• 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.
     
  • Daniel Breen (11 August 1894 – 27 December 1969) was a volunteer in the Irish Republican Armyduring the Irish War of Independence and the Irish Civil War. In later years he was a Fianna Fáil politician.

    Background

    Dan Breen was born in Grange, Donohill parish, County Tipperary. His father died when Breen was six, leaving the family very poor. He was educated locally, before becoming a plasterer and later a linesman on the Great Southern Railways.

    Irish Revolutionary Period

    War of Independence

    Breen was sworn into the Irish Republican Brotherhood in 1912 and the Irish Volunteers in 1914. On 21 January 1919, the day the First Dáil met in Dublin, Breen—who described himself as "a soldier first and foremost"—took part in the Soloheadbeg Ambush.The ambush party of eight men, nominally led by Séumas Robinson, attacked two Royal Irish Constabulary men who were escorting explosives to a quarry. The two policemen, James McDonnell and Patrick O’Connell, were fatally shot during the incident. The ambush is considered to be the first incident of the Irish War of Independence. Breen later recalled:
    "...we took the action deliberately, having thought over the matter and talked it over between us. [Seán] Treacyhad stated to me that the only way of starting a war was to kill someone, and we wanted to start a war, so we intended to kill some of the police whom we looked upon as the foremost and most important branch of the enemy forces ... The only regret that we had following the ambush was that there were only two policemen in it, instead of the six we had expected..."
    During the conflict, the British put a £1,000 price on Breen's head, which was later raised to £10,000.He quickly established himself as a leader within the Irish Republican Army (IRA). He was known for his courage. On 13 May 1919, he helped rescue his comrade Seán Hogan at gunpoint from a heavily guarded train at Knocklong station in County Limerick. Breen, who was wounded, remembered how the battalion was "vehemently denounced as a cold-blooded assassins" and roundly condemned by the Catholic Church. After the fight, Seán Treacy, Séumas Robinson and Breen met Michael Collins in Dublin, where they were told to escape from the area. They agreed they would "fight it out, of course". Breen and Treacy shot their way out through a British military cordon in the northern suburb of Drumcondra (Fernside). They escaped, only for Treacy to be killed the next day. Breen was shot at least four times, twice in the lung. The British reaction was to make Tipperary a 'Special Military Area', with curfews and travel permits. Volunteer GHQ authorised enterprising attacks on barracks. Richard Mulcahy noted that British policy had "pushed rather turbulent spirits such as Breen and Treacy into the Dublin area". The inculcation of the principles of guerrilla warfare was to become an essential part of all training. They joined Collins' Squad of assassins, later known as the Dublin Guard, when Tipperary became "too hot for them". and Dublin was the centre of the war. Breen was present in December 1919 at the ambush in Ashtown beside Phoenix Park in Dublin where Martin Savage was killed while trying to assassinate the Lord Lieutenant of Ireland, Viscount French. The IRA men hid behind hedges and a dungheap as the convoy of vehicles came past. They had been instructed to ignore the first car, but this contained their target, Lord French. Their roadblock failed as a policeman removed the horse and cart intended to stop the car. Breen rejected the Anglo-Irish Treaty, which made him, like many others, angry and embittered:
    I would never have handled a gun or fired a shot… to obtain this Treaty… writing on the second anniversary of Martin Savage's death, do you suppose that he sacrificed his life in attempting to kill one British Governor-General to make room for another British Governor-General?
    Regarding the continued existence of Northern Ireland from 1922, and an inevitable further war to conquer it to create a united Ireland, Breen commented:
    "To me, a united Ireland of two million people would be preferable to an Ireland of four and a half million divided into three or four factions".
    In the June 1922 general election, Breen was nominated as a candidate by both the pro- and anti-Treaty sides, in the Waterford–Tipperary East constituency, but was not elected.

    Irish Civil War

    Breen was elected to Dáil Éireann at the 1923 general election as a Republican anti-Treaty Teachta Dála (TD) for the Tipperary constituency.Following the Anglo-Irish Treaty, Breen joined the Anti-Treaty IRA in the Civil War, fighting against those of his former comrades in arms who supported the Treaty. He was arrested by the National Army of the Irish Free State and interned at Limerick Prison. He spent two months there before going on hunger strike for six days, followed by a thirst strike of six days. Breen was released after he signed a document pleading to desist from attacking the Free State. Breen wrote a best-selling account of his guerrilla days, My Fight for Irish Freedom, in 1924, later republished by Rena Dardis and Anvil Press.

    Politics

    Fianna Fáil TD

    Breen represented Tipperary from the Fourth Dáil in 1923 as a Republican with Éamon de Valera and Frank Aiken.He was the first anti-Treaty TD to take his seat, in 1927. Standing as an Independent Republican he was defeated in the June 1927 general election. Thereafter Breen travelled to the United States, where he opened a speakeasy. He returned to Ireland in 1932 following the death of his mother,and regained his seat as a member of Fianna Fáil in the Dáil at that year's general election. He represented his Tipperary constituency without a break until his retirement at the 1965 election.

    Political views

    Breen supported the Republican side during the Spanish Civil War. During World War II, he was said to hold largely pro-Axis views, with admiration for Erwin Rommel.When the fascist political party Ailtirí na hAiséirghe failed to win any seats in the 1944 Irish general election, he remarked that he was sorry that the party had not done better, as he had studied their programme and found a lot to commend. In 1946, Breen became secretary of the Save the German Children Society. He attended the funeral of Nazi spy Hermann Gortz on 27 May 1947.Irish-American John S. Monagan visited Breen in 1948, and was surprised to see two pictures of Adolf Hitler, a medallion of Napoleon and a Telefunken radio. Breen told him "the revolution didn't work out," and "to get the government they have now, I wouldn't have lost a night's sleep." He also said that he fought for freedom, but not for democracy.In 1943, Breen sent his "congratulations to the Führer. May he live long to lead Europe on the road to peace, security and happiness". After the end of World War II in Europe, the German Legation in Dublin was taken over by diplomats from the USA in May 1945, and ".. they found a recent letter from Breen asking the German minister to forward his birthday wishes to the Führer, just days before Hitler committed suicide." Breen was co-chairman of the anti-Vietnam War organisation "Irish Voice on Vietnam".

    Personal life

    Dan Breen and Brigid Malone's wedding
    Breen was married on 12 June 1921, during the War of Independence, to Brigid Malone, a Dublin Cumann na mBan woman and sister of Lieutenant Michael Malone who was killed in action at the Battle of Mount Street Bridge during the 1916 Rising. They had met in Dublin when she helped to nurse him while he was recovering from a bullet wound. Seán Hogan was best man, and the bride's sister Aine Malone was the bridesmaid. Photographs of the wedding celebrations taken by 5th Battalion intelligence officer Séan Sharkey are published in The Tipperary Third Brigade a photographic record. Breen was, at the time, one of the most wanted men in Ireland, and South Tipperary was under martial law, yet a large celebration was held. The wedding took place at Purcell's, "Glenagat House", New Inn, County Tipperary. Many of the key members of the Third Tipperary Brigade attended, including flying column leaders Dinny Lacey and Hogan. Breen was the brother in-law of Commandant Theobald Wolfe Tone FitzGerald, the painter of the Irish Republic Flag that flew over the GPO during the Easter Rising in 1916. The Breens had two children, Donal and Granya. Breen was an atheist.

    Death

    Breen died in Dublin in 1969, aged 75, and was buried in Donohill, near his birthplace. His funeral was the largest seen in west Tipperary since that of his close friend and comrade-in-arms, Seán Treacy, at Kilfeacle in October 1920. An estimated attendance of 10,000 mourners assembled in the tiny hamlet, giving ample testimony to the esteem in which he was held. Breen was the subject of a 2007 biography, Dan Breen and the IRA by Joe Ambrose.

    In popular culture

    Breen is mentioned in the Irish folk ballad "The Galtee Mountain Boy", along with Seán Moylan, Dinny Lacey, and Seán Hogan. The song, written by Patsy Halloran, recalls some of the travels of a "Flying column" from Tipperary as they fought during the Irish War of Independence, and later against the pro-Treaty side during the Irish Civil War. The trophy for the Tipperary Senior Hurling Championship is named after him.
  • Seán Keating (born John Keating, Limerick, 28 September 1889 – Dublin, 21 December 1977) was an Irish romantic-realist painter who painted some iconic images of the Irish War of Independence and of the early industrialization of Ireland. He spent two weeks or so each year during the late summer on the Aran Islands and his many portraits of island people depicted them as rugged heroic figures. However, he ceased to visit the Aran Islands in 1965.
    Men of the South, 1921–22, Crawford Art Gallery, Cork.
    Seán Keating studied drawing at the Limerick Technical School before a scholarship arranged by William Orpen allowed him to go at the age of twenty to study at the Metropolitan School of Art in Dublin. Over the next few years, he spent time on the Aran Islands. In 1914 Keating won the RDS Taylor award with a painting titled The Reconciliation. The prize included £50 which allowed him to go to London to work as Orpen's studio assistant in 1915. In late 1915 or early 1916, he returned to Ireland where he documented the War of Independence and the subsequent Civil War. Examples include Men of the South (1921–22) which shows a group of IRA men ready to ambush a military vehicle and An Allegory (first exhibited in 1924), in which the two opposing sides in the Irish Civil War are seen to bury a tricolour-covered coffin amid the roots on an ancient tree. The painting includes a self-portrait of the artist.
    An Allegory, 1924, National Gallery of Ireland.
    Keating was elected an Associate of the Royal Hibernian Academy (RHA) in 1918, and a full member in 1923. One of the cardinal achievements of the Irish Free State in the 1920s was the building, in partnership with Siemens, of a hydro-electric power generator at Ardnacrusha, near Limerick. Between 1926 and 1927 Keating, at his own initiative, produced a considerable number of paintings related to this scheme. He exhibited several examples of the paintings in the RHA exhibitions in 1927 and 1928. Most are now in the collection of ESB Group. His work was also part of the art competitions at the 1924 Summer Olympics and the 1928 Summer Olympics. In 1936 a group of prominent Limerick politicians, artists and patrons established the first Limerick City Collection of Art, made up of various donations and bequests. Keating was part of this artist-led initiative to form a municipal art gallery in Limerick similar to those already in Dublin and Cork. As a pivotal member of the committee, Keating himself donated many works to the collection which was first exhibited in the Savoy Cinema, Limerick City, on 23 November 1937. It was not until 1948, however, that an extension to the rear of Limerick Free Library and Museum became the permanent home to the City Collection, acquiring the name of the Limerick Free Art Gallery. In 1985 the Library and Museum were transferred to larger buildings. In 1939 Keating was commissioned to paint a mural for the Irish pavilion at the New York World's Fair. He was President of the Royal Hibernian Academy from 1950 to 1962, and showed at the annual exhibition for 61 years from 1914 onwards. Keating was an intellectual painter in the sense that he consciously set out to explore the visual identity of the Irish nation, and his paintings show a very idealised realism. He feared that the modern movement would lead to a decline in artistic standards. Throughout his career, he exhibited nearly 300 works at the RHA, and also showed at the Oireachtas. Keating married political campaigner, May Walsh, in 1919. She was a frequent model for his paintings until her death in 1965. He died on 21 December 1977 at the Adelaide Hospital and was buried at Cruagh Cemetery, Rathfarnham. The 1978 RHA Exhibition featured a small memorial collection of his work. Posthumous exhibitions of his paintings were held by The Grafton Gallery, Dublin (1986) and the Electricity Supply Board (1987). Sean Keating – The Pilgrim Soul, a documentary presented and written by his son, the politician Justin Keating, aired on RTÉ in 1996.
  • struggle for independence, this month marks the 100-year anniversary of an important moment in Irish-US relations.

    In June 1919, Éamon de Valera arrived in the United States for what was to be an 18-month visit. He had recently escaped from Lincoln jail in England in sensational fashion, after a duplicate key was smuggled into the jail in a cake and he escaped dressed as a woman.

    A few months later he was a stowaway aboard the SS Lapland from Liverpool bound for America.

    De Valera’s plan was to secure recognition for the emerging Irish nation, tap into the huge Irish-American community for funds, and to pressurise the US government to take a stance on Irish independence. Playing on his mind was the upcoming Versailles conference where the nascent League of Nations was preparing to guarantee “existing international borders” – a provision that would imply Ireland remaining within the United Kingdom.

    De Valera also had a challenge in winning over President Woodrow Wilson, who was less than sympathetic to Ireland’s cause.

    De Valera’s interest in America was of course personal. He was born in New York in 1882 and his US citizenship was one of the reasons he was spared execution after the 1916 rising.

    Public speeches

    At first Dev kept a low profile in America. Though he was greeted by Harry Boland and others when he docked in New York, he first went to Philadelphia and stayed with Joseph McGarrity, the Tyrone-born leader of Clan na Gael and a well-known figure in Irish America. He also quietly paid a visit to his mother in Rochester, upstate New York.

