In 1776 Two brothers, John and James, from Northern Ireland began to produce a whisky celebrated for its exceptional smoothness and taste: J. & J. McConnell. McConnell’s quickly became the toast of Belfast,was shipped to all corners of the globe, helping to establish Irish whisky as the most popular drink in the world. The McConnell’s distillery was right on the banks of River Lagan, a sprawling, buzzing compound dedicated to one pursuit: producing the finest whisky in all of Ireland.
Then on one fateful day in 1909, 500,000 gallons of McConnell’s whisky went up in flames and by the time it was over, half the distillery lay in ruins.This would have been the end for most whiskies. But not McConnell’s. They began to rebuild. Before long, they were back on top of the Irish whisky world.
But then calamity struck again. This time it wasn’t a fire – it was Prohibition, which outlawed the sale of liquor in the United States.America was the biggest market for Irish whisky, and suddenly it was gone. Ninety percent of Irish whiskies went under as a result of Prohibition, including McConnell’s.
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32cm x 24cm. Limerick Nice little advertising Phurnacite mirror . For well over sixty years, Phurnacite has retained its position as the country's first choice of smokeless fuel for roomheaters, boilers and cookers. This long time favourite is manufactured from anthracite to produce a hard compact briquette with an outstanding heat output and efficiency ideal for modern solid fuel central heating systems. Phurnacite burns slowly and consistently and can be banked to slumber throughout the day and overnight. -
40cm x 60cm Nenagh Co Tipperary Beamish and Crawford operated until 2009 and had a number of owners, including Carling O'Keefe, Elders IXL, Scottish & Newcastle and, most recently, Heineken International. While the Beamish and Crawford brewery closed in 2009, Beamish stout is still brewed in the city, at a nearby Heineken operated facility.The Beamish and Crawford brewery was founded in 1792, when two merchants, William Beamish and William Crawford, went into partnership with two brewers, Richard Barrett and Digby O’Brien. They purchased an existing brewery (from Edward Allen) on a site in Cramer's Lane that had been used for brewing since at least 1650 (and possibly as early as 1500). Beamish and Crawford's Cork Porter Brewery prospered, and by 1805 it had become the largest brewery in Ireland and the third largest in the then United Kingdom as a whole. In 1805, its output was 100,000 barrels per annum – up from 12,000 barrels in 1792. It remained the largest brewery in Ireland until overtaken by Guinness in 1833.
The Counting House, part of the brewery complex in central Cork, Ireland
In 1865, the brewery underwent a modernisation programme and was completely revamped at a cost of £100,000. Alfred Barnard, a noted brewing and distilling historian, remarked in his book Noted Breweries of Great Britain & Ireland in 1889 that:
Beamish Stout, 1919 advert for the noted Cork brewers
- "The business of Beamish & Crawford in Cork is a very old one dating as far back as the seventeenth century and it is said to be the most ancient porter brewery in Ireland."
- Beamish stout, Beamish and Crawford's flagship product, now brewed by Heineken at the Murphy's brewery.
- Beamish Red, a sweetish Irish red ale, made to resemble Kilkenny or Murphy's Irish Red. Production ceased immediately following the takeover. Several Cork pubs which once stocked Beamish Red replaced it with Franciscan Well Rebel Red.
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55cm x 45cm Doneraile Co Cork Classic Players Please Navy Cut advertising showcard depicting the great Triple Crown Winner Ormonde. Ormonde (1883–1904) was an English Thoroughbred racehorse who won the English Triple Crown in 1886 and retired undefeated. He also won the St. James's Palace Stakes, Champion Stakes and the Hardwicke Stakes twice. At the time he was often labelled as the 'horse of the century'. Ormonde was trained at Kingsclere by John Porter for the 1st Duke of Westminster. His regular jockeys were Fred Archer and Tom Cannon. After retiring from racing he suffered fertility problems, but still sired Orme, who won the Eclipse Stakes twice.Background
Ormonde was a bay colt, bred by Hugh Grosvenor, 1st Duke of Westminster and foaled in 1883 at Eaton Stud in Cheshire. Ormonde's sire was The Derby and Champion Stakes winner Bend Or, also bred by the Duke. Bend Or was a successful stallion, his progeny included Kendal, Ossory, Orbit, Orion, Orvieto, Bona Vista and Laveno. Ormonde's dam was Doncaster Cup winner Lily Agnes. She was sired by another Derby winner, Macaroni. Lily Agnes began to experience problems with her lungs as a four-year-old, to the extent that jockey John Osborne said he could hear her approaching before he saw her. The problem did not interfere with her racing ability as she continued to win at four and five. She then became a top broodmare also foaling 1000 Guineas winner Farewell, Ormonde's full-brother Ossory and another full-brother Ornament, who produced the outstanding Sceptre, the only racehorse to win four British Classic Races outright. Ormonde was born at half-past six in the evening of 18 March 1883. The Duke's stud-groom Richard Chapman stated that for several months after foaling, Ormonde was over at the knee. Chapman later said he had never before or since seen a horse with the characteristic so pronounced and that it had seemed impossible for him to ever grow straight. Ormonde did gradually grow out of the problem though and by the time he left the stud to go into training at Kingsclere, trainer John Porter told the Duke he was the best yearling the Duke had sent him. However during the winter of 1884/85, Ormonde had trouble with his knees. The treatment he received for this held his training back considerably, with him only having easy cantering exercises until the summer of 1885. Ormonde grew into a well-built horse standing 16 hands (64 inches, 163 cm) with excellent bone and straight hocks. Porter later said his neck "was the most muscular I ever saw a Thoroughbred possess." He had an excellent shoulder and short powerful hindquarters that led some to call him a racing machine. When galloping, he held his head low and had a notably long stride. He had a kind temperament, healthy appetite and strong constitution. Porter stated the horse was fond of flowers and would even eat the boutonniere from the jacket of anyone within reach.Racing career
1885: Two-year-old season
Prior to his racecourse debut, Porter ran Ormonde in a trial against Kendal, Whipper-in and Whitefriar. Kendal, carrying one pound less, won the trial by a length from Ormonde. Kendal had already had a number of races by this point and Ormonde was nowhere near fully fit. By this point he stood 16 hands high and had a very muscular neck and strong back. Porter also noted that when extended, Ormonde had a very long stride. The Duke rode him in a couple of canters and remarked "I felt every moment that I was going to be shot over his head, his propelling power is so terrific." As a two-year-old, Ormonde did not race until October when he won the Post Sweepstakes race at Newmarket. He started at 5/4 with the filly Modwena, who had won eight races out of ten that year, the 5/6 favourite. In the heavy going, Ormonde went on to win by a length from Modwena. Ormonde's next racecourse appearance came in the Criterion Stakes, again at Newmarket, where his opposition included Oberon and Mephisto. Starting at 4/6, Ormonde won easily by three lengths from Oberon, with Mephisto a distant third. He then started the Dewhurst Plate as the 4/11 favourite, ridden by Fred Archer. After an even start, Ormonde was positioned just behind the leader. As they neared the closing stages, Archer let Ormonde go and he quickly pulled away from the field to beat his stablemate, Whitefriar, easily by four lengths.The field also included Miss Jummy, who went on to win the 1000 Guineas and Epsom Oaks. These three victories earned him £3008. 1885 was considered to have had the best group of two-year-olds for many years.1886: Three-year-old season
Going into the 1886 season, Ormonde was one of the favourites for the Derby. He was priced at 11/2, similar to Minting, Saraband and The Bard.2000 Guineas
Ormonde started off his three-year-old campaign in the 2000 Guineas at Newmarket. The race was considered a clash between Ormonde, the unbeaten Middle Park winner Minting and Saraband. In a small field of six, Minting was sent off the 11/10 favourite, Saraband at 3/1 and Ormonde at 7/2. This time Ormonde was ridden by George Barrett, with Fred Archer riding Saraband. The horses ran almost in line in the early stages. Saraband began to struggle and was beaten with two furlongs to run. At this point Ormonde and Minting took over the lead from St. Mirin. Ormonde then went on to record as easy 2 length victory over Minting, with Mephisto a further 10 lengths back in third, who in turn was two lengths ahead of Saraband.
