hexagonal Jars are striking as are Peter Watt's Conical Winged Forms, but the impression is one of familarity with the style. Frances Desmond O'Connor's sea anemones and fish mobiles were light-hearted and competent porcelain work. Adrienne Crowe's landform in its goldfish setting was of course a fine concept, somehow reminiscent of UI la Viottis architectural work \r\ Scandinavia and none the worse for that.

Thrown stoneware vase with slip glaze andmocca decoration, by Paul Martin.

I.S.D.C. 31st ANNUAL EXHIBITION The Irish Society for Design and Craftwork's thirty-first annual exhibition of design and craftwork will be held in the Bank of Ireland Exhibition Hall, Lower Baggot Street, Dublin from the 19th to 29th June, 1984.

NEW CORK CRAFT SHOP

The prices all seemed reasonable and the exhibition deserved to sell well and give much pleasure to those visitors sensible enough to buy.

Crafts of Ireland is the name of Cork's new craft shop. The location is Patrick Street, close to the Grand Parade. It is a shop-within-a-shop, having leased space in the Fine Wines complex.

CRAFT POTTERS SOCIETY OF IRELAND

Operated by Christine McDonald who managed the Cork Craftsmans Guild Shop in Cork for many successful years, it will, no doubt, provide again in Cork a source of fine craft products and gifts hand picked with care from leading craftsmen.

Since Ronnie Carleton, the Organising Secretary of the CPSI is no longer with them, future correspondence should be addressed to the Chairman: Joan Doran, 70 Merrion Road, Dublin 4.

We wish it well.

PATCHWORK ARTISTS GUILD OF IRELAND Patchwork Artists Guild of Ireland's touring exhibition of contemporary Irish patchwork known as "Breacadh" opens in the Nenagh District Heritage Centre on 19th June and runs until 29th July.

NEW "CRAFT VILLAGE" IN BLARNEY An opportunity has arisen for small businesses to manufacture and retail their own products in Blarney.

Part of the Blarney Woollen Mills has been completely refurbished into a craft village. The project has been designed with a selection of different sized units to cater for a variety of needs.

Blarney, which is only six miles from Cork, has an excellent all year round trade. During the holiday periods tourists come from all over the world providing an international market place.

Contact for further details: Michael Buckley, The Mills, Blarney, Co. Cork.

Telephone: (021) 861148.

VODRIAN POTTERY It may be chastening for some modern potters to look at the pioneer of modern Irish art pottery, Frederick Vodrey as his ware, which he termed Vodrian pottery, was nothing if not successful in the eyes of the art critics of his day. He had also useful and fashionable patronage from the most important connoisseurs of the time, the Lord Lieutenant and Lord Bandon. He won a medal from the Cork Exhibition of 1884, applause from newspapers, the goodwill of many, orders from the U.S.A. and Cawada - but he faced bankruptcy.

Frederick Vodrey inherited a china and glass shop and warerooms in Moore Street, Dublin. So successful did this business become that it was extended into Mary Street. It is not surprising, then, that "for amusement's sake" he "took up pottery" with the professor of ceramics at the Queen's Institute, Molesworth Street, Dublin. That professor was Herbert Cooper, a man who trained in Stoke-on-Trent and who was employed in the Institute to train "young ladies of limited means" who were forced to work because of the rise in the cost of living. They hoped that after this training they would'get a job in an Irish pottery.

Vodrey and Cooper set up in partnership in 1873-4 and apart from experimenting with manufacture techniques and shapes, they also tested a variety of Irish clays.

The partnership was unsuccessful and so Vodrey established his own pottery at the back of his Moore Street premises. He brought over some Staffordshire potters and aimed to produce "artistic" designs.

For this he commissioned members of the Dublin Sketching Club. It is tempting to suggest that one of the earliest ofVodrey's designs was based directly on a vase which was then (and now) in the Victoria and Albert Museum collection.

That dark brown vase with Arabic strapwork was made in Beauvois, France about 1840 and it is very like some of Vodrey's vases. The publication of Irisleabhar na Gaeilge in 1882 and the major upsurge of interest in Gaelic culture which followed gave a strong Celtic Revival fervour in the country. Vodrey, not to be outdone, commissioned the artist Charles Russell to design ware in this vein. One of the most satisfying of these is the vase which is based on the Kells Crozier knop. When Christopher Dresser brought in the marvellously simple Japanese styles, Vodrey followed suit immediately possibly excelling Dresser in the simplicity of his lines. So successful was this moulded and thrown ware that the Dublin University Review of 1885 begged potters to turn to Japan rather than Dresden or Vincehnes for inspiration.