    De Valera’s first major engagement was on June 23rd when he was unveiled to the American public at a press conference in the Waldorf-Astoria hotel in New York. Crowds thronged the streets around the hotel, and De Valera proclaimed: “I am in America as the official head of the Republic established by the will of the Irish people in accordance with the principle of self-determination.”

  • Gerry ‘Ginger' McLoughlin – better known as ‘Locky' in his native Limerick - was instrumental in winning the 1982 Triple Crown, Ireland's first since 1949. Below, ‘Locky' tells of his flirtation with the priesthood, Limerick's rugby rivalries and great players, his call-up to international rugby and the fateful tour to apartheid South Africa which impacted on his teaching career By Dave McMahon   There are few contenders for the most memorable Irish try of the last 50 years. A generation who remember the days of black and white television will cite Pat Casey's ‘criss-cross' try against England at Twickenham in 1964 when Mike Gibson's searing break gave Jerry Walsh the opportunity to deliver the decisive reverse pass. Gordon Hamilton's superb burst to score in the Lansdowne Road corner against Australia in the 1991 World Cup ranks high in the list – a try that rarely gets the credit it deserves because of Michael Lynagh's instant riposte. Nearer the present day, the delayed October Six-Nations game against England in 2001 saw Keith Wood score one of the great forwards inspired try's against the auld enemy at Lansdowne Road.  A try, indeed, which gave purists as much pleasure as any, with the pack orchestrating the score with military precision. The line-out throw from Wood; Galwey's clean take; Foley's magical hands; Eric Miller doing just enough to create the running channel; Wood's powerful burst through Neil Back's tackle for the touchdown. And then, you had Locky's try against England at Twickenham in the Triple Crown winning year of 1982 – a different class! In recalling 1982, it's Gerry McLoughlin's try that represents the defining moment of Ireland's first Triple Crown winning year since 1949.  Ollie Campbell's touchline conversion of McLoughlin's try (pictured left) helped Ireland to a 16-15 victory and an ultimately successful Triple Crown decider against Scotland two weeks later.  Three generations of Irish rugby heroes had come and gone without Triple Crown success – McBride, Kiernan, Dawson, O'Reilly, Gibson, and Goodall.  Gerry McLoughlin's try helped create history, and he isn't slow to trumpet his role in '82.“At the time, I was misquoted as saying I dragged the Irish pack over the line with me.In fact, I dragged the entire Irish and English forwards across the line that day! Also, I never got the credit for creating the free which led to my try.  As Steve Smith was about to put-in at an English scrum, I whispered to Ciaran Fitzgerald that I intended to pull the scrum, which I did successfully with the result that Smith was penalised for crooked-in.  After the free was taken, I took over.” It was a tremendous year for McLoughlin during a rugby career which had its share of heartbreak as well as some glorious highs. “As a young man, I dabbled with hurling and gaelic football as a full-back or full-forward with St. Patrick's CBS. I had no great skill at either code; I simply mullocked and laid into guys. My destiny was certainly never to be a skillful All-Ireland winning hurler with Limerick. Rugby was always going to be my game. “Brian O'Brien got three Irish caps in 1968 and I regarded him as a hero, so it was always on that I should join Shannon, while my late father, Mick, had won Transfield Cup medals with the parish side.  Joining Shannon at 16, my bulk and size immediately saw me go into the front-row where I had Michael Noel Ryan, who had captained the first-ever Shannon team to win the Munster Senior Cup, as a sound mentor. “Frankly, at the time, I didn't plan on a rugby career as I had other designs on my life.  As soon as I entered Sexton Street CBS, my admiration for the role that the Christian Brothers played in Irish society saw me develop a vocation to become a Christian Brother. I spent a 3 year novitiate between Carriglea Park in Dun Laoghaire and St. Helens in Booterstown and was within 3 weeks of taking my vows of poverty, chastity and obedience before deciding that I wanted to opt out. “Had I taken the vows, I would have entered a world where there was no television, no newspapers and would not be able to take holidays or see my family for the best part of five years.  That's the way it was in those days. I was at a young impressionable age and, in the end, I got stage fright and returned to Sexton Street as a pupil. “At 18, I was in the Shannon senior-cup team and I knew that I had some ability. After Sexton Street, I went to UCG to do my BA and that gave me the opportunity of further developing my rugby skills as I joined Ciaran Fitzgerald in the Colleges senior front-row.  I won a handful of senior caps with Connacht who were not very successful at the time.  The highlight of my Connacht career came when we ended a near 10-year losing run by beating, believe it or not, Spain by 7-3 in 1973.  I played with some decent players in my days with Connacht, Mick Molloy and Leo Galvin were often in the second-row, while Mick Casserly was probably the best wing-forward never to be capped by Ireland.” After graduating from UCG, and the successful completion of a teacher-training degree with UCC, McLoughlin returned to his alma mater Sexton Street CBS as an Economics teacher in 1973 – and to the front-row in a Shannon senior-team that was about to make it's mark on the Irish rugby scene. “In those days, the rivalry between Limerick clubs was intense.  Young Munster was a proud working-class club that commanded tremendous support and playing against them, especially in Greenfields, was often tougher than the Cardiff Arms Park.  Reputations counted for nothing.  You ignored hamstrings, cuts, strains and blood – you earned respect against them.” “Of course, Garryowen set the standard with their huge number of Munster Cup victories.  In my time, they had a great full-back in Larry Moloney.  Just four caps with Ireland was no reward for his ability. Despite spending 13 years of my life in Wales, the edge between Shannon and Garryowen is deeply engrained in my brain. Time hasn't diminished that rivalry. “People speak of Limerick rugby and the syndrome of doctor and docker playing side by side.  That was certainly the case with Garryowen.  Mick Lucey and Len Harty were doctors who played in the light blues three-quarter line in the late 60's. Then, you often had Dr. Jim Molloy playing in the Garryowen pack alongside Tom Carroll who was a Limerick docker. To this day, I maintain that Carroll was both the toughest and technically most proficient prop-forward I ever encountered.  Tom was not much more than 13 stone, yet I never got the better of him. “In my early days with Shannon, we hardly rated on the rugby map.  Teams like Trinity and Wanderers didn't want games against us. Garryowen were the standard bearers in Limerick and our aim was to become as good as them.  After I returned from UCG in 1973, Shannon, with Brian O'Brien pulling the strings, had begun to assemble a powerful team.  Brendan Foley was a fine second-row and an inspirational captain.  Colm Tucker was the best ball-carrying wing-forward I ever played with.  Colm was good enough to play in two tests for the Lions against South Africa in 1980, yet he was only capped on three occasions by Ireland.  That was an absolute joke. “You would go a long way before finding better club forwards than my brother Mick, Eddie Price, Johnny Barry and Noel Ryan.  Later, Niall O'Donovan came through as an outstanding number eight.  Noel Ryan,  indeed, was such a good loose-head prop that I played all my games for Shannon and, subsequently, Ireland at tight-head, while my entire career with Munster, and a handful of games with the Lions in 1983, was in the loose-head position.  Playing on either side of the scrum never presented problems as the emphasis in training with Shannon was always on having a powerful scrummage as a starting-point.” Just six months after representing Connacht against Spain, McLoughlin won his first Munster ‘cap' in a fiery encounter against Argentina at Thomond Park. That was the start of a long interprovincial career which lasted from 1983 to 1987. An ever-present in the Munster team, the breakthrough to International level proved daunting and is the source of fiery comment from McLoughlin. “As I was a regular with Munster, I was asked to submit a CV by the IRFU to facilitate any calling to International level. I did all the right things.  I deducted a year from my age with the result that my birth date changed from 11 June 1951 to 11 June 1952. I added a half-inch to my height to make sure that I came in as a sturdy six footer.  I weighed 13 stone, 11 ounces those days and I remember sticking 7 pounds of lead into my jockstrap at a formal weigh-in to hit the 14 stone, 4 ounce mark. Still, the call to international representation was light years away. Ciaran Fitzgerald knew my correct age, but kept it quiet for years before revealing all to the IRFU one evening when he had a few too many. At that stage, it didn't matter. “The selection system was just a joke with two Leinster, two Ulster and a solitary Munster selector, with Connacht having no representation at all. To this day, I often wonder how Ciaran Fitzgerald was ever capped.  I played some fine rugby for Munster over many years, yet I never came close to making the International scene and I doubt that I would have were it not for Munster beating the All Blacks in 1978.  The selectors found it impossible to ignore us after that. I was also very lucky that Brian O'Brien eventually came through as an Irish selector.  For years, he kept me in a ‘job', and I kept him in a ‘job'.” Munster's victory over New Zealand remains the most emotional game of McLoughlin's career.  “It wasn't a fluke by any means as that was a superb Munster team.  For starters, the usual Cork/Limerick selectorial carve-up didn't apply as twelve of the Munster team picked themselves.  We had leaders and quality players all over the field.  Wardie (Tony Ward) was under pressure all day, but still managed to kick brilliantly for position; Canniffe gave him a great service; Dennison and Barrett never stopped tackling; Larry Moloney was himself at full-back; Andy Haden might have won the line-out battle, but we matched the All Blacks forwards everywhere else; in the end, we fully deserved our 12-0 victory. “After that success over New Zealand, I was totally focused on making the step up to International level. I was often asked for tips by budding prop-forwards, but I never revealed anything useful in case the younger man got better than me.  You spend all your career striving to get to the top and the last thing you wanted was someone to get ahead of you in the race.  I had to be both dedicated and selfish.” Just three months after beating New Zealand and a successful final-trial outing with the probables, McLoughlin made his international debut against France. He may have been listed as ‘G.A.J. McLoughlin' on the match programme, but Limerick rugby followers still called him ‘Locky' – one of their own!  Woe betide the fate of any Dublin hack that resorted to ‘Ginger'. Nearly 30 years after his International debut, he is still ‘Locky' in Limerick, but the metropolitan media continually refer to him as ‘Ginger'. But what's in a name? Some 10 years ago an almost fatal blow was struck against the ‘Locky' constituency. With the future of Connacht rugby under threat, a protest march to IRFU headquarters at Lansdowne Road was made.  Remembering his youthful days in UCG and that famous victory over Spain, Gerry McLoughlin was at the forefront of the parade with a banner which read “Ginger supports Connacht rugby”.  Locky or Ginger? Take your pick. If the Triple Crown and Munster's victory over the All Blacks were career highlights, McLoughlin's decision to tour South Africa with Ireland in 1981 cast a long shadow over his life. “I was teaching in Sexton Street at the time and initially got approval from the school to travel.  However, just a week before we were due to depart, a change of management took place within the school and my permission to travel was withdrawn.  It left me with a very difficult decision to make.  I was married with a young family, but I dearly wanted to represent my country.  Also, I felt that South Africa were making advances on apartheid.  Errol Tobias, in fact, became the first non-white player to wear the Springboks jersey in a full-international against Ireland.  In the end, I resigned my teaching position and travelled with Ireland.” In rugby terms, McLoughlin's decision to travel was justified as he regained his Irish place and played in both tests. However, it was altogether different on a personal level. “On my return from South Africa, I was advised that I had a solid legal case against my former employers in Sexton Street but I decided against taking any action as I had a great love of the Christian Brothers and had witnessed the benefits which their dedication gave to generations of children.  They were put under severe pressure at the time as apartheid was a political and social time-bomb.” McLoughlin is far less forgiving when it came to the IRFU post-South Africa. “I wrote to every school in the country and couldn't get an interview, never mind get a job. The IRFU had plenty of people in positions of power, but the support from that quarter was nil. Ray McLoughlin (no relation) and Mick Molloy did offer considerable help at the time. Other than that, I was largely left to fend for myself.” From a remove of nearly 30 years, McLoughlin is philosophical. “It was my decision to travel to South Africa – I had to accept the consequences.” A part-time job teaching in the Municipal Institute of Technology followed, but that was never going to be enough to support a young family.  The painful decision to emigrate to Wales was taken, after recession forced McLoughlin to close his pub – aptly named The Triple Crown – which he owned for five years. “In all, I spent 13 years in Wales, teaching in Gilfach Goch near Pontypridd during the day and running a pub in the evenings before deciding to return to Ireland.  At the moment, my daughter Orla, who is getting married next August, is based in Limerick, while my three sons, Cian, Fionn and Emmet are in Wales where they spent so much of their youth.” Nowadays, living in Garryowen in the shade of St. John's Cathedral, Gerry McLoughlin enjoys a contented social and political life. “I was elected to the Limerick City Council as an Independent in 2004, before subsequently joining the Labour party.  I had always admired the social vision of the late Jim Kemmy, so the move to Labour was a natural progression for me. “On a professional level, I'm energised by the day job as a social needs assistant at St. Mary's Boys School in the heart of the parish.  I'm a lifetime non-smoker and I haven't touched alcohol in the last 14 years. I have a hectic political schedule, but I also find plenty of time to engage in worthwhile community work. “Recently, we formed an under 13/14 girls soccer club in Garryowen and I'm involved as Treasurer.  Also, I coach St. Mary's under-age teens in rugby on Sunday mornings, while I have a similar role in soccer coaching with Star Rovers youngsters. Nowadays, my ambition is to give every child the opportunity to kick a ball.” The man who once propped against the famous Pontypool front-row confesses to a surprising social outlet: “I had a knee replacement operation in 2004 and that gave me the freedom to enjoy ballroom dancing on at least three evenings a week. It's wonderful for social relaxation”. Gerry McLoughlin has few, if any, regrets about his rugby career. “In the current era, I might have won 50 instead of 18 caps, but I have the memory of never losing in an Irish jersey at Lansdowne Road and I wouldn't change the Triple Crown success or beating the All Blacks for anything. Would I do things differently? Possibly.  I might have deducted two years from my age if I was starting all over again!”
  • JAMES J. MURPHY

