I’ll be frank: one of the good reasons for becoming a beer blogger is the opportunity it gives to go places, meet people, do things that you wouldn’t otherwise get to do. (Free beer too? Well, there is some of that, true, but I turn a fair bit of free beer down, because I don’t do reviews, much.) The chance to get into places the public doesn’t get to see is one big reason why I decided to go to the European Beer Bloggers’ Conference in Dublin: I suspected there would be a chance to see extremely interesting things normally hidden from public eyes, and as we shall see, I was absolutely right.
Fortunately for me, I have relatives in Dublin, so I was able to stay in the city for free: and I signed up early enough to grab one of the “bursaries” Molson Coors was offering, which effectively refunded the €95 conference fee, so mostly all it cost me was my air fare from Heathrow. When I signed up to come to the conference, I hadn’t been to Dublin since my mother-in-law’s 80th birthday in 2006, and as I said in my previous blog entry, in the past eight years – in the past TWO years – the Irish craft beer scene has exploded, so I was also keen to see how the beer offer had changed in Dublin’s bars, and what these new breweries were like.
As it happened, I had to go on a mother-in-law-related trip to the city in May, and took a day off to visit places recommended by the ever-excellent Beer Nut, Ireland’s premier beer blogger. Thus the Thursday night pub crawl organised for EBBC attendees and led by Reuben Gray of The Tale of the Ale was less of a revelation to me than it probably was to some of the other 30 or so people on the tour, since, unsurprisingly, the BN had marked my card with several of the places Reuben took us to.
They were certainly as mixed a selection as you’ll find in any good city, from the basic – Brew Dock, part of the Galway Bay Brewery’s own chain of pubs, but selling much more than just GBB beers – to the more typically Dublin elaborate-mirrors-and-dark wood of Farrington’s/The Norseman (it keeps changing its name back and forth) in Temple Bar via another very Dublin concept, the three or four-storey pub, of which JW Sweetman (named for an old Dublin brewery) and the Porterhouse are good examples, to the “stripped pine and books on the wall” Black Sheep, another Galway Bay Brewery pub, rather more like a “normal” English-style craft beer bar than most craft beer bars in Dublin, to the Bull and Castle, a substantially sized “craft beer steakhouse”. Just as a point of comparison, the only two places you would have found craft beer in back when I was last in Dublin out of that list would have been Sweetman’s, previously a homebrew pub called Messers Maguires, and the Porterhouse (which still, I was delighted to see, has the bottle of my wedding ale I presented them in 1997 on display in one of the bars).
If we didn’t already know John Gilroy, creator of so much iconic beer advertising, was a genius, then the latest images to surface from the mysterious “lost” art archive of the former Guinness advertising agency SH Benson would surely convince us: marvellous pastiches of other iconic works of art, sadly unseen for the past 60 or so years.
I’ve already talked here about the mysterious stash of 800 or more pieces of Gilroy advertising artwork that disappeared, existence unknown to Guinness experts, on the sale of the former Guinness advertising agency SH Benson in 1971, and how items from the collection began to turn up for sale on the American market from 2008 onwards. These are oil paintings, done by Gilroy to be shown to Guinness for approval: if approved, a final painting would then be made which the printers would use to make the posters. Now they are being sold by a couple of art dealers in the United States on behalf of their anonymous possessor for tens of thousands of dollars each. It has been estimated that the 350 or so paintings sold so far have gone for a total of between $1 million and $2 million.
Much of the stuff that has been turning up was never actually used in advertising campaigns, for various reasons. There was a series of posters featuring Nazi imagery, for example, commissioned from Gilroy because Guinness was thinking of exporting to Germany in 1936.
This week, David Hughes, who has written an excellent just-published book, Gilroy was Good for Guinness, about Gilroy that includes some 120 reproductions of artwork from the “lost” stash, gave a talk at the St Bride’s Institute in London on Gilroy and Guinness. During the talk he revealed that he had recently been shown something new from the Benson collection, too late to include in his book – a series of 21 takes by Gilroy on “Old Master” paintings, copies with a Guinness twist of works by painters such as Picasso, Van Gogh, Vermeer and Michaelangelo, that had been commissioned in 1952 with the intention that they would hang in the Guinness brewery at Park Royal in London. They were never used, however, and instead ended up hidden in the SH Benson archive, vanished from (almost all) human ken.
