NEWSLETTER JANUARY - FEBRUARY 1978

CRAFTS COUNCII OF IRELAND.

Thomas Prior House, Merrion Road, Ballsbridge, Dublin 4 Telephone 01 680764

V.A.T A recent survey undertaken by Crafts Council of Ireland shows that of the various countries in the European Economic Community, Ireland places the greatest V.A.T. burden on crafts. Here we have no rate applicable to handcrafts below 20%. Many handcrafts in the U.K. for instance are rated at half that percentage. This puts an intolerable burden on craft­workers for it has the double effect of creating an apparently high retail price for crafts and a low return to the craftworker. Many products have in normal retail practice a threshold limit beyond which at present the public would tend to regard them as too dear but often does not realise that a fifth of this price is V.A.T. If the threshold limit is maintained then the craftworker merely gets, say 50% of the threshold limit after the 20% V.A.T. A reduction of V.A.T. to 10% would mean that the same threshold limit could be maintained but the craftworker would get a better return or alternatively accept the same return but have their products on sale at a slightly lower price. It should not be beyond the wit of our taxmen to devise a lower V.A.T. rate

which would apply specifically to handmade products. The Crafts Council would be happy to help in the devising of such a scheme which would also have the advantage of clearly pinpointing the handcrafted product of Irish origin, penalising the imported product of non-EEC origin and helping a section of the community which is often a small or one-person business which, nevertheless, makes a significant contribution to the nation.

Elsewhere we mention the enlightened attitude of the Dutch Government towards the artistic decoration of new buildings and in the V.A.T. field they are no less enlightened in that the creative craft product is regarded as an unique work of art and on the condition that the maker is a qualified craftworker and acknowledged as such by an official organisation such as Crafts Council of Ireland would be, is rated for V.A.T. at a mere 4%.

We have a long way to go before what little verbal recognition at official level of the importance of cultural things we now have is translated into tangible benefits to the craftsworker by legislation.

Crafts in Architecture

Centraal Orgaan Voor Het Scheppend Amibacht (COSA) is roughly the Dutch equivalent of Crafts Council of Ireland, although it deals with a wider range of crafts and into sculptural work as well. Holland has an enlightened approach to the arts in architecture in that a percentage of building costs must be reserved for spending on the decorative and artistic element of new blocks whether for office or other purposes.

COSA has over the years played a major part in working closely with architects and craftsmen and is recognised as the agency which is consulted in relation to the choice of craftsmen to present schemes for new buildings.

An example of COSA's success is a recent report on commissions carried out by craftsmen with their advice and assistance and lists, for instance, wallhangings, mosaic, bronze sculpture, reliefs, fountains, landscaping and such of which one was in the price category of over 100,000 Florins, four were in the category of 15,000/30,000 Florins and seven in the category of 3,000/6,000h.

Second National Craf tsTrade Fair

At the moment of going to press we are able to announce the outstanding success of the National Trade Fair. Buyers from over 200 shops placed firm orders for £155,000 of craft products with an estimated £60,000 of additional orders expected within the next six weeks.

Many new contacts were made and the additional business which the Fair will generate throughout the year will certainly be a good percentage of business placed during the three days of the Fair.

The result of such activity is of course commissions for craftsmen, a beautifying of new buildings with fine craftswork and a public appreciation of contemporary arts and crafts in an architectural setting.

Of course the initial enlightenment was at Government level in the original legislation to ensure that a percentage of construction costs be spent on craft­work and artistic decoration.

The Bowl-Ireland The selection of the Irish entries for "The Bowl" was made on November 23rd from twenty one works entered by seven­teen artist craftsmen. A selected number of artist craftsmen were advised of the Exhibition and general details were announced in the Crafts Council of Ireland Newsletter, the fundamental principle being that aspiring entrants should be confident that their work would rate on an equal basis with what could be expected from the best craftsmen in other European countries. Additionally, it was recommended that works entered should preferably be made within the last two years. Entries included works in glass, silver, enamel, wood, leather and ceramic and there were also a number of interpretations which were more dish-like than bowl-like.

The jury was composed of Mr James Warwick, Arts Council of Northern Ireland and formerly Principal of Ulster College of Art and Design and Dean of the Ulster Polytechnic, Mr Brian King Sculptor, and Mr David Hendriks, gallery owner and art connoisseur.

The jury was given a clear brief to choose from the works entered the bowls in any media which by their excellence of design and workmanship could stand with their contemporaries from other European countries.

