• 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.
  • Beautiful framed print of the esteemed J.O' Connell’s Pub.29 South Richmond Street,one of the great Dublin watering holes. 48cm x 68cm  Dublin   "O’Connell’s, from what we can tell, is an old boozer. Our limited research skills haven’t managed to date it, but a record in ‘Thom’s Almanac and Official Directory for the Year 1862’ lists a Mr Walter Furlong – a grocer and spirit dealer, as it’s occupant. A further record from an electoral register dated between 1908 and 1915 describes the building as being a ‘Licensed House’. What’s nice though about this pub, though, is the fact that none of that is rammed down your throat. Nowadays we live in such a marketing-centric time, and it’s of particular annoyance to us when a pub which is barely opened a wet day bombards its patrons and potential patrons with a PR-spun, contrived ‘back-story’, which takes more than enough of its fair share of artistic license when deciding on how liberal to be with the truth. In J O’Connell’s this is no concern. What you do get here is an authentic Dublin boozer. The colour scheme is one that I can’t come to describe without mention of the word – festive. Glossy reds and greens cast a warming glow on the pub which is of a medium size overall. High seating is available at the bar only and a traditional combination of pub couches and low stools make up the rest. The walls display a good mix of the usual fare – horses, GAA, local history and some nice portraits of Brendan Behan & Co. Mix nicely along with the whiskey and beer trinkets about the place. Pintman Nº2 was taken with the arrangement of the shelving behind the bar and I noticed the barrel end of a few casks which sat into the bar, as they would have in the era before mainstream bottling. I wondered if they were an original feature at the time, I’m less uncertain now having discovered the age of the place. The vibe when we visited was quite a chilled one – a mix of young and old locals sat ensconced into various corners engrossed in quiet conversation. The radio was kept low enough and was playing Billie Holiday, or Billy Holiday-esque sort of tunes – we all agreed it an unusual set of tunes in the context of Dublin pubs en-masse, but too agreed that they suited the mood perfectly. The staff were excellent, the barman was on the ball with service and barely allowed us to leave our seats to obtain a jar. The pint was a bargain at €4.80 and was as satisfying on the palate as it was on the pocket. J O’Connell’s is one of the true undiscovered gems in Dublin’s landscape of pubs. And yes, the Panama Canal may be more impressive than The Grand, and there’s little doubt that the weather in the Carribean is nicer than ours. But who wants to be drinking rum in a wicker hut with sand down your trousers when you could instead be cuddled into a couch with a pint of plain in Portobello. I know which one I fancy more."
  • Attractive print of horses gathering at the start of a race at Clonmel,Co Tipperary(artist-Stephen Park) 30cm x 35cm.    Killenaule Co Tipperary  
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    A very interesting Royal Munster Fusiliers Poster with the history and battle honours of the storied regiment. Origins:Glin Co Limerick.      Dimensions : 23cm x 32cm        Glazed The Royal Munster Fusiliers was a line infantry regiment of the British Army from 1881 to 1922. It traced its origins to the East India Company's Bengal European Regiment raised in 1652, which later became the 101st Regiment of Foot (Royal Bengal Fusiliers). The Royal Munster Fusiliers were formed in 1881 by the merger of the 101st Regiment of Foot and the 104th Regiment of Foot (Bengal Fusiliers). One of eight Irish regiments raised largely in Ireland, it had its home depot in Tralee and served as the county regiment for Cork, Clare, Limerick and Kerry. At its formation the regiment comprised two regular and two militia battalions. The Royal Munster Fusiliers served in India before the regiment fought in the Second Boer War. Prior to the First World War, the regiment's three militia battalions were converted into reserve battalions, and a further six battalions were added to the regiment's establishment during the war. The regiment fought with distinction throughout the Great War and won three Victoria Crosses by the conflict's conclusion in 1918.Following establishment of the independent Irish Free State in 1922, the five regiments that had their traditional recruiting grounds in the counties of the new state were disbanded and the Royal Munster Fusiliers ceased to be as a regiment on 31 July 1922.

    History

    Origins

    A painting depicting the 101st Regiment of Foot (Royal Bengal Fusiliers), a predecessor regiment of the Royal Munster Fusiliers, marching to Delhi during the Indian Mutiny of 1857.
    Before the regiment was reformed as part of a reorganization of the British Army in 1881, the Royal Munster Fusilier's historic background went back as far as 1652 with the formation of the Bengal European Regiment by the Honourable East India Company.This regiment would eventually become the 101st Regiment of Foot (Royal Bengal Fusiliers), or the 1st Bengal European Fusiliers. The East India Company formed the 104th Regiment of Foot (Bengal Fusiliers), or 2nd Bengal European Fusiliers, from this regiment in 1765. Both regiments, which were composed exclusively of white soldiers, not Indian sepoys, played pivotal roles in the British conquest of India throughout the 18th and 19th centuries. As well as the Royal Munster Fusilier's origins as part of the East India Company, the regiment's reserve battalions also traced their lineage to the Militia of Munster (namely the South Cork Light Infantry Militia, the Kerry Militia and the Royal Limerick County Militia, which became the 3rd, 4th and 5th Battalions, respectively). While both the fusilier regiments had originated and served as "European" regiments of the East India Company, they were transferred to the British Army in 1861 when the British Crown took control of the company's private army after the Indian Mutiny of 1857.

    Formation

    The second half of the 19th Century saw the beginning of widespread reforms in the British Army which would eventually result in the formation of the Royal Munster Fusiliers. The first of these reforms saw the localisation of recruiting districts in Britain and Ireland between 1873 and 1874 under the Cardwell Reforms. Five of the historic East India Company's European infantry battalions were given Irish territorial titles under the Childers Reforms of 1881. The former Bengal Fusilier regiments were merged into a single regiment to become the 1st Battalion, Royal Munster Fusiliers and the 2nd Battalion, Royal Munster Fusiliers, while the 3rd, 4th and 5th Royal Munster Fusilier battalions were the militia units. The Reforms linked regiments to recruiting areas – which in case of the Royal Munster Fusiliers were the counties of Clare, Cork, Kerry, and Limerick. Militarily, the whole of Ireland was administered as a separate command with Command Headquarters at Parkgate (Phoenix Park) Dublin, directly under the War Office in London. The regimental depot was located at Ballymullen Barracks, Tralee, Co. Kerry.

    Second Boer War

    The 1st Battalion, Royal Munster Fusiliers in South Africa during the Second Boer War, 1901.
    Following the outbreak of the Second Boer War in South Africa in October 1899, a number of regiments from areas containing large centres of population formed additional regular battalions. The Royal Munster Fusiliers were announced to be among those regiments set to form 3rd and 4th regular battalions in February 1900, but they do not appear to have done so.The 1st Royal Munster Fusiliers embarked for South Africa in 1899, and would serve there throughout the entire Second Boer War. Initially, the battalion took part in Lord Robert's advance into the Orange Free State. Following this, the battalion was attached to the 20th Brigade and fought at the Battle of Belmont. With the beginning of the war's guerrilla warfare phase, the battalion took part in numerous pacification campaigns against the Boers in Pretoria and Western Transvaal. The 3rd (Militia) Battalion, Royal Munster Fusiliers, formerly the South Cork Light Infantry, was embodied in early December 1899, and 435 officers and men embarked the SS Sumatra for South Africa on 23 February 1900. The 2nd Battalion, Royal Munster Fusiliers, arrived in South Africa from India in December 1901 and served during the closing stages of the campaign, garrisoning blockhouses in the northeast of the Orange River Colony. Following the end of the war in 1902 the 1st Royal Munster Fusiliers were sent to India. More than 520 officers and men left Cape Town on the SS Lake Manitoba in September 1902, arriving at Bombay the following month and were then stationed at Multan in Punjab. They would later take part in actions against the tribes of the North-West Frontier in 1908. The 2nd Royal Munster Fusiliers left South Africa soon after their sister battalion, and 450 officers and men returned to Cork Harbour on the SS Orient in early November 1902.

    First World War

    Prior to the First World War, the Royal Munster Fusiliers were an established strength of two regular service and three reserve battalions. With the outbreak of war in August 1914, the need for further divisions resulted in the creation of a New Army made up of volunteers who would serve for the duration of the war. This rapid expansion of the British Army would significantly increase the size of the Royal Munster Fusiliers who between their regular, reserve and volunteer battalions would have a combined strength of 11 raised battalions throughout the war. At the outbreak of war the 1st Royal Munster Fusiliers was acting as a regular garrison in Rangoon, Burma, having being based in the Far East since they had left Fermoy in 1899 to fight in the Second Boer War. The 2nd Royal Munster Fusiliers were based at Aldershot, England as part of the 1st Army Brigade of the 1st Infantry Division at the outbreak of war.At the outbreak of war the Royal Munster Fusiliers three reserve battalions were all mobilised on 4 August 1914 and the regimental colours were sent to Tralee for safekeeping there until after the Armistice