Vodrey used rich strong colour glazes for all of his ware, in spite of the fact that his canary-yellow, ruby red, olive green, dark "lustrous" brown and bright orange would have contrasted greatly with the other ware in a contemporary Irish home.

Vodrey also produced a variegated colour which he called "splashed" and which he said was "suggestive of house-painters who are economical of pots".

The fact that Vodrey and Cooper's friendship had indeed gone stale is suggested in the fact that Vodrey boasted regularly that he used Irish clays in his wares, while Cooper disclaimed it with equal regularity. Cooper claimed that Vodrey used ready-prepared English clay.

If this is true, then Vodrey certainly went to a lot of trouble with the sham performance. He certainly used different coloured clays, seemingly choosing the colour body which would most enhance the chosen glaze colour. Moreover in the Cork Industrial Exhibition of 1883 Vodrey displayed in one case:— "Pottery clays from Galway — Contributed by Sir V. Blake, Bart, Galway.

Pottery clays from Bantry — Contributed by B. Eddy, Bantry.

Pottery clays from Rostellan — Contributed by J. Wise, Esq., Co. Cork Pottery clays from Carrigaline —

Vase in brown "splashed" ware by Vodrey's Dublin Pottery, about 1884.

Contributed by Mrs. Coogan, Carrigaline.

Pottery clays from Ballyhooly — Contributed by Rev. Mr. Higgins.

Pottery clays from Boherbee — Contributed by Rev. Mr. McMahon.

Pottery clays from Clounties — Contributed by Mr. McKenna, Dingle.'

Furthermore in the Irish Artizan's Exhibition of 1885 he displayed faience made with ball clay from Knockcroghery, Co. Roscommon and ground flint and feldspar from Belleek. On another occasion he claimed that his principal supplies of clay came from' Knockcroghery and from Sir Valentine Blake's estate at Men lough, Co. G,alway.

Vodrey claimed that the principal problems for his modest establishment were high fuel costs and the fact that trained industrial potters preferred to stay in Staffordshire centres. He could have added also that the Irish buying public of his day were not the greatest supporters of unusual art pottery. To satisfy the general demand Vodrey was forced to make glazed white earthenware tea-services and ornaments. For this range he employed young Dublin girls to apply flowers and birds to earthenware pieces, and occasionally to paint them.

ARTS FUNDING DEBATED IN MUNICH A meeting organised by the Council of Europe and the Bavarian Ministry of Education and Culture held in November 1983 and reported on, in the latest Council Bulletin, dealt with cultural economics, attempting to find out whether countries faced with problems of structural economic change were able to innovate new patterns. The debate revealed some concern for the future of public and private funding.

The conclusions, in summary were that: — Public funding of the arts is either already declining in real terms or is expected to do so in the future; this will be a persistent trend. Increased contributions from the private sector will be needed and will increasingly be achieved by business sponsorship. This might eventually lead to a convergence of systems, to a pattern of balancing the ratio of public to private funding.

— Although they do not reflect identical problems, various reservations were voiced by speakers both for private sponsorship and public funding systems: * Private sponsorship might lead to a decline in the willingness of public authorities to spend public money; there will be a diminution of control by elected policymakers; artists might be less well protected and their artistic freedom might be threatened; the amount of private funds may vary with economic conditions and lead to problems of continuity of financing arts projects.

But Vodrey found that the main sales in the shop were of Staffordshire tea services — ranging in price from 45p to £4 and fifty-piece dinner services at 80p.

Frederick Vodrey seems to have emigrated quietly about 1886.

Fortunately before leaving he gave a collection of his ware to The National Museum where there are examples on display today in the Ceramics Room.

Mairead Reynolds.

