Issuu

T S OR I H

IRELAND in

100

S TA M P S Max Barrett

C on t e n t s Introduction page 9 1. Map of Ireland 10 2. Catholic Emancipation 12 3. Shannon Hydro-Electric Scheme 14 4. The Royal Dublin Society 16 5. The Gaelic Athletic Association 18 6. St Patrick 20 7. Constitution of Ireland 22 8. Easter Rising 24 9. The Gaelic League 26 10. Davitt and Parnell 28 11. 1798 Rebellion 30 12. James Clarence Mangan 32 13. Thomas Moore 34 14. Catholic University of Ireland 36 15. Commodore John Barry 38 16. John Redmond 40 17. Arthur Guinness 42 18. Aer Lingus 44 19. New York World’s Fair 46 20. William Butler Yeats 48 21. Roger Casement 50 22. Jonathan Swift 52 23. Constance Markievicz 54 24. Evie Hone 56 25. Kevin Barry 58 26. John Millington Synge 60 27. Virgin and Child (from the Book of Kells) 62 28. Irish Rugby Football Union 64 29. St Oliver Plunkett 66

30. James Larkin 68 31. Irish Broadcasting Service 70 32. The Folklore of Ireland Society 72 33. Visit of Pope John Paul II 74 34. Patrick Pearse 76 35. George Bernard Shaw 78 36. Sean O’Casey 80 37. Boyle’s Air Pump 82 38. The Great Famine 84 39. Grattan’s Parliament 86 40. Éamon de Valera 88 41. Dublin and Kingstown Railway 90 42. Irish UN Peacekeeping Force (The Congo, 1960) 92 43. Grand Canal (at Robertstown) 94 44. Kerry Cow 96 45. William T. Cosgrave 98 46. An Garda Síochána 100 47. John Fitzgerald Kennedy 102 48. Ireland’s Presidency of the European Communities 104 49. The Battle of the Boyne 106 50. The Proclamation of Independence 108 51. The First Dáil 110 52. World Cup 1994 112 53. The Rotunda Hospital 114 54. Louie Bennett 116 55. Troops on Parade 118 56. Kate O’Brien 120 57. Bram Stoker’s Dracula 122

58. Lady Mary Heath 124 59. Seán Lemass 126 60. Single European Currency 128 61. Oscar Wilde 130 62. Irish Broadcasting (Gay Byrne) 132 63. Brian Boru 134 64. Jack B. Yeats 136 65. Ernest Walton 138 66. The Abbey Theatre 140 67. Shackleton’s Third Antarctic Expedition 142 68. James Joyce 144 69. Cork 146 70. William Rowan Hamilton 148 71. Red Deer Stags, Killarney National Park 150 72. Irish Stew 152 73. Ronnie Delany 154 74. Hugh O’Neill, Earl of Tyrone 156 75. Paul Henry 158 76. Louise Kennedy 160 77. Flann O’Brien 162 78. Father Browne and the Titanic 164 79. Brendan Behan 166

80. Cumann na mBan 168 81. Gallipoli 170 82. Irish Wolfhound 172 83. Ben Bulben 174 84. Thomas Francis Meagher and the Irish Flag 176 85. Francis Ledwidge 178 86. Sir Alfred Chester Beatty 180 87. The Garden Bumblebee 182 88. Iris Murdoch 184 89. Phil Lynott 186 90. The Irish Abroad 188 91. U2 190 92. Lady Jane Wilde 192 93. Ireland’s Pride Movement 194 94. Katie Taylor 196 95. Kellie Harrington 196 96. Michael Collins 198 97. Mary Robinson 200 98. Sinéad O’Connor 202 99. Irish Contemporary Art 204 100. Irish Traveller History and Culture 206 Stamp Catalogue 208