Engraving of the closing stages of the 1886 Derby, with Ormonde leading The BardThe Derby
After his Newmarket performance, Ormonde was the favourite for the Derby with Fred Archer back as his jockey. A small field of 9 went to post, with Ormonde the 40/85 favourite and his main opposition, The Bard, at 7/2 who. The Bard was also undefeated and had won many races as a two-year-old. The start was not even, with outsider Coracle almost 6 lengths clear of Ormonde, who was a similar distance clear of the rest. Ormonde and The Bard took over the lead at Tattenham corner and the two raced up the straight. The Bard got a neck in front, but when Archer asked Ormonde for an effort, he pulled in front to win by 1½ lengths from The Bard, with St. Mirin a further 10 lengths back in third.Royal Ascot
At Royal Ascot against just two opponents, Ormonde lined up as the 3/100 favourite for the St. James's Palace Stakes. He won easily by ¾ length from Calais. Three days later he faced a stronger field in the Hardwicke Stakes including 1885 Derby and St Leger winner Melton. Ormonde, the 30/100 favourite, won easily again though, beating Melton by 2 lengths. He then had a break from the racecourse. After Ascot Ormonde was already as short as 1/2 for the St Leger.Autumn
While Ormonde was galloping one morning shortly before the St Leger Stakes, Porter noticed him making a whistling noise.In spite of this infirmity, Ormonde started the final classic of the year as the 1/7 favourite. Ridden again by Archer, he pulled away half a mile out and won easily by 4 lengths from St. Mirin, without even being asked for an effort. The win made him the fourth winner of the English Triple Crown. He next ran in the Great Foal Stakes at Newmarket, again winning easily by three lengths from Mephisto.[13] He then won the Newmarket St Leger in a walkover and the Champion Stakes as the 1/100 favourite by a length from Oberon. Ormonde then entered a free handicap at Newmarket. Starting the 1/7 favourite and carrying 9 st 2 lb, he won by eight lengths from Mephisto, to whom he was conceding 28 lbs. At the same meeting he won a private sweepstakes in a walkover. The sweepstakes was an originally scheduled as a match race between Ormonde, The Bard, Melton and possibly Bendigo, the 1886 Eclipse winner. Bendigo was not nominated from the race in the end. The Bard and Melton were though and both forfeited £500 to Ormonde's connections. Throughout the end of the season, Ormonde's breathing had become progressively louder until he was labelled a roarer.1887: Four-year-old season
Ormonde did not race until June 1887. His return was assisted by an experimental treatment involving "galvanic shocks" being applied daily to his chest and throat.His reappearance came at Royal Ascot in the Rous Memorial Stakes, where his opposition included Kilwarlin, who went on to win the season's St. Leger Stakes. Ormonde was conceding 25 pounds to Kilwarin and before the race Kilwarin's owner Captain Machell said to Porter, "The horse was never foaled that could give Kilwarin 25 pounds and beat him." After Fred Archer's suicide, Tom Cannon was now Ormonde's jockey. He led the race throughout and won easily by six lengths from Kilwarlin, with Agave a distant third. Upon seeing Captain Machell in the paddock after the race Porter said, "Well, what did you think of it now?" Machell replied, "Ormonde is not a horse at all; he's a damned steam-engine." He raced again the next day in the Hardwicke Stakes, where he faced a strong field including Minting and Eclipse Stakes winner Bendigo. Minting's trainer Matt Dawson was confident that his horse could win this time due to Ormonde's breathing problems. As the four runners made their way to the starting post he remarked to Porter "You will be beaten today, John. No horse afflicted with Ormonde's infirmity can hope to beat Minting."Indeed, Porter himself admitted he was not overly confident of victory. During the race George Barrett, aboard Phil, impeded Ormonde and he was made to struggle for the first time in his career. During the closing stages, Ormonde and Minting battled with each other and Ormonde just came out on top, winning by a neck, with Bendigo in third. In his final race, he won the 6 furlong Imperial Gold Cup at Newmarket. Starting at 30/100 he made all the running and won by two lengths from Whitefriar. Ormonde was then retired as the most celebrated horse of his era. He was sent by train to Waterloo Station, then walked to Grosvenor House in Mayfair, where he was the guest of honor at a garden party to celebrate Queen Victoria's Golden Jubilee.Race record
Date Race name D(f) Course Prize (£) Odds Runners Place Margin Runner-up Time Jockey 14 October 1885 Post Sweepstakes 6 Newmarket 500 5/4 3 1 1 Modwena Fred Archer 26 October 1885 Criterion Stakes 6 Newmarket 906 4/6 6 1 3 Oberon Fred Archer 28 October 1885 Dewhurst Stakes 7 Newmarket 1602 4/11 11 1 4 Whitefriar Fred Archer 28 April 1886 2000 Guineas 8 Newmarket 4000 7/2 6 1 2 Minting 1:46.8 George Barrett 26 May 1886 Epsom Derby 12 Epsom Downs 4700 40/85 9 1 1.5 The Bard 2:45.6 Fred Archer 10 June 1886 St. James's Palace Stakes 8 Ascot 1500 3/100 3 1 0.75 Calais Fred Archer 13 June 1886 Hardwicke Stakes 12 Ascot 2438 30/100 5 1 2 Melton 2:43 George Barrett 15 September 1886 St Leger Stakes 14.5 Doncaster 4475 1/7 7 1 4 St Mirin 3:21.4 Fred Archer 29 September 1886 Great Foal Stakes 10 Newmarket 1140 1/25 3 1 3 Mephisto Fred Archer 1 October 1886 Newmarket St Leger 16 Newmarket 475 N/A 1 1 Walkover Walkover Fred Archer 15 October 1886 Champion Stakes 10 Newmarket 1212 1/100 3 1 1 Oberon 2:19 Fred Archer 28 October 1886 Free Handicap 10 Newmarket 650 1/7 3 1 8 Mephisto 2:22 Fred Archer 29 October 1886 Private Sweepstakes 10 Newmarket 1000 N/A 1 1 Walkover Walkover Fred Archer 9 June 1887 Rous Memorial Stakes 8 Ascot 920 1/4 1 6 Kilwarlin Tom Cannon 12 June 1887 Hardwicke Stakes 12 Ascot 2387 4/5 4 1 0.25 Minting 2:44.4 Tom Cannon 16 July 1887 Imperial Gold Cup 6 Newmarket 590 30/100 3 1 2 Whitefriar 1:18 Tom Cannon Assessment
Ormonde is generally considered one of the greatest racehorses ever. At the time he was often labelled as the 'horse of the century'. His achievements are even more impressive considering the strength of some of the other horses foaled in 1883. It is said that both Minting and The Bard were good enough to have won The Derby nine out of ten years. In early 1888 Minting, the horse Ormonde beat easily in the 2000 Guineas, was rated 15 pounds superior to the 1887 Derby winner Merry Hampton and the 1887 St Leger winner Kilwarlin.Stud record
Ormonde went to the Duke of Westminster's Eaton Stud in 1888, where he sired seven foals from the sixteen mares he covered, including Goldfinch and Orme. In 1889, he was moved to Moulton Paddocks in Newmarket, but became sick and could only cover a few mares, with only one live foal produced in 1890. He was subsequently returned to Eaton Stud but his fertility never recovered. To the astonishment of many, Ormonde was then sold overseas. Both he and his dam were roarers, and the Duke felt this could weaken English bloodstock. Ormonde was sold to Senor Bocau of Argentina for £12,000, and then in 1893 to William O'Brien Macdonough, of California for £31,250. He stood at the Menlo Stock Farm in California for several years, where he sired 16 foals. including Futurity Stakes winner Ormondale.English foals
c = colt, f = filly
Despite only siring eight horses in England, Ormonde had a signficant impact at stud. Orme was the leading sire in Great Britain and Ireland when he sired another Triple Crown winner, Flying Fox, who went on to be a leading sire in France. Orme also sired Epsom Derby winner Orby and 1000 Guineas winner Witch Elm. Goldfinch sired 1000 Guineas winner Chelandry. After being sold and moving to California, Goldfinch sired Preakness Stakes winner Old England. In America, his son Ormondale went on to sire Jockey Club Gold Cup winner Purchase. Ormonde died in 1904 at age 21 at Rancho Wikiup in Santa Rosa, California. His disarticulated skeleton/skull were later returned to the Natural History Museum in South Kensington, London.His male line survives mainly through Teddy, grandson of Flying Fox. Orby does still have a sire line as well. Ormonde may have been the model for the fictional horse Silver Blaze in Arthur Conan Doyle's Sherlock Holmes short story "The Adventure of Silver Blaze" (1892).Foaled Name Sex Notable wins Wins Prize money 1889 Goldfinch c Biennial Stakes, New Stakes 2 £2,464 1889 Kilkenny f 1 £164 1889 Llanthony c Ascot Derby 4 £3,139 1889 Orme c Middle Park Plate, Dewhurst Plate, Eclipse Stakes (twice), Sussex Stakes, Champion Stakes, Limekiln Stakes, Rous Memorial Stakes, Gordon Stakes 14 £32,528 1889 Orontes II f 0 1889 Orville c 0 1889 Sorcerer c 1 £229 1890 Glenwood c Aylesford Foal Plate 2 £1,726 -
Original,Interesting and rather furtive Players Please Navy Cut Cigarette Show Card Advert. 65cm x 54cm Navy cut were a brand of cigarettes manufactured by Imperial Brands –formerly John Player & Sons– in Nottingham, England.The brand became "Player's Navy Cut". They were particularly popular in Britain,Ireland and Germany in the late 19th century and early part of the 20th century, but were later produced in the United States. The packet has the distinctive logo of a smoking sailor in a 'Navy Cut' cap. The phrase "Navy Cut" is according to Player's adverts to originate from the habit of sailors taking a mixture of tobacco leaves and binding them with string or twine. The tobacco would then mature under pressure and the sailor could then dispense the tobacco by slicing off a "cut".The product is also available in pipe tobacco form. The cigarettes were available in tins and the original cardboard container was a four sided tray of cigarettes that slid out from a covering like a classic matchbox. The next design had fold in ends so that the cigarettes could be seen or dispensed without sliding out the tray. In the 1950s the packaging moved to the flip top design like most brands.The image of the sailor was known as "Hero" because of the name on his hat band. It was first used in 1883 and the lifebuoy was added five years later. The sailor images were an 1891 artists concept registered for Chester-based William Parkins and Co for their "Jack Glory" brand.Behind the sailor are two ships. The one on the left is thought to be HMS Britannia and the one on the right HMS Dreadnought or HMS Hero. As time went by the image of the sailor changed as it sometimes had a beard and other times he was clean shaven. In 1927 "Hero" was standardised on a 1905 version. As part of the 1927 marketing campaign John Player and Sons commissioned an oil painting Head of a Sailor by Arthur David McCormick.The Player's Hero logo was thought to contribute to the cigarettes popularity in the 20s and 30s when competitor W.D. & H.O. Wills tried to create a similar image. Unlike Craven A, Navy Cut was intended to have a unisex appeal. Advertisements referred to "the appeal to Eve's fair daughters" and lines like "Men may come and Men may go".