Mairead Reynolds is the Assistant in the Art and Industrial Division at the National Museum of Ireland and this is the first of a number of articles which she is writing for the Newsletter about certain works of Irish craftsmanship in the Museum. It is hoped that the articles will encourage more craftsmen to visit the Museum to see for themselves the work of their predecessors and perhaps to draw

'*• As for public funding, political intervention in some countries (France, Italy and to some extent the Federal Yellow vase by Vodrey's Dublin Pottery Republic of Germany) may lead to lack of continuity of cultural policy; it also about 1884. can be highly inflexible with the inspiration from them, not in the sense of earmarking of funds for special purposes crude copying but of appreciation of (a particular problem in the Federal technique.

Republic of Germany where around 80% of funds are subject to this). Another The period chosen has deliberately been problem: there is no guarantee that away from the early Christian/Medieval public subsidisation of the arts favours which is so popular as source material and low income or minority groups. instead concentrates on those more neglected later centuries in which there — It is possible to present a more was a great deal of fine craftsmanship, of pragmatic image of the arts as an industry development of a particularly Irish style — an employer, a provider of tourist from what were largely imported roots — services, "good business". There is room what we did at an earlier time also to for introducing more commercial Scandinavian influences. principles and marketing to "sell" the arts to a wider audience.

It is important to see a distinctively Irish style emerging from international influences and sources and to hope to see this development in todays crafts as was (Photographs! by permission of National evident in the crafts of earlier times.

Museum of Ireland).

LETTER TO THE EDITOR Dear Editor, In the March/April issue of "Newsletter" you published a photograph of a series of silver pendants which helped silversmith Cormac Cuffe to win the IDA Perpetual Craft Trophy. I assume that this trophy is presented in recognition of excellence of craft, originality of design and maturity of idea — or is it presented to a craftsperson achieving a great sales volume? If the first is the case I object to it's presentation and these are my reasons: The pendants in the photograph are virtually identical in appearance and materials used to a series of pendants I originally made for an Irish promotion ' at Neiman Marcus in Dallas in 1976.

They were extensively featured in US and Irish publications and for a number of years afterwards I elaborated on this theme of "nature pendants", always contrasting a silhouette of a scene taken from nature against a circular slice of " semi precious stone. On the same lines I also designed and made a number of pendants for Ogham Crafts Ltd., featuring scenes from Irish mythology.

The last of these pendants were" made by me in 1980.

Any craftsperson has the right to draw inspiration for work from anysource.

Anybody is at liberty to feel inspired by some or all of my designs. Anybody is at liberty to copy, vary, imitate or plagiarize. After all, not everybody can be original. Many a Taiwanese, Japanese or Hong Kong manufacturer has achieved great commercial success by copying somebody else's designs. Therefore I have no objections to any silversmith or jeweller copying some or all of my designs; I look at imitation as the highest form of flattery. What I strongly object to is that the IDA, or the Crafts Council, or the RDS or any organisation professing an authoritative interest in crafts should award prizes, trophies or medals to craftsmen for their craft if the product does not show the necessary integrity in design and execution. Awards for any but first rate crafts render a great disservice to Irish crafts as it shows ignorance on the part of the awarding body or their appointed adjudicators. High standards in Irish crafts can only be achievedif: a) the craftsperson is sufficiently skilled and informed to produce high standard crafts and, b) if the craftsman's clients, his customers do recognise high standards and, c) if the arbiters of high standards can be trusted to have informed opinions.

In this particular case the IDA have failed to encourage the development of first class crafts by awarding the trophy to

Four contemplative 'nature'pendants made by Rudolf Heltzel indifferently executed imitations of the real article. Ironically this misjudgment by the IDA is aggravated by the fact that I myself never considered the originals as outstanding design; they were fun to make and easy on the mind but lacked depth and sophistication.

Yours etc., Rudolf Heltzel.

Editorial comment: The selection panel for the award is quite independant of the IDA and is comprised of representatives from the NCAD, Arts Council, National Museum and Aer Rianta.

Dear Editor, One of the problems of a craft worker is getting an informed opinion of their work. So, Rudolf has offered his — thanks.

— Well, wait a moment, as he has not actually seen the full range of my work/ designs — the various pendants, scale models of traditional boats, silver/and

gold trophies and the company presentation pieces — in fact, he has only seen a black/white photograph of a few, the value of his opinion is questionable.

It is regretted that a member of the Council's Management Committee offers such opinions without extending the courtesy of attending the Trade Fair and directly inspecting the standards of the workmanship and ideas represented there.

To take exception to those standards, without seeing the items first had appears to be rather precipitate.