    Regular Army

    1914: Arrival in France and the Great Retreat
    Men of the 2nd Battalion, Royal Munster Fusiliers in Aldershot just prior to the outbreak of the First World War, 1914.
    At the outbreak of war, the 2nd Royal Munster Fusiliers was under strength, and reservists were called up from the regimental depots at Tralee and Fermoyamid much local cheering, to join the battalion at Aldershot which brought the battalion up to a strength of 27 officers and 971 other ranks before its departure to France on 13 August 1914. As part of the British Expeditionary Force, the 2nd Royal Munster Fusiliers took part in the Battle of Mons and on 27 August were given the arduous task of forming the rearguard to cover the retreat of the 1st Division in the face of the German advance, with instructions to retreat only if ordered. The Munster's made an epic stand in a renowned rearguard action during the defence of Etreux, losing 9 officers and 87 other ranks killed while holding out,with most of the rest of the battalion being surrounded and taken prisoner after running out of ammunition. The Munster's had stemmed the Germans, who were five or six times their strength, for over a day, allowing their division to escape. The loss on an entire battalion so early in the war was a disaster for the regiment. When the scattered battalion reassembled on 29 August it was down to a mere 5 officers and 196 other ranks. The remnants of the 2nd Royal Munster Fusiliers were withdrawn to be recuperated before returning to battle, seeing action most notably at Langemarck, Belgium on 22 October. By 5 November, recruits from home brought its strength up to over 800 men. The battalion next saw action near Zillebeke, Belgium on 12 November and helped to defend against the last great German effort in the First Battle of Ypres. From 15 November, as snows began, they drove off further attacks, with trench warfare now becoming dominant. In early December they aided in the evacuation of the Ypres Benedictine Convent, whose occupants subsequently established Kylemore Abbey in Connemara, Ireland. The battalion was moved south to the Festubert sector in France, after a 36-hour march were ordered on 22 December to fill a gap by taking two lines of trenches. There were 200 casualties in the first 10 minutes of heavy fire. Withdrawing in total exhaustion on the next day, many wounded drowned in water-filled shell holes. Throughout Christmas and New Year they were fully occupied maintaining the trenches. On 25 January, the Kaiser's birthday the Germans tried unsuccessfully to break through with terrific shellfire. There then followed three months of rebuilding and training the battalion when it numbered 28 officers and 700 other ranks in May. Only four of the officers were pre-war.
    1915: Gallipoli and the Second Battle of Ypres
    The SS River Clyde holds dead of the Royal Munster Fusiliers who were killed while attempting to get ashore at Sedd el Bahr during the Gallipoli Campaign.
    The 1st Royal Munster Fusiliers, who had been stationed in Burma, arrived back at Avonmouth, UK in January 1915, and were entrained for Coventrywhere it was assigned to the 86th Brigade of the 29th Division (United Kingdom). In March it sailed for the Dardanelles, Turkey, when it numbered 28 officers and 1,002 other ranks. Turkey had joined the Central Powers's side in November 1914, the object of the landing on the Dardanelles peninsula was to open the Dardanelles Strait in the Battle of Gallipoli to enable Allied relief convoys reach Russia. Aboard the SS River Clyde, a converted collier with a capacity for over 2,000 men, they arrived on 25 April together with the 1st Battalion The Royal Dublin Fusiliers and some companies of the Royal Hampshires. The SS River Clyde ran gently ashore, its exit bows facing the beach, for what was to be the troubled British landing at Cape Helles. Small boats first carried companies of Dubliners to the beach, however four hidden Turkish machine gun posts opened fire and decimated them. Lighters to the shore were roped together and two companies of Munsters poured out on to the bow's gangway but were also hit by machine gun fire, with one survivor saying they were 'literally slaughtered like rats in a trap'. Many of the Munsters jumped from the gangway in the face of the withering fire and some drowned under their heavy equipment. Those men who continued down the gangway were mown down until all the boats and lighters were filled with dead and wounded. The ship's commanding officer, Captain Edward Unwin, on being informed that they were not succeeding, replied "in British military tradition, offensives once begun are never called off". Unwin was awarded the Victoria Cross for his actions that day. At daybreak the next day, just three companies of Munsters, two companies of Hampshires and one company of Dubliners had made it to the shelter of some dunes. On 26 April they took fort Sedd-el-Bahr overlooking the bay, charging and taking the village behind and held off several Turkish counterattacks. It was in this attack that the heroic actions of William Cosgrove won the regiment's first Victoria Cross. The 28 April saw a renewed attack in the Battle for Krithia village, but the survivors of the landing were withdrawn by 29 April due to heavy losses and amalgamated with the surviving Dublin Fusiliers, to form the "Dubsters" battalion of 8 officers and 770 men.
    The Last General Absolution of the Munsters at Rue du Bois administered by their chaplain Father Francis Gleeson
    The Turks launched a renewed attack on the night of 1 May, with one Royal Munster Fusilier saying "they crept up in the dark into our trenches bayoneting our men before we knew it had begun. Bayoneting on both sides was terrible. At dawn the Turks were mowed down, and heaps of bodies and streams of blood remaining everywhere."The battalion was reduced to 4 officers and 430 men, with the Turks attempting further attacks the following days only to be driven off once again, but the combined force of Munster and Dublin Fusiliers were down to 372 men by 11 April. Both the Munsters and Dubliners received new drafts on 29 May and became separate units again. By 4 June, the 1st Royal Munster Fusiliers numbered 40 officers and 500 other ranks, but many the new recruits were young and inexperienced. The Munsters withheld a further Turkish attack on 17 June, killing over 300 Turks. The arrival of further new drafts replenished the battalion to 23 officers and other 588 ranks. The Munsters took part in the Division's assault on 28 June which secured five trench lines. This provoked a general attack by the Turkish side along the Cape Helles front on 5 July, but the Turks were repulsed after suffering heavy losses. The 1st Royal Munster Fusiliers participated in limited actions into the middle of July. A month's rest was promised on 15 July, but by 22 July the battalion were back in action, their strength around 500 of whom only 3 officers and 314 men remained from those who first landed on 25 April. The climax of the Gallipoli came with the Suvla attack on 21 August in the Battle of Scimitar Hill, the Turks inflicted severe casualties. The unsuccessful attack cost the Munsters 3 officers and 79 men that day alone. There was little further action other than holding front lines from September through to November, when the weather worsened. Late in November, gales swept over the peninsula, hundreds were drowned in the flooded trenches or from exposure and frostbite. Faced with defeat, the British decided to withdraw from the peninsula and the 1st Royal Munster Fusiliers was evacuated as it arrived, on the River Clyde, sailing on 2 January 1916 for Alexandria. From there it sailed with the rest of the 29th Division and arrived in France on 22 March. 3 years of warfare still remained for the battalion on the Western Front, but the battalion had already suffered 45% of its total losses for the entire war at Gallipoli, and numbered just 24 officers and 287 men when disembarking in France.
    Certifying attendance at Father Gleeson's Mission, 1915.
    While their sister battalion had been fighting on the shores of Gallipoli, the 2nd Royal Munster Fusiliers had continued to serve on the Western Front and faced their first major action of 1915 in the Second Battle of Ypres, during which they fought at the Battle of Neuve Chapelle. The day before the attack was to be launched on 9 May, the battalion received Absolution from their chaplain, Father Francis Gleeson,an event which would become depicted in the famous "Rue du Bois" painting by Fortunino Matania.The British bombardment began at 5 a.m. and the Munsters then pressed forward with extraordinary bravery, with German fire sweeping no-mans-land. Some of the Munsters audaciously charging ahead through the German lines, briefly waving a green flag on its breastwork, then moved beyond until cut off by the British artillery bombardment that followed, which killed many men sheltering in shell craters. By 11 a.m. the 2nd Royal Munster Fusiliers was withdrawn with only 3 officers and 200 men remaining, having lost 19 officers and 370 men killed, wounded or captured. The Munsters was one of only two British battalions to reach the German lines but they had suffered the regiment's highest loss of any one day of the war, with 11 officers and 140 men killed in action. It was an unsuccessful day for the British forces overall, with casualties exceeding 11,000, the devastating losses exposing the British forces weakness in artillery. The summer was relatively quiet for the 2nd Royal Munster Fusiliers after the battalion moved to the Loos sector in June, with casualties in July and August occurring from shelling. With other forces being withdrawn to reinforce the Gallipoli Campaign, no reinforcements or recruits arrived during the summer, keeping the battalion weak as the Loos offensive began on 25 September 1915. The Munsters were held in reserve at first but they were soon tasked with holding the line and suffered over 200 casualties, leaving the battalion with around 350 soldiers all ranks, which further reduced to 250 by the time the battle died down on 13 October. John Redmond M.P., the Irish leader, visited the battalion a month later on 15 November and promised to fill the depleted 2nd Royal Munster Fusiliers with Irish recruits. There followed three months of bitter winter weather in appalling trench conditions. New recruits began arriving over the winter, but in the relative inactivity, 65 men were hit by harassing random fire while 40 men went down with frostbite and trench fever in the Arctic weather before the winter had ended.
    1916: The Battle of the Somme
    An illustration depicting men of the Royal Munster Fusiliers returning victoriously from their capture of Ginchy during the Battle of the Somme.
    The 1st Royal Munster Fusiliers entered the front lines in France for the first time on 23 April 1916 at the Somme sector, where they slowly built up strength to 26 officers and 476 men. On 29 May, the battalion was assigned to the 48th Brigade of the 16th (Irish) Division at Béthune and they were reinforced by members from the disbanded 9th Royal Munster Fusiliers, bringing the Battalion up to full strength. The Munsters remained in the area of the Loos salient into August with only intermittent casualties.When the 16th Irish Division was ordered south of the Somme battlefield, the 1st Royal Munster Fusiliers entered the line facing the strategic town of Ginchy on 5 September, having suffered over 200 casualties by gas-shelling on the way. The Munsters took part in the ensuing attack and triumphant capture of Ginchy by the 16th Division but at a high cost for the battalion which was reduced to 5 officers and 305 other ranks. A London newspaper headlined How the Irish took Ginchy – Splendid daring of the Irish troops In May, the 2nd Royal Munster Fusiliers received many of the personnel from the disbanded 9th Royal Munster Fusiliers, bringing it up to strength for the summer campaign. The battalions' first noteworthy operation was the carefully planned Liévin raid on 25 June. It was during this action that Lieutenant Arthur Batten-Pooll would win the regiment's second Victoria Cross, although losses were heavy for the battalion with 5 officers and 60 other ranks killed or wounded. The 2nd Royal Munster Fusiliers were transferred with its division down to the Somme sector in July for the opening of the Battle of the Somme, entering the lines on 14 July and capturing its objectives two days later. The battalion repulsed the German counterattack on 18 July, with an officer and 26 men killed, 127 wounded and 50 gassed. The Munsters were in reserve until 20 August, when they entered the lines once again for steady fighting but ran into heavy off-target and ineffective British artillery bombardment, killing 4 officers and 29 other ranks. A continual toll of casualties made September a costly month for the battalion. After a month's break in October, the 2 Royal Munster Fusiliers returned to the Somme for maintenance duties, then went into the mud filled front-line trenches from 27 November onwards, with a steady stream of casualties from frostbite and raids continuing to the end of December. Throughout the Somme campaign the 2RMF retained its local and Irish character. Following the end of their involvement in the Battle of the Somme, 1st Royal Munster Fusiliers was moved northwards to Ypres in Belgium and also absorbed the remnants of the 8th Royal Munster Fusiliers on 23 November to bring it up to a strength of 48 officers and 1,069 men by 1 December. The Munsters spent Christmas 1916 in the trenches, but as the New Year arrived, an official report relates "as if by mutual consent both sides ceased fire a minute or two before the close of the old year. On the stroke of midnight the pipers tuned up and gave us The Old Year out and the New Year in, A Nation Once Again ,God Save Ireland, and a few more songs of the old country, N.C.O.s and men joining lustily in the choruses".
    1917: The Battle of Messines and Passchendaele
    Old Royal Munster Fusiliers insignia
    The Kaiser knows each Munster, by the Shamrock on his cap, and the famous Bengal Tiger, ever ready for a scrap. With all his big battalions, Prussian guards and grenadiers, he feared to face the bayonets of the Munster Fusiliers.
    — Verse from a song published during the Great War
    Following a period of rest in January 1917, the 2nd Royal Munster Fusiliers were returned the front trenches again in February at Barleux, with the thawing weather resulting in extremely muddy conditions in the trenches. In March, the first major event was the German withdrawal from the old Somme battlefield to the newly constructed Hindenburg Line. The battalion followed across the Somme, but was held up into May removing mines and booby-traps and repairing communications. The Munsters then moved to near Nieuwpoort in Flanders for an intended amphibious landing, with an impressive strength of 43 officers and 1,070 men, which was aborted following a surprise German attack on 10 July. The Munsters were then moved with their division to Dunkirk for another amphibious attempt near Zeebrugge to link with a land offensive through Passchendaele, but this was also cancelled when the land offensive did not gain enough footing. For the men of the 1st Royal Munster Fusiliers, rotating routine trench duties continued up to the middle of March with light casualties (2 officers and 20 men killed). The battalion rehearsed special training during April and May for the assault on the strategic Messines Ridge. The Flanders offensive began at 3.10am on 7 June 1917 with the detonation of nineteen huge mines previously burrowed under the German lines. This was followed by the advance of the 16th Irish Division opposite the village of Wytschaete, to the right the 36th (Ulster) Division opposite the village of Messines, the largest ever concentration of Irish soldiers on a battlefield. The 1st Royal Munster Fusiliers took all its objectives on schedule despite the loss of nearly all of its supporting tanks. The subsequent battle was a complete success militarily for the British, with the two Irish divisions showing great fortitude, advancing over two miles in a few days with minimal losses, which was exceptional by Western Front standards. The battalion was then relieved, and returned to the Ypres salient front section in August. Continuous rain turned the battlefront into a sea of mud causing a multitude of casualties and failure to take specific positions, reducing the battalion to 37 officers and 701 men. The Munsters were moved with its Division back south into France where it built up to 1,089 all ranks. The 16th (Irish) Division, and with it the 1st Royal Munster Fusiliers, took up positions north of the main attack during the first Battle of Cambrai which opened on 21 November with the use of over 450 British tanks. The Munsters advanced with such speed that only one enemy machine gun post was manned in time to open fire, which was taken with one loss. Considering the success of capturing a difficult objective without tank support and taking 170 prisoners, losses were light, and followed previously unsuccessful attempts by other units during the summer. The 1st Royal Munster Fusiliers final front tour of 1917 ended on 2 December when the Division was moved south to take over a French section. By 6 November 1917, the 2nd Royal Munster Fusiliers now numbered 20 officers and 630 other ranks when it arrived at "Irish Farm" in the Ypres salient. The ground was a quagmire full of water-logged shell-holes following four months of battle. It was to be the last British effort of the Passchendaele campaign. The Munsters were to be one of two battalions leading the 1st Division's attack at 6 a.m. on 10 November. Weighed down with equipment, they waded waist deep through mud and water, initially taking all objectives within 45 minutes. Seeing the progress by the Canadians on the right, the men of the Munsters pressed on. However, the South Wales Borders advance had left a gap the Germans made use of to cut off most of the 2nd Royal Munster Fusiliers who then had to fight their way back to the British lines. A roll call took three hours later saw only 7 officers and 240 other ranks present with 12 officers and 393 other ranks having become casualties. The battalion was moved out to Brieulles for reforming for the rest of the year.
    1918: The German Spring Offensive and Final Victory
    Two officers of the 2nd Battalion, Royal Munster Fusiliers man a machine gun on the Western Front.
    From January through to March, the 1st Royal Munster Fusiliers was involved in various engagements in snow, frost and mud. By St. Patrick's Day 1918, it became clear that the Germans were gaining the initiative and their forecast "Big Move" was awaited. By the end of January 1918 the 2nd Royal Munster Fusiliers numbered 44 officers and 823 other ranks, and was then transferred to the 48th Brigade of the 16th (Irish) Division on 3 February near Peronnewhere it entered the lines a week later. The division was now under the command of General Hubert Gough. The British front was at its lengthiest when the German Spring Offensive opened with a devastating bombardment early on 21 March 1918, after which a fierce attack by fresh troops was launched. The 2nd Royal Munster Fusiliers suffered badly from the shelling but held the Germans up all night, before they broke through and overwhelmed the Munsters who dashed to retreat, with some making it to a high ridge trench where they were driven out and retired to Epehy by dark, fog having allowed the Germans to infiltrate easily. The next day the battalion was withdrawn to Tincourt where the depleted 16th (Irish) Division was concentrated, with the 2nd Royal Munster Fusiliers now numbering only 290 other ranks, from 629 the day before. On 22 March, the battalion crossed back over the Somme at Péronne.By 25 March, the battalion had lost 27 officers and 550 men, as the rest tried to reform, holding off several attacks and near encirclements. The Munsters formed a 400-man column and attempted a night retreat, half reaching friendly positions next morning at Hamel. The 1st Royal Munster Fusiliers was fortunate to be in reserve as the Germans opened the offensive with a gas-bombardment. By the next day, the battalion was heavily engaged, the enemy using a new zigzag attack strategy. The battalion retaliated but was forced to withdraw and were quickly down to 7 officers and 450 men. There was then a general withdrawal across the Somme at Peronne, by which time the battalion was reduced to just 290 men. The German offensive had decimated the 1st Royal Munster Fusiliers to a shadow of its previous strength. The 16th (Irish) Division was reduced to cadre, having suffered the heaviest losses of any British division during the March retreat. The 1st Royal Munster Fusiliers was transferred to the 57th (2nd W.Lancs) Division which had not seen action since its arrival in February 1917.The 2nd Royal Munster Fusiliers was largely destroyed by the German offensive, losing 36 officers and 796 other ranks since 21 March. The battalion moved northwards to amalgamate with the equally hard hit 1st Royal Munster Fusiliers at Inghem on 14 April, with the resulting unit numbering 28 officers and 896 other ranks. The 2nd Royal Munster Fusiliers was then reduced to a training cadre of 11 officers, who left the 16th (Irish) Division to provide instruction for newly arrived American Expeditionary Force. In May, the 1st Royal Munster Fusiliers entered the lines again at Gommecourt, a quiet sector during the summer. On 27 August, the battalion again entered the line for an attack near Croisilles, taking enemy support trenches on the Hindenburg Line in half an hour with minimal losses. This was followed by the assault of 2 September when Martin Doyle won the battalion's third Victoria Cross on the DrocourtQueant Line south of the river Scarpe, with the battalion suffering 350 casualties. The battalion was then relieved and received replacements and trained in preparation for the assault on the Cambrai to St. Quentin line. With a 3,000-yard advance on 27 September, Graincourt was captured by the Munsters. The Germans counter-attacked, recapturing many positions. The battalion remained under shellfire even behind the lines and was reduced to 7 officers and 261 men by 3 October.The battalion supported the final attack of the Battle of Cambrai on 8 October, which was found to be evacuated the following day as the Germans were in disorganised retreat. The 57th Division was then sent north to Armentières, with the Munsters entering the line on 17 October, with no resistance. Lille was captured the following day and the battalion provided a guard of honour for the French President's visit to the city on 21 October. The 1st Royal Munster Fusiliers was billeted in Lille until the Armistice of 11 November 1918. The 2nd Royal Munster Fusiliers began reconstruction on 7 June 1918 when most of the 6th Royal Munster Fusiliers who had returned from Palestine were transferred to the 2nd Royal Munster Fusiliers. The battalion made its last transfer to the 150th Brigade of the 50th Division at Arras for the beginning of the Hundred Days Offensive. On 1 October, the battalion was transported to Épehy, which had been the scene of its Spring Offensive experiences back in March, and it was again ordered into the lines on 4 October, to capture Le Catelet. The Munsters largely gaining their objective, however, they had to retire after encountering heavy counterattacks and failures elsewhere on the line, losing many 6st Royal Munster Fusiliers pre-war veterans who had survived Gallipoli. The 50th Division's advance was resumed on 10 October, and the battalion was reduced to 13 officers and 411 men by 16 October. The Battle of Épehy began on 18 October to drive the Germans behind the river, with the Munsters going in next day in fog surprising the Germans and taking many prisoner as well the objectives. The Munsters overran their objectives and were caught in another Division's barrage, with heavy losses experienced. They were then withdrawn and reorganised for what to be their final operation of the war, successfully taking a large area around Haute Noyelles on 4 November, the number of prisoners taken indicative of the low state of German morale. After a counter-bombardment on 7 November the battalion was withdrawn for the remaining days up until the Armistice.