Enamelled metal box for 1 ounce of tobaccoHero is thought to have originally meant to indicate traditional British values, but his masculinity appealed directly to men and as a potential uncle figure for younger women. One slogan written inside the packet was "It's the tobacco that counts" and another was "Player's Please" which was said to appeal to the perceived desire of the population to be included in the mass market. The slogan was so well known that it was sufficient in a shop to get a packet of this brand. Player's Medium Navy Cut was the most popular by far of the three Navy Cut brands (there was also Mild and Gold Leaf). Two thirds of all the cigarettes sold in Britain were Players and two thirds of these was branded as Players Medium Navy Cut. In January 1937, Players sold nearly 3.5 million cigarettes (which included 1.34 million in London. The popularity of the brand was mostly amongst the middle class and in the South of England. While it was smoked in the north, other brands were locally more popular. The brand was discontinued in the UK in 2016. Origins : Co Down Dimensions : 56cm x 46cm 5kg
WWII cigarette packets exhibited at Monmouth Regimental Museumin 2012 -
Original,Interesting and rather furtive Players Please Navy Cut Cigarette Show Card Advert. 57cm x 47cm Newbridge Co Kildare Navy cut were a brand of cigarettes manufactured by Imperial Brands –formerly John Player & Sons– in Nottingham, England.The brand became "Player's Navy Cut". They were particularly popular in Britain,Ireland and Germany in the late 19th century and early part of the 20th century, but were later produced in the United States. The packet has the distinctive logo of a smoking sailor in a 'Navy Cut' cap. The phrase "Navy Cut" is according to Player's adverts to originate from the habit of sailors taking a mixture of tobacco leaves and binding them with string or twine. The tobacco would then mature under pressure and the sailor could then dispense the tobacco by slicing off a "cut".The product is also available in pipe tobacco form. The cigarettes were available in tins and the original cardboard container was a four sided tray of cigarettes that slid out from a covering like a classic matchbox. The next design had fold in ends so that the cigarettes could be seen or dispensed without sliding out the tray. In the 1950s the packaging moved to the flip top design like most brands.The image of the sailor was known as "Hero" because of the name on his hat band. It was first used in 1883 and the lifebuoy was added five years later. The sailor images were an 1891 artists concept registered for Chester-based William Parkins and Co for their "Jack Glory" brand.Behind the sailor are two ships. The one on the left is thought to be HMS Britannia and the one on the right HMS Dreadnought or HMS Hero. As time went by the image of the sailor changed as it sometimes had a beard and other times he was clean shaven. In 1927 "Hero" was standardised on a 1905 version. As part of the 1927 marketing campaign John Player and Sons commissioned an oil painting Head of a Sailor by Arthur David McCormick.The Player's Hero logo was thought to contribute to the cigarettes popularity in the 20s and 30s when competitor W.D. & H.O. Wills tried to create a similar image. Unlike Craven A, Navy Cut was intended to have a unisex appeal. Advertisements referred to "the appeal to Eve's fair daughters" and lines like "Men may come and Men may go".
Enamelled metal box for 1 ounce of tobaccoHero is thought to have originally meant to indicate traditional British values, but his masculinity appealed directly to men and as a potential uncle figure for younger women. One slogan written inside the packet was "It's the tobacco that counts" and another was "Player's Please" which was said to appeal to the perceived desire of the population to be included in the mass market. The slogan was so well known that it was sufficient in a shop to get a packet of this brand. Player's Medium Navy Cut was the most popular by far of the three Navy Cut brands (there was also Mild and Gold Leaf). Two thirds of all the cigarettes sold in Britain were Players and two thirds of these was branded as Players Medium Navy Cut. In January 1937, Players sold nearly 3.5 million cigarettes (which included 1.34 million in London. The popularity of the brand was mostly amongst the middle class and in the South of England. While it was smoked in the north, other brands were locally more popular. The brand was discontinued in the UK in 2016.
WWII cigarette packets exhibited at Monmouth Regimental Museumin 2012 -
Stunning,unique brass framed 1940's-50's Power's Pure Pot Still Whiskey Mirror.Please contact us directly at irishpubemporium@gmail.com for pricing and shipment quotation. 65cm x 75cm 12kg Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square. Origins : Dublin City Dimensions : 100cm x 70cm 20kg (specially constructed damage proof shipping container)
The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Thomas Power (1856-1930) was the first chairman of Waterford County Council and was chairman of Dungarvan Town Commissioners on a number of occasions. In the 1880s he was in partnership with his brother producing mineral waters. In 1904 he began producing his award winning Blackwater Cider.In 1917 Thomas purchased the old St Brigid's Well Brewery in Fair Lane, Dungarvan from the Marquis of Waterford. The business was a great success and its produce was in demand all over County Waterford and beyond. After his death the brewery was taken over by his son Paul I. Power who managed it until 1976 when his son Ion took over. Brewing took place in Dungarvan throughout history but we only have detailed information from the late 18th century onwards. In 1917 the Marquis sold the property and it was acquired by Thomas Power. He developed a thriving business known as Power's Brewery. This brewing tradition continues into the modern era with the Dungarvan Brewing Company.
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Out of stock
Power's Pure Pot Still Whiskey Mirror. 70cm x 38cm In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square. Origins : Dublin City Dimensions : 100cm x 70cm 20kg (specially constructed damage proof shipping container)
The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Extremely rare Power's Three Swallow Irish Whiskey Tin Plate Advert.Beautifully mounted in old frame, this is a real collectors item for the Power's enthusiast. 32cm x 36cm Thomas St Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square. Origins : Dublin City Dimensions : 100cm x 70cm 20kg (specially constructed damage proof shipping container)
The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Miniature framed Powers Whiskey Label originating from James Donahoe's Co Wexford 12cm x 14cm. Enniscorthy Co Wexford n 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son,and had moved to a new premises at John’s Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O’Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the “Big Four”) came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John’s Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as “about as complete a work as it is possible to find anywhere”. At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:”The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels.” The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power’s Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John’s Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John’s Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John’s Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery’s pot stills were saved and now located in the college’s Red Square.
The Still House at John’s Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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44cm x 33cm Bray Co Wicklow In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son,and had moved to a new premises at John’s Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O’Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the “Big Four”) came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John’s Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as “about as complete a work as it is possible to find anywhere”. At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:”The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels.” The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power’s Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John’s Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John’s Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John’s Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery’s pot stills were saved and now located in the college’s Red Square.