I n tr oduct i on

y parents gave me my first stamp album as a birthday present back in 1975. At the same time, one of my grandfathers kick-started my collection with a set of stamps from 1922. They featured a profile of King George V but had been overprinted in heavy black ink with the words ‘Saorstát Éireann 1922’. In the years since, I have added extensively to this start-up collection of stamps. What makes stamps particularly captivating is their dual nature as functional objects and artistic achievements. Originally conceived as mundane instruments of postal delivery, stamps have long transcended their utilitarian roots. Governments and postal authorities have realised their potential as cultural artefacts, often commissioning artists to design visually stunning images that capture the essence of a nation’s identity. In the process, stamps have been transformed into miniature works of art, rich with symbolism, history and cultural significance. A single stamp, bearing the likeness of a national hero, a rare bird or an iconic landmark, can transport its viewer across time and space. Through their intricate designs and storied pasts, stamps invite their viewers to marvel at the richness of human experience, one tiny masterpiece at a time. For me (as for many) the fascination with stamps is often fuelled by the thrill of the hunt. Like a detective piecing together clues, the eager collector searches for rare issues, misprints or unique postmarks. Each new addition to their existing store of stamps is a triumph, a small victory in the pursuit of an ever more complete collection. But in the end, the fundamental wonder of stamps surely lies in their ability to transform the ordinary into the extraordinary. A simple piece of paper, often overlooked in daily life, operates as a vessel for art, history and imagination, as well as a vehicle of commerce. This book explores Ireland’s history and culture through one hundred postage stamps that have been issued since Ireland achieved independence in 1922. These stamps commemorate Irish people, achievements and life, conveying important messages about our identity and heritage. They have been presented in the order in which they were issued so the reader can get a better sense of our country’s changing self-perception in the last one hundred years. The earlier stamps emanate from a conservative, somewhat introverted state that was predominantly Catholic in outlook. In time, they evolve in form to celebrate the vibrant, liberal, multicultural Ireland of today. This book has been written in my personal capacity and not in my capacity as a judge. Hon. Mr Justice Max Barrett

Ma p of I re lan d 2p, 1922 I am Ireland: Great my glory I that bore Cuchulain the valiant * The first stamp issued for everyday use by the newly independent Irish Free State was anything but ordinary. Designed by James Ingram, it was a declaration of identity, ambition and pride. At its heart is a bold map of Ireland, a clear break from the British stamps overprinted with Irish text that had served as a practical but contentious stopgap during the transition to independence. The map is surrounded by intricate Celtic interlacing, a visual homage to Ireland’s rich artistic heritage. Above it sits the word ‘Éire,’ elegantly inscribed in the Gaelic alphabet. (Though ‘Éire’ would not officially become the state’s name until 1937, its use here speaks volumes about the Free State’s sense of identity and purpose.) Christian motifs also permeate the design, reflecting the religious ethos of the newly independent nation. The arched frame mirrors the architecture of medieval Irish chapels, while the Celtic spirals on the pillars evoke the Christian concept of eternity. At the top, a cluster of shamrocks recalls the tale of St Patrick using the shamrock to explain the Christian doctrine of the Holy Trinity – three persons in one God and one God in three persons. The map shown on the stamp is geographically correct but politically inaccurate: It omits the border splitting the island of Ireland into the Irish Free State and Northern Ireland and thus avoids any suggestion of division. This feels far too intentional to be an oversight. It hints at the continuing republican vision among the Free State’s founders of a single, united, self-governing island of Ireland. Far from being a mere instrument that facilitates the sending of letters, this early Free State stamp can be seen as an artistic, cultural and political statement that encapsulates the political aspirations of a fledgling state that was still finding and asserting its place on the international stage. * From the poem ‘I Am Ireland’ / ‘Mise Éire’ (1912) by Patrick Pearse 10

A HISTORY OF IRELAND IN 100 STAMPS

British George V stamps overprinted by the Provisional Government of Ireland (Rialtas Sealadach na hÉireann) in 1922.