Now the paintings are on sale as part of the general disposal of the Benson Gilroy collection, they are being swiftly grabbed by eager collectors with thick wallets: the “Michaelangelo” went for $20,000. I would love to own the “Van Gogh” – somehow Gilroy has captured the essence of the mad Dutchman’s art even as he subverted it with a bottle of Guinness on the chest and a pint of stout on the chair – a humorous homage, done, I am sure, with love and affection. Note Gilroy’s signatures on that and the “Picasso” – cheeky takes on the originals.
A few others are in the “great but not fantastic” category, but the “Toulouse-Lautrec” really does look as if little Henri himself had been commissioned to design an ad for la fée noire. I haven’t seen any of the other 21 apart from those here, but they would have made a superb series of advertising posters, and would be as much loved now, I am sure, as Gilroy’s toucans, sea lions and men with girders. It’s a huge pity they never went into proper production. (Some of the reproductions on this page – the obviously rubbish ones – are from photos taken by me off the giant screen David Hughes was using at the talk, subsequently poorly “tweaked” in Photoshop – my apologies, but I thought you’d be more interested in at least seeing something now of these marvellous illustrations than waiting an unknown time until you could see them reproduced perfectly.)
In the audience for the talk was Edward Guinness, 90 this year, the last member of the family to hold an executive position on the Guinness board, and a man to whom brewery historians owe a huge debt: it was while Edward was chairman of the Brewers’ Society that the Society commissioned Terry Gourvish and Richard Wilson to write their mammoth history of brewing in Britain from 1830 to 1980, a massive resource. He also helped ensure Guinness the company supplied the money to make John Gilroy’s last few months comfortable, after it emerged that the artist who had done so much to promote the Guinness brand was seriously ill and could not afford private health care. It appears that David Hughes is helping Edward Guinness write his reminiscences – bugger, that’s another Guinness book I’m going to have to buy.
There are some images that are just wrong: uncanny, creepy. One of them is a poster of a smiling, steel-helmeted Nazi-era German soldier holding a pint of stout, with the words in Gothic script: “Es ist Zeit für ein Guinneß!” What makes this poster even weirder is that it’s by John Gilroy, the artist who produced so much classic Guinness advertising imagery, from the flying toucans with glasses of Guinness on their beaks to the Guinness drinker carrying the huge girder. Even people born decades after those ad campaigns ended know the posters.
The German soldier saying: “Time for a Guinness!” is one of a number of images Gilroy produced in 1936 for the advertising agency SH Benson in connection with a campaign in Germany that never went ahead. Today those putative posters look – well – naïve. Guinness-bearing toucans flying over a swastika-draped Berlin Olympics stadium? More Guinness toucans flying escort to a swastika-decorated airship? “Guinness for strength” demonstrated by a mechanic lifting a German army half-track single-handed? Guinness toucans zooming past the Brandenberg Gate, as a man who looks like the Guinness zoo keeper dressed in what appears to be the uniform of the SS Feldgendarmerie stares up, alarmed? (Bizarrely, these were the very first use of the “flying toucans” image, which did not appear in Britain until 1955, and the famous “toucans over the RAF aerodrome” poster.)
They all appear in a fascinating new book by David Hughes, Gilroy was Good for Guinness, which features a mass of material from the SH Benson archive in London that mysteriously vanished in 1971 and, just as mysteriously, semi-surfaced in the United States a few years ago, when canvases from the archive started appearing on the art market.
