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Very interesting and superbly framed New Map of Ireland from 1779 ( CMcG) from the latest surveys of the time.Please contact us directly at irishpubemporium@gmail.com for pricing and shipment quotation for this extraordinarily rare item. Offset in a display type frame made by The Dawson Gallery 4 Dawson Street Dublin 2, we estimate this piece to be well over 200 years old.Long obsolete place names such as the ancient baronies of Blakeny Co Galway,Rofs Co Cork,Philipstown Co Laois and spellings such as Donegall,Lough Deirg & support this estimate. 70cm x 60cm Dublin
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Well framed Bogs of Ireland Print. We were very fortunate to acquire this very famous poster-The Bogs of Ireland.A collage of some very interesting toilets recorded for eternity by the renowned photographer John Morris.This poster is now completely out of print and is difficult to acquire.Makes a wonderful addition to anyone's favourite sanctuary and place of solitude! Dimensions : 65cm x 45cm
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Framed copy of advert for the iconic Jim Fitzpatrick portrait of Che Guevera,a revolutionary hero with a surprising amount of Irish roots/connections. 42cm x 35cm. Dublin
From Patricio Lynch to Che Guevara: The story of the Cuban revolutionary's Irish links
We spoke to Epic, the Irish emigration museum about the Irish lineage behind Che Guevara.
created by an Irish artist Jim Fitzpatrick, which was created using a photo by Cuban photographer Guerrillero Heroico. After the stamp controversy earlier this year, Fitzpatrick told TheJournal.ie that he was used to the controversy around Guevara, dismissing the criticism and accusations levelled against him as “black propaganda”. He added that he was “immensely proud” to have his artwork of the Irish-descendant revolutionary on an official Irish stamp. Irish roots Patrick Lynch was born and raised in 1715 to parents from two of the main tribes of Galway. But after defeats at the hands of Cromwell’s forces, and later those of William of Orange, he fled to Bilbao in the Basque region of northern Spain, and then to Rio de la Plata, which would later become Argentina. “He became a prominent figure in the Spanish government, a leading civil servant,” Nathan told TheJournal.ie. After travelling to Buenos Aires in 1749 to work as a captain in the Milicias, he married a wealthy heiress. The valuable lands he gathered over the years were then passed on to his son, who followed into his father’s line of business. In the century that followed, one of Patrick Lynch’s descendants would set up a shipping company, fight in the Argentine army and Chilean navy, write novels and short stories, paint and found a movement for rural libraries in Argentina. It’s hard not to see how that family history didn’t impact on young Che, who was athletic and political, as well as passionate about poetry. But it was while Che Guevara toured South America during his 20s that the spark of political activism was lit – it was during this time that he also penned a book of his own – The Motorcycle Diaries, (which decades later was turned into a film of the same name). Referring to Che’s “restless” nature, his father declared “the first thing to note is that in my son’s veins flowed the blood of the Irish rebels”. “Half a million, to a million of the Argentinian population claim to be of Irish descent. But there are problems with identifying people of Irish descent, because when the Irish arrived during that era, they were recorded as ‘British’, so it’s a little bit problematic identifying who was Irish and who wasn’t. “So the ancestry of Guevara is quite exceptional – as they emigrated to Argentina long before most Irish people did, during the latter half of the 19th century, coming up to the Great Famine.” Jim Fitzpatrick (born James Fitzpatrick in 1944) is an Irish artist. He is best known for elaborately detailed work inspired by the Irish Celtic artistictradition. However, his most famous single piece is rather different in style, his iconic two-tone portrait of Che Guevara created in 1968, based on a photo by Alberto Korda. Jim Fitzpatrick was born in December 1944 to James and Elizabeth Fitzpatrick (née O'Connor). His parents had married in the north Dublin suburb of Cabra in June 1943. During a period of childhood sickness, Fitzpatrick read and drew in bed, as well as his mother and great-aunt telling him