As Mr. Heltzel has not inspected my designs/workmanship, he therefore cannot offer valid criticism.

I can assure him, I was not aware of the work he states to be copied, with the exception of the Children of Lir pendant, which is a totally different concept to mine and was one of a set of pendants based on various folklore themes which won an award in the RDS some years ago.

I rest my case.

We are all anxious to advance craft standards and I am sure if Rudolf were to enter this competition it would help

towards this end. The IDA judges would have the opportunity to consider his merits for such an award.

This, I feel, would reflect a more positive attitude to setting higher standards of crafts in Ireland.

Yours etc., Cormac Cuffe.

QUILTS FOR CALIFORNIA AND CANADA An exciting piece of news recently for the Irish Patchwork Society has been the invitation to Graine McElligott and Fiona Denham to travel to California for the 1984 International Quilt Exhibition.

This will take place on the campus of the University of San Diego from June 1st to the 4th. They will give a joint lecture/ slide show on current trends in quiltmaking in Ireland featuring prominent Irish quiltmakers.

Various countries are honoured each year and this year Ireland takes pride of place.

Graine and Fiona are taking'an exhibition of twelve quilts. Subsequently part of the Ontario Bi-Centennial Quilt Symposium to be held at McMaster University, Hamilton, Ontario, Canada from June 14th to the 17th. Air Lingus has very kindly agreed to sponsor the transportation of this exhibition of Irish quilts on its tour of America and Canada.

One of the quilts touring the USA with the Irish Patchwork Society. Maker: Rosemary McLoughlin.

CORK CRAFTSMANS GUILD Almost IR£300,000 of retail sales of craft products were channelled through two outlets in Cork and Dublin in 1983. A couple of hundred full time and part time professional craftsmen participated, and despite the recession all seemed reasonably well on the surface.

Yet within the first few months of 1984 the Craftsmans Guild shop in Dublin had closed followed not long after by the even more surprising closure of the shop in Cork and the raison d'etre of the Cork Craftsmans Guild seemed totally undermined.

For ten years this pioneering group of professional craftsmen had by their initiative and their courage set an example in self help to all craftsmen. The initial impetus came from the problems faced by many craftsmen, especially those in remoter areas, of the dying down of tourist business in September and, unless one had an outlet open at Christmas, no real sales again until the

tourist season began in May. The answer seemed to be in establishing an all year round retail craft shop, co-operatively owned by craftsmen in a large city centre.

Cork was the obvious initial choice as so many craftsmen lived in the area.

The first few years were touch and go in a small back street premises and management were learning the skills of retailing. Then suddenly the whole machine took off and flew when, with forsight and a bank overdraft personally guaranteed, the shop moved into the mainstream by taking a fine unit in the newly opened Savoy Centre in Patrick Street: prime location. In line with everything else, incomes, boom, general feeling of constant growth and no more dark tomorrows the shop grew in turnover and in space, and expanded also to another outlet, this time in Dublin — but this time at the end of a boom rather than the beginning, and off a main street rather than on it, and one floor up at that.

Was it this that was the beginning of the end for the Guild? Were the lines of communication too long as Napoleon found in a burned out Moscow. Could anyone have seen that the boom was a bit of a false dawn? Was it solely the recession that caused this tradgedy or were there a number of other factors not unconnected with the problems of running a business by committee which could not always stand back and take dispassionate decisions.

The tragedy is that of confidence dented, of individuals own businesses being affected, of a loss of I R£300,000 of turnover for craftsmen, of a loss of retail outlets where the public could see carefully selected stock of good quality crafts, most of all perhaps is the loss to the spirit of co-operation in which craftsmen worked and planned for their common good.

C R A F T S COUNCIL PUBLICATIONS

river's edge, "Rush Cutting" costs only 25p plus 22p postage.

Crafts Council has a number of publications designed to aid craftsmen, retailers and craft organisations, as well as being of interest to the amateur.

Over the years the Crafts Council has received the occasional complaint from both craftsmen and retailers about problems in dealing with the other.

Usually no one is to 'blame', but equally, it can be seen that the problem may have been avoided if one or other or both had acted a little differently in dealing with each other. The Council's booklet "Trading Practices, Recommendations for the Crafts Sector" was the result of a decision by the Council to publish such a booklet as a guide to those makers and retailers who want to avoid common business 'traps'. Its worth having a copy to read before the problems arise. Cost: 30p plus 22p postage.