As well as the German material, there are a host of other draft posters by Gilroy in the book, mostly painted in oil on canvas. Many are for other overseas campaigns that never actually appeared: toucans flying over the Eiffel Tower, the Leaning Tower of Pisa, Brooklyn Bridge and the Kremlin; Greek and Israeli farmers pulling the cart with the horse in (changed to a donkey) to illustrate “Guinness for Strength”: men popping out of manholes and holding up Russian and Israeli steamrollers. There are illustrations of cars, used to advertise Guinness on posters and in calendars, which show what a fine automobile artist Gilroy was – although, again, seeing a picture of Hitler’s six-wheeler Mercedes staff car with “Congratulations from Guinness” underneath, or one of another iconic German vehicle over a pint of stout with the words “VolksWagen – Volks Bier” is weird, weird in an alternative-universe, “What if Germany had won the war?” way. Some are for domestic campaigns that, again never saw daylight: a series of posters for the 1948 London Olympics on the theme of “My Goodness – My Guinness (a sprinter running off with the timer’s pint, for example), and “Guinness for Strength” (a Guinness-powered javelinist hurling his javelin way out of the stadium).
Hughes, who produced the excellent A Bottle of Guinness Please, an extensively illustrated and thorough round-up of the history of Guinness bottling with lots of Guinness-fact goodies (spoilt only by the lack of an index), gives the fullest account I have seen of Gilroy’s life and art in Gilroy was Good for Guinness. I wasn’t going to buy it (on the grounds that I already have far more books on Guinness than any sane man should own) but I couldn’t resist the Nazi Guinness pics.
The book has a good account of Gilroy’s portrait-painting, which included several members of the royal family, and politicians and military men, such as Churchill and Eisenhower. The trouble is that the pictures in the book show Gilroy wasn’t a very good portrait painter, in the sense that his paintings, while technically excellent, just fail to hit the target: they appear to be of entrants in a famous-person-lookalike competition, rather than who they are actually meant to be. If you don’t know who the person is, then nothing appears to be wrong. If you know that it is meant to be, say, Prince Charles, you can see that it isn’t quite right.
It also contains one revelation I certainly didn’t know: that when Benson’s lost the Guinness advertising account in 1969, and thus Gilroy was no longer producing ads for the stout brewer, Guinness felt it owed the artist so much for all the pints and bottles of stout his artwork had helped to shift that it offered him a £2,000-a-year honorarium for life, a sum worth perhaps £27,000 in today’s money: not a huge amount for a man who was a member of the Garrick Club and living in Holland Park Road, Kensington, but much better than a poke in the eye with a paintbrush.
It also attempts to detail the story of the Benson advertising agency’s archive after Benson’s was sold to Olgilvy and Mather in 1971. Somehow the archive, including the Gilroy Guinness collection of original artwork for poster campaigns both used and unused, was sold to, or acquired by, an anonymous American. Parts of the archive began to appear on the market in the United States in 2009. Subsequently more and more of the collection appears to have been disposed of, with canvases selling for up to $14,000. Unfortunately the parts of the story of the archive are scattered through what is an unfortunately frequently bitty book, which could have done with a good editor to pull it all more tightly together. That same editor could have prevented the occasional infelicity and error, such as spelling the name of the actor Kenneth More incorrectly.
All the same, if you’re interested in Guinness, or in breweriana, Gilroy was Good for Guinness is probably worth its £20 price tag. In many ways, it’s Guinness porn at its best. And those German posters really are disturbing.
Update: hat-tip to Boak and Bailey for this – there’s a far better account of the mystery millionaire who bought the Benson’s archive than the book gives, and lots more great illustrations from the book, on the Collectors Weekly website here.
Is there a brewery business with more books written about it – is there any business with more books written about it – than Guinness? Effectively a one-product operation, Guinness has inspired tens of millions of words. Without trying hard, I’ve managed to acquire 18 different books about Guinness, the brewery, the people, the product and/or the advertising (four of them written by people called Guinness), and that’s not counting the five editions I have of the lovely little handbook that Guinness used to give to visitors to the brewery at St James’s Gate, dated from 1928 to 1955. There are plenty more books on Guinness I don’t have.