stories of the Tuatha Dé Danann, Cú Chulainn and Fionn MacCumhaill. He was educated at the Franciscan College Gormanston, County Meath, just north of Dublin. His father was a photo-journalist and he is a grandson of political cartoonist Thomas Fitzpatrick. Fitzpatrick's earliest work was the graphic portrait of Che Guevara, which was based on the photograph by Alberto Korda, entitled Guerrillero Heroico, was taken on 5 March 1960. Fitzpatrick met Guevara 5 years earlier in Kilkee during Guevara's visit to trace his Irish ancestry. Having initially tried to distribute the poster himself, Fitzpatrick chose to remove copyright from the image so that is could be used freely by left wing groups, stating that "I literally wanted it to breed like rabbits. I wanted it to spread." In 1978, he wrote and illustrated a book called The Book of Conquests, the retelling of a cycle of Irish myths, the Lebor Gabála Érenn. The book is a retelling of the legends of the coming of the Tuatha dé Dannan to Ireland and their fight with the Fir Bolg. The illustrations include intricate Celtic scroll work and knotwork, for which Fitzpatrick has become known. A second book, The Silver Arm, is based on the deeds of Nuada of the Silver Arm and Lugh in their fight with the Formor. Fitzpatrick has produced artwork for bands such as Thin Lizzy including their Jailbreak album in 1976, for Sinéad O'Connor's 2000 album Faith and Courage, for The Darkness' 2003 single "Christmas Time (Don't Let the Bells End)",Norwegian black metal band Darkthrone's 2013 album cover The Underground Resistance, and took the photograph for the cover of Louise Patricia Crane's 2020 album Deep Blue.He was commissioned by CityJet in 2007 to create images reflecting Ireland's culture, mythology, history and landscapes. In 2011, Fitzpatrick announced that he intended to copyright the iconic red and black Che Guevara graphic. He cited "crass commercial" use of the image for his decision and planned to hand over the copyright and all rights, in perpetuity, to the family of Guevara in Cuba. The image remains available for free through Fitzpatrick's website for non-commercial usage. An Post released a stamp featuring Fitzpatrick's image of Guevara in 2017 to mark 50 years since its publication.EARLIER THIS YEAR, the controversial Cuban revolutionary Che Guevara appeared on an Irish stamp to commemorate 100 years since his birth. As well as unearthing the debate around the divisive legacy of the Argentine who was pivotal in the struggle to overthrow Cuba’s dictatorship, it also brought to the fore a discussion of Guevara’s Irish links. Che’s father, who’s full name is Ernesto Guevara Lynch, was proud of his Irish roots and the story of how his family built a business in Argentina after fleeing Ireland during Cromwell’s era. Years later when Che was Cuba’s transport minister, he made an unscheduled stop off in Limerick, and wrote a letter to his father, who he thought would be pleased to hear that he was visiting a country of his ancestry, says Nathan Mannion, curator at Epic, the Irish emigration museum. There’s another, non-familial link that Guevara has with the island of Ireland – the famous, ubiquitous two-tone print of Che was"I am in this green Ireland of your ancestors. When they found out, the television station came to ask me about the Lynch genealogy, but in case they were horse thieves or something like that, I didn't say much."— Che Guevara, jokingly in a letter to his fathe -
Framed copies of both the An Post sponsored Gaelic Football & Hurling Teams of the Millennium in the form of commemorative postage stamps of each of the nominees. Dimensions: 36cm x 29cm Glazed
"The An Post-GAA Team of the Millennium was unveiled at Croke Park yesterday. The selection which serves as the first 15 inductions into the GAA's new Hall of Fame has also been marked by an issue of 15 commemorative stamps by An Post. The stamps will be available in a variety of combinations from today. Next year, a similar exercise will take place to honour 15 hurlers.
There was some comment on the absence of Dublin's Brian Mullins and Jack O'Shea from Kerry but it seemed generally appreciated that there were only two centrefield slots on the team and someone had to lose out. Tommy Murphy, the Boy Wonder of the 1930s Laois team which won three Leinster titles in a row, who was included ahead of Mullins and O'Shea had the added distinction of being the only player honoured who had not won an All-Ireland medal.