    Born on November 1825, James Jeremiah Murphy was the eldest son of fifteen children born to Jeremiah James Murphy and Catherine Bullen. James J. served his time in the family business interest and was also involved in the running of a local distillery in Cork. He sold his share in this distillery to fund his share of the set up costs of the brewery in 1856. James J. was the senior partner along with his four other brothers. It was James who guided to the brewery to success in its first forty years and he saw its output grow to 100,000 barrels before his death in 1897. James J. through his life had a keen interest in sport, rowing, sailing and GAA being foremost. He was a supporter of the Cork Harbour Rowing Club and the Royal Cork Yacht Club and the Cork County Board of the GAA. James J. philanthropic efforts were also well known in the city supporting hospitals, orphanages and general relief of distress in the city so much so on his death being described as a ‘prince in the charitable world’. It is James J. that epitomises the Murphy’s brand in stature and quality of character.
    1854

    OUR LADY’S WELL BREWERY

    In 1854 James J. and his brothers purchased the buildings of the Cork foundling Hospital and on this site built the brewery. The brewery eventually became known as the Lady’s Well Brewery as it is situated adjacent to a famous ‘Holy Well’ and water source that had become a famous place of devotion during penal times.
    1856

    THE BEGINNING

    James J. Murphy and his brothers found James J. Murphy & Co. and begin brewing.
    1861

    FROM STRENGTH TO STRENGTH

    In 1861 the brewery produced 42,990 barrels and began to impose itself as one of the major breweries in the country.
    1885

    A FRIEND OF THE POOR, HURRAH

    James J. was a much loved figure in Cork, a noted philanthropist and indeed hero of the entire city at one point. The ‘Hurrah for the hero’ song refers to James J’s heroic efforts to save the local economy from ruin in the year of 1885. The story behind this is that when the key bank for the region the ‘Munster Bank’ was close to ruin, which could have led to an economic disaster for the entire country and bankruptcy for thousands, James J. stepped in and led the venture to establish a new bank the ‘Munster and Leinster’, saving the Munster Bank depositors and creditors from financial loss and in some cases, ruin. His exploits in saving the bank, led to the writing of many a poem and song in his honour including ‘Hurrah for the man who’s a friend of the poor’, which would have been sung in pubs for many years afterwards.
    1889

    THE MALT HOUSE

    In 1889 a Malt House for the brewery was built at a cost of 4,640 pounds and was ‘built and arranged on the newest principle and fitted throughout with the latest appliances known to modern science”. Today the Malthouse is one of the most famous Cork landmarks and continues to function as offices for Murphy’s.
    1892

    MURPHY’S GOLD

    Murphy’s Stout wins the Gold medal at the Brewers and Allied Trades Exhibition in Dublin and again wins the supreme award when the exhibition is held in Manchester in 1895. These same medals feature on our Murphy’s packaging today. Murphy’s have continued it’s tradition of excellence in brewing winning Gold again at the Brewing Industry International awards in 2002 and also gaining medals in the subsequent two competitions.
    1893

    MURPHY’S FOR STRENGTH

    Eugen Sandow the world famous ‘strongman’, endorses Murphy’s Stout: “From experience I can strongly recommend Messrs JJ Murphy’s Stout”. The famous Murphy’s image of Sandow lifting a horse was then created.
    1906

    THE JUBILEE

    The Brewery celebrates its 50th anniversary. On Whit Monday the brewery workforce and their families are treated to an excursion by train to Killarney. Paddy Barrett the youngest of the workforce that day at 13 went on to become head porter for the brewery and could recall the day vividly 50 years later.
    1913

    SWIMMING IN STOUT

    In the year of 1913 the No.5 Vat at ‘Lady’s Well’ Brewery burst and sent 23,000 galleons of porter flooding through the brewey and out on to Leitrim Street. The Cork Constitution, the local newspaper of the time wrote that “a worker had a most exciting experience and in the onrush of porter he had to swim in it for about 40 yards to save himself from asphyxiation”
    1914

    JOINING UP

    The First World War marked an era of dramatic change both in the countries fortune and on a much smaller scale that of the Brewery’s. On the 13 August James J. Murphy and Co. joined the other members of the Cork Employers Federation in promising that ‘all constant employees volunteering to join any of his Majesties forces for active service in compliance with the call for help by the Government will be facilitated and their places given back to them at the end of the war’. Eighteen of the Brewery’s workers joined up including one sixteen year old. Ten never returned.
    1915

    THE FIRST LORRY IN IRELAND

    James J. Murphy & Co. purchase the first petrol lorry in the country.
    1920

    THE BURNING OF CORK

    On the 11-12th December the centre of Cork city was extensively damaged by fire including four of the company’s tied houses (Brewery owned establishments). The company was eventually compensated for its losses by the British government.
    1921

    MURPHY’S IN A BOTTLE

    In 1921 James J. Murphy and Co. open a bottling plant and bottle their own stout. A foreman and four ‘boys’ were installed to run the operation and the product quickly won ‘good trade’.
    1924

    THE FIRST CAMPAIGNS

    In 1924 the Murphy’s Brewery began to embrace advertising. In the decades prior to this the attitude had been somewhat negative with one director stating ‘We do not hope to thrive on pushing and puffing; our sole grounds for seeking popular favour is the excellence of our product’.
    1940

    WWII

    In 1940 at the height of the London Blitz the Murphy’s auditing firm is completely destroyed. The war which had indirectly affected the firm in terms of shortages of fuel and materials now affected the brewery directly.
    1953

    LT. COL JOHN FITZJAMES

    In 1953 the last direct descendant of James J. takes over Chairmanship of the firm. Affectionately known in the Brewery as the ‘Colonel’ he ran the company until 1981.
    1961

    THE IRON LUNG

    Complete replacement of old wooden barrels to aluminium lined vessels (kegs) known as ‘Iron lungs’ draws to an end the era of ‘Coopers’ the tradesmen who built the wooden barrels on site in the Brewery for so many decades.
    1979

    MURPHY’S IN AMERICA

    Murphy’s reaches Americans shores for the first time winning back many drinkers lost to emigration and a whole new generation of stout drinkers.

    1985

    MURPHY’S GOES INTERNATIONAL

    Murphy’s Launched as a National and International Brand. Exports included UK, US and Canada. Introduction of the first 25cl long neck stout bottle.
    1994

    MURPHY’S OPEN

    Murphy’s commence sponsorship of the hugely successful Murphy’s Irish Open Golf Championship culminating in Colm Montgomery’s ‘Monty’s’ famous third win at ‘Fota Island’ in 2002.
    2005

    MURPHY’S GOLD

    Murphy’s wins Gold at the Brewing Industry International Awards a testament to it’s superior taste and quality. Indeed 2003 was the first of three successive wins in this competition.
    2006

    150 YEARS OF BREWING LEGEND

    The Murphy Brewery celebrates 150 years of brewing from 1856 to 2006 going from strength to strength; the now legendary stout is sold in over 40 countries and recognised worldwide as superior stout. We hope James J. would be proud.
  • Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm
  • Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm
  • Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm
  • 25cm x 40cm 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 Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    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.
    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.”  
  • 40cm x 30cm Luke Kelly (17 November 1940 – 30 January 1984) was an Irish singer, folk musician and actor from Dublin, Ireland. Born into a working-class household in Dublin city, Kelly moved to England in his late teens and by his early 20s had become involved in a folk music revival. Returning to Dublin in the 1960s, he is noted as a founding member of the band The Dubliners in 1962. Becoming known for his distinctive singing style, and sometimes political messages, the Irish Postand other commentators have regarded Kelly as one of Ireland's greatest folk singers. Early life Luke Kelly was born into a working-class family in Lattimore Cottages at 1 Sheriff Street.His maternal grandmother, who was a MacDonald from Scotland, lived with the family until her death in 1953. His father who was Irish- also named Luke- was shot and severely wounded as a child by British soldiers from the King's Own Scottish Borderers during the 1914 Bachelor's Walk massacre.His father worked all his life in Jacob's biscuit factory and enjoyed playing football. The elder Luke was a keen singer: Luke junior's brother Paddy later recalled that "he had this talent... to sing negro spirituals by people like Paul Robeson, we used to sit around and join in — that was our entertainment". After Dublin Corporation demolished Lattimore Cottages in 1942, the Kellys became the first family to move into the St. Laurence O’Toole flats, where Luke spent the bulk of his childhood, although the family were forced to move by a fire in 1953 and settled in the Whitehall area. Both Luke and Paddy played club Gaelic football and soccer as children. Kelly left school at thirteen and after a number of years of odd-jobbing, he went to England in 1958.[6] Working at steel fixing with his brother Paddy on a building site in Wolverhampton, he was apparently sacked after asking for higher pay. He worked a number of odd jobs, including a period as a vacuum cleaner salesman.Describing himself as a beatnik, he travelled Northern England in search of work, summarising his life in this period as "cleaning lavatories, cleaning windows, cleaning railways, but very rarely cleaning my face".

    Musical beginnings

    Kelly had been interested in music during his teenage years: he regularly attended céilithe with his sister Mona and listened to American vocalists including: Fats Domino, Al Jolson, Frank Sinatra and Perry Como. He also had an interest in theatre and musicals, being involved with the staging of plays by Dublin's Marian Arts Society. The first folk club he came across was in the Bridge Hotel, Newcastle upon Tyne in early 1960.Having already acquired the use of a banjo, he started memorising songs. In Leeds he brought his banjo to sessions in McReady's pub. The folk revival was under way in England: at the centre of it was Ewan MacColl who scripted a radio programme called Ballads and Blues. A revival in the skiffle genre also injected a certain energy into folk singing at the time. Kelly started busking. On a trip home he went to a fleadh cheoil in Milltown Malbay on the advice of Johnny Moynihan. He listened to recordings of Woody Guthrie and Pete Seeger. He also developed his political convictions which, as Ronnie Drew pointed out after his death, he stuck to throughout his life. As Drew also pointed out, he "learned to sing with perfect diction". Kelly befriended Sean Mulready in Birmingham and lived in his home for a period.Mulready was a teacher who was forced from his job in Dublin because of his communist beliefs. Mulready had strong music links; a sister, Kathleen Moynihan was a founder member of Comhaltas Ceoltóirí Éireann, and he was related by marriage to Festy Conlon, the County Galway whistle player. Mulready's brother-in-law, Ned Stapleton, taught Kelly "The Rocky Road to Dublin".During this period he studied literature and politics under the tutelage of Mulready, his wife Mollie, and Marxist classicist George Derwent Thomson: Kelly later stated that his interest in music grew parallel to his interest in politics. Kelly bought his first banjo, which had five strings and a long neck, and played it in the style of Pete Seeger and Tommy Makem. At the same time, Kelly began a habit of reading, and also began playing golf on one of Birmingham's municipal courses. He got involved in the Jug O'Punch folk club run by Ian Campbell. He befriended Dominic Behan and they performed in folk clubs and Irish pubs from London to Glasgow. In London pubs, like "The Favourite", he would hear street singer Margaret Barry and musicians in exile like Roger Sherlock, Seamus Ennis, Bobby Casey and Mairtín Byrnes. Luke Kelly was by now active in the Connolly Association, a left-wing grouping strongest among the emigres in England, and he also joined the Young Communist League: he toured Irish pubs playing his set and selling the Connolly Association's newspaper The Irish Democrat. By 1962 George Derwent Thomson had offered him the opportunity to further his educational and political development by attending university in Prague. However, Kelly turned down the offer in favour of pursuing his career in folk music. He was also to start frequenting Ewan MacColl and Peggy Seeger's Singer Club in London.