A number of major figures in the Irish craft world did not enter works either

The purpose of the Royal Dublin Society's Craftsmanship scheme has remained the same from the time it was started in 1951: to assist local effort in the encouragement of craftsmanship and the development of Ireland's country crafts. One behalf of the RDS, and in line with its own traditional and home craft development programme, Country Markets has organised the Craftsmanship Scheme each year. The only change has been in its form. It began as craft competition judging at country shows, and latterly has concentrated on staging regional craft exhibitions and demonstrations.

Last year, in the west region, a new pattern was set in County Mayo by a small community group in Ballycroy. To quote from Country Markets report to the RDS ". . . Ballycroy was the

because other commitments prevented this, or it was not possible to arrange the loan of recent work for such a long period as two years from private sources. Unfortunately our galleries do not have any examples of contemporary crafts­manship and it is hoped that this exhibition and the publicity it will engender may encourage the purchase of works of the excellence of those chosen.

The four craftsmen chosen are as follows:

Cynthia Rice — Silver Sonja Landweer — Ceramic C & E Chesneau - Leather Brian Clarke - Silver

The four chosen works were exhibited at a Press Conference at Thomas Prior House on 7th December and were subsequently on show for a week at the Cork Craftsman's Guild Gallery.

They are now on the way to the Rhosska Museum in Gothenburg to join the bowls chosen by the other European countries in the exhibition opening in February. A small number of catalogues of the exhibition will be available in March, at a date and at a price not yet decided.

All going well, it plans to open a craft shop for selling to Summer visitors, and with this in view is enquiring about forming a cooperative as a branch of Country Markets. With 'local effort' as the essential development need, Ballycroy's activating spirit of self and mutual help gives the greatest encouragement to future possibilities of cooperation, and this is most gladly being offered.

Plans for the 1978 RDS Craftsmanship Scheme are now being made, and it is intended to follow the 'workshop' pattern in four other regional centres. Two of these centres have yet to be chosen, and before making a final decision, Country Markets would be happy to hear from other self-help rural communities concerned with developing their traditional and home crafts, and needing such initial practical help as can be given through the Craftsmanship Scheme. The address to write to is: Country Markets Ltd., 58 Merrion Road, Dublin 4.

Crafts Council Aid

The Ballycroy Community was the first to be helped through the Initiative Project Scheme of the Crafts Council of Ireland. It is gratifying to see the positive results of the relatively small ex-gratia payment given.

To date the number of applications under the scheme has been few. The Council is hoping that this year's budget will enable a larger fund to be set aside for such initiatives. For details see the May/June and July/August Newsletters.

Ballycroy Sets a Pattern result of a call for help from this isolated community in North-West Mayo, to enable creative work to be done, and incomes to be raised by reviving old crafts, and making saleable new ones from the materials to hand: sheepskin and wool, rushes and sally rods. All remaining Craftsmanship Scheme funds were called on to meet these needs by providing a suitable collection of crafts for study, and four skilled craftworkers who, throughout a late October weekend gave demonstrations and held day-long workshops each thronged by young and old practising the crafts of their choice .

The Ballycroy community has continued practising and producing the crafts in which instruction began, setting up special work groups for this purpose in different parts of its widespread parish.

MINIATURE TEXTILE EXHIBITION

The British Crafts Council is now accepting slides to be judged for the Third International Miniature Textile Exhibition to be held in London during July and August 1978. Textiles should not exceed 20cm. in any dimension. 35mm slides only, to British Crafts Council, 43 Earlham Street, London WC2H 9LD before March 1978.

Sculpture Conference — Canada

The 10th International Sculpture Conference will take place at York Univeristy, Toronto on May 31st— June 4th 1978. The theme is "Sculpture Today".

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Clare Mini-Fair

Clare Craftworkers Association held a successful mini-Trade Fair in the Barn at Bunratty on 4th and 5th January. With 11 exhibitors and buyers coming not only from Clare and Limerick, but also from other counties — even Wexford, business was excellent showing not only the interest in the quality of the crafts offered but also the continued search for stock as the public demand continues to increase.

Donegal Craft Fair

Among the Craftworkers exhibiting were potters Guy Stephenson and Tom Agnew. Deeprest Furniture Ltd., Bernard Boyle, who makes miniature tubs, churns and barrels, and Dermot and May Toland showing enamel work and basketry. Among the interesting exhibits was a digital clock designed by Anthony Hedgecock which he hopes may attract the interest of buyers at the National Crafts Trade Fair in January.