Not surprisingly, Kerry - who top the All-Ireland roll of honour with 31 titles - lead the way on the team with six selections. Despite being clearly second behind Kerry with 22 All-Irelands, Dublin provide only one player, Kevin Heffernan at left corner forward. Galway and Mayo have two players each with one from Cavan, Down, Meath and Laois making up the balance.
Joe McDonagh, President of the GAA, described the project as a reflection "on the history and evolution of our association, its games and its central characters, the players who have left such giant footprints in the sands that is the chronicle of the GAA".
The Hall of Fame which is inaugurated by this team will be represented all through Croke Park, according the GAA director general Liam Mulvihill. He said that the Hall will be added to with a small number of inductions on an annual basis.
"We decided that this team would be the initial members of the Hall of Fame and we were planning to honour those selected around the main areas of the concourse of the re-developed stadium, in the bottom tier and the upper tier. We wanted those ordinary tiers where ordinary supporters gather as the most appropriate place to honour those players.
"The inductions will be in very small numbers, we're probably talking about two a year. Two footballers, two hurlers or one footballer and one hurler. It has to be made very, very special."
Paddy Downey, formerly GAA correspondent of The Irish Times, was one of the adjudicators and confirmed the widespread feeling that the task of selecting such a team wasn't an enviable one.
"It's nearly impossible because there's so many players, particularly in what you might call the big, central positions: midfield, centre-back, full back. Already people are saying to me: `why isn't Brian Mullins on, why isn't Paddy Kennedy of Kerry, Jack O'Shea - above all at the present time' and so on.
"We also had the problem of not picking a half-century team of people we had seen ourselves. You could also argue how could we pick someone we hadn't seen - Dick Fitzgerald, apparently one of the greatest players of all time, Paul Russell of Kerry, Jack Higgins of Kildare, from the earlier part of the century.
"I was conscious that we could have gone further back and taken the word of our predecessors in journalism who had praised these players and done so in print. Inevitably it came to be more a team of the second half of the century than the early years."
Martin O'Connell of Meath was the only player of what might roughly be called contemporary times - one whose career was largely after the selection of the 1984 Centenary Team - to earn a place.
"I was surprised," he said. "I didn't even know until I came up here. I arrived a bit late and Micheal O Muircheartaigh was just reading out the names. I was absolutely delighted."
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45cm x 55cm Belfast The history of Belfast as a settlement goes back to the Iron Age, but its status as a major urban centre dates to the 18th century. Belfast today is the capital of Northern Ireland. Belfast was throughout its modern history a major commercial and industrial centre, but the late 20th century saw a decline in its traditional industries, particularly shipbuilding. The city's history has been marked by violent conflict between Catholics and Protestants which has caused many working class areas of the city to be split into Catholic and Protestant areas. In recent years the city has been relatively peaceful and major redevelopment has occurred, especially in the inner city and dock areas. During the Great Famine, a potato blight that originated in America spread to Europe decimated crops in Ireland. A Belfast newspaper predicted the devastating effect the blight would have on the common people of Ireland, particularly in rural areas. The potato crop in 1845 largely failed all-over Ireland with the exception of the west coast and parts of Ulster. One-third of the crop was inedible and fears that those spuds in storage were contaminated were soon realized. In October 1846, a Belfast journal The Vindicator made an appeal on behalf of the starving, writing that their universal cry was "give us food or we perish". The publication went on to scold the United Kingdom for not meeting the basic needs of its people. By 1847, the British government were feeding 3 million famine victims a day, though many were still succumbing to disease brought on by starvation. Many of the poor moved eastward from rural areas into Belfast and Dublin, bringing with them famine-related diseases. Dr. Andrew Malcolm, who was working in Belfast at the time, wrote of the influx of the starving into the town, their horrific appearance and the "plague breath" they carried with them. The Belfast Newsletter reported in July 1847 that the town's hospitals were overflowing and that some of the emaciated were stretched out on the streets, dead or dying.