    New Army

    With the outbreak of World War I in August 1914 the immediate need for a considerable expansion of the British Army resulted in the formation of the New Army under Lord Kitchener. The war target was seventy divisions in all, the New Army to have thirty volunteer divisions separate and under Army Order 324, as additional from the Regular Army, with a planned period of service of at least three years. On 7 August a general United Kingdom-wide call for 100,000 volunteers aged 19–30 was issued. The battalions were to be distinguished by the word 'Service' after their number. The first new battalions were raised as units of Kitchener's new K1 Army Group, which led to the formation of the 6th and 7th (Service) Battalions, Royal Munster Fusiliers which were a part of the 30th Brigade of the 10th (Irish) Division, under the command of General Bryan Mahon. The 8th and 9th (Service) Battalions, Royal Munster Fusiliers followed as units of the 16th (Irish) Division's 47th and 48th Brigades, part of Kitchener's second new K2 Army Group. The 16th Division was placed under the command of Major General William Hickie.In the course of the war heavy losses suffered by the two Regular Royal Munster Fusilier Battalions caused the new service battalions to be disbanded and absorbed in turn by the regular battalions, the last on 2 June 1918 when the 8th (Service) Battalion, Royal Munster Fusiliers was amalgamated with the 1st Battalion, Royal Munster Fusiliers.
  • Enniscrone Co Sligo   45.5cm x 68.5cm Famous print of painting by Richard Moynan titled "Military Manoeuvres" which now resides in the National Gallery in Dublin.

    The Dublin-born painter Richard Moynan was 24 years old at the commencement of his artistic training. He was educated with a view to entering the medical profession and proceeded so far on the course to need only his final examination to qualify, but his artistic instincts proved to be too strong to be resisted, and he abandoned the profession of medicine for that of art, and made it his life long study. (The Irish Times, 11 April 1906, p. 5.) Moynan entered the Dublin Metropolitan School of Art (DMSA) in January 1880, having initially studied there on a part-time basis. Due to an Act of Parliament passed in 1877 the school came under the control of the Department of Science and Art of South Kensington, which aligned it with the British art education system. The headmaster, Robert Edwin Lyne, was a product of this education as he had received his instruction in the (British) National Training School prior to taking up his appointment in Dublin in 1863.  In the DMSA, Moynan gained the requisite qualifications in 'Freehand, Geometry, Perspective and Object Drawing, 2nd grade' (Thoms, 1891, p. 833), which allowed him entry to the Royal Hibernian Academy Schools in 1882. The following July he was awarded the 'Albert Scholarship for the best picture shown in the Academy by a student' (Strickland, Vol II, 1913, p. 144). This enabled the artist to continue his studies in Académie Royale des Beaux Arts in Antwerp, moving on to Paris in 1885, where he honed his skills in portraiture at Académie Julian. Moynan returned to his native Dublin in December 1886 to establish a practice as a portrait painter, but he also pursued his craft in terms of genre scenes, history painting and literary subjects. The painting, Military Manoeuvres (1891), marks a watershed in the artist's development. It demonstrates his art-making process and provides an insight into his political beliefs.