The Still House at John’s Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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34cm x 27cm Dublin A beautiful souvenir Powers Whiskey print advertising the company's participation at the 1893 World Fair held in Chicago to celebrate the 400th anniversary of Christopher Columbus's arrival in the New World in 1492.The fair was an influential social and cultural event and had a profound effect on architecture,sanitation,the Arts,Chicago's self image and American Industrial optimism .Powers Whiskey itself was established in 1792 before moving to Johns Lane in 1822 and then expanding its ranks and production levels rapidly to become one of the most impressive architectural sights in Victorian Dublin-an overhead view of which is depicted in this beautiful print. In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son,and had moved to a new premises at John’s Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O’Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the “Big Four”) came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John’s Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as “about as complete a work as it is possible to find anywhere”. At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:”The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels.” The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power’s Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John’s Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John’s Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John’s Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery’s pot stills were saved and now located in the college’s Red Square.
The Still House at John’s Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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34cm x 27cm Dublin A beautiful souvenir Powers Whiskey print advertising the company's participation at the 1893 World Fair held in Chicago to celebrate the 400th anniversary of Christopher Columbus's arrival in the New World in 1492.The fair was an influential social and cultural event and had a profound effect on architecture,sanitation,the Arts,Chicago's self image and American Industrial optimism .Powers Whiskey itself was established in 1792 before moving to Johns Lane in 1822 and then expanding its ranks and production levels rapidly to become one of the most impressive architectural sights in Victorian Dublin-an overhead view of which is depicted in this beautiful print. In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son,and had moved to a new premises at John’s Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O’Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the “Big Four”) came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John’s Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as “about as complete a work as it is possible to find anywhere”. At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:”The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels.” The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power’s Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John’s Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John’s Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John’s Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery’s pot stills were saved and now located in the college’s Red Square.
The Still House at John’s Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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40cm x 80cm. Dublin The original distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son,and had moved to a new premises at John’s Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O’Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the “Big Four”) came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John’s Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as “about as complete a work as it is possible to find anywhere”. At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:”The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels.” The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power’s Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John’s Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John’s Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John’s Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery’s pot stills were saved and now located in the college’s Red Square. Origins: Co Waterford Dimensions :40cm x 77cm
The Still House at John’s Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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35cm x 25cm Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son,and had moved to a new premises at John’s Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O’Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the “Big Four”) came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John’s Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as “about as complete a work as it is possible to find anywhere”. At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:”The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels.” The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power’s Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John’s Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John’s Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John’s Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery’s pot stills were saved and now located in the college’s Red Square.
The Still House at John’s Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Fantastic McConnell's Old Irish Whiskey Mirror (Cromac Distillery Belfast)-McConnell's closed in 1930 so we estimate this mirror to be approximately 95-110 years old.Please email us for further details and pricing. 40cm x 70cm Portadown Co Armagh (Please note that all of our rare, expensive mirrors are packed,protected and secured with the utmost care and are shipped via DHL in specially constructed plywood transport containers ) -
Magnificent and rare limited edition print of advert promoting Hurling-Irelands national game (By the legendary GAA Journalist Carbery) and Guinness with the legendary Limerick hurler Mick Mackey to the fore in the sketched advertisement.To the left of the image is the hand written note- "Our man Mackey drinks Guinness". 70cm x 55cm Dromcollogher Co Limerick PD Mehigan (aka Carbery) was a singular individual, a prominent figure in the first five decades of the history of the Irish Free State. His interests and achievements are extensive and fascinating. In the summer of 1926, Irish people’s experience of sport was turned on its head. The turning began when PS O’Hegarty, the man who ran the Department of Posts and Telegraphs and who founded an Irish state radio service — 2RN — met Mehigan, then the leading GAA journalist in the country, and made him a proposition. The story of what happened between the two men was later told by Mehigan: “In his blunt, direct way, he (O’Hegarty) slung the question at me: ‘Mehigan, will you help us by giving a running commentary — describe the match as you see it — from the Hogan Stand?’” Mehigan agreed he would, indeed, broadcast a match, with live commentary, on 2RN.Born in Castleconnell, County Limerick, Mackey first arrived on the inter-county scene at the age of seventeen when he first linked up with the Limerick minor team, before later lining out with the junior side. He made his senior debut in the 1930–31 National League. Mackey went on to play a key part for Limerick during a golden age for the team, and won three All-Ireland medals, five Munster medals and five National Hurling League medals. An All-Ireland runner-up on two occasions, Mackey also captained the team to two All-Ireland victories. His brother, John Mackey, also shared in these victories while his father, "Tyler" Mackey was a one-time All-Ireland runner-up with Limerick. Mackey represented the Munster inter-provincial team for twelve years, winning eight Railway Cup medals during that period. At club level he won fifteen championship medals with Ahane. Throughout his inter-county career, Mackey made 42 championship appearances for Limerick. His retirement came following the conclusion of the 1947 championship. In retirement from playing, Mackey became involved in team management and coaching. As trainer of the Limerick senior team in 1955, he guided them to Munster victory. He also served as a selector on various occasions with both Limerick and Munster. Mackey also served as a referee. Mackey is widely regarded as one of the greatest hurlers in the history of the game. He was the inaugural recipient of the All-Time All-Star Award. He has been repeatedly voted onto teams made up of the sport's greats, including at centre-forward on the Hurling Team of the Century in 1984 and the Hurling Team of the Millennium in 2000. Mackey was just fourteen years-old when the Ahane club was formed in 1926. Deemed too young to play at the time, he made his club debut in September 1928 in a junior championship defeat of Fedamore. It was a successful campaign that ended with the county final on 16 June 1929. A 5–1 to 2–2 defeat of Kilmeedy gave Mackey a junior championship medal. 1929 also proved to be a successful year for Mackey. A 1–8 to 1–2 defeat of Cappamore gave him an intermediate championship medal. Mackey continued his winning ways in 1930, winning a minor championship medal following a victory over Doon. He had earlier won a minor championship medal with Clonlara when he briefly played in Clare. In 1931 Mackey was a key part of the Ahane team that reached the final of the senior championship. A 5–5 to 1–4 trouncing of Croom gave Ahane their first senior title, while it also gave Mackey his first championship medal. Ahane failed to retain their title, however, Mackey's team returned to the championship decider once again in 1933. A 1–7 to 1–1 defeat of Croom gave him his second championship medal. It was the beginning of a run of success, as Ahane went on to dominated club hurling in Limerick for the rest of the decade. Back-to-back defeats of Kildimo in 1934 and 1935, followed by four successive defeats of Croom brought Mackey's championship medal tally to eight. Eight-in-a-row proved beyond Ahane, as Croom triumphed in 1940 and 1941. During this time Mackey also starred with the Ahane senior football team. Five successive final victories between 1935 and 1939 gave him championship medals in the other code also. Ahane hurlers bounced back in 1942 to reach a tenth successive county decider. A 7–8 to 1–0 defeat of Rathkeale gave Mackey an eight winners' medal in the hurling championship. This victory set Ahane off on another great run of success. Further defeats of Croom (twice), Rathkeale (twice), Granagh-Ballingarry and St. Patrick's yielded another seven championships in succession. These victories brought Mackey's championship medal to a remarkable fifteen. Mackey's last appearance for Ahane was in 1951 in a championship semi-final defeat by Treaty Sarsfield's. The game was not an eventful one for Mackey as he was seny off. Minor and junior Mackey made his inter-county debut with Limerick in the minor provincial championship in August 1929. It was an unsuccessful start as Waterford were the winners. As well as lining out for the Limerick minor team again in 1930, Mackey was also a member of the Limerick junior team. Once again, success was not forthcoming as Tipperary put Limerick out of the provincial championship after a thrilling draw and a replay. Beginnings By this stage Mackey had joined