Despite all those volumes of Guinnessiana, however, you can still find a remarkable quantity of Guinness inaccuracy and mythology, constantly added to and recycled, particularly about the brewery’s earliest days. The myths and errors range from Arthur Guinness’s date of birth (the claim that he was born on September 24, 1725 is demonstrably wrong) to the alleged uniqueness of Guinness’s yeast: the idea that the brewery’s success was down to the yeast Arthur Guinness brought with him to Dublin is strangely persistent, though the brewery’s own records show that as early as 1810-12 (and almost certainly earlier) St James’s Gate was borrowing yeast from seven different breweries.
Most accounts of the history of Guinness also miss out on some cracking stories too little known: the homosexual affair that almost brought the end of the brewery partnership in the late 1830s, for example; the still-unexplained attack of insanity that saw Guinness’s managing director, great-great nephew of Arthur Guinness I, carried out of the brewery in a straitjacket in 1895; and the link between the writings of Arthur Guinness I’s grandson Henry Grattan Guinness and the foundation of the state of Israel (which takes in the assassination of Arthur Guinness I’s great-great grandson in Egypt). Continue reading Guinness myths and scandals→
In February 1961, 47 years ago, Guinness paid the London brewer Watney Combe Reid £28,000 – equivalent to more than £400,000 today – to discontinue brewing its Reid’s Stout. It was part of the Irish firm’s drive to put its newly perfected nitrogen-serve Draught Guinness into as many pubs as possible: Watney’s also had a draught “container stout”, presumably using the keg system that powered Red Barrel, and the Dublin boys were happy to pay to eliminate this potential rival.
Reid’s, whose original brewery was in the aptly named Liquorpond Street, near Hatton Garden, before it merged with Watney and another London firm, Combe’s of Covent Garden, had been one of the great stout brewers of the 19th century, The journalist Alfred Barnard wrote in 1889: “Who has not heard of Reid’s stout? And what better accompaniment to a dozen of oysters could be found?”
With the demise of Reid’s, and all the other once-famous stout brewers of England’s capital, such as Meux, which once brought a beautiful aroma of malt and hops to delight passengers on the tops of buses at the corner of Tottenham Court Road and New Oxford Street, the title of “sole big stout brewer” fell to Guinness.
Effectively, the only sort of stout still brewed in England was the sweet Mackeson-style version that had become popular in the 20th century. London’s formerly enormous role as a centre for brewing the original, 19th century-style, stout became forgotten, so that Michael Jackson could assert, in his first Pocket Guide to Beer, published in 1982,
English stouts are sweet … Irish stouts are dry.”
Surviving English stouts were, in 1982, pretty much in the sweet Mackeson-type style only. That certainly hadn’t been true 20 or 30 years earlier.
But if Watney’s had turned down the Irish brewer’s money in 1961, and Reid’s had continued as a rival to Guinness, a living example of the beers once made by all the biggest London brewers, would we, today, be talking about “Irish stout” as the synonym of not-sweet stout? Is there actually such a thing as “Irish stout”? Would Guinness and Reid’s not be known as two examples of “stout”, geography unstated? If a tighter description were needed, to differentiate the Mackesons from those stouts not made with unfermentable lactic sugars, should it not be the retronym “dry stout”, to include all the English versions alas, no longer with us?
What does it tell you about the world that if you want to access the electronic archives of The Times, owned by Rupert Murdoch, one of the planet’s great campaigners for raw capitalism, you can do so for free, via your local council’s website; but if you want to access the electronic archives of The Guardian, spiritual home of soggy left-wing whingers and anti-enterprise social workers, you have to pony up £7 a pop?
I was doing some research for a piece I was being paid for the other day, however, so that £7 could be claimed as “expenses”, and in the 24-hour window The Guardian allows you to rummage around in its archival drawers for the equivalent cost of three pints of ale I ran some searches on beery terms in pre-1850 editions.