    Military_Maneuvers.jpg

    Military Manoeuvres was exhibited when Moynan was at the height of his powers. In July of the previous year he was elected to full membership of the Royal Hibernian Academy, which earned him the honour of being one of 30 constituent members of the most important professional Irish artistic institution. This radically changed the painter's studio practice. It allowed him to modify both the size and pricing structure of his paintings, as he was no longer obliged to submit his work for selection to the RHA jury. Therefore, from 1891 onward Moynan tended to focus on one expensively-priced, large-scale painting per year, as well as smaller auxiliary pieces to help sustain his income. The asking price of Military Manoeuvres was £210, an amount that far exceeded the price requested by his fellow exhibitors. However, it appears that the practice of RHA members seeking inflated prices for their work was not unknown: It has often been observed by the public, though seldom ventured into print, that the resident artists of capacity demand exorbitant prices for their work and the fact is advanced as a reason why so few pictures are sold.  (The Freeman's Journal, 24 March 1891, p. 5). Military Manoeuvres illustrates a crowded street-scene depicting a group of children amusing themselves by pretending to be a regimental band. The title of the work is humorous and although Moynan shows the children's ragged dress, he focuses mainly on the boys’ ability to have fun. Their toys include saucepan lids as cymbals, an upturned bucket serving as a drum, a biscuit tin, a coffee pot, a paper trumpet, a penny whistle and a wooden sword. Their leader carries a broom and wears a splendid brass helmet, which contrasts with his general apparel. This helmet was obviously purloined nefariously from some source. This attracts the attention of a passing soldier who happens to recognize the elaborate headgear as being a black-plumed band helmet from his own regiment, the 4th (Royal Irish) Dragoon Guards. The trooper makes eye contact with the bandleader and steps threateningly towards him. The soldier’s lady-friend encourages him to see the funny side of the incident, while passers-by stop and stare. The success of this piece lies primarily in two areas, the skill of the artist in challenging the viewer to interpret the story, and the excellent execution of the figure work. There are 15 children in the band, all individual in facial type and dress. Moynan’s sketchbooks in the National Gallery of Ireland demonstrate his commitment to grouping and regrouping his subjects as he explored different dynamics in an effort to achieve the most effective composition. He was an acute observer of human nature and although this picture contains over 30 figures, the scene appears to be naturalistic and spacious. The viewer’s eye-movement is guided by the interaction between the young 'drum-major' and the soldier, and is, in turn, reinforced by the anxious glances of the flower seller in the foreground. This finely-painted genre scene reflects the artist's academic training. The detailed execution of the figures demonstrates the influence of the painter's RHA professor, Augustus Burke, while also showing a connection with French art practice as the cloudy sky exhibits a dull, even light made popular by the plein air painter Bastien Lepage. The scale of the work is significant as it measures 148 x 240 cm, a size that was considered to be more suitable for a history subject rather than a genre piece. The expansive scale was not without precedent, as two years earlier Aloysius O'Kelly exhibited The Station, Saying Mass in a Connemara Cabin in the R.H.A. exhibition. This work, measuring 152.5 x 178 cm is slightly smaller than Military Manoeuvres. O’Kelly’s quintessential Irish subject reflects the importance of Catholicism among the peasant population. Moynan was a keen observer of O'Kelly's work. He adapted the central motif for his award-winning painting The Last of the 24th at Isandula from an O'Kelly newspaper print entitled The State of Ireland, Affray at Belmullet, Co. Mayo, published in 1881 in The London Illustrated News. Moynan's Unionist politics differed radically from O'Kelly's Nationalism but, nevertheless, the size and the subject matter of The Station, Saying Mass in a Connemara Cabin must have struck a chord, as, two years after its appearance in the R.H.A exhibition, Moynan painted a large street scene which explored another important aspect of Irish life, the effect of the military in the every-day lives of the people. Moynan's sketchbooks in the National Gallery of Ireland provide an insight into the artist's working methods and contribute to our knowledge of the process involved in the construction of his paintings. This invaluable collection of 9 sketchbooks was donated by Gordon Lambert in memory of his friend, the artist's daughter, Eileen Nora (known as Biddy). One of the chief characteristics of the artist's work is mise en scene, or the ability to present a composition with dramatic force, as if the characters were actors arranged under the proscenium arch. This was not simply a serendipitous occurrence, as the artist's sketchbooks reveal no less than 8 studies for Military Manoeuvres.  These illustrate the painter's careful assembly of material, taking infinite pains in constructing a suitable streetscape, while also exploring several alternative arrangements of the figures within the composition. This approach demonstrates the methodology employed by a classically-trained artist, who painstakingly built up a picture by addressing compositional issues and architectural detail along with exploring different methods of conveying the narrative. Most of the artist’s NGI sketchbooks are pocket-sized containing pencil slots suggesting their primary function was to capture ideas and poses. An analysis of the material relating specifically to Military Manoeuvres suggests that their chief thrust is generic, rather than specific. The artist employed the sketchbooks as a kind of manual camera, to record ideas as opposed to developing studies for specific figures. There are over 30 individuals depicted in Military Manoeuvres, each of whom is a distinct character. Moynan must have sketched and painted studies for all of these people, yet this type of detail is not present in the sketchbooks. Instead, they contain studies dealing mostly with compositional matters.
    Military Maneuvers drawing.bmp
    The artist's notebooks in the National Gallery provide two alternative compositions for Military Manoeuvres. Sketchbook no. 19.171, Folio 10 Verso shows a group of children marching in time to the beat of their instruments and sketchbook  no. 19.175, Folio 9 recto, is essentially the same group of children, but, in this version, their leader holds a sword in his hand. It is interesting to note that the artist finally selected a passive, more psychological composition as opposed to the simpler, more action-packed version depicted in sketchbook no. 19.171, Folio 10 verso. This dynamic sketch exudes motion as the band members march forward four-abreast, the tilt of their bodies and the movement of their feet suggesting rhythm and pace as they advance energetically towards the viewer. The theme of motion is reinforced by the presence of a soldier and his lady-friend, as they walk in step with the children's band. This rhythm is also expressed by Moynan's quick, slashing pencil-strokes as he loosely establishes the figures in the foreground, the soldier and the lady. Standing on the right of the composition, conducting the action is the young drum major. Once again he is wearing the elaborate brass, regimental helmet of the 4th (Royal Irish) Dragoon Guards, with its horsehair plume. His body is arched in counter-rhythm to the marching band and, at first glance, he appears to be halting the action. He waves both hands in the air; his left hand directing the music, while the tightly-gripped staff in his right hand confers almost regal authority. The attention of all members of the band is focused on his directions. The soldier looks directly ahead, while his companion curiously gesticulates towards the drum major. This composition differs enormously from the final painted version of Military Manoeuvres. It tells a much less complex story of the children's ability to find amusement by pretending to be an army band. Their enjoyment is infectious, as the soldier and his companion march along to the beat of the music. The children concentrate on their own pursuits and do not notice that their game has the added benefit of also entertaining the adults. There is no air of mystery about this piece. All parties in the picture are in harmony. The children do not tease the soldier, and there is no sign of the concerned-looking flower girl. In this version, the soldier is proud of his occupation and this sense of pride is endorsed by the children's games. The humour in the piece lies in the fact that, for a brief moment, it appears as if the trooper is an honorary member of the children's band, who has temporarily fallen under the command of the bandleader. There is a freshness and sense of immediacy about this sketch that begs the question, was this perhaps an actual event that Moynan witnessed? The soldier has been identified as wearing the walking-out dress of the 4th (Royal Irish) Dragoon Guards, a regiment based in Newbridge between the late 1880s and 1893 under the command of General Sir Edward Cooper Hodge, K.B.E. Could the trooper have been visiting his home in Leixlip when he saw his young brother parading about the streets wearing his regimental band helmet? Moynan frequently worked in the Lucan/Leixilp area during the period when the Dragoon Guards were situated in Newbridge. The popularity of the spa at Lucan made it much favoured by 'visitors and invalids' (Thoms, 1891 p. 1310) as it was accessible by steam tramway which ran from Conyngham Road. The artist was a member of the Dublin Sketching Club who ventured on a field trip to the village of Lucan in the spring of 1889. His 1892 painting entitled, Old Mill - Leixlip, also suggests familiarity with the Leixlip area. Moynan's knowledge of Aloysius O'Kelly's Mass in a Connemara Cabin may have prompted him to consider the possibility of producing a large genre piece, reflecting Unionist rather than Nationalist values. The sketch he made in Leixlip village provided an excellent opportunity to explore the importance of the military within an Irish rural environment. But the artist was dissatisfied with such a simplistic arrangement as found in sketchbook no. 19.171, Folio 10 Verso, as he wished to challenge the viewer to interpret the scene. In the final version of Military Manoeuvres, the children's band is far more intent on baiting the soldier than pursuing their games. The inclusion of the flower girl enables the artist to construct a moment of tension as she observes the expression of the soldier and awaits the interaction between the trooper and the bandleader. Moynan rejected the forward march of the musical band in favour of a more diffuse arrangement, as the triangular relationship between the flower girl, the Drum-Major and the soldier prompts inquiry into the reactions of the various groups within the canvas. Indeed, the painted version of Military Manoeuvres could in fact be the sequel to the sketchbook version. This shows the artist's ability to develop, not just the compositional elements within the painting, but to modify the idea behind the narrative to produce a more engaging story line. Opinion has long been divided on the setting for Military Manoeuvres. At first glance, the streetscape mirrors that of Main Street in the village of Leixlip, Co. Kildare but certain details do not support this theory. Dr. Brian P. Kennedy's careful comparison with the near-contemporary Lawrence photograph establishes broad parallels between the photographic and the painted version, but it is difficult to reconcile certain details. This is precisely because of Moynan's approach to formulating a composition was creative rather than topographical. He had no difficulty in relocating solid architectural features in an effort to gain balance and symmetry. Kennedy remarks that the church spire is the result of 'artistic license' (Kennedy, 1993, p. 28). This is true on two counts. The church of St. Mary's is situated on the left side of the road as one proceeds up Main Street, Leixlip, in the direction of Pound Street. Furthermore, St. Mary's does not have a conventional spire but terminates in a castellated Norman-style tower. Reference to the artist’s sketchbooks reveals that the spire featured in Military Manoeuvres was 'borrowed' from the church of St. Andrew in the nearby village of Lucan. This distinctive architectural gem obviously attracted the artist, as he sketched it from no less than three different angles. Therefore, Moynan sacrificed architectural accuracy in his quest for a perfectly balanced composition. It is also possible that the presence of the spire in Military Manoeuvres had another, more personal significance for the artist, as a spire, or an obelisk, is emblematic of the craft of Freemasonry. By including the spire in Military Manoeuvres the artist may have been acknowledging the importance of ‘the craft’ and paying tribute to his fellow Masons. He had been a member of the Dublin Lodge of St. Cecilia (No. 250), since January 1887. He had special links with the Masonic Orphan Schools as its headmaster, J. Holbrook, was a fellow member of the Lodge of St. Cecilia. In 1888 the Masonic Boys School moved premises from Adelaide Hall in Merrion to Richview in Clonskeagh, to allow an increase in the student body. The artist's involvement with this charity was held in such high regard that his fellow lodge members held a special dinner in his honour. Pictorial comparisons between the school’s sports day activities, such as the tug-of-war featured in the Masonic magazine, and a 1891 painting of the same title by the artist suggest that Moynan may have sourced many of the young models for his genre scenes, including Military Manoeuvres, from the Masonic Boys School. Military Manoeuvres marks a turning point in the artist's oeuvre as it demonstrates a move away from his usual studio-based painting and shows a tendency to work out of doors. This street scene was one of six paintings exhibited by the artist in the 1891 RHA exhibition, and three other titles, Tug-of-War, ‘Wady-Buckety’, and View on the Dodder, (near Templeogue) also suggest outdoor scenes. This trend to work en plein air was a practice developed by the artist over the next ten years. It led to a group of distinctly ‘Irish Impressionist’ style paintings and canvases such as Killiney Sands painted in 1894 (currently in the Allied Irish Bank Collection), demonstrate this trend as it expresses Impressionist influences in terms of subject matter, application of paint and use of colour. Moynan was a passionate Unionist who used his art as a platform for his political beliefs. He was the chief illustrator with the leading Unionist newspaper of the day, The Union. He painted a number of highly political works, such as Home Again (1883). But the main thrust of the narrative in Military Manoeuvres is observational and humourist rather than political. Yet the artist does not shy away from showing the children's shabby surroundings. He frankly portrays the neglected state of the roads. This was probably a popular topic of discussion within the Moynan family circle as his brother, John Ouseley Bonsell Moynan, was the principal engineer for county Tipperary where he introduced an innovative system of road building and maintenance. Contrasting reviews of the 1891 RHA exhibition provide an insight into contemporary attitudes to Irish art. The critic writing for The Freeman's Journal initially addressed controversial issues such as the high prices of the exhibits and then proceeded to embark on a major diatribe regarding the lack of support for the exhibition by the government, the aristocracy and the so-called patrons of the RHA. He questioned the quality of some of the work: 'Allusion has been made to the fact that many very inferior productions are allowed a place on the walls of the exhibition' (The Freeman's Journal, 24 March 1891, p. 7) and even condemned a painting by the President of the RHA, Sir Thomas Alfred Jones (Jones was an associate of Moynan's in the Masonic Lodge): 'The President's picture Paddy's Proposal is anything but a success. Subjects of this kind are quite outside his range. He should stick to portrait painting' (The Freeman's Journal, 24 March 1891, p. 7). Yet, consistently through out three reviews the same critic extols Moynan's virtues: There is one fact undoubted that will be gratifying to the members of the Academy and the public - namely, that in one or two special instances the younger members unquestionably have shown a desire and a capacity to prove worthy of their name. Mr. Moynan's large picture has already been spoken of as an example of this. (The Freeman's Journal, 5 March 1891, p. 5) He also mentioned Military Manoeuvres in an earlier review: There is a lot of exceedingly good work in this picture. The subject is good and it has been treated with great humour and skill and with genuine artistic instinct. (The Freeman's Journal, 2 March 1891, p. 5) The reviewer in The Irish Times was also fulsome in his praise of both the artist and the painting in question: Mr. Moynan is another artist who has this year come to the front. His big picture Military Manoeuvres (No. 26) at once challenges attention on account of its size and the novelty of its caption, and the abundant labour that has been expended upon its detail. For an Irish artist the work is a most ambitious one, and we cordially recognise the success of the artist. The group of boys passing through the village streets playing at soldiers equipped in mock panoply is full of life and movement, and the introduction of a real red coat is a happy stroke. (The Irish Times, 2 March 1891, p. 3) But it is equally important to note that Moynan's reaction to the critics was bi-directional. It appears that Military Manoeuvres in its original format had a dog in the centre of the composition and in response to a newspaper notice the painter altered the composition. The instigator of the change was the reviewer form The Freeman's Journal: '... the picture (Military Manoeuvres) is really interesting and very clever of its kind. There is a very eccentric looking dog in the centre of the picture - very eccentric' (The Freeman's Journal, 2 March 1891, p. 5). Yet, on publication of the Second RHA Notice, just three days later, the artist has taken this criticism on board and reacted by removing the dog from the composition: 'and bye-the-bye, he has quite rightly painted out that very eccentric dog alluded to in our last notice' (The Freeman's Journal, 5 March 1891, p. 6). This shows the artist's willingness to accept informed criticism and to act accordingly. But despite all the praise heaped on Military Manoeuvres, this work, like many other paintings exhibited in the 1890s Dublin market, remained unsold at the close of the exhibition. Two years later it was shown in America: Military Manoeuvres, exhibited at the RHA, at the Chicago exhibition and at the San Francisco exhibition. In the following year it was purchased in the latter place for a large sum.  (The Irish Times, 11 April 1906, p.5.) Military Manoeuvres is the product of the confluence of the artist's academic training and experience. This mid-term painting offers an insight into various elements, which helped forge Moynan’s professional identity and provides a glimpse of some of the educational, social and political issues that affected the art-making practice of his day.
  • Out of stock
    Very interesting collage type framed, unglazed print depicting the Irish Soccer Teams World Cup Odyssey in 1990,when it qualified for the Works Cup Finals in Italy for the first time in our history.Draws against England,Egypt and Holland meant the Rep of Ireland met Romania in the Last 16 game in Genoa,when Packie Bonner famously saved a penalty before David O Leary converted his to send the entire nation into raptures .The dream journey  would finally end against Italy in Rome but not before an entire country had come to a standstill. Drimnagh  Dublin   70cm x 56cm                                 70 x 56cm 3.5kg
  • Fantastic panoramic photo of the modern Croke Park,one of the most iconic sporting venues in the World. Dimensions: 36cm x110cm Croke Park (Irish: Páirc an Chrócaigh) is a Gaelic games stadium located in Dublin, Ireland. Named after Archbishop Thomas Croke, it is sometimes called Croker by GAA fans and locals. It serves as both the principal stadium and headquarters of the Gaelic Athletic Association (GAA). Since 1891 the site has been used by the GAA to host Gaelic sports, including the annual All-Ireland in Gaelic football and hurling. A major expansion and redevelopment of the stadium ran from 1991–2005, raising capacity to its current 82,300 spectators. This makes Croke Park the third-largest stadium in Europe, and the largest not usually used for association football. Other events held at the stadium include the opening and closing ceremonies of the 2003 Special Olympics, and numerous musical concerts. In 2012, Irish pop group Westlife sold out the stadium in record-breaking time: less than 5 minutes. From 2007–10, Croke Park hosted home matches of the Ireland national rugby union team and the Republic of Ireland national football team, while their new Aviva Stadium was constructed. This use of Croke Park for non-Gaelic sports was controversial and required temporary changes to GAA rules. In June 2012, the stadium hosted the closing ceremony of the 50th International Eucharistic Congress during which Pope Benedict XVI gave an address over video link.