Home Rule and the City Charter
Belfast City Hall during constructionA 1907 stereoscope postcard depicting the construction of an ocean liner at the Harland and Wolff shipyard -
Superb Guinness advert publicising their sponsorship of the All Ireland Senior Hurling Championship-unframed print. 44cm x 60cm Guinness were long time sponsors of the All Ireland Senior Hurling Championship.Hurling is an ancient sport ,played for over 2000 years by such mythical Irish legends such as Setanta, who is depicted here in this distinctive Guinness advert fighting off a fierce wolf, armed with just a Hurl and a sliotar! Following on the company’s imaginative marketing and advertising campaigns — with such slogans as ‘Not Men But Giants,’ ‘Nobody Said It Was Going To Be Easy’ and ‘The Stuff of Legend’ — other imaginative adverts brought the message that hurling is part of the Irish DNA. Other campaigns, entitled ‘It’s Alive Inside’ focused on how hurling is an integral part of Irish life and how the love of hurling is alive inside every hurling player and fan.
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Humorous sketch of the enigmatic genius Brendan Began with typical irreverent quote attached. 37.5cm x 25.5cm Dublin BRENDAN BEHAN 1923-1964 PLAYWRIGHT AND AUTHOR Behan was born in Dublin on 9 February 1923. His father was a house painter who had been imprisoned as a republican towards the end of the Civil War, and from an early age Behan was steeped in Irish history and patriotic ballads; however, there was also a strong literary and cultural atmosphere in his home. At fourteen Behan was apprenticed to his father's trade. He was already a member of Fianna Éireann, the youth organisation of the Irish Republican Army, and a contributor to The United Irishman. When the IRA launched a bombing campaign in England in 1939, Behan was trained in explosives, but was arrested the day he landed in Liverpool. In February 1940 he was sentenced to three years' Borstal detention. He spent two years in a Borstal in Suffolk, making good use of its excellent library. In 1942, back in Dublin, Behan fired at a detective during an IRA parade and was sentenced to fourteen years' penal servitude. Again he broadened his education, becoming a fluent Irish speaker. During his first months in Mountjoy prison, Sean O Faolain published Behan's description of his Borstal experiences in The Bell. Behan was released in 1946 as part of a general amnesty and returned to painting. He would serve other prison terms, either for republican activity or as a result of his drinking, but none of such length. For some years Behan concentrated on writing verse in Irish. He lived in Paris for a time before returning in 1950 to Dublin, where he cultivated his reputation as one of the more rambunctious figures in the city's literary circles. In 1954 Behan's play The Quare Fellow was well received in the tiny Pike Theatre. However, it was the 1956 production at Joan Littlewood's Theatre Royal in Stratford, East London, that brought Behan a wider reputation - significantly assisted by a drunken interview on BBC television. Thereafter, Behan was never free from media attention, and he in turn was usually ready to play the drunken Irlshman. The 'quare fellow', never seen on stage, is a condemned man in prison. His imminent execution touches the lives of the other prisoners, the warders and the hangman, and the play is in part a protest against capital punishment. More important, though, its blend of tragedy and comedy underlines the survival of the prisoners' humanity in their inhumane environment. How much the broader London version owed to Joan Littlewood is a matter of debate. Comparing him with another alcoholic writer, Dylan Thomas, a friend said that 'Dylan wrote Under Milkwood and Brendan wrote under Littlewood'. Behan's second play, An Giall (1958), was commissioned by Gael Linn, the Irish-language organisation. Behan translated the play into English and it was Joan Littlewood's production of The Hostage (1958) which led to success in London and New York. As before Behan's tragi-comedy deals with a closed world, in this case a Dublin brothel where the IRA imprison an English soldier, but Littlewood diluted the naturalism of the Irish version with interludes of music-hall singing and dancing. Behan's autobiographical Borstal Boy also appeared in 1958, and its early chapters on prison life are among his best work. By then, however, he was a victim of his own celebrity, and alcoholism and diabetes were taking their toll. His English publishers suggested that, instead of the writing he now found difficult, he dictate to a tape recorder. The first outcome was Brendan Behan's Island (1962), a readable collection of anecdotes and opinions in which it was apparent that Behan had moved away from the republican extremism of his youth. Tape-recording also produced Brendan Behan's New York(1964) and Confessions of an Irish Rebel (1965), a disappointing sequel to Borstal Boy. A collection of newspaper columns from the l950s, published as Hold Your Hour and Have Another (1963), merely underlined the inferiority of his later work. When Behan died in Dublin on 20 March 1964, an IRA guard of honour escorted his coffin. One newspaper described it as the biggest funeral since those of Michael Collins and Charles Stewart Parnell.
