This is the first book to study the revival of cottage crafts that accompanied the growing interest in an arts and crafts movement in Britain and Ireland. It focuses upon three regional craft associations, organised, sponsored, and promoted by British women: the Donegal Industrial Fund (founded 1883 by Londoner Alice Rowland Hart); the Irish Industries Association (founded 1886 by Ishbel, Countess of Aberdeen and supported by a number of Irish and British aristocrats); and Highland Home Industries (revived in 1886 by the Marchioness of Stafford, later Millicent, Duchess of Sutherland). The three examples have been selected because although like many of their counterparts, the patrons endorsed a relationship between work and morality, they also recognised the significance of consumption and market. Their patrons understood the value of spectacle, the usefulness of advertising, and the efficacy of exhibition. The emphasis is upon how and why they adopted these strategies to promote and sell cottage crafts for the benefit of rural workers. The introduction provides an overview of home arts and industries in Britain as part of the late-nineteenth century craft revival and examines the difference between the large English-based Home Arts and Industries Association and other home arts organisations in England, Scotland, Wales and Ireland.

Looking past the apparent lack of a sustainable Irish display culture, this book demonstrates that there is a very full story to tell of the way Ireland displayed its art from the late eighteenth to the early twentieth century. Ireland on Show analyzes the impact of the display of art as a significant political and cultural feature in the make-up of nineteenth-century Ireland - and in how Ireland was viewed beyond its own shores, in particular in Great Britain and the United States. Fintan Cullen directs much-needed critical attention and analysis to a subject that has been largely overlooked from an Irish perspective. This study moves beyond museums, to address the range of art institutions in Irish cities that displayed art, from the Royal Hibernian Academy, founded in the 1820s, to Hugh Lane's Municipal Art Gallery, opened in Dublin in 1908. Throughout, the book explores the battle between the display of a unionist ethos and a nationalist point of view, a constant that resurfaces over the period. By highlighting the tension between unionist and nationalist viewpoints, Cullen uses the display of art to investigate the complexities of Irish cultural life before the founding of the Free State.

Craft practice has a rich history and remains vibrant, sustaining communities while negotiating cultures within local or international contexts. More than two centuries of industrialization have not extinguished handmade goods; rather, the broader force of industrialization has redefined and continues to define the context of creation, deployment and use of craft objects. With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls? Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization, whether inspired by a calculated refutation of industrial sameness, an essential means to sustain a cultural community under threat, or a rejection of the imposed definitions by a dominant culture. The broader effects of urbanizing, imperial and globalizing projects shape the multiple contexts of interaction and resistance that can define craft ventures through place and time. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.

Irish Materialisms: The Nonhuman and the Making of Colonial Ireland, 1690-1830, is the first book to apply recent trends in new materialist criticism to Ireland. It radically shifts familiar colonial stereotypes of the feminized, racialized cottier according to the Irish peasantry's subversive entanglement with nonhuman materiality. Each of the chapters engages a focused case study of an everyday object in colonial Ireland (coins, flax, spinning wheels, mud, and pigs) to examine how each object's unique materiality contributed to the colonial ideology of British paternalism and afforded creative Irish expression. The main argument of Irish Materialisms is its methodology: of reading literature through the agency of materiality and nonhuman narrative in order to gain a more egalitarian and varied understanding of colonial experience. Irish Materialisms proves that new materialism holds powerful postcolonial potential. Through an intimate understanding of the materiality Irish peasants handled on a daily basis, this book presents a new portrait of Irish character that reflects greater empowerment, resistance, and expression in the oppressed Irish than has been previously recognized.

Winner of the 2022 British Association of Irish Studies (BAIS) Book Prize In the years following the Irish Famine (1845–52), London became one of the cities of Ireland. The number of Irish in London swelled to over 100,000 and from this mass migration emerged a distinctive and vibrant culture based on a shared sense of history, identity and experience. In this book, Richard Kirkland brings together elements in Irish London's culture and history that had previously only been understood separately or indeed largely overlooked (as in the case of women's' contributions to London Irish politics and culture). In particular, Kirkland makes resonant cultural connections between Irish and cockney performers in the music halls, Irish trade fairs, temperance marches, the Fenian dynamite war of the 1880s, St Patrick's Day events, and the later cultural agitation of revivalists such as W.B. Yeats and Katharine Tynan. Irish London: A Cultural History 1850–1916 is both a significant contribution to our understanding of Irish emigrant communities in London at this time and an insightful case study for the comparative fields of cultural history and urban migration studies.

The story of tweed is tied to a series of social, economic and cultural shifts that have molded its development. This book considers the historical factors that helped to shape the design characteristics and social meanings of the group of fabrics that we call tweed, from their emergence in the 1820s to the present day. Including significant new research on tweeds, from Harris Tweed to the type used by Chanel, this book follows the history of these fabrics from the raw fiber to the finished garment in men's and women's fashion. Exploring rural and urban contexts, this book reveals the important physical and conceptual relationships of tweed with landscape. Anderson shows that, contrary to their strong popular associations with tradition, tweeds emerged in the Romantic era as a response to the dramatic changes associated with industrialization and urbanization. Progressive changes in gender relations are also explored as a major factor in tweed's evolution, from associations with particular ideals of masculinity into what is now a truly adaptable fashion textile worn by both sexes. This is the first book of its kind to recognize the importance of tweed to fashion innovation today.

The aesthetic movement dominated the closing decades of the nineteenth century. It was significant for the role women played in it at a time when there were growing opportunities for them, both artistically and professionally. The material in this collection provides a representative selection of essays, fiction, poetry and drama by female authors.