    City and Suburban Racecourse

    A fireworks and light display was held in Croke Park in front of 79,161 fans on Saturday 31 January 2009 to mark the GAA's 125th anniversary
    The area now known as Croke Park was owned in the 1880s by Maurice Butterly and known as the City and Suburban Racecourse, or Jones' Road sports ground. From 1890 it was also used by the Bohemian Football Club. In 1901 Jones' Road hosted the IFA Cup football final when Cliftonville defeated Freebooters.

    History

    Recognising the potential of the Jones' Road sports ground a journalist and GAA member, Frank Dineen, borrowed much of the £3,250 asking price and bought the ground in 1908. In 1913 the GAA came into exclusive ownership of the plot when they purchased it from Dineen for £3,500. The ground was then renamed Croke Park in honour of Archbishop Thomas Croke, one of the GAA's first patrons. In 1913, Croke Park had only two stands on what is now known as the Hogan stand side and grassy banks all round. In 1917, a grassy hill was constructed on the railway end of Croke Park to afford patrons a better view of the pitch. This terrace was known originally as Hill 60, later renamed Hill 16 in memory of the 1916 Easter Rising. It is erroneously believed to have been built from the ruins of the GPO, when it was constructed the previous year in 1915. In the 1920s, the GAA set out to create a high capacity stadium at Croke Park. Following the Hogan Stand, the Cusack Stand, named after Michael Cusack from Clare (who founded the GAA and served as its first secretary), was built in 1927. 1936 saw the first double-deck Cusack Stand open with 5,000 seats, and concrete terracing being constructed on Hill 16. In 1952 the Nally Stand was built in memorial of Pat Nally, another of the GAA founders. Seven years later, to celebrate the 75th anniversary of the GAA, the first cantilevered "New Hogan Stand" was opened. The highest attendance ever recorded at an All-Ireland Senior Football Championship Final was 90,556 for Offaly v Down in 1961. Since the introduction of seating to the Cusack stand in 1966, the largest crowd recorded has been 84,516.

    Bloody Sunday

    Bloody Sunday remembrance plaque
    During the Irish War of Independence on 21 November 1920 Croke Park was the scene of a massacre by the Royal Irish Constabulary (RIC). The Police, supported by the British Auxiliary Division, entered the ground and began shooting into the crowd, killing or fatally wounding 14 civilians during a Dublin-Tipperary Gaelic football match. The dead included 13 spectators and Tipperary player Michael Hogan. Posthumously, the Hogan stand built in 1924 was named in his honour. These shootings, on the day which became known as Bloody Sunday, were a reprisal for the killing of 15 people associated with the Cairo Gang, a group of British Intelligence officers, by Michael Collins' 'squad' earlier that day.

    Dublin Rodeo

    In 1924, American rodeo promoter, Tex Austin, staged the Dublin Rodeo, Ireland's first professional rodeo at Croke Park Stadium. For seven days, with two shows each day from August 18 to August 24, sell out crowds saw cowboys and cowgirls from Canada, the United States, Mexico, Argentina and Australia compete for rodeo championship titles.Canadian bronc riders such as Andy Lund and his brother Art Lund, trick riders such as Ted Elder and Vera McGinnis were among the contestants. British Pathe filmed some of the rodeo events.

    Stadium design

    In 1984 the organisation decided to investigate ways to increase the capacity of the old stadium. The design for an 80,000 capacity stadium was completed in 1991. Gaelic sports have special requirements as they take place on a large field. A specific requirement was to ensure the spectators were not too far from the field of play. This resulted in the three-tier design from which viewing games is possible: the main concourse, a premium level incorporating hospitality facilities and an upper concourse. The premium level contains restaurants, bars and conference areas. The project was split into four phases over a 14-year period. Such was the importance of Croke Park to the GAA for hosting big games, the stadium did not close during redevelopment. During each phase different parts of the ground were redeveloped, while leaving the rest of the stadium open. Big games, including the annual All-Ireland Hurling and Football finals, were played in the stadium throughout the development.
    The outside of the Cusack Stand

    Phase one – New Cusack Stand

    The first phase of construction was to build a replacement for Croke Park's Cusack Stand. A lower deck opened for use in 1994. The upper deck opened in 1995. Completed at a cost of £35 million, the new stand is 180 metres long, 35 metres high, has a capacity for 27,000 people and contains 46 hospitality suites. The new Cusack Stand contains three tiers from which viewing games is possible: the main concourse, a premium level incorporating hospitality facilities and finally an upper concourse. One end of the pitch was closer to the stand after this phase, as the process of slightly re-aligning the pitch during the redevelopment of the stadium began. The works were carried out by Sisk Group.

    Phase two – Davin Stand

    Phase Two of the development started in late 1998 and involved extending the new Cusack Stand to replace the existing Canal End terrace. It involved reacquiring a rugby pitch that had been sold to Belvedere College in 1910 by Frank Dineen. In payment and part exchange, the college was given the nearby Distillery Road sportsgrounds.[19] It is now known as The Davin Stand (Irish: Ardán Dáimhím), after Maurice Davin, the first president of the GAA. This phase also saw the creation of a tunnel which was later named the Ali tunnel in honour of Muhammad Ali and his fight against Al Lewis in July 1972 in Croke Park.

    Phase three – Hogan Stand

    Phase Three saw the building of the new Hogan Stand. This required a greater variety of spectator categories to be accommodated including general spectators, corporate patrons, VIPs, broadcast and media services and operation staff. Extras included a fitted-out mezzanine level for VIP and Ard Comhairle (Where the dignitaries sit) along with a top-level press media facility. The end of Phase Three took the total spectator capacity of Croke Park to 82,000.

    Phase four – Nally Stand & Nally End/Dineen Hill 16 terrace

    After the 2003 Special Olympics, construction began in September 2003 on the final phase, Phase Four. This involved the redevelopment of the Nally Stand, named after the athlete Pat Nally, and Hill 16 into a new Nally End/Dineen Hill 16 terrace. While the name Nally had been used for the stand it replaced, the use of the name Dineen was new, and was in honour of Frank Dineen, who bought the original stadium for the GAA in 1908, giving it to them in 1913. The old Nally Stand was taken away and reassembled in Pairc Colmcille, home of Carrickmore GAA in County Tyrone. The phase four development was officially opened by the then GAA President Seán Kelly on 14 March 2005. For logistical reasons (and, to a degree, historical reasons), and also to provide cheaper high-capacity space, the area is a terrace rather than a seated stand, the only remaining standing-room in Croke Park. Unlike the previous Hill, the new terrace was divided into separate sections – Hill A (Cusack stand side), Hill B (behind the goals) and the Nally terrace (on the site of the old Nally Stand). The fully redeveloped Hill has a capacity of around 13,200, bringing the overall capacity of the stadium to 82,300. This made the stadium the second biggest in the EU after the Camp Nou, Barcelona. However, London's new Wembley stadium has since overtaken Croke Park in second place. The presence of terracing meant that for the brief period when Croke Park hosted international association football during 2007–2009, the capacity was reduced to approximately 73,500, due to FIFA's statutes stating that competitive games must be played in all-seater stadiums.

    Pitch

    Croke Park floodlights in use during Six Nations Championship match
    The pitch in Croke Park is a soil pitch that replaced the Desso GrassMaster pitch laid in 2002. This replacement was made after several complaints by players and managers that the pitch was excessively hard and far too slippery. Since January 2006, a special growth and lighting system called the SGL Concept has been used to assist grass growing conditions, even in the winter months. The system, created by Dutch company SGL (Stadium Grow Lighting), helps in controlling and managing all pitch growth factors, such as light, temperature, CO2, water, air and nutrients.

    Floodlighting

    With the 2007 Six Nations clash with France and possibly other matches in subsequent years requiring lighting the GAA installed floodlights in the stadium (after planning permission was granted). Indeed, many other GAA grounds around the country have started to erect floodlights as the organisation starts to hold games in the evenings, whereas traditionally major matches were played almost exclusively on Sunday afternoons. The first game to be played under these lights at Croke Park was a National Football League Division One match between Dublin and Tyrone on 3 February 2007 with Tyrone winning in front of a capacity crowd of over 81,000 – which remains a record attendance for a National League game, with Ireland's Six Nations match with France following on 11 February. Temporary floodlights were installed for the American Bowl game between Chicago Bears and Pittsburgh Steelers on the pitch in 1997, and again for the 2003 Special Olympics.

    Concert

    U2's Vertigo Tour at Croke Park in 2005
    U2's 360° Tour at Croke Park in 2009
    Date Performer(s) Opening act(s) Tour/Event Attendance Notes
    29 June 1985 U2 In Tua Nua, R.E.M., The Alarm, Squeeze The Unforgettable Fire Tour 57,000 First Irish act to have a headline concert. Part of the concert was filmed for the group's documentary Wide Awake in Dublin.
    28 June 1986 Simple Minds Once Upon A Time Tour Guest appearance by Bono
    27 June 1987 U2 Light A Big Fire, The Dubliners, The Pogues, Lou Reed The Joshua Tree Tour 114,000
    28 June 1987 Christy Moore, The Pretenders, Lou Reed, Hothouse Flowers
    28 June 1996 Tina Turner Brian Kennedy Wildest Dreams Tour 40,000/40,000
    16 May 1997 Garth Brooks World Tour II
    18 May 1997
    29 May 1998 Elton John & Billy Joel Face to Face 1998
    30 May 1998
    24 June 2005 U2 The Radiators from Space, The Thrills, The Bravery, Snow Patrol, Paddy Casey, Ash Vertigo Tour 246,743
    25 June 2005
    27 June 2005
    20 May 2006 Bon Jovi Nickelback Have a Nice Day Tour 81,327
    9 June 2006 Robbie Williams Basement Jaxx Close Encounters Tour
    6 October 2007 The Police Fiction Plane The Police Reunion Tour 81,640 Largest attendance of the tour.
    31 May 2008 Celine Dion Il Divo Taking Chances World Tour 69,725 Largest attendance for a solo female act
    1 June 2008 Westlife Shayne Ward Back Home Tour 85,000 Second Irish act to have a headline concert. Largest attendance of the tour. Part of the concert was filmed for the group's documentary and concert DVD 10 Years of Westlife - Live at Croke Park Stadium.
    14 June 2008 Neil Diamond
    13 June 2009 Take That The Script Take That Present: The Circus Live
    24 July 2009 U2 Glasvegas, Damien Dempsey U2 360° Tour 243,198
    25 July 2009 Kaiser Chiefs, Republic of Loose
    27 July 2009 Bell X1, The Script The performances of "New Year's Day" and "I'll Go Crazy If I Don't Go Crazy Tonight" were recorded for the group's live album U22 and for the band's remix album Artificial Horizon and the live EP Wide Awake in Europe, respectively.
    5 June 2010 Westlife Wonderland, WOW, JLS, Jedward Where We Are Tour 86,500 Largest attendance of the tour.
    18 June 2011 Take That Pet Shop Boys Progress Live 154,828
    19 June 2011
    22 June 2012 Westlife Jedward, The Wanted, Lawson Greatest Hits Tour 187,808[24] The 23 June 2012 date broke the stadium record for selling out its tickets in four minutes. Eleventh largest attendance at an outdoor stadium worldwide. Largest attendance of the tour and the band's music career history. Part of the concert was filmed for the group's documentary and concert DVD The Farewell Tour - Live in Croke Park.
    23 June 2012
    26 June 2012 Red Hot Chili Peppers Noel Gallagher's High Flying Birds, The Vaccines I'm with You World Tour
    23 May 2014 One Direction 5 Seconds of Summer Where We Are Tour 235,008
    24 May 2014
    25 May 2014
    20 June 2015 The Script & Pharrell Williams No Sound Without Silence Tour 74,635
    24 July 2015 Ed Sheeran x Tour 162,308
    25 July 2015
    27 May 2016 Bruce Springsteen The River Tour 2016 160,188
    29 May 2016
    9 July 2016 Beyoncé Chloe x Halle, Ingrid Burley The Formation World Tour 68,575
    8 July 2017 Coldplay AlunaGeorge, Tove Lo A Head Full of Dreams Tour[25] 80,398
    22 July 2017 U2 Noel Gallagher's High Flying Birds The Joshua Tree Tour 2017 80,901
    17 May 2018 The Rolling Stones The Academic No Filter Tour 64,823
    15 June 2018 Taylor Swift Camila Cabello, Charli XCX Taylor Swift's Reputation Stadium Tour 136.000 Swift became the first woman headline two concerts in a row there.
    16 June 2018
    7 July 2018 Michael Bublé Emeli Sandé
    24 May 2019 Spice Girls Jess Glynne Spice World - 2019 UK Tour
    5 July 2019 Westlife James Arthur Wild Youth The 20 Touror The Twenty Tour The 5 July 2019 date sold out its tickets in six minutes. Second date released were also sold out in under forty-eight hours.
    6 July 2019