the Limerick senior team. In spite of just turning seventeen, he was listed as a substitute for the provincial championship campaign in 1929. After being dropped from the team in 1930, Mackey's senior debut came about in unusual circumstances. In a National Hurling League game against Kilkenny on 16 November 1930, Limerick were unable to field a full team and resorted to looking for players in the crowd. Mackey, who had gone to the game as a spectator, was asked to play and duly made his senior inter-county debut. Dominance In 1933 Limerick emerged as a major force after a decade in the doldrums. Mackey lined out in his first Munster decider that year, as Limerick faced Waterford. With eight minutes left in the game, some spectators invaded the pitch and the match was abandoned. Since Limerick were winning by 3–7 to 1–2, the Munster Council declared them the champions and Mackey collected his first Munster medal. The subsequent All-Ireland final on 3 September 1933 saw a record crowd of 45,176 travel to Croke Park to see Limerick face Kilkenny. After being level at the interval, the game remained close in the second half until a solo-run goal by Johnny Dunne sealed a 1–7 to 0–6 victory for Kilkenny. A successful league campaign throughout 1933–34 saw Limerick reach the decider against Dublin. In spite of home advantage, Limerick had to battle hard for a 3–6 to 3–3 victory. It was Mackey's first National League medal. The subsequent provincial championship saw Limerick reach the decider, where they played Waterford for the second year in-a-row. The result was much the same, with Mackey collecting a second Munster medal following a 4–8 to 2–5 victory. The All-Ireland final on 2 September 1934 was a special occasion as it was the golden jubilee final of the Gaelic Athletic Association. Dublin were the opponents and a close game developed. After leading by a point at the interval, Limerick went five clear with time running out. Dublin fought their way back to secure a remarkable draw. The replay on 30 September turned out to be an even closer affair, with both sides level with two minutes to go. Points from Mackey and Jackie O'Connell and a remarkable four goals from Dave Clohessy secured a 5–2 to 2–6 victory for Limerick. The win gave Mackey an All-Ireland medal for Mackey. Mackey added a second National League medal to his collection in 1935, as Limerick retained their title in a straightforward league format. Limerick dominated the provincial series of games once again, and lined out in the decider against Tipperary. Mackey was singled out for particular praise, and collected a third Munster medal following a 5–5 to 1–4 victory. Kilkenny were Limerick's opponents in the subsequent All-Ireland final on 1 September 1935 and, once again, the game was a close affair. Limerick were the red-hot favourites as a record crowd of over 46,000 turned up to watch a hurling classic. In spite of rain falling throughout the entire game both sides served up a great game. At the beginning of the second-half Lory Meagher sent over a huge point from midfield giving Kilkenny a lead which they would not surrender. The game ended in controversial circumstances for Mackey when Limerick were awarded a close-in free to level the game. Jack Keane issued an instruction from the sideline that Timmy Ryan, the team captain, was to take the free and put the sliotar over the bar for the equalising point. As he lined up to take it, Mackey pushed him aside and took the free himself. The shot dropped short and into the waiting hands of the Kilkenny goalkeeper and was cleared. The game ended shortly after with Kilkenny triumphing by 2–5 to 2–4. Limerick began 1936 by retaining their league title, having won seven of their games and drawing one. It was Mackey's third National League medal. The team later embarked on a tour of the United States where they defeated a New York team made up of Irish expatriates. As a result of the tour Limerick were awarded a bye into the Munster final, however, Mackey, who was now captain of the side, sustained an injury to his right knee during the American tour. Tipperary provided the opposition in the provincial final and any sign of weakness from Mackey would be pounced upon. The Limerick selectors then hit on the novel idea of putting a large bandage on their star player's uninjured left knee in an effort to confuse the Tipp players. The switching of bandages worked perfectly as Mackey scored a remarkable 5–3 as Limerick trounced the opposition. After scoring his final goal, he taunted the Tipperary fans with gestures, and finally turned his back to them and dropped his togs exposing his buttocks. Galway fell to Limerick in the subsequent All-Ireland semi-final, however, the men from the West lost the game after walking off the pitch with fifteen minutes left. They were not impressed with the rough tactics of their opponents. For the third time in four years the lure of a Kilkenny-Limerick clash brought a record crowd of over 50,000 to Croke Park for the All-Ireland decider on 6 September 1936. The first half produced a game that lived up to the previous clashes, and Limerick had a two-point advantage at half-time. Jackie Power scored two first-half goals, while a solo-run goal by captain Mackey in the second-half helped Limerick to a 5–6 to 1–5 victory. Mackey had won a second All-Ireland medal, while he also had the honour of lifting the Liam MacCarthy Cup. Final success and decline In 1937 Mackey captained Limerick to yet another National League title, his fourth overall. Limerick's bid for a record-equalling fifth successive Munster crown came to an end in the provincial decider when Tipperary were victorious. Limerick entered the record books in 1938 as the first team to win five consecutive National League titles. It is a record which has never been equalled. Mackey played a key role in all five of the victories. A period of decline followed for Limerick, with many people believing that the team's best days were behind them. This certainly seemed the case in 1940 when it took two late goals from Jackie Power and a storming display by Mackey to level the Munster semi-final with Waterford. Another late rally gave Limerick a victory in the subsequent replay. Mackey's side put in another excellent performance in the Munster final to draw the game with Cork. At half-time in the replay Limerick looked like a spent force. Held scoreless for the entire thirty minutes, Mackey got the recovery underway in the second-half with a point from a seventy. He later moved back to the defence where Cork were running riot with goals. A pitch invasion scuppered the game for ten minutes, however, Limerick held on to win by 3–3 to 2–4 and Mackey collected a fifth Munster medal. The subsequent All-Ireland decider on 1 September 1940 brought Kilkenny and Limerick together for the last great game between the two outstanding teams of the decade. Early in the second-half Kilkenny took a four-point lead, however, once Mackey was deployed at midfield he proceeded to dominate the game. Limerick hung on to win the game on a score line of 3–7 to 1–7. The win gave Mackey his third All-Ireland medal, while he also joined an elite group of players who collected the Liam MacCarthy Cup more than once as captain. Limerick took a back seat to Cork and Tipperary in the Munster series of games for the next few years. Mackey played no championship hurling with Limerick in 1941, as he withdrew from the panel due to the death of his younger brother Paddy. In 1944 Limerick squared up to Cork in the provincial final as the Leesiders were aiming for a fourth consecutive All-Ireland final victory. Mackey was a veteran hurler by now, however, he still seemed to be playing better than ever. Cork took an early lead, however, the Ahane man kept his team in with a chance by scoring points from almost impossible angles. He later powered past Con Murphy to score two quick goals and put Limerick in the driving seat once again. Cork came back, however, to draw the game on a remarkable 4–14 to 6–7 score line. In the last fifteen minutes of the subsequent replay Limerick were up by four points. Mackey broke through the Cork defence to score another inspiring goal, however, he was deemed to be fouled as he went through and the goal was disallowed. A free was awarded instead but it was missed. With minutes left in the game both sides were level and Mackey launched one last attack for the winning point. His shot hit the outside of the post and dropped wide. Only seconds remained when Cork's Christy Ring caught the sliotar and fired a fierce shot into the net to win the game. Many regard this dramatic passage of play as the moment that the mantle of hurling's star player passed from Mackey to Ring. Following a defeat by Cork in the Munster decider in 1946, Mackey effectively retired from inter-county hurling. He was, however, coaxed back as a substitute for the 1947 Munster final defeat by Cork. Inter-provincial Mackey also lined out with Munster in the inter-provincial series of games, and enjoyed much success during a twelve-year career. He made a winning debut in 1934, as a 6–3 to 3–2 defeat of Leinster gave Mackey his first Railway Cup medal. After back-to-back defeats over the next two years, Mackey was captain of the Munster team in 1937. A 1–9 to 3–1 defeat of Leinster in the decider, gave Mackey a second Railway Cup medal. It was the first of four successive final defeats of Leinster, with Mackey playing a key role in all of these victories. Five-in-a-row proved beyond Munster and, after a year of not playing any hurling, Mackey was back with Munster in 1943. A narrow 4–3 to 3–5 defeat of old rivals Leinster gave him a sixth Railway Cup medal. Mackey finished off his inter-provincial career by winning back-to-back Railway Cup medals in 1945 and 1946, following respective defeats of Ulster and Connacht. Recognition As the first superstar of hurling, Mackey came to be regarded as one of the greatest players of all-time even during his playing days. P.D. Mehigan, a contemporary Gaelic games journalist and historian, said of him: "...most elusive forward, and greatest playboy that ever handled ash, son of the great Tyler, schoolboys love him, hurling fans admire him; opposing backs fear him. A loveable man, full of the joy of life, still hurling well." Ned Maher, the former Tipperary goalkeeper of the 1890s said: "Mick Mackey was the greatest hurler ever and I saw them all." The arrival of Christy Ring as a hurling force brought a new challenger for pole position in the pantheon of hurling greats. Clare hurling legend Jimmy Smyth offered his view on the rivalry between Ring and Mackey:"With Mick Mackey, I saw him playing, but not at his best. A lot of people I met back in Clare always reckoned that Mackey was the best. But, you can’t decide. They were totally different people, personality-wise and hurling-wise. Former Wexford All-Ireland winner Billy Rackard wrote: "When it comes to selecting the greatest exponent the game has ever seen, measured opinion sees one name out of reach – above all others. That name is Christy Ring of Cork. The nearest challenger is seen to be Mick Mackey of Limerick." In 1961 Mackey was presented with the Caltex Hall of Fame award for being the outstanding personality in hurling of all-time. That same year he was chosen in the half-forward line when journalist P.D. Mehigan picked "the best men of my time". Two years after his death, Mackey received the ultimate honour during the GAA's centenary year in 1984 when he was chosen at centre-forward on the Hurling Team of the