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Atmospheric John Skelton print of a couple of pub goers having an intimate discussion over a pint and dinner. Rathdrum Co Wicklow 33cm x 30cm Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
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45cm x 35cm Naas Co Kildare Arkle (19 April 1957 – 31 May 1970) was an Irish Thoroughbred racehorse. A bay gelding by Archive out of Bright Cherry, he was the grandson of the unbeaten (in 14 races) flat racehorse and prepotent sire Nearco. Arkle was born at Ballymacoll Stud, County Meath, by Mrs Mary Alison Baker of Malahow House, near Naul, County Dublin. He was named after the mountain Arkle in Sutherland, Scotland that bordered the Duchess of Westminster’s Sutherland estate. Owned by Anne Grosvenor, Duchess of Westminster, he was trained by Tom Dreaper at Greenogue, Kilsallaghan in County Meath, Ireland, and ridden during his steeplechasing career by Pat Taaffe. At 212, his Timeform rating is the highest ever awarded to a steeplechaser. Only Flyingbolt, also trained by Dreaper, had a rating anywhere near his at 210. Next on their ratings are Sprinter Sacre on 192 and then Kauto Star and Mill House on 191. Despite his career being cut short by injury, Arkle won three Cheltenham Gold Cups, the Blue Riband of steeplechasing, and a host of other top prizes. On 19th April, 2014 a magnificent 1.1 scale bronze statue was unveiled in Ashbourne, County Meath in commemoration of Arkle. In the 1964 Cheltenham Gold Cup, Arkle beat Mill House (who had won the race the previous year) by five lengths to claim his first Gold Cup at odds of 7/4. It was the last time he did not start as the favourite for a race. Only two other horses entered the Gold Cup that year. The racing authorities in Ireland took the unprecedented step in the Irish Grand National of devising two weight systems — one to be used when Arkle was running and one when he was not. Arkle won the 1964 race by only one length, but he carried two and half stones more than his rivals. The following year's Gold Cup saw Arkle beat Mill House by twenty lengths at odds of 3/10. In the 1966 renewal, he was the shortest-priced favourite in history to win the Gold Cup, starting at odds of 1/10. He won the race by thirty lengths despite a mistake early in the race where he ploughed through a fence. However, it did not stop his momentum, nor did he ever look like falling. Arkle had a strange quirk in that he crossed his forelegs when jumping a fence. He went through the season 1965/66 unbeaten in five races. Arkle won 27 of his 35 starts and won at distances from 1m 6f up to 3m 5f. Legendary Racing commentator Peter O'Sullevan has called Arkle a freak of nature — something unlikely to be seen again. Besides winning three consecutive Cheltenham Gold Cups (1964, 1965, 1966) and the 1965 King George VI Chase, Arkle triumphed in a number of other important handicap chases, including the 1964 Irish Grand National (under 12-0), the 1964 and 1965 Hennessy Gold Cups (both times under 12-7), the 1965 Gallagher Gold Cup (conceding 16 lb to Mill House while breaking the course record by 17 seconds), and the 1965 Whitbread Gold Cup(under 12-7). In the 1966 Hennessy, he failed by only half a length to give Stalbridge Colonist 35 lb. The scale of the task Arkle faced is shown by the winner coming second and third in the two following Cheltenham Gold Cups, while in third place was the future 1969 Gold Cup winner, What A Myth. In December 1966, Arkle raced in the King George VI Chase at Kempton Park but struck the guard rail with a hoof when jumping the open ditch, which resulted in a fractured pedal bone; despite this injury, he completed the race and finished second. He was in plaster for four months and, though he made a good enough recovery to go back into training, he never ran again. He was retired and ridden as a hack by his owner and then succumbed to what has been variously described as advanced arthritis or possibly brucellosis and was put down at the early age of 13. Arkle became a national legend in Ireland. His strength was jokingly claimed to come from drinking 2 pints of Guinness a day. At one point, the slogan Arkle for President was written on a wall in Dublin. The horse was often referred to simply as "Himself", and he supposedly received items of fan mail addressed to 'Himself, Ireland'. The Irish government-owned Irish National Stud, at Tully, Kildare, Co. Kildare, Ireland, has the skeleton of Arkle on display in its museum. A statue in his memory was erected in Ashbourne Co. Meath in April 2014.