A HISTORY OF IRELAND IN 100 STAMPS

C a th o l i c Eman ci pat i on 3p, 1929 ‘[T]he enemies of Ireland … separated the Protestant from the Catholic, and the Presbyterian from both … They falsely declared that we hated each other … They succeeded in producing all the madness of … religious distinctions; and whilst we were lost in the stupor of insanity, they plundered us of our country …’ * Ireland’s first commemorative stamp celebrates the centenary of the Roman Catholic Relief Act (or Catholic Emancipation Act) of 1829. This was a measure that granted full civil rights to Catholics in the British Empire, removing legal restrictions that had long marginalised Ireland’s Catholic majority. The stamp, designed by Leo Whelan, features the image of Daniel O’Connell (1775–1847), the charismatic leader of the Catholic Emancipation movement. His image is ringed by the words F uascailt na gCaitliceach, the Irish for ‘Catholic Emancipation’. Born into the unstable world of Ireland’s Catholic gentry, O’Connell was educated in Ireland, Flanders and London, eventually qualifying as a barrister. He quickly rose to prominence in Irish political life, leading mass rallies (‘monster meetings’) that attracted vast crowds. Though he rejected the use of violence for political ends, O’Connell’s popularity influenced the British prime minister, Sir Robert Peel, to support Catholic Emancipation so as to avoid social unrest throughout Ireland. Following the passing of the Roman Catholic Relief Act, O’Connell took his seat in Parliament as its first Catholic MP. He became a vocal advocate for the abolition of slavery and soon launched his next major campaign, seeking – unsuccessfully – the repeal of the Acts of Union which had joined Ireland into the United Kingdom in 1801. O’Connell lived to witness the devastation of the Great Famine (see page 84). In 1847, now a weakened old man, he pleaded in Parliament for the granting of famine relief to Ireland. Later that year, he died while travelling in Italy. His heart was buried in Rome and his body returned to Dublin, where he was laid to rest in Glasnevin Cemetery. Today, he is remembered by a towering statue on Dublin’s O’Connell Street, a fitting tribute to a man who dominated Irish politics in his lifetime. * Taken from Daniel O’Connell’s speech at the Royal Exchange, Dublin, on 18 September 1810

A HISTORY OF IRELAND IN 100 STAMPS

A sketch showing Daniel O’Connell defending the rights of his countrymen in the courts of Dublin, 4 February 1844

A HISTORY OF IRELAND IN 100 STAMPS

Sh a n n o n H y dro-Ele ct ri c Sche me 2p, 1930

The River Shannon, which stretches a distance of 360 kilometres, flows through the heart of Ireland, meandering through three major lakes: Lough Allen, Lough Ree and Lough Derg. For most of its length, the river drops gently at about 6 centimetres per kilometre. However, in its final 24 kilometres, roughly from Killaloe to Limerick, the pace quickens, with a fall of 114 centimetres per kilometre. This faster, deeper section of the river has become the site of one of our country’s most significant industrial projects: the Shannon Hydro-Electric Scheme.

The idea for harnessing the Shannon’s power was first suggested in a pre-independence Board of Trade report. Initially, due to budgetary constraints, the Free State government hesitated to adopt the plan. However, by 1925, they had passed the Shannon Electricity Act and partnered with Siemens, the German engineering firm, to bring the project to life. Thomas McLaughlin, a former University College Galway lecturer and Siemens employee, was instrumental in pushing matters forward, convincing W.T. Cosgrave, independent Ireland’s first head of government (see page 98), of the project’s feasibility.

‘What we want, and what we hope to get, is the big industrial development that should follow the flow of power from the Shannon works. It is no use harnessing the river if it stops simply at that.’ From W.T. Cosgrave, ‘Success of the Shannon Scheme’, The Irish Times, 15 September 1928

A HISTORY OF IRELAND IN 100 STAMPS

Despite early concerns that the scheme might produce more electricity than the nation could use, demand quickly caught up with supply. The scheme’s environmental impact was also the subject of debate, with concerns raised over the possible extinction of the rare Irish fleabane near Lough Derg. The plant survived, and a small population still thrives by the lough today. However, there are continuing concerns about the scheme’s impact on the Shannon’s salmon, trout, lamprey and eel populations. Construction was a major endeavour, involving the lowering of Lough Derg, the building of a power station at Ardnacrusha, and the creation of a high-tension electricity transmission network. Thousands of workers were involved, and for a time, the construction site even became a temporary tourist attraction. In July 1929, W.T. Cosgrave officially opened the Shannon Hydro-Electric Scheme, and the following year it was celebrated in a special commemorative stamp, bearing the Irish words for ‘Development of Shannon Power’ and highlighting the achievement involved in bringing the scheme into operation.

Men working on the construction of the Shannon Hydro-Electric Scheme.