Century. He retained that position on the Hurling Team of the Millennium in 2000. In 1988 the main covered stand in the Gaelic Grounds in Limerick was named the Mackey Stand in his honour, while the main playing field of the Ahane club is named Mackey Park. This is a tribute to the entire Mackey family for their contribution to the game. In 2013 a bronze statue in memory of Mackey was unveiled in his native Castleconnell Around the same time the Munster Council turned down a Limerick motion to name the province's senior hurling trophy in honour of Mackey. Personal life Mackey was born in Castleconnell, County Limerick on 12 July 1912, the eldest son to John "Tyler" and May Mackey (née Carroll). His younger siblings were John, Ester, Sadie, Paddy, Maureen, James "Todsie" and Breda. Born into a family that was steeped in the traditions of the game of hurling, his grandfather and namesake, Michael Mackey, was involved in the promotion of Gaelic games even before the establishment of the Gaelic Athletic Association in 1884. He was captain of the Castleconnell team in the infancy of the association and was a member of the very first Limerick hurling team that played in the inaugural championship in 1887. His father, "Tyler" Mackey, ranked among the leading hurling personalities of the first two decades of the twentieth century. In a career that lasted from 1901 until 1917 he captained Limerick in the county's unsuccessful 1910 All-Ireland title bid when Wexford were victorious by a single point. Educated at Castleconnell National School, Mackey received no secondary schooling and subsequently joined the Electricity Supply Board where he spent forty-seven years as a van driver with the company at Ardnacrusha, County Clare. He also spent five years as a member of the Irish Army. Mackey was married to Kathleen "Kitty" Kennedy (1914–2003) and the couple had five children: Paddy, Michael, Greg, Audrey and Ruth. In declining health for some years, Mackey suffered a series of strokes towards the end of his life. He died on 13 September 1982. Honours Team Ahane Limerick Senior Hurling Championship (15): 1931, 1933, 1934, 1935, 1936, 1937, 1938, 1939, 1942, 1943, 1944, 1945, 1946, 1947, 1948 Limerick Senior Football Championship (5): 1935, 1936, 1937, 1938, 1939 Limerick All-Ireland Senior Hurling Championship (3): 1934, 1936 (c), 1940 (c) Munster Senior Hurling Championship (5): 1933, 1934, 1935, 1936 (c), 1940 (c) National Hurling League (5): 1933–34, 1934–35, 1935–36 (c), 1936–37, 1937–38 Munster Railway Cup (8): 1934, 1937 (c), 1938, 1939, 1940, 1943, 1945, 1946 IndividualHonours Hurling Team of the Millennium: Centre-forward Hurling Team of the Century: Centre-forward GAA All-Time All-Star Award: 1980 Caltex Hall of Fame Award: 1961 The 125 greatest stars of the GAA: No. 5 GAA Hall of Fame Inductee: 2013It was an epic game, fitted perfectly to a landmark moment in broadcasting. Indeed, many had doubted it was technically possible to achieve what was broadcast from Croke Park on that day. After all, there was no tradition of broadcasting sports events in Europe and the new Irish state’s national radio station (run by O’Hegarty) had only been broadcasting from the GPO, in Dublin, for a mere eight months. For Mehigan, it was an utterly unique experience: “I was at Croke Park an hour before the match. The mysterious signal came that I was ‘on the air’ and the engineer nodded to me to fire away. “Without much ado, I fired away and found I could spout freely enough, particularly as soon as the game, which I was so familiar with, started.” Mehigan continued: “At half-time, I had to do a summary of the first-half, and so on, to the end. I was very tired at the finish; they were beaming in the engineers’ room below and clapped me on the back. I knew I was a raw recruit and had a lot to learn. Yet, I got a great kick out of it all, and was glad to help to spread the light about the loved game of my boyhood.” Mehigan’s memories of the day capture the pioneering nature of what was achieved in Dublin: “To the Gaelic Athletic Association and to 2RN (as Raidió Éireann was then called) belongs the honour of giving the first open-air games broadcast to Europe and to the western world.”That match was the 1926 All-Ireland hurling semi-final, in which Kilkenny beat Galway 6-2 to 5-1.This was an exaggeration, as other sports had been broadcast in America and from Spain. Allowing for that, the contrast with what the BBC had managed in England was stark. No sports broadcast had been managed on that station, despite plans to commentate on the England-Scotland rugby international, the FA Cup final, the Oxford-Cambridge boat race, and the Epsom Derby. Basically, the sporting organisations of Britain did not facilitate such commentary. They were, for instance, exceptionally concerned about the impact live commentary might have on attendances and were concerned, also, about the image of their sports. For PD Mehigan, this was another successful venture in what was a remarkable career. He had been born and schooled in Ardfield, in Cork, before joining the civil service in 1899. He worked in the Department of Customs and Excise, before moving to London. While there, he played on the London team that was hammered by Cork in the 1902 All-Ireland final.Moving back to Cork, he played in the 1905 All-Ireland final — losing to Kilkenny — and was also Irish champion in the hop, skip, and jump, in 1908. While still working as a customs officer, he began to write a column for The Cork Examiner, in 1912, under the pseudonym ‘Carbery’. He continued to write for the Examiner on GAA, boxing, coursing and other sports, even after he moved back to Dublin, in 1922. He and his wife moved to Dartmouth Square, in Ranelagh, where they raised six children. His life was transformed by radio broadcasting. He commentated on more than 100 matches and became a household name. The opportunities that now opened up for Mehigan in journalism allowed him to leave the civil service and, as well as writing as ‘Carbery’ for the Examiner, he also wrote for The Irish Times, as ‘Pat O’, on Gaelic games and coursing. To say it was unusual in the 1930s to leave a steady job in the civil service to embark on a career as a fulltime writer does not come close to doing justice to the courage of this move. With an expanding family to support, he worked year after year to develop new initiatives. His great innovation was the compilation of Carbery’s Annual in 1939. This publication drew together his many talents. In this annual, he wrote on sport, history, and on the natural world, with his poetry and short stories adding creativity to his reportage.Mehigan also wrote numerous books (as ‘Carbery’), usually on sport, but he also published a collection of his fictional works and reflections on nature and Irish history, as Sean Kearns noted in his excellent account of Mehigan’s life, published in the Dictionary of Irish Biography. His most successful books were Hurling: Ireland’s National Game (1940), Gaelic Football (1941), and Fifty Years of Irish Athletics (1943). Vintage Carbery, a lovely collection of his writings, can be found in the corner of some secondhand bookshops. It was published in 1984, having been compiled by the former Irish Times journalist Sean Kilfeather. In a fine introduction to the collection, Kilfeather writes that Mehigan was a remarkable man, whose writing was “lively” and “evocative”. More than that, he recalls that Mehigan managed the seemingly impossible feat of being “loved and respected” by his colleagues in sports journalism. In Vintage Carbery, Mehigan tells the story of his days as a radio commentator and finishes with a story of his greatest thrill from those years: Getting a scoop of an interview with world heavyweight boxing champion, Gene Tunney, who had just dethroned Jack Dempsey.The first volume of the annual proved such a success it was continued until he died in 1965.Tunney was in Dublin in 1928 to attend the Tailteann Games, when Mehigan approached him for an interview. Tunney said no. Mehigan persisted. Tunney still said no. “‘We’re hooked up to all of Europe.’ No good. His face was still stoic. ‘We’re hooked up to all of America,’ I urged. No cord touched! Another brainwave came. “I knew Tunney came especially to see his blood relations in Mayo and Cork. I spoke my tenderest: ‘We’re hooked up’, I said, ‘to every homestead in Mayo and every village in Co. Cork!’ His fine eyes softened. Meekly, silently, he walked to the microphone. I introduced him in 40 words and he was on the air.” It was one more coup for a man whose career was defined by a capacity to break the mould. Michael John Mackey (12 July 1912 – 13 September 1982) was an Irish hurler who played as a centre-forward for the Limerick senior team. -
Quite hard to find Guinness Porter advert with suitably distressed appearance. Dimensions : 32cm x 40cm Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.” Origins : Dublin Dimensions : 43cm x 35cm
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Quite hard to find Guinness Porter on Draught advert with suitably distressed appearance. Dimensions : 32cm x 40cm Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.” Origins : Dublin Dimensions : 43cm x 35cm -
55cm x66cm Swords Co Dublin Experience the best of Ireland touring by car and golf at Portmarnock.Beautiful 1930s advertising print extolling the delights of visiting Ireland,drinking Jameson Whiskey and playing golf at the many wonderful courses in the country especially the famous links featured here,Portmarnock in North Co Dublin,presumably not all at the same time !The famous Jameson distillery in Bow Street in the heart of the city is also featured in this fine portrayal of that era in Dublin which is beautifully showcased in an ornate gold frame. The Jameson House, (‘St Marnock’s’) In the 1840s, the distiller, John Jameson acquired nearly 600 acres of land at Burrow, Portmarnock, buying out most of the small-holders there. He built a residence, which overlooked the ruins of the ancient church of St Marnock, after whom he named his house. Keenly interested in golf, he laid out a rudimentary course near the house. Following a fire in 1894, considerable renovation and extension was carried out. An inscription in stone over the original front-door of the house commemorates that work. Nearby was stabling for horses, coach-houses and farm buildings (in the area of the modern office park, ‘The Stables’). An avenue enclosed by iron railings, which survived until the late twentieth century, led from an entrance at South Lodge to the main house. Both gate lodges (‘North’ and ‘South’) have survived, with their distinctive design and (probably) local Plunkett brickwork. The amenities enjoyed by the Jamesons from their country mansion included sailing, shooting and horse-riding. The family’s considerable influence on Portmarnock included the establishment of the first local National School on Jameson land. The last of the family here, William George Jameson, was best known for his race-horses, his yachting prowess, and his association with high-society and royalty, including the future King Edward V11. After his death in1939, the house was sold and it has since been used as a hotel. Jameson and the fledging Irish Tourism Board partnered up in terms of selling both the country and a rising brand of Irish Whiskey from the 1930s onwards and a series of adverts ensued.This is a quaint and delightful reminder of times gone by. 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.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.