A successful craft Fair was held in the Ballyraine Hotel in Donegal by Donegal Craftsman's Association, fired by this success the Association has made a block booking of stands at the Second National Crafts Trade Fair in the RDS.

Limerick

At a recent meeting of some 20 Limerick craftworkers a steering committee was agreed on to draw up a constitution for the formation of a craftworkers association for Limerick. It is hoped that this welcome move will lead to another affiliated organisation to Crafts Council within a few months.

Maritime Craftworkers!

Cork, Kerry, Clare, Galway, Mayo, Sligo, Donegal, Dublin, Wicklow, Wexford and possibly Limerick — these are the County Craftworker Associations formed to-date. All in coastal counties, which leads one to wonder why the coastal counties seem to attract the craftworkers. Is it the sea? Or the mountains?

Craft Potters Society

At a meeting in Buswell's Hotel in December attended by over 40 potters and others interested, a constitution was adopted and the new Craft Potters Society of Ireland was formed.

Pottery

A fast accurate repetition thrower is required for three to six months. £60 per week plus accommodation.

To avoid unnecessary correspondence only experienced repetition throwers should apply.

Reply Box No. JF.1.

APPLIED ART AND INDUSTRIAL DESIGN IN SCANDINAVIA A seminar on Scandinavian handicraft and industrial production, arranged in co-operation with the Danish Arts and Crafts Association, and the National Design Societies in Finland, Sweden and Norway. Lectures and discussions on traditional and new concepts in applied art and industrial design in the four Nordic countries. Visits to workshops, exhibitions and factories. Meetings with artist-craftsmen and designers: Helsinki, Stockholm, Oslo and Copenhagen. July 16—29. Danish Kroner 4000.

Crafts on Show in February

An exhibition of pottery and weaving will be shown at the Killakee House Art Gallery, Rathfarnham, Co. Dublin during February. Open Tuesdays/Saturdays, 12.00 — 6.00 pm, 7.00 pm-9.30 pm. Sundays 12.00 noon — 6.00 pm.

Attractive Workshop for Rent

The "barn" at Clarenbridge House in Ciarenbridge, Co. Galway, in which a successful exhibition was held during the oyster festival in September is available for rent as a workshop. Details from Mrs. Morrisson, Clarenbridge House, who also runs a craft shop in part of the main house.

Waterville Studios

We have a letter from Mr A. Foster of The Treasure Chest, Waterville, who has announced plans for a new complex of studios close to the present premises which include a restaurant and craft-shop. He is seeking top quality crafts­men who might be interested in investing in the new complex in return for a lease in the studios.

Enquiries directly to Mr Foster, please.

Craft Hunters Pocket Guide

Bord Failte is now finalising the information for the 1978 edition of the above guide to craft workshops, studios and shops. Any craftworker wishing to be considered for inclusion in the guide should send the following information to: Miss Blanaid Reddin, Bord Failte, 67 Upper Stephen Street, Dublin 8, before 15th February next, if they have not already done so.

1. Name and address of business and telephone number.

2. Will visitors see actual demonstrations in your workshop or only a range of finished products?

3. What type of craft will be demonstrated?

4. Is an appointment necessary?

5. Is your workshop open all year?

6. Hours of business including weekend times.

7. Is the shop section only open at weekends?

8. Do you sell direct to visitors from your workshop?

9. Do you stock other Irish products?

10. What is the maximum number of visitors you would permit into your workshop at any one given time?

11. Would you have up-to-date slides available for inclusion in the guide if required?

Museum Shops In addition to showing the collection of contemporary bowls by European craftsmen in various media in some of the major museums, one of the purposes of The Bowl Exhibition is to encourage interest in the initiation of museum craft shops.

One of the best examples, and one of the earliest, is that in the Victoria and Albert Museum in London. This was opened in 1974 with the financial help of the Crafts Advisory Committee, the Museum making the necessary space available, staffing being with the cooperation of the British Crafts Centre.

Readers of the Newsletter, who will have visited this great Museum will be familiar with the shop which has certainly done a great deal towards creating an awareness and appreciation of contemporary crafts.

Library Acquisitions Recent Library Acquisitions include the following books on weaving: Simple Weaving, Grete Kroncke, Your Handspinning, Elsie G. Davenport; Your Handweaving, Elsie G. Davenport; Finger Weaving, Alta R. Turner; Inkle Loom Weaving, Frances B. Smith; Band Weaving, Harold and Sylvia Tacker; Foundations of Weaving, Mike Halsey and Lore Youngemark; Free Weaving, Myrian Gilby.