    The Dubliners

    In 1961 there was a folk music revival or "ballad boom", as it was later termed, in waiting in Ireland.The Abbey Tavern sessions in Howth were the forerunner to sessions in the Hollybrook, Clontarf, the International Bar and the Grafton Cinema. Luke Kelly returned to Dublin in 1962. O'Donoghue's Pub was already established as a session house and soon Kelly was singing with, among others, Ronnie Drew and Barney McKenna. Other early people playing at O'Donoghues included The Fureys, father and sons, John Keenan and Sean Og McKenna, Johnny Moynihan, Andy Irvine, Seamus Ennis, Willy Clancy and Mairtin Byrnes. A concert John Molloy organised in the Hibernian Hotel led to his "Ballad Tour of Ireland" with the Ronnie Drew Ballad Group (billed in one town as the Ronnie Drew Ballet Group). This tour led to the Abbey Tavern and the Royal Marine Hotel and then to jam-packed sessions in the Embankment, Tallaght. Ciarán Bourke joined the group, followed later by John Sheahan. They renamed themselves The Dubliners at Kelly's suggestion, as he was reading James Joyce's book of short stories, entitled Dubliners, at the time.Kelly was the leading vocalist for the group's eponymous debut album in 1964, which included his rendition of "The Rocky Road to Dublin". Barney McKenna later noted that Kelly was the only singer he'd heard sing it to the rhythm it was played on the fiddle. In 1964 Luke Kelly left the group for nearly two years and was replaced by Bobby Lynch and John Sheahan. Kelly went with Deirdre O'Connell, founder of the Focus Theatre, whom he was to marry the following year, back to London and became involved in Ewan MacColl's "gathering". The Critics, as it was called, was formed to explore folk traditions and help young singers. During this period he retained his political commitments, becoming increasingly active in the Campaign for Nuclear Disarmament. Kelly also met and befriended Michael O'Riordan, the General Secretary of the Irish Workers' Party, and the two developed a "personal-political friendship". Kelly endorsed O'Riordan for election, and held a rally in his name during campaigning in 1965.In 1965, he sang 'The Rocky Road to Dublin' with Liam Clancy on his first, self-titled solo album. Bobby Lynch left The Dubliners, John Sheahan and Kelly rejoined. They recorded an album in the Gate Theatre, Dublin, played the Cambridge Folk Festival and recorded Irish Night Out, a live album with, among others, exiles Margaret Barry, Michael Gorman and Jimmy Powers. They also played a concert in the National Stadium in Dublin with Pete Seeger as special guest. They were on the road to success: Top Twenty hits with "Seven Drunken Nights" and "The Black Velvet Band", The Ed Sullivan Show in 1968 and a tour of New Zealand and Australia. The ballad boom in Ireland was becoming increasingly commercialised with bar and pub owners building ever larger venues for pay-in performances. Ewan MacColl and Peggy Seeger on a visit to Dublin expressed concern to Kelly about his drinking.[citation needed] Christy Moore and Kelly became acquainted in the 1960s.During his Planxty days, Moore got to know Kelly well. In 1972 The Dubliners themselves performed in Richard's Cork Leg, based on the "incomplete works" of Brendan Behan. In 1973, Kelly took to the stage performing as King Herod in Jesus Christ Superstar. The arrival of a new manager for The Dubliners, Derry composer Phil Coulter, resulted in a collaboration that produced three of Kelly's most notable performances: “The Town I Loved So Well”, "Hand me Down my Bible", and “Scorn Not His Simplicity”, a song about Phil's son who had Down Syndrome.Kelly had such respect for the latter song that he only performed it once for a television recording and rarely, if ever, sang it at the Dubliners' often boisterous events. His interpretations of “On Raglan Road” and "Scorn Not His Simplicity" became significant points of reference in Irish folk music.His version of "Raglan Road" came about when the poem's author, Patrick Kavanagh, heard him singing in a Dublin pub, and approached Kelly to say that he should sing the poem (which is set to the tune of “The Dawning of the Day”). Kelly remained a politically engaged musician, becoming a supporter of the movement against South African apartheid and performing at benefit concerts for the Irish Traveller community,and many of the songs he recorded dealt with social issues, the arms race and the Cold War, trade unionism and Irish republicanism, ("The Springhill Disaster", "Joe Hill", "The Button Pusher", "Alabama 1958" and "God Save Ireland" all being examples of his concerns).
    Luke Kelly on stage in 1980

    Personal life

    Luke Kelly married Deirdre O'Connell in 1965, but they separated in the early 1970s.Kelly spent the last eight years of his life living with his partner Madeleine Seiler, who is from Germany.

    Final years

    Kelly's health deteriorated in the 1970s. Kelly himself spoke about his problems with alcohol. On 30 June 1980 during a concert in the Cork Opera House he collapsed on the stage. He had already suffered for some time from migraines and forgetfulness - including forgetting what country he was in whilst visiting Iceland - which had been ascribed to his intense schedule, alcohol consumption, and "party lifestyle". A brain tumour was diagnosed.Although Kelly toured with the Dubliners after enduring an operation, his health deteriorated further. He forgot lyrics and had to take longer breaks in concerts as he felt weak. In addition following his emergency surgery after his collapse in Cork, he became more withdrawn, preferring the company of Madeleine at home to performing.On his European tour he managed to perform with the band for most of the show in Carre for their Live in Carre album. However, in autumn 1983 he had to leave the stage in Traun, Austria and again in Mannheim, Germany. Shortly after this, he had to cancel the tour of southern Germany, and after a short stay in hospital in Heidelberg he was flown back to Dublin. After another operation he spent Christmas with his family but was taken into hospital again in the New Year, where he died on 30 January 1984.Kelly's funeral in Whitehall attracted thousands of mourners from across Ireland.His gravestone in Glasnevin Cemetery, Dublin, bears the inscription: Luke Kelly – Dubliner. Sean Cannon took Kelly's place in The Dubliners. He had been performing with the Dubliners since 1982,due to the deterioration of Kelly's health.

    Legacy

    Statue on South King Street
    Sculpture of Luke Kelly on Sheriff Street by Vera Klute. Unveiled in 2019
    Luke Kelly's legacy and contributions to Irish music and culture have been described as "iconic" and have been captured in a number of documentaries and anthologies. The influence of his Scottish grandmother was influential in Kelly's help in preserving important traditional Scottish songs such as "Mormond Braes", the Canadian folk song "Peggy Gordon", "Robert Burns", "Parcel of Rogues", "Tibbie Dunbar", Hamish Henderson's "Freedom Come-All-Ye", and Thurso Berwick's "Scottish Breakaway". The Ballybough Bridge in the north inner city of Dublin was renamed the Luke Kelly Bridge, and in November 2004 Dublin City Council voted unanimously to erect a bronze statue of Luke Kelly. However, the Dublin Docklands Authority subsequently stated that it could no longer afford to fund the statue. In 2010, councillor Christy Burke of Dublin City Council appealed to members of the music community including Bono, Phil Coulter and Enya to help build it. Paddy Reilly recorded a tribute to Kelly entitled "The Dublin Minstrel". It featured on his Gold And Silver Years, Celtic Collections and the Essential Paddy Reilly CD's. The Dubliners recorded the song on their Live at Vicar Street DVD/CD. The song was composed by Declan O'Donoghue, the Racing Correspondent of The Irish Sun. At Christmas 2005 writer-director Michael Feeney Callan's documentary, Luke Kelly: The Performer, was released and outsold U2's latest DVD during the festive season and into 2006, acquiring platinum sales status. The documentary told Kelly's story through the words of the Dubliners, Donovan, Ralph McTell and others and featured full versions of rarely seen performances such as the early sixties' Ed Sullivan Show. A later documentary, Luke Kelly: Prince of the City, was also well received. Two statues of Kelly were unveiled in Dublin in January 2019, to mark the 35th anniversary of his death.One, a life-size seated bronze by John Coll, is on South King Street. The second sculpture, a marble portrait head by Vera Klute, is on Sheriff Street. The Klute sculpture was vandalised on several occasions in 2019 and 2020, in each case being restored by graffiti-removal specialists.
  • 46cm x 32cm Dublin Daniel Donnelly (March 1788 – 18 February 1820) was a professional boxing pioneer and the first Irish-born heavyweight champion. He was posthumously inducted into the International Boxing Hall of Fame, Pioneers Category in 2008. Donnelly was born in the docks of Dublin, Ireland in March 1788. He came from a family of seventeen children.Donnelly grew up in poverty; his father was a carpenter, but suffered from chest complaints and was frequently out of work. As soon as he was able, Donnelly also went to work as a carpenter. On the streets of Dublin, Donnelly had a reputation of being a hard man to provoke, but was known to be "handy with his fists", and he became the district's new fighting hero.There are a number of anecdotes about Donnelly's life in this period, including his rescue of a young woman being attacked by two sailors at the dockside, leading to his arm being badly mangled. He was taken to the premises of the prominent surgeon Dr. Abraham Colles who saved Donnelly's arm from amputation, describing him as a "pocket Hercules". Another tale concerns Donnelly's insistence of carrying the body of an old lady who had died of a highly contagious fever to a local graveyard, where he buried the body himself in a grave that had been "reserved for a person of distinction".

    Early boxing career

    Donnelly was nearly six feet (1.83 m) tall and weighed almost 14 stone (196 lbs, 89 kg). He was described as "a courageous man". As news of his fighting exploits with Dublin's feuding gangs spread swiftly. He gained a reputation for keeping local criminals in check. One boxer, recognized as champion of the city, became jealous of Donnelly's reputation and took to following him around the local taverns demanding a fight. Eventually, Donnelly relented and the fight was staged on the banks of the Grand Canal. The event aroused a great deal of interest in Dublin, and a good crowd turned up. Right up to the time they took sparring positions, Donnelly tried to talk his rival out of fighting, but his pleas fell on deaf ears. As the fight dragged on, Donnelly gradually overcame his rival, and in a furious attack in the 16th round, beat him to the ground. Donnelly was declared the new champion of the city.
    An Irish aristocrat, seated, playing the Uilleann pipes.
    "Sporting" Captain William Kelly, the man credited with "discovering" Donnelly.
    Around this time, an Irish aristocrat was sitting in an English tavern. Captain William Kelly listened as a pair of English prize-fighters mocked Ireland's reputation as a nation of courageous men.Kelly considered this an affront to his native land and resolved to find a fighting Irishman to take up the challenge.His search eventually took him to Dublin and to Dan Donnelly.

    King of the Curragh

    When prize fights were first introduced, it was the Fancy who tended to the boxers. The Fancy were aristocrats who followed the sport in the 18th and 19th centuries. They organized the training, the matches, and the finance. Donnelly's first big fight under the patronage of Captain Kelly, was staged at the Curragh in County Kildare on 14 September 1814. The spot was known at the time as Belcher's Hollow, a natural amphitheatre that was regularly used for big prize fights. Donnelly's opponent was a prominent English fighter, Tom Hall, who was touring Ireland, giving sparring exhibitions and boxing instruction. By one o'clock when the bout was due to start, an estimated 20,000 people packed onto the sides of the hollow, at the base of which a 22-foot (6.71 m) square had been roped off.
    A broadside featuring five images of gloved contests above the seven distinct regulations that were authored by Heavyweight Champion Jack Broughton
    Jack Broughton's Rules, drawn up in 1743, lasted 110 years until replaced by the London Prize Ring Rules.
    Boxing at that time was very different from the boxing of today. There were few rules. There was no boxing organization to oversee the sport or lay down regulations or procedures. There was no formal end to the fights: they would go on until one fighter was unable to continue or would give up. A now obsolete practice was that of the seconds. The seconds would wait in the ring during the fight, and assist the boxer between rounds. There were no restrictions regarding fight tactics. For example, a fighter could hit his opponent's head off a corner post, or wrestle his opponent to the ground, or pull his hair, or wrap his arm around his neck in a choking motion and then hit him in the face with the other hand. The fights were very severe and often brutal, and they would continue until the end. A round could last as long as six or seven minutes, or a little as 30 seconds. The round would end when one person was on the ground. He would then have 30 seconds to get up and continue the fight. For a few rounds, Hall was showing his skill was paramount. He scored first blood, which was an important occasion in bare-fist boxing; there were bets made on who would draw first blood. But as the rounds went on, Donnelly's strength began to tell. Hall would slip down onto his knee, without being in any danger. This was a tactic, because once he went down the round was over, he got a 30-second rest, and came back refreshed. He was doing this just a bit too often for Donnelly's liking, and at one stage, Donnelly was just about to lash out when he was down, and his second shouted out an admonishment that Dan would lose the fight if he did so. Eventually he did lose his temper, and as Hall slipped down yet again, Donnelly lashed out and hit him on the ear; the blood flowed. That was the end of the round. Hall refused to continue, saying he had been fouled, that Donnelly should be disqualified. Donnelly fans voiced that no, Dan had definitely won, Hall didn't want to fight on, Donnelly was the champion. The fight ended in some controversy, but to the Irish, he was the conquering hero. Belcher's Hollow was rechristened Donnelly's Hollow and Dan Donnelly was now acclaimed as Ireland's Champion.For a short while, at least, the country celebrated its new hero. The Irish saw sporting heroes like Dan Donnelly as the symbolic winner of the bigger fight. While Ireland was left without its own government, England was becoming increasingly more powerful. Whenever Dan's right hand bloodied an English nose, it was hailed as a strike, however small, against the oppressors.