Historical pot still at the Jameson distillery in Cork -
Absolutely magnificent John Jameson & Son Pure Pot Still Whiskey Mirror originating from the 1930s.In excellent condition save for some age related damage to the original frame.This standout mirror will make a showpiece item for any Irish pub or the serious Jameson collector. 60cm x 75cm Stoneybatter Dublin 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.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.
Historical pot still at the Jameson distillery in Cork -
Magnificent and extremely rare small Dublin DWD Whiskey Mirror.In particular the smaller mirrors are amongst the most sought after on the market and this very special example will adorn any collection. 23cm x 30cm Rathdrum. Co WicklowHistory of the DWD Whiskey Distillery
The Dublin Whiskey Distillery Co Rebirth & Redemption
Ireland’s history of whiskey distilling runs long and deep. The word ‘whiskey’ comes from the Gaelic, “uisce beatha”, meaning “water of life”, and Irish whiskey is one of the earliest known distilled beverages in the world, believed to have originated when Irish monks brought the technique of distilling perfumes back to Ireland around 1000 AD. Ever resourceful, the Irish modified this craft to create the wonderful spirit that endures to this day. But Irish whiskey’s most recent past reveals an extraordinary tale of subterfuge and intrigue that belies this golden spirit. The mercurial craft of whiskey making has lost none of its ethereal mystique and remains indelibly woven with what it means to be Irish. It has oiled a rich and eclectic culture that has reached far beyond our island shores. Yet the ‘light music’ appreciated by Joyce hides a dramatic tale of endurance and fortitude that has demanded so much from its leading protagonists. Neither war, nor famine or draconian law, be it home-grown or foreign made, or the shifting sands of empires and nations, or the shallow trends of libatious fashion could halt this most resolute and enduring spirit.
The founder and Master Distiller of the Dublin Whiskey Distillery Company
John Brannick, founder and master distiller of the Dublin Whiskey Distillery Company, was born into a renowned family of Irish whiskey-makers. His father Patrick and his uncles were all established distillers with Sir John Power of “Powers Irish Whiskey” fame, and in time both John and his younger brother Patrick Jr would follow in their father’s footsteps. Like all the great Irish distillers of the 19th century, the Brannick family used traditional “Pot Still” distillation, the simplest and oldest form of distillation, the principles of which have remained unchanged to this day. First, a whiskey “mash” comprised of water and grain is prepared. Yeast is added, causing fermentation, which creates alcohol in a solution known as “distiller’s beer” or “wash”. The “wash” is placed into a round bottomed copper kettle or “Pot Still” and heated to a temperature above the boiling point of alcohol but below that of water. The alcohol evaporates, leaving the water behind, and the vapour rises into a tube where it cools and condenses back into spirit. However, not all spirit is created equal. The early evaporations and the last evaporations, known as “heads” and “tails,” contain impurities, so it is the “heart” or mid part of the distillation process that the distiller seeks. The essence of distillation is timing, knowing when to “cut” between the head, heart and tail and retain only the best spirit. It was this time-honoured process that the young John Brannick learned from his father and uncles, a method to which he faithfully adhered and a skill which he perfected throughout his life. 1845 was a significant year for John Brannick when, at the age of 15, he began his formal apprenticeship at the John’s Lane Distillery. The Powers Distillery was one of the great distilleries of Dublin and young John’s experiences there instilled in him a lifelong passion for the fine art of whiskey-making. At the time, Ireland was an impoverished country with little or no industry. Distilleries constituted a rare exception and they, their owners and employees enjoyed significant status in their communities.
The young John Brannick soon demonstrated a natural flair for the craft of whiskey-making. These early years, working within the hallowed halls of the John’s Lane Distillery, laid the foundations for his later exploits within the industry. It wasn’t long before the other great distilleries took note of his growing reputation and in 1852 George Roe & Sons enticed Brannick to join the House of George Roe & Co with the promise that he would some day become a Master Distiller.After nearly 20 years of perfecting his craft with the House of Roe, Brannick had reached the illustrious position of Master Distiller. His reputation amongst the great distilleries of Dublin was now firmly established, but his ambitions didn’t end there. Brannick had long harboured a burning desire to build the finest distillery in the world, and in 1870, having secured the necessary backing, he resigned his position and struck out on his own, establishing the Dublin Whiskey Distillery Company Limited. DWD.For the next two years Brannick worked on a revolutionary design for his distillery. A site was chosen, less than a mile north of Dublin’s city centre, on the banks of the River Tolka, and construction started on 22 July 1872 Exactly one year later, distillation began with the preparation of the first ever DWD wash. Meanwhile, with work on the great distillery underway, Brannick finally fulfilled another long-standing promise and married his sweetheart Mary Hayes on 26 January 1873.
Aeneas Coffey Inventor of the Continuous “Patent Coffee Still”
In the year in which John Brannick was born, Aeneas Coffey was granted patent #5974 for his design of a two column continuous still or “Patent Still”. The Patent Still represented a revolution in spirit distillation, eliminating the need for multi-distillation using traditional “Pot Stills” and producing a lighter spirit with a higher proof at a fraction of the cost. However, it was shunned by the great Dublin distilleries, who considered the whiskey produced to be bland and tasteless in comparison with their world-famous “Pot Still” creations. They may have also considered the arrival of the Patent Still a direct challenge to their profession, an early form of automation attempting to replace the distiller’s art and skill. Many years later John Brannick, who went on to become one of the great masters of Pot Still whiskey, would reflect on the irony that the year of his birth marked the establishment of the Patent Still, the nemesis of his life’s work
The DWD Legacy is Reborn
Two old friends meet amid the bustle of the city and retire to the Palace Bar on Fleet Street to remember old times. By chance, one of them notices a bottle – a very old, unopened whiskey bottle with a mysterious, faded label – sitting in a glass case behind the bar. A relic of lost times. ‘What is that?’ he asks the barman. With this simple question, not one but two journeys began: a journey back in time into the extraordinary story of the “Finest Whiskey in the World”, a story of one man’s vision, gloriously realised, crushed by history and destroyed in a very Irish betrayal. And a journey into the future, the future of a once-great distillery, dismantled, neglected and forgotten. Until now. After 75 long years, DWD is back. Today’s DWD is not a copy of the past: a simple reproduction for nostalgia’s sake. Since the distillery closed its doors in 1941 the world has moved on and advances in the art of distilling cannot be ignored. But some values are timeless and remain as cherished and respected as they did when John Brannick laid the cornerstone of his great distillery in theglorious summer of 1872: real character, brave resolve and a true sense of belonging. Today’s DWD is the natural heir of its noble ancestor, a modern whiskey that draws on the wisdom of the past. And this is only the beginning of the DWD revival. In time, Brannick’s great house will be rebuilt, his achievements rivalled and perhaps even surpassed. But for now let us raise a glass to the return of the “Finest Whiskey in the World”, and look forward to the glories yet to come.
