By John Strachan, Claire Nally (auth.)
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Additional info for Advertising, Literature and Print Culture in Ireland, 1891–1922
They thereupon withdrew the application. Advertising and the Nation in the Irish Revival 45 A Cardiff firm applied to the Board of Trade to register the title ‘Slainte’ in respect of non-Irish milled flour. We opposed this application, and, after the usual applications, succeeded in preventing registrations. A Glasgow firm applied to the Trade Mark Office to register the word ‘Colleen’, and an Irish design, in respect of blouses, etc. made in Scotland. 21 In Birmingham and Bolton, in Cardiff and Glasgow, the same romanticised version of ‘Ould Erin’ had currency, as it did in Ireland itself.
In 1863, for instance, under a banner which implies that their services were frequently patronised by the highest in society, Kelly’s Dance Band offered its services in the Irish Weekly Advertiser with reference to its rarefied, even royal, connections: TO THE NOBILITY AND GENTRY! KELLY’S QUADRILLE AND WALTZ BAND, that had the honour of performing before his Royal Highness the Prince of Wales, No 5, Great Brunswick Street. All the newest Music performed, and first class Musicians employed. 60 Triumph of all triumphs in terms of elevated patronage was the royal warrant.
For decades, branded English goods such as Warren’s Blacking – a shoe polish ‘launched on a sea of poetry’56 – had used light comic verse as an advertising tool57 and it was this jocular tradition in which Hyam’s copywriters offered verse such as the eulogy to the summer season or, indeed, the jovial ballad stanzas of 1860 which saluted its new seasonal range in sentimental manner: We love the time of Easter For all its special joys, We love it for our children’s sake, Our darling girls and boys.