    Cooper's challenge

    It was the summer of 1815, and while Ireland was at its weakest, England had never seemed stronger. Wellington had beaten Napoleon at Waterloo and Britanniacertainly ruled the waves. In the minds of the populace, Dan Donnelly epitomized the national struggle in an Ireland governed by mad old George III, championing their seemingly hopeless cause against the intransigent representatives of the Crown. In Irish folk tradition, the hero took center stage. That goes back to the storytelling tradition which still exists today. The hero is revered; he's someone who is willing to stand up and fight for himself and his people. Dan was synonymous with Ireland as he was a patriot. He lived and fought in the period after the 1798 Rebellion and the Act of Union, and during the Catholic Emancipation movement. Spirits and morale were good in Ireland at that time. As a patriotic man himself, the timing couldn't be better for Donnelly. The political climate between Ireland and Britain is better and more peaceful today than it has been in a very long time, but if a rugby or soccer game is held between the two countries, there is a certain amount of tension or jingoism. Dan Donnelly and his boxing matches embodied this mentality in the early 19th century. It's symbolic of how the Irish and the English fought their political battles on the football pitch and in the boxing ring. Donnelly was a national hero, but he was also broke. He drank away the purse from beating Tom Hall, but the chance of another big payday eventually presented itself. He was approached by George Cooper and Tom Molyneux, two leading prize-fighters who were touring Ireland on an exhibition tour to teach the art of boxing.
    A head and shoulders engraving of George Cooper.
    George Cooper, a first-rate ringman, and the opponent in Donnelly's most celebrated victory.
    These two came to Dublin, heard of Donnelly, and invited him to meet them in a local pub. They prevailed upon him to fight Molyneux originally, and he said no. He had no desire to fight a conquered man, because Molyneux had just been beaten by the other man of the company, George Cooper. Molyneux was hurt by this curt refusal, but he was calmed down by his companion. Arrangements were made for the fight with Cooper. The bout was set for 13 November 1815. Once again, it was to be staged at Donnelly's Hollow on the Curragh in County Kildare.News of Napoleon's defeat at Waterloo was resounding around Europe. George Cooper was a hotter favorite than the Iron Duke had been in his bout with the Little Corporal. Cooper was a bargeman with a fearful reputation. He was of gypsy bloodand he was 10/1 on to batter Dan Donnelly. From early morning, crews began to converge on Donnelly's Hollow.They came from far and wide, using every horse-drawn contraption they could find, or on horseback. If they couldn't do so, they gladly walked the distance. There were 20,000 people packed in there on that day. Excitement was intense. Bets were made back then as is still customary to this day. Bets were made on the results of the fight, on who'd draw the first blood, or on who would score the first knockdown. There were rules, but they were designed to accommodate gambling, the public, and those who organized the fight. The boxers themselves were of no consequence. It was a fight that went one way then the other for a round. Again, Donnelly's strength would always tell in a bare-knuckle fight to the finish. In one round, Cooper used the cross-buttock tactic with Donnelly and severely winded him. The cross-buttock was more a wrestling maneuver than a boxing one, but it was legitimate under the rules of the time. A competitor gets, more or less, in front of his opponent, and throws his adversary over his hip, causing him to land with great force on the ground. If one popular story is to be believed, Donnelly, who was being badly beaten in the fifth round, was saved by the magical properties of a lump of sugar cane slipped to him by Captain Kelly's sister. She had been pleading with Dan to win, telling him she had bet her entire estate on the outcome. When Donnelly failed to respond, she slipped him a piece of the sugar cane, while urging him, "Now my charmer, give him a warmer!"The Irish champion was rejuvenated and the course of the fight changed. In the seventh round, he sent Cooper flat on his back on the turf and jumped on top of him, winding Cooper so badly he could hardly rise. He did rise for the next round, but in the eleventh, Donnelly finished him off with a tremendous right hand that smashed Cooper's jaw. The sound of the cheering was likened to the sound of artillery going off. The cheers could be heard in villages for miles around. Donnelly was the conquering hero. As Donnelly proudly strode up the hill towards his carriage, fanatical followers dug out imprints left by his feet. Leading from the monument which commemorates the scene of his greatest victory, "The Steps to Strength and Fame" are still to be seen in Donnelly's Hollow. Donnelly politely declined all invitations to celebrate his triumph in the taverns of County Kildare. He had promised his friends and family he would return to Dublin immediately after the fight. Newspapers in the 18th century had many references to boxing. However, this was bare-knuckle fighting, fighting that was severe and sometimes brutal. That type of boxing was at its most popular during Dan's time. Boxing champions in those days became well-renowned. He was aware that political conflict was very much to the fore then. He accepted that he was representing the Irish people in this area in which he was active. He was a patriot, who, if needed, would stand up for his beliefs.
    Monument at Donnelly's Hollow on the Curragh in County Kildare"
    Footsteps at Donnelly's Hollow on the Curragh in County Kildare"

    Later life

    Donnelly became a publican, hoping his notoriety would entice extra customers eager to hear stirring tales of his prize-ring. He had a reputation for being a gambler, a womanizer and a drunkard. Donnelly was the proprietor of a succession of four Dublin pubs, all of them unprofitable. Fallon's Capstan Bar is the only one still in existence. In his third and final fight on 21 July 1819, he defeated Tom Oliver in 34 rounds on English turf, at Crawley Down in Sussex. A full fight report was filed by the foremost prizefighting chronicler of the period, Pierce Egan. Egan irately described the reception accorded to Donnelly during a benefit night (6 April 1819) as 'rather foul': 'It was very unlike the usual generosity of John Bull towards a stranger – It was not national – but savoured something like prejudice' (Boxiana, vol. III).This animosity was borne predominantly from concern over the Irishman's fighting prowess, and Egan underscored the combination of resentment and overwhelming interest when reporting Donnelly's fight with Oliver: 'The English amateurs viewed him as a powerful opponent [and...] jealous for the reputation of the "Prize Ring", clenched their fists in opposition, whenever his growing fame was chaunted' (Boxiana, vol. III)
    Hibernia weeping at Donnelly's grave, holding a drawing of his likeness.
    Hibernia lamenting the Death of Donnelly, her favourite champion.
    He died at Donnelly's Public House, the last tavern he owned, on 18 February 1820 at the age of 31. An oval wall plaquecommemorates the site of his death. A squat, weather-beaten, gray obelisk surrounded by a short iron fence marks the exact site of the Cooper bout. The inscription on the monument: DAN DONNELLY BEAT COOPER ON THIS SPOT 13 December 1815. The date inscribed was inaccurate, as the bout actually took place one month earlier, on 13 November 1815, as reported in the Freeman's Journal the following day.

    Donnelly's arm

    Donnelly was laid to rest, albeit briefly, at Bully's Acre, one of the city's oldest cemeteries.After just a few nights, grave robbers put Donnelly's body in a sack and delivered him to an eminent surgeon who paid good money for cadavers for study. They may even have been working to order. Donnelly's admirers tracked the body to the home of a surgeon by the name of Hall and threatened him with death. There was a quick negotiation and he agreed to give the body back as long as he could keep the right arm, the one that slew the English champions, for medical observation.The arm was preserved in red lead paint, and traveled to a medical college in Scotland where it was used by medical students for a number of years to study how all the bones worked together. From an Edinburgh classroom, the arm became an exhibit in a Victorian travelling circus, and it journeyed around Britain many times. In the early 20th century, it finally came back to Ireland. In 1904, a Belfast bookmaker, Hugh "Texas" McAlevey, acquired the arm and displayed it in his pub. The publican got tired of it and thought the grisly-looking sight might be frightening off customers, so he stuck it up in an attic.A betting parlor employee remembers as a teenager being told not to go up in the attic—that Donnelly's ghost was up there. Donnelly's arm made it back to Kilcullen in the 1950s. Publican Jim Byrne came up with the idea of recreating Donnelly's fight with George Cooper in the Curragh. The fight was promoted by bringing Donnelly's arm back to where it defeated the English opponent. The pageant brought the historic contest alive again, rekindling the Dan Donnelly fire. It was An Tóstal, an Irish festival started at that time nationwide in an effort to promote tourism. Each region was encouraged to have some sort of festival to attract visitors. This was the genesis of the Dan Donnelly pageant. Kevin McCourt, an army officer, was picked to play George Cooper, the English champion; Jim Berney was chosen to portray Dan Donnelly, the Irish champion. George Cooper and Dan Donnelly, as played by McCourt and Berney, had a group of supporters as well, dressed up and cheering, carrying them down into the arena. Two "supporters" performed getting involved in a ruckus. Local sporting clubs and townspeople comprised the spectators.
    A sketch showing Donnelly's arms reaching to his knees
    "The longest arms in the history of pugilism."
    Donnelly's arm found a new home in Jim Byrne's pub, "The Hideout."It became a popular attraction in Kilcullen. It was on display there for 43 years until Jim Byrne died and the pub passed to his son, Desmond,who was unaware of the arms value, and in 1997 he eventually sold the pub.The arm sat in his and Josephine's basement piled under junk for almost a decade until an American relative, Thomas Donnelly, began a national search for the arm. After several radio interviews and articles, the nations intrigue began to grow again on the whereabouts of the arm. Des died in 2005. After the media search gained traction, Josephine revealed that they kept the arm during the sale and it was disrespectfully laying in their basement. Josephine wouldn't let the human limb that was almost 200 years old go into a cargo hold for transportation to America. One of Des's bandmates had been Henry Donohoe, then the chief pilot for Aer Lingus. She called him and asked how to get the arm to the States. He told her that he would take it in the cockpit with himself. Josephine sat in first class. A special box was made for the arm, crating around it to prevent it from getting banged around. It fit into the cockpit with two inches to spare. As the centerpiece of the Fighting Irishmen Exhibit, Donnelly's arm went on display at the Irish Arts Center in New York City, in the autumn of 2006. The show traveled across the city to the South Street Seaport Museum in 2007.Its next appearance was at Boston College's John J. Burns Library in 2008. The arm returned to Ireland in 2009 when the show arrived at the Ulster American Folk Park in Omagh. 2010 was a homecoming when the exhibition appeared at the Gaelic Athletic Association museum at Croke Park in Dublin.

    Legends

    Almost two centuries after his death. Donnelly remains the subject of urban legend. One contends that he had the longest arms in boxing history, with the ability to touch his knees without bending down. Another claims that he was knighted by the Prince Regent. His arms were actually of normal length for a man of his size. No known documentation exists to support the latter.
  • 33cm x 38cm  Co Kerry Stumbling upon an old suitcase, we discovered a cache of wonderful old bullheads,return dockets, invoices and other commercial ephemera from the late 1920's and 1930's.They originated from a now closed licensed premises-Courtney's of Castlegregory Co Kerry-situated on the Dingle Peninsula not far from the start of the Connor Pass. We then decided to out them to best use by making framed  display collages using the original items and have also included some original Guinness bottle labels from around the country to add a little more historical flavour ! A truly unique and unusual piece of Irish Pub Memorabilia which can only appreciate in value over the years given they are already heading for a century old. Each display is different to the next also adding to their rarity value- a truly once off item for any proud Irish Pub or home bar !
  • 24cm x 40cm Thwaite’s Mineral Waters had been established by Dublin chemist Augustine Thwaite in the late 1700s. Thwaite’s would amalgamate with a number of other firms, including the Belfast firm of Cantrell & Cochrane, to form Mineral Water Distributers (from whence derives the name ‘MiWadi’) in 1927.

    Truly one of humanity’s truly great inventions is – carbonated water. How dull our taste buds would be without it! How impossible would be hangovers (so I’m told!). How . . . well . . . flat life would be!

    And all down to an 18th century English Protestant minister Rev Joseph Priestly who invented soda water by accident in 1769. (What results when carbon dioxide gas is dissolved in water under pressure.)

    He published a paper on it titled, ahem, Impregnating Water with Fixed Air. As you do.

    Along came German-Swiss watchmaker Johann Jacob Schweppe who took Priestly’s invention and manufactured bottled carbonated mineral water. In 1792 he moved to London to develop the Schweppes business there and, in 1799, Augustine Thwaites founded Thwaites’ Soda Water in the fair city of Dublin.