The Finest Whiskey in The World
Today, Irish whiskey is regulated and controlled both by international law and the Irish Whiskey Association. The definition of Irish whiskey and the method of production is globally agreed and enforced to ensure industry standards are protected and maintained at all times. However, back in 1880 no such legal definitions existed, and the global success of the industry began to attract the attention of disreputable characters intent on passing off various spirits and concoctions as ‘Irish whiskey’. The problem was made worse by the great distilleries of Dublin, which were content to leave bottling and branding to merchants and bonders. This laissez-faire attitude enabled unscrupulous dealers to import cheap Scotch and pass it off as highly desirable Irish whiskey. True to form, John Brannick was one of the first to recognise the danger and take steps to protect both his whiskey and his customers from counterfeit products. In 1880 he introduced the famous DWD Post Still logo to identify and market the DWD brand. He controlled its use tightly, working only with trusted merchants and bonders to ensure the DWD brand was respected and admired as the “Finest Whiskey in the World”.“The extraordinary story of the ‘Finest Whiskey in the World’, a tale of one man’s vision, gloriously realised, only to be crushed by history and destroyed in a very Irish betrayal.” Tomas – DWD Brand Ambassador
THE GREATEST ACCOLADE
In 1887 Brannick’s achievements and DWD’s greatness were formally recognized by two seminal publications: The Whisky Distilleries of the United Kingdom by Alfred Barnard and The Industries of Dublin by Spencer Blackett. Barnard’s work has been described as the most important book ever written on whiskey. It was Barnard who first recognised DWD as one of the six “Great Distilleries of Dublin City” by inspecting the distillery in the summer of 1886. Barnard described DWD as “the most modern of the distilleries in Dublin, handsomely designed and of great ornamentation, it rears its head proud and at a distance looks like a monument built to commemorate the virtues of some dead hero.” Barnard also acknowledged “that a mastermind and skilled hand had planned this great work.”The Six Great Distilleries Of Dublin City
During the 19th and early 20th centuries, Irish whiskey was the most prestigious whiskey industry in the world. At the heart of this industry stood Dublin, its whiskey recognised the world over as the finest expression of the art and now, with the acclaim of Alfred Barnard and other connoisseurs, DWD assumed its rightful place among the “Great Distilleries of Dublin City”, an exclusive club that brought together the six great masters of Irish whiskey: John Jameson & Co, William Jameson & Co, Sir John Power & Sons, George Roe & Sons, The Phoenix Park Distillery and, of course, the Dublin Whiskey Distillery.
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Very rare Nicholas Devereux of Wexford Finest Irish Whiskey advert. 68cm x 55cm Clonroche Co Wexford Bishops Water Distillery(subsequently known as Nicholas Devereux Finest Irish Whisky) was an Irish whiskey distillery which operated in Wexford, Ireland between 1827 and 1914. The distillery was named for a stream which ran along the back of the distillery, the Bishop's Water, said to possess "various occult properties derived from the blessings of the sainted Bishop of Ferns". Constructed at a cost of £30,000, the distillery was reported to be “reckoned the most perfect and complete of the kind in Ireland”.In 1833, just a few years after it opened, the distillery recorded an output of about 200,000 gallons per annum .However, output had fallen to just 110,000 gallons per annum in 1886, when the distillery was visited by Alfred Barnard, as recorded in his seminal 1887 publication "The Whisky Distilleries of the United Kingdom". This was amongst the lowest output of any distillery operating in Ireland at the time, and far below the potential output of 250,000 gallons per annum reported when the distillery was offered for sale as a going concern in 1909. The distillery's whiskey, Barnard noted, was highly appreciated locally, and in the British cities where it was exported. In the early 20th century, with the Irish whiskey industry in decline, Bishop's Water distillery, like the majority of distilleries in Ireland at the time, suffered serious financial difficulties, and entered bankruptcy. Following its closure, the distillery was initially converted into an iron works (Pierce Ironworks). However, much of the site was later demolished, and little evidence of the distillery still remains. Some mementos can still be found in locals pubs, while a stone archway known to have been extant in 1903 and now bearing the inscription "Casa Rio", possibly in reference to the location of a Pierce ironworks office in Buenos Aires, marks the entrance to the site where the distillery once stood, on Distillery Road.In 1827, a whiskey distillery was established on what is now Distillery Road, Wexford by a consortium of businessmen. The consortium which traded under "Devereux, Harvey, and Co., Distillers", comprised a number of local businessmen, including Nicholas Devereux, his father John Devereux, and Maurice Crosbie Harvey. John Devereux had previously operated a small distillery in the area in the late 1700s, but will little success. In 1830, one of the partners, Maurice Harvey, was accidentally killed at the distillery by an excise man who was taking aim at some birds flying overhead. A few years later, in 1836, the partnership was dissolved at the mutual consent of the remaining partners, with Nicholas Devereux taking sole ownership of the distillery, after which the distillery traded under the name Nicholas Devereux & Son.On his death in 1840, operation of the distillery was taken over by his son Richard. Nichloas Devereux's granddaughter, Mary Anne Therese was also deeply involving in the distilling industry. She married John Locke, founder of the larger Kilbeggan distillery, and successfully took over the business operations of the distillery on his death in 1868. According to Alfred Barnard, the British journalist who visited Bishop's Water in the 1880s, the distillery produced triple-distilled "old pot still whiskey", which was sold locally in Ireland, and also exported to London, Liverpool, and Bristol. At the time of his visit, the Malt Warehouses on-site contained over 16,000 barrels of pure malt. In addition, upwards of 3,000 casks of whiskey were undergoing maturation at the distillery. Whiskey from the distillery is also noted to have been used in the production of blended whiskeys in later years. In the early 20th century, the distillery suffered financial difficulties. In 1907, an attempt was made to appoint a receiver, and in 1909, the distillery was put up for sale, but no takers could be found.In 1914, distilling eventually ceased at the site, and the remaining stocks were sold off.
An 1830 newspaper article reporting on the accidental death at the distillery -
Very rare and much sought after Tullamore Dew advert featuring the greatest greyhound in racing history,Mick the Miller.Mick the Miller was bred in Co Offaly,the same county as the location of the Tullamore Dew distillery, hence the pride on the connection. 45cm x 90cm Banagher Co Offaly Tullamore D.E.W. is a brand of Irish whiskey produced by William Grant & Sons. It is the second largest selling brand of Irish whiskey globally, with sales of over 950,000 cases per annum as of 2015.The whiskey was originally produced in the Tullamore, County Offaly, Ireland, at the old Tullamore Distillery which was established in 1829. Its name is derived from the initials of Daniel E. Williams (D.E.W.), a general manager and later owner of the original distillery. In 1954, the original distillery closed down, and with stocks of whiskey running low, the brand was sold to John Powers & Son, another Irish distiller in the 1960s, with production transferred to the Midleton Distillery, County Cork in the 1970s following a merger of three major Irish distillers.In 2010, the brand was purchased by William Grant & Sons, who constructed a new distillery on the outskirts of Tullamore. The new distillery opened in 2014, bringing production of the whiskey back to the town after a break of sixty years.Mick The Miller,as featured in this iconic advert, was the most famous greyhound of all time. He was born in 1926 in the village of Killeigh, County Offaly, Ireland at Millbrook House(only 5 miles from Tullamore), the home of parish curate, Fr Martin Brophy. When he was born Mick was the runt of the litter but Michael Greene, who worked for Fr Brophy, singled the little pup out as a future champion and insisted that he be allowed to rear him. With constant attention and regular exercise Mick The Miller developed into a racing machine. His first forays were on local coursing fields where he had some success but he showed his real talent on the track where he won 15 of his first 20 races.
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In 1929 Fr Brophy decided to try Mick in English Greyhound Derby at White City, London. On his first trial-run, Mick equalled the track record. Then, in his first heat, he broke the world record, becoming the first greyhound ever to run 525 yards in under 30 seconds. Fr Brophy was inundated with offers and sold him to Albert Williams. Mick went on to win the 1929 Derby. Within a year he had changed hands again to Arundel H Kempton and won the Derby for a second time.
Over the course of his English career he won 36 of his 48 races, including the Derby (twice), the St Leger, the Cesarewitch, and the Welsh Derby. He set six new world records and two new track records. He was the first greyhound to win 19 races in a row. Several of his records went unbroken for over 40 years. He won, in total, almost £10,000 in prizemoney. But he also became the poster-dog for greyhound racing. He was a celebrity on a par with any sports person, muscisian or moviestar. The more famous he became, the more he attracted people to greyhound racing. Thousands thronged to watch him, providing a huge boost to the sport. It is said that he actually saved the sport of greyhound racing.
After retirement to stud his popularity continued. He starred in the film Wild Boy (based on his life-story) in 1934 which was shown in cinemas all across the UK. He was in huge demand on the celebrity circuit, opening shops, attending big races and even rubbing shoulder with royalty (such as the King and Queen) at charity events. When he died in 1939 aged 12, his owner donated his body to the British Natural History Museum in London. And Mick`s fame has continued ever since. In 1981 he was inducted into the American Hall of Fame (International Section). In 1990 English author Michael Tanner published a book, Mick The Miller - Sporting Icon Of the Depression. And in 2011 the people of Killeigh erected a monument on the village green to honour their most famous son. Mick The Miller is not just the most famous greyhound of all time but one of the most loved dogs that has ever lived.