The paper then, of course, was the Manchester Guardian, and its advertisements reflected its Manchester base and the demands and availabilities of the Manchester market. Burton ale, for example, which could be shipped from Staffordshire to Lancashire by canal from 1771, is advertised from the beginning: in June 1821, just a month after the newspaper was founded, Nightingale and Worthy were advertising on the front page “excellent SCOTCH and BURTON ALES, in bottles and small casks, for families”.
This is, incidentally, the year before the Burton brewers had their Russian market taken away from them by the introduction of prohibitively high import duties. The move by the Russians prompted the Burtonites to turn to the Indian market instead, by imitating the pale ale then being successfully exported to the East by Hodgson’s brewery in Bow, Middlesex; it also forced them to pay more attention to the home market,
According to J Stevenson Bushnan, writing in Burton and its Bitter Beer, published in 1853, the collapse of the Russian market led Samuel Allsopp in March 1822 to advertise the beer he could no longer sell to the Baltic in a circular delivered around the UK, and “the effect of this circular was the introduction of Burton Ale to the London and English market … immediately after the issue of this circular ‘Burton Ale houses’ sprang up.”
Rarely (but thrillingly) a book comes along that makes everything else ever written on the same subject instantly redundant.
There must have been more books written about Guinness, the brand and its brewers, than any other in the world. I’ve got 14, now, four of them written by people called Guinness. But the latest to be published, Arthur’s Round, by Patrick Guinness, is the first to concentrate on the patriarch himself, the founder of the concern at St James’s Gate in Dublin, and it uses everything from proper, evidence-based historical research to genetic analysis to debunk more myths about Arthur Guinness and the early years of his brewing concern than you could shake a shillelagh at.
The biggest myth Patrick Guinness destroys, using modern genetic techniques, is the claim that Arthur Guinness and his father Richard were descended from the Magennis chieftains of Iveagh, in County Down, Ulster, in Irish Mac Aonghusa. The last-but-one Viscount Iveagh, Bryan Magennis had fled abroad after James II’s defeat at the Battle of the Boyne in 1690, about the time Arthur Guinness’s father was born, and the Magennis lands in Ulster were confiscated in 1693.
Where and when was the first Guinness brewery opened in England? If you answered “Park Royal, 1936”, whoops, the loud noises and flashing lights have gone off, that’s the WRONG answer, by more than 100 miles and just under 100 years.
In 1838 John Grattan Guinness junior had been sacked from the brewery business in Dublin started by his grandfather for drunkenness and “mixing with degraded society”. His uncle, Arthur Guinness II bought him a brewery in Bristol to try to give him another chance. Unfortunately John Grattan Guinness does not seem to have been a businessman, and the Bristol brewery went under in 1845. Much later, after he fell into poverty, John G tried ungratefully and unsuccessfully to sue his cousin Benjamin Guinness for wrongful dismissal from the Dublin brewery.
While John G was still running the brewery in Bristol, however, he was evidently visited by the brewer and writer George Stewart Amsinck, who was shown several different brews, all apparently based on St James’s Gate originals. Amsinck eventually printed the recipes for the beers as part of Practical Brewings, a manual of 50 different brewings published in 1868.
Their interest comes from their being the closest we have to genuine Dublin Guinness recipes of the late 1830s, showing us brewing methods and, in particular ingredients and proportions of different grain types.
Guinness had been among the first porter brewers to seize upon Daniel Wheeler’s “patent” malt for colouring porters and stouts when it appeared in 1819. This was the first properly legal beer colouring (because tax had been paid on the malt before it was roasted into Stygianity) to let brewers make really black beers, which is what the public expected in their porters and stouts, while using almost entirely pale malt, which gave a much better extract of fermentable sugars than the high-dried and “blown” malts the original porter brewers had used. An advertisement for Plunkett Brothers, the Dublin makers of patent malt, dated 1873 quotes a letter from Guinness saying the St James’s Gate brewery had used its products for “over fifty years” – in other words, since at least the very early 1820s.