    It was Thwaites who first used (and patented) the term “soda water” to describe the fizzy drink. That arose from noticing that adding sodium carbonate to water greatly facilitated the absorption of carbon dioxide. Which is where the American term “soda” came from.

  • 42cm x 32cm  Limerick The Jacobs Biscuit Bakery originated in Waterford in 1851,after being founded by William Beale Jacob and his brother Robert.It later moved to Bishop Street in Dublin with a further factory in Peters Row.Jacobs Bishop Street premises was occupied as a strategic location by rebels during the 1916 Easter Rebellion. W. & R. Jacob's were one the largest employers in the Dublin of 1916, and their factory was seized on Easter Monday by perhaps 100 members of the 2nd Battalion of the Dublin Brigade of the Irish Volunteers under Thomas MacDonagh. The factory itself was an enormous and formidable Victorian edifice located on the 'block' enclosed by Bishop St, Bride St, Peter's St and Peter's Row, and between St Patrick's Cathedral and St Stephen's Green. Its seizure helped to complete a loop of building cross the south inner city; the factory had two large towers that could act as observation points, while its location was very close to both Camden St and Patrick St: natural routeways for troops entering the city centre from Portobello Barracks in Rathmines and Wellington Barracks on the South Circular Road. There were only a few staff present in the building when the Volunteers broke into it; a number of smaller outposts were established in the area around the factory. While the garrison saw some fighting early in the week, their principal enemies proved to be boredom and the locals: the factory was surrounded by tenements, and the Volunteers were attacked and abused by residents, many of whom were Jacob's workers themselves. The families of servicemen were also quite hostile, but there may have been another reason for this hostility: Michael O'Hanrahan, who was in Jacob's, expressed his concern that the choice of location might endanger local residents if the British chose to attack. As it happens, the factory was largely by-passed, though it was fired upon intermittently throughout the week by troops in Dublin Castle and elsewhere. MacDonagh surrendered in nearby St Patrick's Park on Sunday 30 April; some of the factory was looted after the Volunteers had left. Three members of the Jacob's garrison were executed. Most of the factory was eventually demolished, though fragments of the ground storey and one of the towers are still visible on Bishop St between the DIT campus on Aungier St and the National Archives of Ireland.  
     
  • 47cm x 37cm  Limerick 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.
    The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
      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.
     
  • 42cm x 32cm  Limerick
    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.
     
  • 47cm x 37cm  Limerick Ireland has always been known for their hard tobaccos, often very stout and topped or cased with an exotic flavour. The plug form is hands down my fave, and I've tried to research its origins and evolution, but there ain't much out there documenting the historical arc. This is sorta like a supplemental edition of Antiquarian Nicotiana Brittanica - in hopes of giving people an idea of this glorious old baccy. This is primarily a visual gallery as mentioned earlier, textual traces are difficult to track, but at least I've been able to scavenge enough sufficient imagery off the vast cultural detritus known as the world wide web to at least give the viewer/reader a generalized approximation of what was what and how was how. Back then, you usually knew what you were getting if you knew the country of origin of your tobacco, it was fairly easy to know what to expect, unlike today's over-homogenized market where the lines are very blurry. We'll start this off with an American newspaper article from 1940, and it deftly illustrates the renowned, legendary, far-famed, and celebrated characteristics of what is Irish plug tobacco. : Another thing I've been highly interested in, but unable to find any concrete info about, are the steam-jacketed presses which were unique to Great Britain and Ireland. I do think that a SJPress is a crucial instrument in creating their ultra-compressed and raven black distinctive properties.
    For many years past the Meadow Foundry Company has devoted considerable attention to perfecting the various appliances in use by tobacco manufacturers, and in this direction have made their speciality, the "Mansfield" Steam Stoving Press, known as "The Mansfield Stove." This system is now applied by tobacco manufacturers throughout the world, and is acknowledged by the leading houses and the representative journal of the trade to be the only stove which meets every requirement for stoving, pressing and curing every kind of hard tobacco, ensuring solidity without loss in weight, a jet-black colour without blister, and perfect keeping quality. These stove presses are equally well adapted to large and small manufacturers, giving a greater heat, uniformly distributed, than any other stoving plan, and perform the work at less cost and in shorter time than any other system.
    There were quite a good number of different Tobacco Houses, in differing regions, that made the plugs. Here's a short rundown of what was available at one time: P. J. Carroll & Co. Ltd. Dundalk ______________________________ Mick McQuaid Plug Anti-Combine Plug (A.C.P.) Bog Oak Plug Tug-o-War Plug Donegal Plug Carroll's Golden Bar Dundalk Bar Striker brown Long Squares Spearman brown Long Squares : Wm. Clarke & Son Cork ______________________________ Galtee More Plug (Flavoured and Full) Nugget Plug Nugget Plug Special Perfect Plug Walnut Plug Cherokee Circular Plug Square Tack Onyx Bar :   Gallaher Ltd. Dublin ______________________________ War Horse Bar Army & Navy Plug Wrestler Plug HammerHead Plug Condor Bar A.1. Plug Sixpenny Plug : John Clune Ltd. Limerick ______________________________ Kincora Plug Sarsfield Plug Thomond Plug Honeybee Long square : Murray Ltd. Belfast ______________________________ Warrior Plug Erinmore Plug Yachtsman Plug Luckmore Plug Maple Plug Crowbar Long Square : Wm. Ruddell Ltd. Dublin ______________________________ Velvan Plug Curragh Plug Derby Plug Potomac Plug Best Virginia Plug Holdfast Bar Ruddell's Golden Virginia Bar : G. Spillane & Co. Ltd. Limerick ______________________________ Garryowen Plug Hazelnut Plug Poplar Plug Treaty Plug Warship Long Square : W. & M. Taylor Ltd. Dublin ______________________________ Bendigo Plug Patland Plug Taylor's Navy PLug Farrier Bar Handy Plug Sixpenny Plug : M. & P. O'Sullivan Ltd. Cork ______________________________ Erin's Pride Plug Coupon Plug Take-me Plug : Lambkin Bros. Ltd. Cork ______________________________ Cordangan Plug Exhibition Plug Kentucky Plug Shandon Plug Oaknut Plug : Grant Bros. Ltd. Buncrana, Co.Donegal ______________________________ Crana Plug Ploughman Plug : Fairweather & Sons, Ltd. Dundee _____________________________ Rose Plug Kara Bar : T.P. & R. Goodbody Ltd. Dublin ____________________________ Patriotic Plug Cora Plug
     
  • 47cm x 37cm  Limerick Here’s a quick, but loaded, question: Do you prefer Barry’s or Lyons? The Great Irish Tea War is the most intractable rivalry in the country. While Munster and Leinster have been known to put their differences aside for the sake of Irish rugby glory, tea drinkers are not so easily appeased. Mention a preference for the “wrong” tea and you can expect strong words at best – and definitely no biscuits. At worst, tea drinkers will go cup to cup in pitched battles, kettles angrily steaming, while insults like curdled milk sour friendships and family relationships. It’s more than just a battle of the brews. Barry’s Tea was founded the Rebel City in 1901 and is still one of Cork’s most famous brands. Lyons is originally from Dublin. Do you prefer Barry’s to Lyons? The yellow Snack or the purple one? Tayto or King Crisps? Cork or Dublin? Really, it is all a matter of taste…  But there are many great reasons why anyone looking for a new job, or a whole new life, should consider a move to Cork.
    Lyons is a brand of tea belonging to Unilever that is sold in Ireland. It is one of the two dominant tea brands in the market within the Republic of Ireland, along with Barry's Tea. Lyons Tea was first produced by J. Lyons and Co., a catering empire created and built by the Salmons and Glucksteins, a German-Jewish immigrant family based in London. Starting in 1904, J Lyons began selling packaged tea through its network of teashops. Soon after, they began selling their own brand Lyons Tea through retailers in the UK, Ireland and around the world.In 1918, Lyons purchased Hornimans and in 1921 they moved their tea factory to J. Lyons and Co., Greenford at that time, the largest tea factory in Europe. In 1962, J Lyons and Company (Ireland) became Lyons Irish Holdings. After a merger with Allied Breweries in 1978, Lyons Irish Holdings became part of Allied Lyons (later Allied Domecq) who then sold the company to Unilever in 1996. Today, Lyons Tea is produced in England. Lyons Tea was a major advertiser in the early decades of RTÉ Television, featuring the "Lyons minstrels" and coupon-based prize competitions. The story of J Lyons is told in the book 'Legacy: One Family, a Cup of Tea and the Company that Took On the World' by Thomas Harding (writer)

    Popular culture

    A Lyons Tea sign is shown in the background in a scene in Castletown in The Quiet Man (1952), the iconic film directed by John Ford that starred John Wayne and Maureen O'Hara. Again in Ford’s ‘’How Green Was My Valley’’ (1941) an advertisement for Lyon’s Tea is to be seen in an early scene under the shop window near the church. In the BBC/RTÉ Mrs Brown's Boys TV series, there is a box of Lyons Tea sitting on top of the bread bin in Mrs Brown's kitchen. In Chariots of Fire, a Lyons sign is shown at Dover train station.
  • 47cm x 37cm  Limerick 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.

    Enamelled metal box for 1 ounce of tobacco
    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".
    WWII cigarette packets exhibited at Monmouth Regimental Museumin 2012
    Hero 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.  
     
  • 47cm x 37cm  Limerick 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 Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    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.
    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.”  
     
  • 37cm x 47cm  Limerick Colman's (est. in 1814) is an English manufacturer of mustard and other sauces, formerly based and produced for 160 years at Carrow, in Norwich, Norfolk. Owned by Unilever since 1995, Colman's is one of the oldest existing food brands, famous for a limited range of products, almost all varieties of mustard. In 2019 the Colman’s factory in Norwich rolled its last jar of mustard off the production line and its Use By Date was changed for the occasion to: "Norwich's Last. By Its Finest. July 24th 2019". Colman’s continued making other condiments at the Carrow site until closing its doors in early 2020. In the early 1800s, Jeremiah Colman began making mustard at a water mill near Norwich in the village of Bawburgh. To create a tangy flavour, he blended brown mustard (Brassica juncea) with white mustard (Sinapis alba).
    Stoke Holy Cross Mill was the home of Colman's mustard from 1814 to 1862
    Jeremiah founded Colman's of Norwich in 1814, at the Stoke Holy Cross mill on the River Tas, four miles south of Norwich. In 1823 he took his adopted nephew, James, into the business which became J. & J. Colman. In 1851 J.J. Colman took over the business. By 1865 production had transferred to a large factory at Carrow Road on land at Thorpe Hamlet, bought from the Norfolk Railway to the south of Norwich,where the firm operated until the Norwich closure. From 1855 the firm introduced its distinctive yellow packaging and bull's head logo, and in 1866 was granted the Royal Warrantas manufacturers of mustard to Queen Victoria. Her Majesty's household still uses Colman's today. The Colman family's pioneering achievements in social welfare are part of Norwich's history. In 1857 a school was opened for the employees' children, while in 1864 the firm employed a nurse to help sick members of staff, a social revolution at the time. From 1896 Jeremiah Colman became chairman.In 1903, the firm took over rival mustard maker Keen Robinson & Company,through which it also acquired the Robinsons barley water and baby food business.The purpose of the acquisition was to reduce competition within the mustard business. By 1909 the company employed 2,300 people. Keen's production was moved from London to Norwich in 1925. Together with Reckitt, the company acquired French's, the American mustard manufacturer, in 1926 for £750,000. In 1938 it merged with Reckitts and Sons of Hull to form the Reckitt & Colman household products conglomerate. From 1997 to 2001, Colman's were the main sponsors of Norwich City Football Club. The Colman's part of the business was demerged in 1995 and Colman's became part of Unilever UK Ltd. As well as mustard, it applies its name to condiments, sauces and other foodstuffs. Reckitt and Colman engaged in cost-cutting as it prepared to sell the brand, getting rid of the agronomy department, which had looked after plant breeding and seed development. Colman's maintains links with Norwich. The founding family are commemorated in street names such as Colman Road (part of the A140 inner ring road), on which is situated Colman's First and Middle Schools. In addition, the Colman House residence at the University of East Anglia is named after the company and Jeremiah Colman.
     