"A Good Beginning — Setting up and Running Your Own Craft Workshop" costs IR£1.95 plus 30p postage. This little book is essential reading for anyone with a craft skill who wishes to set up their own business but has no knowledge of how to get started as a full time professional. Its chapter headings are 'Setting up your Business', 'Who to Contact', 'Motives and Methods', 'Going to Law', 'Selling: Home and Away', 'Profit and Loss', 'What is your Time Worth?', 'Running a Craft Industry'.

Between them these chapters cover most of the problems likely to be met with by those in the starting up stage of their business.

"Rush Cutting" by Joan Norman. Joan Norman is a very well known figure among the rush work and traditional craft people. Her enthusiasm and humour have helped and encouraged many who have attended her rush work classes and her own baskets are among the best in the country. Joan is an expert on the allied art of rush cutting and saving and in this booklet she describes the methods she has learnt. A good start f Or the rush worker who wants to begin basket making at the

The Council's Newsletter is published bi­ monthly and costs IR£6.00 for a year's subscription. It is the mouthpiece of the Council, reporting on its activities.

Articles or letters from anyone in the craft sector, whether maker, retailer or interested onlooker are welcome (though will be published at the Editor's discretion) as are new items from organisations of craftsmen.

Advertisements and small ads are also taken, the rates can be had from the Council's Office.

PART TIME C R A F T TEACHERS WANTED VISIT OF FRENCH WEAVERS TO IRELAND At the beginning of May, the Irish Guild of Weavers, Spinners and Dyers had a visit from four members of the French Guild of Weavers including the president M. Delahaye and his wife.

As they were particularly interested in Irish wools and in dyeing with Lichens, a tour was arranged to Galway, Mayo and Donegal. In Dublin they were entertained by members of the guild and shown a 8mm film on spinning made in Connemara in 1973. They were particularly impressed by the quality of Irish spinning and by the quality of different 18 ichens flourishing in our — so far - unpolluted atmosphere in the west of Ireland.

Veronica Rowe

The Institute of Irish Studies requires part-time teachers for day and evening classes next autumn in each of the following subjects: Ceramics Calligraphy Dress Designing Enamelling Glass work Leather work Needle work Metal work Upholstery Interior Design Jewellery Weaving Knitting Wood work

NEW I.D.A. PUBLICATIONS The Industrial Development Authority has recently published a set of leaflets under the general title of "Your Own Business" There are thirteen in all with titles ranging from 'Finding the right Manufacturing Project' through 'Keeping the Books Straight' to 'Staying Ahead of the Competition'. Between them these leaflets cover all aspects of starting up and running a small manufacturing business and although not aimed specifically at craftsmen, much of the information given would apply equally to a craft enterprise. The booklets are available from any of the IDA offices or the Crafts Council of Ireland, either singly or as a set. The full list of titles is: 1. Your Own Business.

2. Finding the Right Manufacturing Project.

3. Planning and Costing your Project.

4. Finance and Organisation.

5. Premises and Planning.

6. Keeping the Books Straight.

7. About Tax. 8. Minding Your Business.

9. Building up Your Market.

10. Being an Employer.

11. Insurance for a Small Business.

12. Exporting for the Smaller Firm.

13. Staying Ahead of the Competition.

TERRYBAUN POTTERY, PONTOON, CO. MAYO, IRELAND. Distinctive Res. on 12 acres with Pottery attached.

Large Res., Lobby, Kitchen, 2 bathrooms, 4 bedrooms, Pottery, Stores, Gardens, etc.

PRICE: IR£45,000.

DETAILS: Joint Agents: J. F. SMITH & COMPANY, NEWTOWNSMITH, GALWAY. Tel: 091-67331 JACKSON-STOPS & McCABE, 51 DAWSON STREET, DUBLIN 2.

Tel: 01-771177.

Irish Spinners Ltd. Applicants should apply in writing with curriculum vitae to: Noelle Clery, Director, The Institute of Irish Studies, 9 North Great George's Street, Dublin 1.

Telephone: (01) 744553.

Kiltimagh,

Co. Mayo Pure new wool bainin and coloured hand knitting yarns.

Telephone (094) 81156