    Non-Gaelic games

    There was great debate in Ireland regarding the use of Croke Park for sports other than those of the GAA. As the GAA was founded as a nationalist organisation to maintain and promote indigenous Irish sport, it has felt honour-bound throughout its history to oppose other, foreign (in practice, British), sports. In turn, nationalist groups supported the GAA as the prime example of purely Irish sporting culture. Until its abolition in 1971, rule 27 of the GAA constitution stated that a member of the GAA could be banned from playing its games if found to be also playing association football, rugby or cricket. That rule was abolished but rule 42 still prohibited the use of GAA property for games with interests in conflict with the interests of the GAA. The belief was that rugby and association football were in competition with Gaelic football and hurling, and that if the GAA allowed these sports to use their ground it might be harmful to Gaelic games, while other sports, not seen as direct competitors with Gaelic football and hurling, were permitted, such as the two games of American football (Croke Park Classic college football game between The University of Central Florida and Penn State, and an American Bowl NFL preseason game between the Chicago Bears and the Pittsburgh Steelers) on the Croke Park pitch during the 1990s.[27] On 16 April 2005, a motion to temporarily relax rule No. 42 was passed at the GAA Annual Congress. The motion gives the GAA Central Council the power to authorise the renting or leasing of Croke Park for events other than those controlled by the Association, during a period when Lansdowne Road – the venue for international soccer and rugby matches – was closed for redevelopment. The final result was 227 in favour of the motion to 97 against, 11 votes more than the required two-thirds majority. In January 2006, it was announced that the GAA had reached agreement with the Football Association of Ireland (FAI) and Irish Rugby Football Union (IRFU) to stage two Six Nations games and four soccer internationals at Croke Park in 2007 and in February 2007, use of the pitch by the FAI and the IRFU in 2008 was also agreed.These agreements were within the temporary relaxation terms, as Lansdowne Road was still under redevelopment until 2010. Although the GAA had said that hosted use of Croke Park would not extend beyond 2008, irrespective of the redevelopment progress, fixtures for the 2009 Six Nations rugby tournament saw the Irish rugby team using Croke park for a third season. 11 February 2007 saw the first rugby union international to be played there. Ireland were leading France in a Six Nations clash, but lost 17–20 after conceding a last minute (converted) try. Raphael Ibanez scored the first try in that match; Ronan O'Gara scored Ireland's first ever try in Croke Park. A second match between Ireland and England on 24 February 2007 was politically symbolic because of the events of Bloody Sunday in 1920.There was considerable concern as to what reaction there would be to the singing of the British national anthem "God Save the Queen". Ultimately the anthem was sung without interruption or incident, and applauded by both sets of supporters at the match, which Ireland won by 43–13 (their largest ever win over England in rugby). On 2 March 2010, Ireland played their final international rugby match against a Scotland team that was playing to avoid the wooden spoon and hadn't won a championship match against Ireland since 2001. Outside half, Dan Parks inspired the Scots to a 3-point victory and ended Irish Hopes of a triple crown. On 24 March 2007, the first association football match took place at Croke Park. The Republic of Ireland took on Wales in UEFA Euro 2008 qualifying Group D, with a Stephen Ireland goal securing a 1–0 victory for the Irish in front of a crowd of 72,500. Prior to this, the IFA Cup had been played at the then Jones' Road in 1901, but this was 12 years before the GAA took ownership. Negotiations took place for the NFL International Series's 2011 game to be held at Croke Park but the game was awarded to Wembley Stadium.

    World record attendance

    On 2 May 2009, Croke Park was the venue for a Heineken Cup rugby semi-final, in which Leinster defeated Munster 25–6. The attendance of 82,208 set a new world record attendance for a club rugby union game.[35] This record stood until 31 March 2012 when it was surpassed by an English Premiership game between Harlequins and Saracens at Wembley Stadium which hosted a crowd of 83,761.This was beaten again in 2016 in the Top 14 final at the Nou Camp which hosted a crowd of 99,124

    Skyline tour

    A walkway, known under a sponsorship deal as Etihad Skyline Croke Park, opened on 1 June 2012.From 44 metres above the ground, it offers views of Dublin city and the surrounding area.The Olympic Torch was brought to the stadium and along the walkway on 6 June 2012.

    GAA Hall of Fame

    Statue of Michael Cusack outside the Croke Park GAA Museum
    On 11 February 2013, the GAA opened the Hall of Fame section in the Croke Park museum. The foundation of the award scheme is the Teams of the Millennium the football team which was announced in 1999 and the hurling team in 2000 and all 30 players were inducted into the hall of fame along with Limerick hurler Eamonn Cregan and Offaly footballer Tony McTague who were chosen by a GAA sub-committee from the years 1970–74.New inductees will be chosen on an annual basis from the succeeding five-year intervals as well as from years preceding 1970. In April 2014, Kerry legend Mick O'Dwyer, Sligo footballer Micheál Kerins, along with hurlers Noel Skehan of Kilkenny and Pat McGrath of Waterford became the second group of former players to receive hall of fame awards.
  • 85cm x 72cm  Rathdrum Co Wicklow Charles Stewart Parnell (1846-1891) will be remembered as one of the most iconic and indeed controversial politicians in Irish history.MP and Leader of the Irish Parliamentary or Home Rule Party from1882 to 1891 until revelations of his adulterous love affair with Kitty O'Shea forced his resignation.He died shortly afterwards from pneumonia in the arms of his newly divorced and remarried wife Katherine.His death was considered to be a direct result of the stresses he endured because of the Victorian era scandal and his subsequent funeral at Glasnevin Cemetery in Dublin was attended by more than 200000 people.His notability was such that his gravestone of unhewn Wicklow granite, erected in 1940,reads only Parnell. This faithful portrayal of Parnell,well over 130 years old, by the artist JG Wills dates to 1884 and is a beautiful homage to the "uncrowned king of Ireland".  
  • Very rare example of a Jameson led advertising campaign extolling the delights of Ireland,in particular Bunratty Castle,the Shannon River as well as Jamesons old Irish Whiskey obviously! This delightful print demonstrates the unique old world charm of Ireland in the 1950s. 420cm x 60cm  (unframed -limited edition poster form) John Jameson was originally a lawyer from Alloa in Scotland before he founded his eponymous distillery in Dublin in 1780.Prevoius to this he had made the wise move of marrying Margaret Haig (1753–1815) in 1768,one of the simple reasons being Margaret was the eldest daughter of John Haig, the famous whisky distiller in Scotland. John and Margaret had eight sons and eight daughters, a family of 16 children. Portraits of the couple by Sir Henry Raeburn are on display in the National Gallery of Ireland. John Jameson joined the Convivial Lodge No. 202, of the Dublin Freemasons on the 24th June 1774 and in 1780, Irish whiskey distillation began at Bow Street. In 1805, he was joined by his son John Jameson II who took over the family business that year and for the next 41 years, John Jameson II built up the business before handing over to his son John Jameson the 3rd in 1851. In 1901, the Company was formally incorporated as John Jameson and Son Ltd. Four of John Jameson’s sons followed his footsteps in distilling in Ireland, John Jameson II (1773 – 1851) at Bow Street, William and James Jameson at Marrowbone Lane in Dublin (where they partnered their Stein relations, calling their business Jameson and Stein, before settling on William Jameson & Co.). The fourth of Jameson's sons, Andrew, who had a small distillery at Enniscorthy, Co. Wexford, was the grandfather of Guglielmo Marconi, inventor of wireless telegraphy. Marconi’s mother was Annie Jameson, Andrew’s daughter. John Jameson’s eldest son, Robert took over his father’s legal business in Alloa. The Jamesons became the most important distilling family in Ireland, despite rivalry between the Bow Street and Marrowbone Lane distilleries. By the turn of the 19th century, it was the second largest producer in Ireland and one of the largest in the world, producing 1,000,000 gallons annually. Dublin at the time was the centre of world whiskey production. It was the second most popular spirit in the world after rum and internationally Jameson had by 1805 become the world's number one whiskey. Today, Jameson is the world's third largest single-distillery whiskey. Historical events, for a time, set the company back. The temperance movement in Ireland had an enormous impact domestically but the two key events that affected Jameson were the Irish War of Independence and subsequent trade war with the British which denied Jameson the export markets of the Commonwealth, and shortly thereafter, the introduction of prohibition in the United States. While Scottish brands could easily slip across the Canada–US border, Jameson was excluded from its biggest market for many years.
    Historical pot still at the Jameson distillery in Cork
    The introduction of column stills by the Scottish blenders in the mid-19th-century enabled increased production that the Irish, still making labour-intensive single pot still whiskey, could not compete with. There was a legal enquiry somewhere in 1908 to deal with the trade definition of whiskey. The Scottish producers won within some jurisdictions, and blends became recognised in the law of that jurisdiction as whiskey. The Irish in general, and Jameson in particular, continued with the traditional pot still production process for many years.In 1966 John Jameson merged with Cork Distillers and John Powers to form the Irish Distillers Group. In 1976, the Dublin whiskey distilleries of Jameson in Bow Street and in John's Lane were closed following the opening of a New Midleton Distillery by Irish Distillers outside Cork. The Midleton Distillery now produces much of the Irish whiskey sold in Ireland under the Jameson, Midleton, Powers, Redbreast, Spot and Paddy labels. The new facility adjoins the Old Midleton Distillery, the original home of the Paddy label, which is now home to the Jameson Experience Visitor Centre and the Irish Whiskey Academy. The Jameson brand was acquired by the French drinks conglomerate Pernod Ricard in 1988, when it bought Irish Distillers. The old Jameson Distillery in Bow Street near Smithfield in Dublin now serves as a museum which offers tours and tastings. The distillery, which is historical in nature and no longer produces whiskey on site, went through a $12.6 million renovation that was concluded in March 2016, and is now a focal part of Ireland's strategy to raise the number of whiskey tourists, which stood at 600,000 in 2017.Bow Street also now has a fully functioning Maturation Warehouse within its walls since the 2016 renovation. It is here that Jameson 18 Bow Street is finished before being bottled at Cask Strength. In 2008, The Local, an Irish pub in Minneapolis, sold 671 cases of Jameson (22 bottles a day),making it the largest server of Jameson's in the world – a title it maintained for four consecutive years.
  • Charming recruitment poster from 1929 urging "male citizens of good character resident within the Dublin Metropolitan Area 'to turn up for recruitment at Portobello Barracks on Monday 11th November 1929. Ranelagh Dublin  49cm x 42cm   Early Reserve/Volunteer forces In the years following the establishment of the Defence Forces, various classes of Army Reserves were experimented with. Between 1927 and 1939, these comprised several reserve classes.