Among the journals regularly received are CRAFTS, CRAFT HORIZONS, CERAMIC REVIEW,THE CRAFTS REPORT and SCHEPPEND AMBACHT.

TV Producers, Note

Craftwork for U.S. Federal Offices The General Services Administration in the U.S.A. is the agency in charge of all federal facilities in much the same way as the office of Public Works operates here. It buys for federal buildings and offices and the GSA is now paying increased attention to crafts as part of the agency's art programme.

The U.S. Government has recently restored its traditional budget for art in new buildings to one half of one per cent of the construction costs.

Joan Mondale, wife of the U.S. Vice-President has taken a close interest in crafts in the federal programme and there will be an extension of the half per cent facility to renovation and alteration projects. The GSA hopes to develop a "Crafts in Federal Buildings" programme in the future.

The GSA maintains a Federal Supply Catalogue and operates 75 warehouses in which office equipment can be bought. Handcraft items must be functional and reasonably priced, the money being spent being that of the taxpayer.

Valencia Ceramics/Glass Fair 1978 The Eighth Industrial Design Competition organised by the Ceramic Glass and Decorative Articles Fair will take place in the Fair Palace, Valencia on April 12th and 13th 1978.

The purpose is the selection of designs, in any category, of articles in ceramic or glass, or articles in which ceramic or glass is a basic component, and which are both functional and of artistic merit. There are two categories of awards, one for Spanish designers, the second for designers from all over the world including Spain.

Any designer, artist, craftsman or manufacturer who wishes to compete may take part in this competition. ^Nationality should be mentioned on the application form.

The prizes will consist of a Trophy for the winners of the two main awards and a reproduction for the winners of the Jury Special Mentions. Furthermore, the "International Prize — Spain" will consist of a sum of 150,000 Pesetas and the "National Prize — Valencia" will consist of a sum of 100,000 Pesetas.

Application form may be had from the Crafts Council of Ireland.

Selection of the work of craftsmen for sale in a museum shop reassures the public of the quality and cultural values of the crafts and also enhances the reputation of the craftsman who is enabled to attract support of other galleries, craft shops and collectors concerned with a level of quality for which people are prepared to pay good prices.

Whether The Bowl exhibition comes to Ireland or not (and the possibility is a remote one considering the value of the exhibits and the need for a Superb setting) the objective should not be lost sight of.

The Victoria and Albert Museum is a great one by any standards. The degree of cooperation with Crafts Advisory Committee is high. It also has the advantage of being a continual collector so that there has been less of a break in the periods represented by the craft exhibits than, for instance, in our National Museum where much of the craft collections (glass, ceramics, silver and so forth) stops in the 19th Century. There is little, if any, of craftsmanship of the last 50 years, not to consider the last 20 years.

There are, as is demonstrated by our entry for The Bowl, works of quality which should be retained for the museum collection. No doubt the lack of funds is a factor but maybe it is also a lack of foresight for many fine pieces can still be purchased reasonably which, as reputations grow, will not be possible in a few years time.

Here in Ireland we must have at least a small representative collection of the works of leading craftsmen in our museum before we can contemplate a shop.

WGBH Boston has inaugurated a 13 week television series of programmes on crafts. Each is of 30 minutes duration and is conducted by a painter/weaver and a quilter. A guest craft artisit is featured each week to demonstrate. Crafts to be covered will include pottery, weaving, leather and woodworking and metal crafts and also hobby crafts. While the idea behind the series is praiseworthy enough in that it attempts to focus public attention on crafts, there have been criticisms of the programme for its basic approach which could too easily give the impression that with some simple tools and techniques and plenty of enthusiasm one is automatically a crafts­man. All of which points up an ever present danger in focussing attention of craftwork through the medium of television. To capture the attention of the wide audience which is there for crafts the content of the programme must be simple and the possibility of doing what is demonstrated also simple enough to be grasped and even acted upon. However, unless there is also shown the other side of the coin which is the years of training and practical experience which go to make a good craftsman, there is the danger of creating a too simplistic picture. Most crafts look easy because the craftsman has mastered the techniques and handles the materials with ease. A lot of bad craftsmen result from a too facile approach.

MARCH/APRIL ISSUE The last date for copy for the March/ April issue of the Newsletter is 24th February.