The recipes Amsinck recorded at John G Guinness’s Bristol brewery included a Dublin stout of 1096 OG, using 96.8 per cent new pale Suffolk malt and 3.2 per cent “black” (that is, roast) malt; a Country Porter (the name Guinness at St James’s Gate gave to the beer delivered outside Dublin) of 1067 OG, brewed with the same ratio of black and pale malts; and a Town Porter (the name Guinness gave to the beer brewed for sale in Dublin) of 1061 OG, ditto for the grain bill but with half the hops of the Country Porter. This last, Town beer was kept for only a day after fermentation was finished, before being mixed with 10 per cent fresh wort (a technique called gyling) and put out into the trade for consumption within a fortnight, making it truly a mild porter, in the proper sense of mild as fresh beer made for quick consumption.
The particular point to note today about all these beers is that they used roasted malt, not the roasted barley that commentators such as Roger Bergen, writing in Brewing Techniques in November 1993 say is “critical” to the Guinness palate. In fact Guinness could not have used roasted barley when John G was working there, because it was illegal: no grains could go into the brewing of beer that had not been malted, and paid the malt tax.
There’s an entry in The Guinness Book of Guinness, the volume of reminiscences produced in 1985 to mark the 50th anniversary of the building of the Park Royal brewery in London, which talks about the daily tastings of bottled Guinness undertaken by senior staff in the Park Royal sample room. Guinness being the sort of company that it was, bureaucratic, very strongly process-driven, all the tasters’ individual results were logged and compared, so the stats department could tell who were the most reliable. Edward Guinness, whose branch of the clan were actually from the non-brewing side, but who joined the company anyway in 1945, was “i/c sample room” in the late 1940s, and records:
… my worst taster by a wide margin was JF Brown, who upset every graph, and I had to be tactful in finally suggesting to him that he might forgo the privilege …
As John Brown was then head of raw materials, and went on to be Head Brewer at the Guinness brewery in Dublin, it is understandable Edward Guinness felt he had to be careful about telling the poor fellow he couldn’t taste his way out of a hop-sack …
I’ve got reasonable faith in my own tastebuds: I’ve raved over new beers, such as Little Creatures that others have later raved over too, and I’ve dissed beers, like Jupiler that most others seem to compare to weak stale dishwater too. But there are a couple of brews that turn up on “beers to try before you croak” lists that I fail to get at all, and I don’t know why everybody else is out of step except me.
The arrival of increasing numbers of African immigrants to the UK in the 1990s meant that demand sprang up for Guinness Foreign Extra Stout, the strong (7.5 per cent ABV) version of Dublin’s black brew, which is made in breweries across Africa, and is one of the biggest selling beer brands on the continent. Guinness had never sold FES in the UK (or Ireland), except briefly (under the name XXX) in the 1970s, but by the mid-1990s it was available in Britain, where it competed with “grey” imports of FES from Nigeria for the immigrant trade.
One of the unique aspects of FES is that it is brewed using a special roast barley, malt and hops concentrate, deeply black and amazingly bitter, invented in the early 1960s by Guinness scientists, and originally called Concentrated Mature Beer. Now, under the name Guinness Flavour Extract, it is sent out from Ireland to the 50 or so breweries around the world that brew FES, where it is added at the rate of two per cent GFE to 98 per cent pale locally brewed beer. The boom in Guinness FES sales around the world meant that in 2003 Guinness decided it could not make enough GFE in Dublin, and refitted the former Cherry’s brewery in Mary Street, Waterford to make six million litres of GFE a year, using 9,000 tonnes of barley.
Today, while FES is still imported from Dublin, the Nigerian version is now legitimately available here via proper import channels – with the result that you can find the Dublin version in Sainsbury’s, while Tesco has versions brewed in Nigeria. I say “versions”, because a study of the back labels shows there appear to be two different sorts of Nigerian FES. Both use sorghum, a traditional African grain (used to make traditional African beers), at the insistence of the Nigerian government, which wanted locally-grown produce in locally brewed and sold beer: you can’t grow barley in Nigeria. However, alongside the sorghum, some bottles of Nigerian FES in Tesco say they also contain wheat, while others say they contain maize.