    Classes

    In May 1927, the "Class A Reserve" was established and consisted of regular non-commissioned officers (NCOs) and men transferred to the Reserve. Though numbers never exceeded 5,000, they were the best trained of the reserves, with over 80% reporting annually for training. In January 1928, the "Class B Reserve" was formed, with the object of building up the infantry arm of the Defence Forces – on a voluntary basis. Its conditions of service were three months initial training, followed by one months' annual training with liability for six years Reserve service. It was not a success however, never exceeding 3,600 in strength, and had practically ceased to exist by 1934. The "Volunteer Reserve Force" was established in Autumn 1929. No initial training was required – instead members attended parade once weekly, with four weekend camps per year along with fifteen days annual training. It was divided into three units, one Battalion in Dublin, an Artillery Battery in Cork and an Officer Training Corps in third-level universities. A total of 1,229 enlisted in the Officer Training College (OTC), while 987 enlisted in the other two units. The units were disbanded in 1935. The "Volunteer Force" was established in March 1934. Apart from basic military requirements there was a political consideration in its formation. Fianna Fáil, who had assumed power in 1932, were anxious that the Army should be more representative of the different political persuasions in the country. Since 1924, the Army had been composed of pro-Treaty supporters. It was hoped that this new force would attract men who would be considered anti-Treaty in outlook. To this end a number of men who had prominent anti-Treaty records in the Civil War were commissioned at the initial stages as Administrative Officers. On 6 November 1935 the "Pearse Regiment" was added. Named after Pádraig Pearse, this force consisted of three lines of Reserve with varying conditions of service. Those of the first line had to undergo initial training along with a commitment to thirty days annual training, and reached a maximum strength of 10,578 by April 1935. On 1 September 1939 the strength was 257 officers and 6,986 other ranks. The second line consisted of personnel who had been trained in the first line and had been transferred. The third line was intended to be a reserve of specialists in civilian life who would be of value to the Army upon mobilisation.

    Organisation

    The Volunteer Force was the first scheme to make provision for recruitment into all arms of the service. It also provided for the special training of non-commissioned officers and the training of NCOs for commissions. The inclusion of civilian committees (known as Sluaghs) to help recruiting and administration at a local level was a feature of the Force. The Sluaghs however gradually disappeared and were replaced by committees composed solely of Volunteers. The Volunteers had a distinctive uniform, darker than the ordinary uniform, with black boots, leggings, belts, chromium buttons and badges and forage caps. Territorially these early volunteer/reserve forces were divided into regimental areas, which took their names from the ancient Irish kingdoms where they were raised;

    World War II – "The Emergency"

    In response to the various security threats posed during World War II, known in Ireland as The Emergency, a new reserve force – the Local Security Force (LSF) – was created on 28 May 1940 as an auxiliary police service. Instituted under a Garda Síochána Act, its activities were to be devoted to auxiliary police and internal security work. Recruiting forms were dispatched to Garda stations on 31 May 1940 and by 16 June of the same year 44,870 members were enrolled. On 22 June 1940 a decision was taken to divide the force into two groups;
    • "A" Group – to act as an auxiliary to the Army.
    • "B" Group – to continue as an auxiliary to the Police Force.
    By August 1940 the strength had risen to 148,306 and by October of the same year detailed organisations for each group were issued and District Staffs were formed. By the end of 1940 the Army had more or less completed its expansion to a war-time footing and was then in a position to take over the control of "A" Group from the Gardaí. On 1 January 1941 it was handed over to the Command and control of the Army and was given the new title of "The Local Defence Force"/"LDF" (An Fórsa Cosanta Áitiúil/FCÁ). The "B" Group continued as an auxiliary police force and retained its old name – "The Local Security Force" (LSF). From the military point of view the LDF was the equivalent of many additional battalions to the Defence Forces.

    Local Security Force

    The LSF was organised in groups around each Garda Station. It was organised into sections and squads and its general duties consisted of traffic control, communications, protective duties, transport, and first aid. While other elements of the Defence Forces devoted most of their time to training, the LSF, while training was important, were required to devote much of their time to actual work. Police duties, patrolling and observation were important aspects of their activities. Unlike the soldier who was trained to act as part of a team, the LSF member acted more like a policeman and therefore more emphasis was placed on training to enable him to act alone. In the cities and large towns their systems of patrols and beats were designed to coincide with times of local crime peaks. A survey of 200 commendations issued to members include the detection of such crimes as housebreaking, larceny, dangerous driving, saving of life from burning buildings, assistance to Gardaí in need of assistance and others. They also assisted the Gardaí in searches for reported parachutists, missing persons, and crashed aircraft. They kept a watch for floating mines and provided cordons when required. They also assisted in policing at two General Elections. Assistance to other Government Departments was also provided, and included the distribution to households of tea rationing forms and ration books (March 1941), census of turf cutting (July 1941), a survey of accommodation available for refugees, and the provision of patrols to enforce the regulations governing the movement of cattle on outbreak of foot-and-mouth disease.

    Local Defence Force

    As noted above, this was the "A" Group of the LSF that had been transferred to the Army in January 1941. With its military status and responsibility, it was integrated into the combat organisations under full military discipline. The main LDF weapons were the rifle, bayonet and grenade. The organisation was mostly one of rifle companies and platoons. In 1942 the LDF strength was 98,429. In 1943 this rose to 103,530. And in 1944 it was at 96,152. These strengths were regarded as being effective and may reflect a rise and fall as the European battle front approached or receded from Irish shores.

    Establishment of the FCÁ

    Members of the FCÁ, early 1960s
    A post-war establishment of 12,500 in all ranks saw a rapid demobilisation and reorganisation within a small period. The Regular Army was now composed of three Brigades. In 1947 all reserve forces were disestablished and in their place were created the First Line Reserve (FLR) and the Second Line Reserve – An Fórsa Cosanta Áitiúil (FCÁ) (Local Defence Force). The basic principles underlying this establishment were that;
    • The three brigades at about half strength could, with their reserves be quickly mobilised to full strength.
    • Provide normal garrison and training establishments.
    • Provide cadres for the Reserves.
    This organisation remained until 1959 when "integration" was introduced by which the FCÁ was integrated with the Regular Army. Six Brigades of mixed Regular and FCÁ units, each with only one Regular Battalion were established with the intention that the remaining units would be filled by FCÁ personnel upon mobilisation. In 1979 there was a change in the structure and role of the FCÁ which had existed since the 1959 integration. The six integrated Infantry Brigades were reduced to four Permanent Defence Force (PDF) Brigades and the Eastern Command Infantry Force (ECIF). A new command structure was set up for the FCÁ with a Directorate of Reserve Forces. The Army Reserve was deployed to aid its regular counterparts in support of the Garda Síochána along the border with Northern Ireland during the conflict known as the Troubles (1969–1998).
  • 38cm x 115cm A wonderful b&w photograph of the old Croke Park and of both teams standing to attention for the customary recital of the National Anthem, when Kerry and Galway met in the All Ireland Football Final Replay.The first game ended in a draw before Galway went on to win the replay a few weeks later.The attendance was officially 68,950 with little or no need for crowd control.This magnificent panoramic view is a poignant sporting snapshot of former times and again makes a beautiful addition to the collection of anyone interested in bygone times.  
    The 1938 All-Ireland Football Final Replay on October 23rd, 1938 ended in the most bizarre fashion imaginable when with 2 minutes left to play, Galway supporters, mistakenly believing the referee had blown for full-time, invaded the pitch, causing a 20 minute delay before the final minutes could be played out. Even more dramatic was the fact that by the time the pitch was cleared, most of the Kerry players seemed to have disappeared. The confusion all began with a free awarded to Kerry by referee Peter Waters of Kildare with Galway leading the defending champions, by 2-4 to 0-6. The referee placed the ball and blew his whistle for the kick to be taken while running towards the Galway goals. He looked round just as Sean Brosnan was taking the kick and seeing a Galway player too close he blew for the kick to be retaken. Thinking that he had blown for full-time the jubilant Galway supporters invaded the pitch. It took all of twenty minutes to clear the pitch but only then did the real problems come to light. Jerry O’Leary Chairman of the Kerry Selection Committee outlined their dilemma. Somehow or other Kerry managed to re-field even if the team which played out the remaining minutes bore little resemblance to the starting fifteen. More remarkable again was the fact that Kerry went on to add another point to their total before the referee finally blew for full-time with Galway winners by 2-4 to 0-7. It was generally agreed that the confusion was of the crowd’s and not the referee’s making but questions remained about the total number of players Kerry had been permitted to use in those final few minutes. The National and Provincial papers and indeed all available Records to this day list only those 16 Kerry players who were involved prior to the 20 minute interruption but now (80 years on) for the first time all the players who played for Kerry in that October 23rd, 1938 All-Ireland Final Replay can be given their rightful place in the Record Books. KERRY’s 24:
    1. Dan O’Keeffe (Tralee O’Rahilly’s)
    2. Bill Kinnerk (Tralee, Boherbee John Mitchel’s)(Captain)
    3. Paddy ‘Bawn’ Brosnan (Dingle)
    4. Bill Myers (Killarney)
    5. Bill Dillon Dingle)
    6. Bill Casey (Dingle)
    7. Tom ‘Gega’ O’Connor (Dingle)
    8. Sean Brosnan (Dingle)
    9. Johnny Walsh (Ballylongford, North Kerry)
    10. Paddy Kennedy (Tralee O’Rahilly’s)(Annascaul native)
    11. Charlie O’Sullivan (Tralee O’Rahilly’s)(Camp native)
    12. Tony McAuliffe (Listowel, North Kerry)
    13. Martin Regan (Tralee Rock Street Austin Stacks)
    14. Michael ‘Miko’ Doyle ((Tralee Rock Street Austin Stacks)
    15. Timmy O’Leary (Killarney).
    16.  J.J. ‘Purty’ Landers (Tralee Rock Street Austin Stacks)(brother of Tim and Bill)(replaced Johnny Walsh – injured hip and dislocated collarbone)
    17. Joe Keohane (Geraldines, Dublin)(former Tralee Boherbee John Mitchel’s player)
    18. Michael ‘Murt’ Kelly (Geraldine’s, Dublin)(formerly Tralee O’Rahilly’s)
    19. J.Sheehy (Tralee Boherbee John Mitchel’s)
    20. Eddie Walsh (Knocknagoshel, North Kerry)
    21. Ger Teahan (Laune Rangers, Killorglin)
    22. Bob Murphy (Newtown, North Kerry)
    23. Con Gainey (Tralee Boherbee John Mitchel’s)(Castleisland native)
    24. M. Raymond (Tralee O’Rahilly’s)
    So in total and in contravention of the Rules Kerry used 24 players including 9 substitutes. Galway in contrast used a mere 17 players including 2 substitutes. GALWAY’S 17:
    1. Jimmy McGauran (University College Galway)(Roscommon native)
    2. Mick Raftery (University College Galway)(Mayo native)
    3. Mick Connaire (Beann Éadair, Dublin)(Ballinasloe native)
    4. Dinny Sullivan (Oughterard)
    5. Frank Cunniffe (Beann Éadair, Dublin)(Ballinasloe native)
    6. Bobby Beggs (Wolfe Tones, Galway City)(Dublin native)(former Skerries Harps player)
    7. Charlie Connolly (Ballinasloe Mental Hospital)
    8. John ‘Tull’ Dunne (Ballinasloe St. Grellan’s)(Captain)
    9. John Burke (Remore)(Clare native)
    10. Jackie Flavin (Wolfe Tones, Galway City)(Kerry native – Newtownsandes)(won 1937 All-Ireland with Kerry)
    11. Ralph Griffin (Ballinasloe St. Grellan’s)
    12. Mick Higgins (Wolfe Tones, Galway City)
    13. Ned Mulholland (Wolfe Tones, Galway City)(Westmeath native)
    14. Martin Kelly (Ardagh, Limerick)(Ahascragh native)
    15. Brendan Nestor (Geraldines, Dublin)(Dunmore native)
    16. Mick Ryder (Tuam Stars)
    17. Pat McDonagh
    It was almost as if Galway had won the All-Ireland twice in one day beating two different Kerry teams in the process. That night, in front of a 1,500 crowd, at a Gaelic League organised Siamsa Mór in the Mansion House in Dawson Street, Art McCann presented the Galway team with their winners’ medals. The Kerry players meanwhile joined 300 of their suppoeters at a Ceilidhe hosted by the Kerrymen’s Social Club in Rathmines Town Hall. The National Newspapers may not always have reported the facts to Galway’s satisfaction but there can be no questioning the support of Galway County Council. Needless to say the Galway players received an unprecedented welcome on their return to Galway having first been feted along the way in Mullingar, Streamstown, Moate and Athlone. GALWAY – 1938 ALL-IRELAND SENIOR FOOTBALL CHAMPIONS Back (L-R) Bobby Beggs, Ralph Griffin, John Burke, Jimmy McGauran, Charlie Connolly, Brendan Nestor, Dinny Sullivan, Mick Connaire, Martin Kelly. Front (L-R) Frank Cunniffe, Jackie Flavin, Mick Higgins, John ‘Tull’ Dunne (Capt), Ned Mulholland, Mick Raftery. Substitutes: (not in photograph) Mick Ryder and Pat McDonagh. TIME ADDED ON: Not far behind the controversy surrounding the last few minutes of 1938 All-Ireland Football Final Replay was the controversy surrounding the last few seconds of the drawn match played a month earlier. The sides were level, Kerry 2-06 Galway 3-03, when Kerry’s J.J. Landers sent the ball between the Galway uprights for what looked like the winning point. However the thousands of celebrating Kerry supporters making for the Croke Park exits were soon stopped in their tracks. It was cruel luck on Kerry and while there were many who criticised the referee, Tom Culhane from Glin, County Limerick, for blowing the final whistle while John Joe Landers was it the act of shooting, Kerry’s County Board Chairman Denis J. Bailey wasn’t among them. At the next Central Council meeting, in a remarkably generous response to the Referee’s Report being read he stated that ‘they in Kerry were quite satisfied with the result’ and ‘They wished to pay a tribute to Galway for their sporting spirit and also to the referee who, in their opinion, carried out his duties very well.’ The Central Council then awarded the two counties £300 each towards the costs of the two-week Collective Training Camps both counties had planned in the lead up to the Replay on October 23rd. Munster Council granted Kerry (pictured here in Collective Training) an additional £100. Prior to that Central Council meeting, General Secretary, Pádraig Ó’Caoimh, received a telephone call from the New York GAA suggesting the replay take place in New York but the request (which was successfully repeated nine years later in 1947) was on this occasion turned down. However doubts about the Replay even going ahead were immediately raised. Satisfactory transport arrangements were eventually agreed and the match went ahead although the Kerry supporters who left Tralee on the so-called ‘ghost’ train at 1am on the morning of the October 23rd may still have felt hard done by. In the lead-up to the game the Galway selectors expressed their delight at the success of their forwards short hand-passing game against the Kerry backs in the drawn match although there were some worries that not all their players had been able to attend the first week of Collective Training and of course there was Kerry’s Replay record to be considered. Kerry had previously played in 4 All-Ireland Replays and won them all, a great source of encouragement to the Kerry supporters. However amid some reports of disharmony within the Kerry camp, following a ‘trial match’ on the Sunday before the Replay, the Kerry selection Committee dropped a real bombshell. Joe Keohane (Dublin Geraldines) who had been Kerry’s regular full-back for the previous two years and was one of the stars of their 1937 All-Ireland win over Cavan was replaced by young Paddy ‘Bawn’ Brosnan a member of the 1938 Kerry Junior team. A back injury to Kerry’s best forward, J.J. Landers made him an extreme doubt for the Replay with Martin Regan on stand-by to take his place if required which is exactly what happened before that fateful free-kick, that infamous 20 minute delay and Kerry’s unprecedented use of 24 players. Most definitely an All-Ireland Final and Final Replay never to be forgotten. The Galway and Kerry players parade in front of the newly opened (1938) Cusack Stand  
                            Croke Park (Irish: Páirc an Chrócaigh) is a Gaelic games stadium located in Dublin, Ireland. Named after Archbishop Thomas Croke, it is sometimes called Croker by GAA fans and locals. It serves as both the principal stadium and headquarters of the Gaelic Athletic Association (GAA). Since 1891 the site has been used by the GAA to host Gaelic sports, including the annual All-Ireland in Gaelic football and hurling. A major expansion and redevelopment of the stadium ran from 1991–2005, raising capacity to its current 82,300 spectators. This makes Croke Park the third-largest stadium in Europe, and the largest not usually used for association football. Other events held at the stadium include the opening and closing ceremonies of the 2003 Special Olympics, and numerous musical concerts. In 2012, Irish pop group Westlife sold out the stadium in record-breaking time: less than 5 minutes. From 2007–10, Croke Park hosted home matches of the Ireland national rugby union team and the Republic of Ireland national football team, while their new Aviva Stadium was constructed. This use of Croke Park for non-Gaelic sports was controversial and required temporary changes to GAA rules. In June 2012, the stadium hosted the closing ceremony of the 50th International Eucharistic Congress during which Pope Benedict XVI gave an address over video link.