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34cm x 54cm Spectacular print of the Co Kildare Hunt in full cry including a stylish lady riding side saddle.The Kildare Hunt Club was formally born in 1804, with Sir Fenton Aylmer of Donadea as its first master. Hunting had flourished in the 17th century but became a more formal entity by 1726 when the Ponsonbys of Bishopscourt established what might well constitute the original ‘Kildare Hunt’. The Conollys of Castletown House and the Kennedy’s of Johnstown both had a private pack of foxhounds by the 1760s.There were also packs at Castlemartin, Ballynure, Castlewarden, Donadea and Straffan. The Leinster Harriers were established at Kilmorony House near Athy in 1812 while the Naas Harriers were kennelled at Jigginstown from 1920 until 2000. Another keen hunting family were the Burghs of Oldtown, Naas; TJ and Ulick Burgh both took part in the cavalry charge at the battle of Tel el Kebir in Egypt in 1882.In the early 19th century, hunt members simply ‘improvised some modest little meeting at which gentlemen and farmers alike could indulge their taste for riding over a typical bit of Kildare country’. And yet the sport transcended religion and class to such an extent that, in the diocese of Kildare and Leighlin, it was said that hunting amongst the Catholic clergy was widespread.
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71cm x 97cm Newbridge Co Kildare Phenomenal original oil on canvas of a motionless Lester Piggott cantering to an easy victory on board a handsome bay colt.The famous colours of the Aga Khan and Lady Clague can be seen battling for the minor honours.
"Lester Piggott, a dapper yet gaunt man, ghosts across the cold marble floor of a hotel in Mayfair with a vaguely haunted expression. The prospect of another interview, after a lifetime of such encounters, does not fill the great old jockey with glee. He has heard every question before and, as an infamously reluctant communicator, he has dodged most since his first winner in 1948. A Piggott interview is meant to be a challenge like no other.
Having spent the past few days consumed by grainy yet riveting footage of Piggott riding magnificent horses like Nijinsky and Sir Ivor, or watching him show a brutal need to win while driving on Roberto and The Minstrel to victory in the Derby in the 1970s, I launch into an earnest waffle of a greeting.
“Hello,” the 79-year-old Piggott says in his whispery mumble, offering a fleeting handshake.
Piggott’s life – stretching from 11 champion jockey titles and 30 Classic victories to a tangled personal life and being jailed for tax evasion – has always been compelling and prickly. Who else has won the Derby nine times, been stripped of his OBE and waged war against his own body so that he could scale 30 pounds less than his natural weight? The vivid backdrop lingers and a splash of colour peeks out in the form of Piggott’s pink shirt beneath a sober grey suit.
Forty years ago, when known as the Long Fellow, Piggott’s fame saw him ranked alongside Muhammad Ali, Pelé and George Best. Ali boasted loudly and justifiably that he was The Greatest; but the Long Fellow preferred icy silence or his trademark mumble.