  • 47cm x 37cm  Limerick
    For much of the last century, and indeed for well over half of the present one, Limerick's importance was directly attributed to her three well-known bacon factories, namely, J. Matterson & Sons, Roches Street, established in 1816 by Mr. John Russell, a Cumberland man in conjunction with Mr. Matterson, using the method of curing then current in Berwick-on-Tweed. W.J. Shaw & Sons, founded in the year 1831 at Mulgrave Street by William John Shaw, a descendant of a County Down family, and O'Mara's bacon factory, Roches Street, which had its origin in Mungret Street some few years before 1839, when James O'Mara from Toomevara started curing bacon in the basement of his house there. Apparently, this basement business flourished, for in 1839 he moved to Roches Street to the premises it occupies today.
    About the middle of the last century, for some reason now difficult to fathom, Limerick bacon and especially Limerick hams, became well known for their excellent flavour throughout the English-speaking world. It is on record that Glasgow curers in an effort to produce hams equal in excellence to those of Limerick, imported Limerick workmen who were supposed to know all about the way in which the meat was turned out at home. Apparently, they did not bring secrets with them for their efforts were unsuccessful, There were also much larger bacon factories in parts of the British Isles; for instance, Belfast is reputed to have exported four times the number of hams produced in Limerick, and places like Glasgow and Liverpool had several factories producing very large quantities of bacon as well. None of them, however, quite matched' those produced in the three local factories for flavour and taste. O’MARA’S, MATTERSON’S, SHAW’S and Denny’s were the names that made Limerick famous for its bacon produce for 180 years – earning it the nickname ‘Pigstown’. The reputation of Limerick ham, the food culture that arose from a plentiful supply of cheap products, the story of the pork butchers, the pig buyers, the sounds of the city with factory horns signalling the call to work – all of these still resonate in Limerick in the memories of its citizens and former workers. A definitive account of this industry that operated at the centre of the city, supplied by the farms of rural county Limerick for over 180 years will be documented in a new book called Pigtown – A History of Limerick’s Bacon Industry. Ruth Guiry was commissioned to undertake the research under the guidance of Dr Maura Cronin from Mary Immaculate College and one of the 27 people she interviewed to understand the role the bacon factories had in Limerick was Joe Hayes. O'Mara's bacon factory,Roches Street, Limerick Courtesy Tony PunchO'Mara's bacon factory, Roches Street, Limerick.Source: Courtesy of Tony Punch Joe Hayes started working in a bacon factory in 1962, aged 16 years old. He worked with his dad, and later on with his two sons until the factory closed in 1986.   “When the factory closed, a group of us got our own little unit, we rented it, and produced our own sausages, puddings and things.” It was a huge part of Limerick’s social scene: four generations of Joe’s family worked in bacon factories, with uncles, sisters, brothers, sons and cousins all working in the factory at one time or another: “If one factory was caic, you wouldn’t have a problem getting a job in the other one. Leaving Mattersons at dinner hour, Courtesy Limerick Diocesan Archives Leaving Mattersons at dinner hour.Source: Limerick Diocesan Archives And he doesn’t mince his word when talking about the work they did. “They brought the pigs in, we killed the pigs, and prepared the bacon: that’s the way it was in the bacon factories.” When asked about if there were ever animal cruelty protests, he laughs at the idea.
    People still eat sausages and bacon – where do they think they come from?
    They started at 8am and finished at 5.30 working a 40 hour week when the factory closed in 1986, but despite their work, the people who worked in factories often couldn’t afford to buy the expensive cuts of meat. Mattersons advertisment, Courtesy Limerick ArchivesMatterson's advertisement for cuts of meat.Source: Limerick Archives After the expensive cuts were prepared, the offal, the spare ribs, the pigs’ heads would go to the poorer people. “The blood was used to make the pudding, the packet, the tripe was made off the belly. Everything was used off the pig, and it fed Limerick city.” It was a way of life down in Limerick, so when the factories closed, thousands of people working in a bacon factories were out of jobs, and thousands of families were affected. But it wasn’t the competition from big supermarkets that did it – it was free trade. The Danes, the French, the Dutch all started exporting their products here, and Limerick factories didn’t have the money to export to compete. Limerick ButchersSource: National Library of Ireland “Michael O’Mara’s funeral was this week – he was the last of the bacon factory managers.” says Joe. “After the Limerick factory closed, he tried doing different bits and pieces, but nothing worked out for him, so he worked in a factory for a couple of years before retiring.” Joe Hayes himself is retired now, and when he buys his meat he gets it in a supermarket. “Meat is meat,” he says.”But if I see the tricolour flag, I’ll still buy it even if it’s dearer.” Pigtown - A History of Limerick’s Bacon Industry by Ruth Guiry is co-edited by Dr Maura Cronin and Jacqui Hayes.
     
  • 37cm x 47cm  Limerick Sullivan’s Brewing Company opened for business over three hundred years ago in The Maltings on James’s Street, smack bang in the middle of Kilkenny City.

    Up until the early 1700s, brewing on a large scale was a rarity, this resulted in many small breweries springing up all around the country, with little or no consistency in the beer that was being produced. Back then, to guarantee that each pint was as good as the last, required brewing on a bigger, more exacting scale.

    Enter Mr. Sullivan, a man of high morals, integrity and a good nose for great beer. Through his belief and hard work he established a brewery the likes of which had never been seen in Kilkenny. He only used the very best local ingredients and the very best brewing methods to ensure that every barrel of Sullivan’s Red Ale that left his brewery was as good as the one that had gone before.

    Richard Sullivan was elected to represent the people of Kilkenny in the 1820s. This supposedly put one well-known Irish political figure’s nose well and truly out of joint – Daniel O’Connell.

    After one particularly heated parliamentary quarrel, O’Connell even called a boycott of Sullivan’s Ale by the people of Kilkenny. But you’ll know if you’ve ever had a pint of Sullivan’s Red Ale in front of you that it can be very hard to resist, and the boycott was soon called off.

    Despite this rocky start, Richard and Daniel went on to become firm friends. So good in fact, that when O’Connell was stripped of his seat in Parliament due to some underhand dealings, Sullivan was one of the few who had his back. He wrote to Daniel and offered him his seat to ensure that O’Connell’s Catholic Emancipation Act would get through Parliament.

    1802
    MIXING BUSINESS AND POLITICS

    GOOD WILL, KINDNESS AND HOT SOUP

    1845 was a dark year for Ireland, and we aren’t just talking about the weather – it’s always been like that.

    The year marked the beginning of the Great Potato Famine, a dark chapter in the country’s history that resulted in the deaths of hundreds of thousands of people, and the emigration of millions more.

    By day Richard Sullivan continued to brew his by-then world famous ale, but at mealtimes and in the evenings, the brewery transformed into one of Kilkenny’s largest soup kitchens. Brewery staff served tasty, nutritious meals to those most in need, using many of the same ingredients essential to the making of Sullivan’s Red Ale – and giving a whole new meaning to the expression of being ‘On The Soup’.

    This gesture of goodwill and kindness was never forgotten by the people of Kilkenny and it’s a big part of the reason why the Sullivan Family is held in high esteem in the city to this day.

    1880 was the year of ‘The Great Sullivan’s Brewery Fire’, a day that has gone down in legend among the people of Kilkenny.

    The story goes that the Sullivan Family took the day off brewing to attend the funeral of a recently departed family friend in a Kilkenny hilltop chapel. Leaving a funeral before all the formalities were completed was the height of bad manners. The Sullivans could see the brewery ablaze from the hillside, but could do nothing about it.

    As the first flames began to lick the outside of the brewery, the alarm was raised and the local fire brigade was sent for. But The Kilkenny Fire Brigade consisted of a few volunteers, a horse and a cart and a useless, leaking hose. Due to all their good deeds over the years, the Sullivans were a tremendously popular family in Kilkenny, so men, women and children from far and wide rallied together and grabbed the nearest buckets, pales and pots, filling them with water and battling the fire. Within an hour the fire was under control and the brewery was saved, all because a community came together.

    1880
    A COMMUNITY WORKING TOGETH

    1918

    BLACK SHEEP AND THE LOST WAGER

    Not every member of the Sullivan Family always did the right thing – most families have a black sheep, but in the case of the Sullivans it was a black horse.

    The hard work and backbreaking toil of Master Sullivan’s predecessors had left a thriving and profitable business to inherit, but he did not care much for the art of brewing. His passions were for the dice.

    It was at Deauville Racecourse, France on a fateful day in August 1918, that the shot of the starting pistol sent shock waves all the way back to Kilkenny. Legend has it that, in an attempt to impress a beautiful young lady from an aristocratic French family, Master Sullivan made a wager with a rival Venetian Count for her hand through a high-stakes bet on a horse. And as his horse lost spectacularly, Master Sullivan knew he was in a spot of bother.

    Faced with either paying the Count in full or facing the count in a duel, Sullivan – more a lover than a fighter – went with the first option and within a year the doors shut on Sullivan’s Brewery.

    After Sullivan’s Brewery closed for the final time in the early 1900s the tales of the good deeds of this Sullivan Family began to fade into memory.

    Over the coming decades, the independent breweries that were once synonymous with Kilkenny began to drop off one by one, until its final working brewery sadly closed its doors in 2013. However, there wasn’t long to wait for a change of fortunes for Kilkenny-brewed ale, as 2016 saw two great families coming together to return traditional Irish brewing to its spiritual home.

    The Smithwick Family in partnership with direct descendants of the Sullivan Family had a vision to re-open the once-great brewery in the city where it all began. They enlisted the help of Ian Hamilton, one of Ireland’s most eminent contemporary master-brewers. Together they are bringing artisan brewing back to Kilkenny.

    If people thought that brewing in Kilkenny was dead and buried, they are in for a rude awakening…

    2016

    TWO GREAT FAMILIES AND THE RETURN OF SULLIVANS

    WE’RE BACK AND HERE TO STAY

     
  • 47cm x 37cm  Limerick

    Bass,the former beer of choice of An Taoiseach Bertie Ahern,the Bass Ireland Brewery operated on the Glen Road  in West Belfast for 107 years until its closure in 2004.But despite its popularity, this ale would be the cause of bitter controversy in the 1930s as you can learn below.

    Founded in 1777 by William Bass in Burton-upon-Trent, Staffordshire, England.The main brand was Bass Pale Ale, once the highest-selling beer in the UK.By 1877, Bass had become the largest brewery in the world, with an annual output of one million barrels.Its pale ale was exported throughout the British Empire, and the company's distinctive red triangle became the UK's first registered trade mark. In the early  1930s republicans in Dublin and elsewhere waged a campaign of intimidation against publicans who sold Bass ale, which involved violent tactics and grabbed headlines at home and further afield. This campaign occurred within a broader movement calling for the boycott of British goods in Ireland, spearheaded by the IRA. Bass was not alone a British product, but republicans took issue with Colonel John Gretton, who was chairman of the company and a Conservative politician in his day.

    In Britain,Ireland and the Second World War, Ian Woods notes that the republican newspaper An Phoblacht set the republican boycott of Bass in a broader context , noting that there should be “No British ales. No British sweets or chocolate. Shoulder to shoulder for a nationwide boycott of British goods. Fling back the challenge of the robber empire.”

    In late 1932, Irish newspapers began to report on a sustained campaign against Bass ale, which was not strictly confined to Dublin. On December 5th 1932, The Irish Times asked:

    Will there be free beer in the Irish Free State at the end of this week? The question is prompted by the orders that are said to have been given to publicans in Dublin towards the end of last week not to sell Bass after a specified date.

    The paper went on to claim that men visited Dublin pubs and told publicans “to remove display cards advertising Bass, to dispose of their stock within a week, and not to order any more of this ale, explaining that their instructions were given in furtherance of the campaign to boycott British goods.” The paper proclaimed a ‘War on English Beer’ in its headline. The same routine, of men visiting and threatening public houses, was reported to have happened in Cork.

    It was later reported that on November 25th young men had broken into the stores owned by Bass at Moore Lane and attempted to do damage to Bass property. When put before the courts, it was reported that the republicans claimed that “Colonel Gretton, the chairman of the company, was a bitter enemy of the Irish people” and that he “availed himself of every opportunity to vent his hate, and was an ardent supporter of the campaign of murder and pillage pursued by the Black and Tans.” Remarkably, there were cheers in court as the men were found not guilty, and it was noted that they had no intention of stealing from Bass, and the damage done to the premises amounted to less than £5.

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    A campaign of intimidation carried into January 1933, when pubs who were not following the boycott had their signs tarred, and several glass signs advertising the ale were smashed across the city. ‘BOYCOTT BRITISH GOODS’ was painted across several Bass advertisements in the city.

    Throughout 1933, there were numerous examples of republicans entering pubs and smashing the supply of Bass bottles behind the counter. This activity was not confined to Dublin,as this report from late August shows. It was noted that the men publicly stated that they belonged to the IRA.

    Irish Press. 28 August 1933.

    Irish Press. 28 August 1933.

    September appears to have been a particularly active period in the boycott, with Brian Hanley identifying Dublin, Tralee, Naas, Drogheda and Waterford among the places were publicans were targetted in his study The IRA: 1926-1936. One of the most interesting incidents occurring in Dun Laoghaire. There, newspapers reported that on September 4th 1933 “more than fifty young men marched through the streets” before raiding the premises of Michael Moynihan, a local publican. Bottles of Bass were flung onto the roadway and advertisements destroyed. Five young men were apprehended for their role in the disturbances, and a series of court cases nationwide would insure that the Bass boycott was one of the big stories of September 1933.