A HISTORY OF IRELAND IN 100 STAMPS

T h e R o y a l Dubli n Soci e t y 2p, 1931 Founded on 25 June 1731, at Trinity College Dublin, The Dublin Society – it gained its royal sobriquet about a century later – aimed to improve farming in Ireland and foster domestic industries that could provide employment for Irish workers. Its founders were members of the Anglo-Irish ruling class who saw themselves as patriots dedicated to Ireland’s advancement. By October 1731, the Society had moved to the House of Lords. Within a generation, it had settled at Leinster House. From the outset, the Society was actively involved in ventures such as experimenting with corn-cleansing, promoting flax-growing, assisting the Irish cider industry and establishing drawing schools. It founded a library, which became the nucleus of the National Library of Ireland, and its efforts laid the groundwork for the National Museum, Natural History Museum and National Botanic Gardens. During the Great Famine (see page 84), the Society worked tirelessly to find a solution to potato blight. Its success in promoting copper sulphate spraying helped turn potato blight into a more manageable agricultural concern. In 1853, the Society hosted a Great Industrial Exhibition on the lawns of Leinster House, with Queen Victoria and Prince Albert among its attendees. The Society’s first horse show was held in 1868 in the relatively small front courtyard of Leinster House. It subsequently became an annual event and remains a highlight of Dublin’s sporting calendar today. The Dublin Science and Art Museum Act of 1877 saw the government take over many of the Society’s museum sites. As a consequence, in the 1880s, the Society moved its activities to its present headquarters at Ballsbridge. Now known generally as the RDS, it continues to champion progress in agriculture, art, industry and science, just as its founders intended. The stamp itself, designed by George Atkinson, shows a farmer carrying a scythe over his shoulder. Beneath him is the Irish phrase for ‘Royal Dublin Society’. It captures the Society’s aim of improving agricultural methods and, because the farmer is moving, conveys a feeling of progress. There is also a sense of how a still primarily agricultural nation perceived its farming class, with the rugged farmer’s sleeves rolled up as he sets out for another hard day’s work.

A HISTORY OF IRELAND IN 100 STAMPS

Happy the Patriots, who with generous Zeal Devote their Labours to the Public Weal From ‘A Poem Inscribed to the Dublin Society’ (1737) by James Arbuckle

Competitors in a pony class, 1939.

T h e Ga e l i c A t hle t i c A ssoci at i on 2p, 1934 Then we bounced the ball and started, and for twenty minutes quite We observed a proper courtesy and a heavenly sense of right, But Fitzpatrick tipped McDougal in a handy patch of mud, And the hero rose up, chewing dirt, and famishing for blood. * In 1934, a stamp was issued to commemorate the 50th anniversary of the Gaelic Athletic Association (Cumann Lúthchleas Gael). Designed by Richard J. King, it featured a hurler, a deliberate choice: hurling is a distinctly Irish game with a history that dates back to ancient times. It predates Gaelic football by centuries, with camogie a relative newcomer whose rules were only formalised in 1904. The GAA was founded after an article by Michael Cusack was published in The United Irishman in October 1884. Cusack, a teacher, lamented the decline of traditional Irish sports. Inspired by his article, a small group gathered on 1 November 1884 at Hayes Hotel in Thurles, County Tipperary, with a view to establishing a new Gaelic athletics association. Maurice Davin, an accomplished athlete, was elected president, and Michael Cusack became one of its secretaries. The group successfully sought support from three prominent Irish leaders – Archbishop Thomas Croke, Michael Davitt and Charles Stewart Parnell (see page 28) – all of whom agreed to serve as patrons. The GAA quickly became intertwined with Irish nationalism. Archbishop Croke’s letter of acceptance as patron, laced as it was with pro-Irish sentiment, set the tone for the new organisation. Notably, GAA clubs began to name themselves after patriots like Robert Emmet and Patrick Sarsfield, signalling their alignment with the national cause. The association’s popular strength was first tested in 1885, when it went head-to-head with a sporting event convened in Tralee by the County Kerry Athletic and Cricket Club. The GAA drew thousands of attendees; the cricket club attracted only a few hundred. This was a clear opening victory for the association in its battle against ‘English’ sports that had threatened to eclipse native sports in terms of popularity.

A HISTORY OF IRELAND IN 100 STAMPS

The GAA has faced dark moments in its history. None more so than on 21 November 1920, when, during the War of Independence, British forces fired on spectators at a match in Croke Park, killing fourteen people in what became known as Bloody Sunday. Today, the association encompasses over 2,200 clubs and continues to promote not only sports but Irish music, dance and culture. Its crowning events, the All-Ireland football and hurling finals, held annually at Croke Park, draw nearly 100,000 fans – proof if proof was needed as to the enduring power of this amateur, volunteer-driven organisation. * From ‘A Friendly Game of Football’ by Edward Dyson, Rhymes from the Mines and Other Lines (1896)

Michael Cusack, co-founder of the Gaelic Athletic Association.

A HISTORY OF IRELAND IN 100 STAMPS