Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage, of the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.Robert Bringhurst - The Elements of Typographic Style (1992)
Any visitor from Manchester of a certain age who strolls around Cork city might have a nagging feeling of familiarity when they come upon certain pubs that are dotted around its streets. They might pass The Castle Inn on South Main Street and think that there was something inviting about it, or look at the front of the nearby Vicarstown Bar on North Main Street and think that the gold-on-black writing on the façade was calling out to them, as if previously they had drank a pint or two sitting on a stool at the counter. Callanan’s too on George’s Quay looks like somewhere they have been in a previous life, as does Forde’s which wraps around the corner from Barrack Street on to Sullivan’s Quay. Even The High House with yet more gold and black livery, which is appropriately situated at the top of Blair’s Hill – although long closed – feels oddly like something from their Mancunian hometown.
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The more knowledgeable and eagle-eyed of those visitors who are familiar with the pubs and streetscape of Manchester will twig that the lettering and design on the name signs of all of these pubs – and others too – look exactly the same as many of those that once adorned certain pubs in their home city although, unlike in Cork, this familiar capitalised and italicised gilded lettering has almost disappeared, if it's not already gone. More specifically, it exactly matched the typeface and colours of many of the pubs that were once tied to the Wilson brewery of Newton Heath in that English city.
What appears to be a strange coincidence can be relatively easily explained, as there is a clear connection between those Cork pubs and the ones owned by the Wilson brewery, that being the Watney Mann brewing conglomerate. All of the Cork public house mentioned above – along with quite a few others – were tied-houses belonging to, or run for, The Lady’s Well Brewery, which is more commonly known as Murphy’s Brewery. It is now owned by Heineken but still sits on the same site on Leitrim Street just north of the river Lee.
Tied houses, where a public house was obliged in most cases to sell the produce of just one brewery, were extremely common in Cork city and county in the past, where breweries such as Murphys and Beamish & Crawford (and Lanes and Arnott’s at one time) effectively owned the public houses and controlled what was sold by them, and who ran the houses or rented the premises. This arrangement also meant that the brewery was responsible for the upkeep of the buildings both inside and out as well as overseeing and funding any modernisation or refurbishment that was required from time to time.
In early 1967 the Watney Mann group became the majority shareholder in Murphys and in that year it was decided that all of its tied pubs should have a uniform look, so the manager of the tied houses Rex Archer along with Cork illustrator and artist William Harrington were sent off to study the branding and look of the Wilson Brewery houses in Manchester.* Wilsons brewery had itself been absorbed by Watney Mann in 1960 and it appears that shortly after this time new branding was rolled out for its houses. Although Harrington came up with designs for the interior of some of the Cork pubs and perhaps the exterior too, it seems that a decision was made to just copy the typeface and signage from the Wilson’s pubs right down to the gold text on a black background rather than come up with something specifically for Murphy's houses.
Some of those Manchester pubs appear to have had white writing on red but in the same typeface, this appears to be what was called the ‘Watneyising’ of some of the pubs in a CAMRA publication** from 1976, although some photographs from the time also show Watney pubs with the same colour but a different typeface so it seems that those red and white Wilson pubs were perhaps a hybrid design. This ‘Watneyising’ appears to have been rolled back in some cases and the black and gold lettering reinstated according to that same article. It also looks as if at least some of the Phipps breweries houses - a brewery in Northampton in England that was also acquired by Watney Mann in 1960 - had at least one house with exactly the same branding, The King’s Head in Coventry,*** so perhaps the branding originated somewhere other than for the Wilson’s pubs in Manchester and was part of an over all strategy by Watney Mann? (Curiously, a Chester Brewery house in Manchester, a brewery taken over by rivals Whitbread, had a very similar typeface too.)
What could be called the “Wilson’s" typeface (If not” Phipps”?) [ EDIT: It's actually "English Two-Line Antique’] was also adopted by Murphys in and unitalicised form for their name on labels, beermats and other items associated with the brand at this time, as can be seen in the handsome label shown above. This typeface seems to have lasted with some minor changes until the 1980s when the image and branding was changed and updated in the Heineken era. Looking through old advertisements and breweriana there is a similarity in some of the Wilson’s branding – and Phipps too – which is hardly surprising given their shared ownership, and it is quite possible that there are other Watney-owned brands from that era that also share the same layout and fonts.
[EDIT: As it turns out - thanks to Boak & Bailey here - this lettering 'was conceived by the Design Research Unit and applied across the Watney’s pub estate, including pubs owned by breweries it took over' and is actually called ‘English Two-Line Antique.’]
Even after the Watney Mann era ended at Murphys and the tied houses were all eventually sold off, many of the now independent public house still clung on to the typeface for their name, and a few still do to this day as noted above. Perhaps that tied house program also explains what could be perceived to be a slight lack of surnames on public houses in Cork city when compared to the rest of Ireland, which might certainly make some sense given the actual ownership of many of the pubs at one time.
That recognisable typeface seems to have all but disappeared in Manchester, the city from which it may have originated, something that is a little sad as there was a certain elegance, and certainly some history, to that “look” which once adorned a considerable number of public houses in both cities.
Although it would be nice to think that perhaps a tiny amount of that style struck some chord in Cork publican's minds, and it might explain the commonness of gold writing on a black background in that city. A lasting reminder, at least to those now in the know, of a small episode in the city’s rich brewing history - 'a source of true delight, true knowledge, true surprise' indeed ...
Liam K
*This is from the book The Murphy’s Story: History of Lady's Well Brewery by Diarmuid Ó Drisceoil and Donal Ó Drisceoil and I was reminded of the mention by a Tweet from Tripe + Drisheen about the commonness of the typeface in some of Cork's pubs which were Murphy's tied houses.
** CAMRA publication
*** Boak & Bailey’s Modern Pubs of 1961: Watney’s & Whitbread ant there's much more about Watney's written by them here too.
(Image of The Vicarstown Bar is cropped and via their Facebook account.)
(Image of The Barley Mow is a cropped/enhanced and from the Flickr account of Manchester Archives+, shared via CC BY-NC-SA 2.0 DEED Attribution-NonCommercial-ShareAlike 2.0 Generic)
(Newspaper advertisement is from The Stockport County Express - Thursday 24th June 1965)
(There are more examples from Manchester of that typeface here.
Please note, all written content and the research involved in publishing it here is my own unless otherwise stated and cannot be reproduced elsewhere without permission, full credit to its sources, and a link back to this post. The photograph and label itself are the authors own and cannot be used elsewhere without the author's permission. Newspaper research and advertisement reproduction was thanks to The British Newspaper Archive, and other sources are as credited. DO NOT STEAL THIS CONTENT!
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