    City and Suburban Racecourse

    A fireworks and light display was held in Croke Park in front of 79,161 fans on Saturday 31 January 2009 to mark the GAA's 125th anniversary
    The area now known as Croke Park was owned in the 1880s by Maurice Butterly and known as the City and Suburban Racecourse, or Jones' Road sports ground. From 1890 it was also used by the Bohemian Football Club. In 1901 Jones' Road hosted the IFA Cup football final when Cliftonville defeated Freebooters.

    History

    Recognising the potential of the Jones' Road sports ground a journalist and GAA member, Frank Dineen, borrowed much of the £3,250 asking price and bought the ground in 1908. In 1913 the GAA came into exclusive ownership of the plot when they purchased it from Dineen for £3,500. The ground was then renamed Croke Park in honour of Archbishop Thomas Croke, one of the GAA's first patrons. In 1913, Croke Park had only two stands on what is now known as the Hogan stand side and grassy banks all round. In 1917, a grassy hill was constructed on the railway end of Croke Park to afford patrons a better view of the pitch. This terrace was known originally as Hill 60, later renamed Hill 16 in memory of the 1916 Easter Rising. It is erroneously believed to have been built from the ruins of the GPO, when it was constructed the previous year in 1915. In the 1920s, the GAA set out to create a high capacity stadium at Croke Park. Following the Hogan Stand, the Cusack Stand, named after Michael Cusack from Clare (who founded the GAA and served as its first secretary), was built in 1927. 1936 saw the first double-deck Cusack Stand open with 5,000 seats, and concrete terracing being constructed on Hill 16. In 1952 the Nally Stand was built in memorial of Pat Nally, another of the GAA founders. Seven years later, to celebrate the 75th anniversary of the GAA, the first cantilevered "New Hogan Stand" was opened. The highest attendance ever recorded at an All-Ireland Senior Football Championship Final was 90,556 for Offaly v Down in 1961. Since the introduction of seating to the Cusack stand in 1966, the largest crowd recorded has been 84,516.

    Bloody Sunday

    Bloody Sunday remembrance plaque
    During the Irish War of Independence on 21 November 1920 Croke Park was the scene of a massacre by the Royal Irish Constabulary (RIC). The Police, supported by the British Auxiliary Division, entered the ground and began shooting into the crowd, killing or fatally wounding 14 civilians during a Dublin-Tipperary Gaelic football match. The dead included 13 spectators and Tipperary player Michael Hogan. Posthumously, the Hogan stand built in 1924 was named in his honour. These shootings, on the day which became known as Bloody Sunday, were a reprisal for the killing of 15 people associated with the Cairo Gang, a group of British Intelligence officers, by Michael Collins' 'squad' earlier that day.

    Dublin Rodeo

    In 1924, American rodeo promoter, Tex Austin, staged the Dublin Rodeo, Ireland's first professional rodeo at Croke Park Stadium. For seven days, with two shows each day from August 18 to August 24, sell out crowds saw cowboys and cowgirls from Canada, the United States, Mexico, Argentina and Australia compete for rodeo championship titles.Canadian bronc riders such as Andy Lund and his brother Art Lund, trick riders such as Ted Elder and Vera McGinnis were among the contestants. British Pathe filmed some of the rodeo events.

    Stadium design

    In 1984 the organisation decided to investigate ways to increase the capacity of the old stadium. The design for an 80,000 capacity stadium was completed in 1991. Gaelic sports have special requirements as they take place on a large field. A specific requirement was to ensure the spectators were not too far from the field of play. This resulted in the three-tier design from which viewing games is possible: the main concourse, a premium level incorporating hospitality facilities and an upper concourse. The premium level contains restaurants, bars and conference areas. The project was split into four phases over a 14-year period. Such was the importance of Croke Park to the GAA for hosting big games, the stadium did not close during redevelopment. During each phase different parts of the ground were redeveloped, while leaving the rest of the stadium open. Big games, including the annual All-Ireland Hurling and Football finals, were played in the stadium throughout the development.
    The outside of the Cusack Stand

    Phase one – New Cusack Stand

    The first phase of construction was to build a replacement for Croke Park's Cusack Stand. A lower deck opened for use in 1994. The upper deck opened in 1995. Completed at a cost of £35 million, the new stand is 180 metres long, 35 metres high, has a capacity for 27,000 people and contains 46 hospitality suites. The new Cusack Stand contains three tiers from which viewing games is possible: the main concourse, a premium level incorporating hospitality facilities and finally an upper concourse. One end of the pitch was closer to the stand after this phase, as the process of slightly re-aligning the pitch during the redevelopment of the stadium began. The works were carried out by Sisk Group.

    Phase two – Davin Stand

    Phase Two of the development started in late 1998 and involved extending the new Cusack Stand to replace the existing Canal End terrace. It involved reacquiring a rugby pitch that had been sold to Belvedere College in 1910 by Frank Dineen. In payment and part exchange, the college was given the nearby Distillery Road sportsgrounds.[19] It is now known as The Davin Stand (Irish: Ardán Dáimhím), after Maurice Davin, the first president of the GAA. This phase also saw the creation of a tunnel which was later named the Ali tunnel in honour of Muhammad Ali and his fight against Al Lewis in July 1972 in Croke Park.

    Phase three – Hogan Stand

    Phase Three saw the building of the new Hogan Stand. This required a greater variety of spectator categories to be accommodated including general spectators, corporate patrons, VIPs, broadcast and media services and operation staff. Extras included a fitted-out mezzanine level for VIP and Ard Comhairle (Where the dignitaries sit) along with a top-level press media facility. The end of Phase Three took the total spectator capacity of Croke Park to 82,000.

    Phase four – Nally Stand & Nally End/Dineen Hill 16 terrace

    After the 2003 Special Olympics, construction began in September 2003 on the final phase, Phase Four. This involved the redevelopment of the Nally Stand, named after the athlete Pat Nally, and Hill 16 into a new Nally End/Dineen Hill 16 terrace. While the name Nally had been used for the stand it replaced, the use of the name Dineen was new, and was in honour of Frank Dineen, who bought the original stadium for the GAA in 1908, giving it to them in 1913. The old Nally Stand was taken away and reassembled in Pairc Colmcille, home of Carrickmore GAA in County Tyrone. The phase four development was officially opened by the then GAA President Seán Kelly on 14 March 2005. For logistical reasons (and, to a degree, historical reasons), and also to provide cheaper high-capacity space, the area is a terrace rather than a seated stand, the only remaining standing-room in Croke Park. Unlike the previous Hill, the new terrace was divided into separate sections – Hill A (Cusack stand side), Hill B (behind the goals) and the Nally terrace (on the site of the old Nally Stand). The fully redeveloped Hill has a capacity of around 13,200, bringing the overall capacity of the stadium to 82,300. This made the stadium the second biggest in the EU after the Camp Nou, Barcelona. However, London's new Wembley stadium has since overtaken Croke Park in second place. The presence of terracing meant that for the brief period when Croke Park hosted international association football during 2007–2009, the capacity was reduced to approximately 73,500, due to FIFA's statutes stating that competitive games must be played in all-seater stadiums.

    Pitch

     
  • Delightful oil reproduction of a famous caricature of one if the all time great Flat jockeys Fred Archer,looking suitably famished after wasting to make a light weight. 21cm x 46cm   Kill Co Kildare The darling of the punters during the Victorian Era with 2748 wins ,Archer died at the very young age of 29.Because of his height (5ft 10in) Archer had to go to extreme lengths to maintain his racing weight of 8st 10lbs.In fact so much so,a Newmarket doctor JR Wright created a special purgative known as Archers mixture.After a typical herculean effort to make weight ,he fell ill after a very cold afternoon riding at the Curragh.He developed a very high fever and in a state of delirium and hallucinating, put a revolver in his mouth killing himself.The verdict of his inquest declared "the deceased committed suicide whilst in a state of unsound mind".The gun used is now on display at the National Horseracing museum in Newmarket along with other of his effects. Origins: Co Kildare Dimensions: 46cm x 22cm  4kgs
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