    The young men arrested in Dun Laoghaire refused to give their name or any information to the police, and on September 8th events at the Dublin District Court led to police baton charging crowds. The Irish Times reported that about fifty supporters of the young men gathered outside the court with placards such as ‘Irish Goods for Irish People’, and inside the court a cry of ‘Up The Republic!’ led to the judge slamming the young men, who told him they did not recognise his court. The night before had seen some anti-Bass activity in the city, with the smashing of Bass signs at Burgh Quay. This came after attacks on pubs at Lincoln Place and Chancery Street. It wasn’t long before Mountjoy and other prisons began to home some of those involved in the Boycott Bass campaign, which the state was by now eager to suppress.

    Boycott protest image from Lynn Doyle’s Spirit Of Ireland (1936). (I recently found this image posted to Twitter but welcome the source)

    An undated image of a demonstration to boycott British goods. Credit: http://irishmemory.blogspot.ie/

    This dramatic court appearance was followed by similar scenes in Kilmainham, where twelve men were brought before the courts for a raid on the Dead Man’s Pub, near to Palmerstown in West Dublin. Almost all in their 20s, these men mostly gave addresses in Clondalkin. Their court case was interesting as charges of kidnapping were put forward, as Michael Murray claimed the men had driven him to the Featherbed mountain. By this stage, other Bass prisoners had begun a hungerstrike, and while a lack of evidence allowed the men to go free, heavy fines were handed out to an individual who the judge was certain had been involved.

    The decision to go on hungerstrike brought considerable attention on prisoners in Mountjoy, and Maud Gonne MacBride spoke to the media on their behalf, telling the Irish Press on September 18th that political treatment was sought by the men. This strike had begun over a week previously on the 10th, and by the 18th it was understood that nine young men were involved. Yet by late September, it was evident the campaign was slowing down, particularly in Dublin.

    The controversy around the boycott Bass campaign featured in Dáil debates on several occasions. In late September Eamonn O’Neill T.D noted that he believed such attacks were being allowed to be carried out “with a certain sort of connivance from the Government opposite”, saying:

    I suppose the Minister is aware that this campaign against Bass, the destruction of full bottles of Bass, the destruction of Bass signs and the disfigurement of premises which Messrs. Bass hold has been proclaimed by certain bodies to be a national campaign in furtherance of the “Boycott British Goods” policy. I put it to the Minister that the compensation charges in respect of such claims should be made a national charge as it is proclaimed to be a national campaign and should not be placed on the overburdened taxpayers in the towns in which these terrible outrages are allowed to take place with a certain sort of connivance from the Government opposite.

    Another contribution in the Dáil worth quoting came from Daniel Morrissey T.D, perhaps a Smithwicks man, who felt it necessary to say that we were producing “an ale that can compare favourably with any ale produced elsewhere” while condemning the actions of those targeting publicans:

    I want to say that so far as I am concerned I have no brief good, bad, or indifferent, for Bass’s ale. We are producing in this country at the moment—and I am stating this quite frankly as one who has a little experience of it—an ale that can compare favourably with any ale produced elsewhere. But let us be quite clear that if we are going to have tariffs or embargoes, no tariffs or embargoes can be issued or given effect to in this country by any person, any group of persons, or any organisation other than the Government elected by the people of the country.

    Tim Pat Coogan claims in his history of the IRA that this boycott brought the republican movement into conflict with the Army Comrades Association, later popularly known as the ‘Blueshirts’. He claims that following attacks in Dublin in December 1932, “the Dublin vitners appealed to the ACA for protection and shipments of Bass were guarded by bodyguards of ACA without further incident.” Yet it is undeniable there were many incidents of intimidation against suppliers and deliverers of the product into 1933.

    Not all republicans believed the ‘Boycott Bass’ campaign had been worthwhile. Patrick Byrne, who would later become secretary within the Republican Congress group, later wrote that this was a time when there were seemingly bigger issues, like mass unemployment and labour disputes in Belfast, yet:

    In this situation, while the revolution was being served up on a plate in Belfast, what was the IRA leadership doing? Organising a ‘Boycott Bass’ Campaign. Because of some disparaging remarks the Bass boss, Colonel Gretton, was reported to have made about the Irish, some IRA leaders took umbrage and sent units out onto the streets of Dublin and elsewhere to raid pubs, terrify the customers, and destroy perfectly good stocks of bottled Bass, an activity in which I regret to say I was engaged.

    Historian Brian Hanley has noted by late 1933 “there was little effort to boycott anything except Bass and the desperation of the IRA in hoping violence would revive the campaign was in fact an admission of its failure. At the 1934 convention the campaign was quietly abandoned.”

    Interestingly, this wasn’t the last time republicans would threaten Bass. In 1986 The Irish Times reported that Bass and Guinness were both threatened on the basis that they were supplying to British Army bases and RUC stations, on the basis of providing a service to security forces.

     
     
  • 24cm x 40cm From the double-takes by people currently walking down King’s Inn Street at the doors to Williams and Woods , you might be forgiven for thinking the former confectionary factory is returning in some Willy Wonka spectacular. The building’s distinctive corner sign has snuck it into the city’s collective memory, making it deeply exciting to see boards coming away from the windows and the glazing being repaired. Williams and Woods moved to Great Britain Street (now Parnell Street) in 1875, operating as confectionary manufacturers and wholesalers. The company acquired adjacent sites, including land across Loftus Lane, and had a factory complex that produced sweets, preserves, canned goods and vinegar. (There’s a history of acquisitions – including being bought by Cross and Blackwell in 1928 – that’s a bit involved for our purposes, but it brings in many well-known names such as Chef, Toblerone, Keiller Little Chip, The National Canning Company of Ireland and Silvermints.) This particular part of the factory seems to have been built around 1900, completely destroyed by fire in 1908, and built again by 1910 (a jam factory designed by Donnelly & Moore), though it’s a little difficult to determine which part of the block is referred to in news reports.
  • 24cm x 40cm The Green Distillery was an Irish whiskey distillery which was established in Cork City, Ireland in 1796. In 1867, the distillery was purchased by the Cork Distilleries Company (CDC), in an amalgamation of five Cork distilleries.Production of whiskey at the distillery likely ceased soon afters its acquisition by the CDC.However, the distillery is known to have remained in use a bonded store by the Cork Distilleries Company for several years thereafter.In the mid-twentieth century, the distillery resumed operations as a gin distillery for a period of time, however, it has since been almost completely demolished. The distillery was notable for its use of an early continuous distillation apparatus, invented by the distillery's then co-owner, Joseph Shee. The distillery began life on 12 May 1796, when two distillers, Robert Allan and Denis Corcoran purchased a dwelling house and maltings on North York Street (now Thomas Davis Street) from Bartholomew Foley, a draper. The malthouse had formerly been owned by Thomas Wood, a maltster, in 1780. In 1802, the Allan and Corcoran are recorded as working a 762 gallon still. In the years that followed, the distillery seems to have changed hands several times. Around 1812, the business was being run by two brothers, Thomas and Joseph Shee, Benjamin Hodges, and some others.Thomas Shee acted as the distiller working a 201 gallon still, while Joseph acted a marketing agent based in London.Hodges and the others may have been silent partners who provided capital but nothing else, as their connection with the distillery soon disappeared. Output was recorded at 100,000 gallons in 1828.In June 1830, the Shees entered financial difficulties, and ownership passed to Joseph Shee. Joseph continued operations using capital provided by James Kiernan under a mortgage, while Thomas Shee remained on as a distiller.In 1833, excise records show that the distillery paid a duty charge of £26,716, which equated to about 160,000 gallons proof.By 1835, Kiernan took outright control of the distillery. When Kiernan died in December 1844, his will specified that the distillery should be put up for sale. It was purchased on 27 July 1845 by George Waters, who was previously a co-owner of Daly's Distillery on John Street, until the dissolution of the partnership following the death of one of the partners. Waters ran the distillery until his retirement around 1867, after which the distillery was purchased by the Cork Distilleries Company (CDC), in an amalgamation of five Cork distilleries. Under CDC, distilling ceased at the distillery in the 1880s, with production transferred to their nearby North Mall distillery. Subsequently, the Green Distillery was used as a bonded store for some time.However, in the mid-twentieth century, new equipment was installed in the Green Distillery, with production of gin occurring there for a period of time. According to Irish Distillers, who absorbed the Cork Distilleries Company in the 1960s, a warehouse on the site was used to store whiskey in bond until the 1980s.Since then, the distillery has been almost completely demolished, with only a small archway remaining. However, one of original pot stills is still in use, currently employed as an experimental still at the nearby New Midleton Distillery.

    Notability

    A sketch of Shee's Patent Still
    The distillery was home to an early continuous distillation apparatus, was which installed and used at the distillery for almost twenty years. The apparatus, which the distiller's co-owner, Joseph Shee, patented in 1834, was similar to Jean‐Édouard Adam's 1801 design, and consisted of a four pot stills connected in series. Though thought to have been effective, the apparatus was not widely adopted. In particular, as a more efficient apparatus, the Coffey Still was patented by another Irish distiller, Aeneas Coffey, in 1830.  
    Daly's Distillery was an Irish whiskey distillery which operated in Cork City, Ireland from around 1820 to 1869. In 1867, the distillery was purchased by the Cork Distilleries Company (CDC), in an amalgamation of five cork distilleries. Two years later, in 1869, as the smallest CDC distillery, Daly's Distillery ceased operations. In the years that followed its closure, some of the buildings became part of Shaw's Flour Mill, and Murphy's Brewery, with others continuing to be used as warehouses by Cork Distilleries Company for several years (though information is difficult to come by, their continued existence is mentioned in Alfred Barnard's 1887 account of the distilleries of the United Kingdom).

    History

    In 1798, the firm of James Daly & Co. was established as a rectifying distillery and wine merchants at a premises on Blarney St., Cork. In 1820, this was relocated to 32 John Street.As some sources state that the John distillery was established in 1807, and it is known that a William Lyons ran a distillery on John Street in the early 1800s, it is possible that Daly purchased an existing distillery on John Street. In 1822, James Daly's nephew John Murray joined the partnership. In 1828, the distillery is reported to have an output of 87,874 gallons of spirit.However, in 1833, output of only 39,000 gallons per annum was reported, which was low compared with some of the Irish distillers of the era; for instance, at that time Murphy's Distillery in nearby Midleton, had an output of over 400,000 gallons per annum. On James Daly's death, in 1850, the partnership, which at that point had consisted of James Daly, Maurice Murray (John Murray's son) and George Waters, was dissolved, with Maurice Murray taking sole ownership of the distillery, which continued to trade as James Daly & Co. After leaving the partnership, George Waters went on to purchase and run the nearby Green distillery. In 1853, Murray rebuilt and significantly extended the distillery, expanding onto neighbouring streets. By the late 1860s, the distillery had grown to occupy 3 acres, consisting of a brewhouse, distillery and maltings on John Street; granaries on Leitrim Street; and eight bonded warehouses scattered across John Street, Leitrim Street and Watercourse Road.According to accounts from the time, whiskey from the distillery, some of which was aged for seven years or more, was mainly exported "to the colonies".In particular, it was said that in Australia the whiskey sold at a premium to other whiskeys. A well respected member of the Irish distilling industry at the time, the distillery's owner Maurice Murray, conducted significant correspondence with William Ewart Gladstone, the then British Chancellor of the Exchequer, on behalf of the Irish distillers, with regard to the duties placed on Irish whiskey. In 1867, Daly's Distillery, was absorbed into Cork Distilleries Company (CDC), in an amalgamation of five Cork distilleries. As the smallest of the five distilleries, Daly's closed soon after the amalgamation, in 1869. Following its closure, Maurice Murray is known to have continued to work for the CDC at the North Mall Distillery, along with his son Daly Murray. The main distillery buildings later became part of Shaw's Flour Mill, while other buildings were incorporated into the nearby Murphy's Brewery, which was run by relatives of James Murphy of the Midleton Distillery, who was the driving force behind the establishment of the Cork Distilleries Company. One of the distillery buildings, now named "the Mill", is still visible on 32 Lower John Street, Cork.
  • 24cm x 40cm The original company was founded in Belfast by Archibald Kirker and William Greer in 1885. From their bonded warehouse on Academy St. in the heart of Belfast they sourced and blended the best of Irish Whiskey. The Shamrock Irish Whiskey was one such blend.They went on to found the Connswater distillery and became one of ireland’s largest exporters.
  • 40cm x 24cm A very popular Pipe Tobacco from the P.Carrolls Tobacco Company in Dundalk Co Louth was Mick McQuaids.But who was this legendary, smiling character the product was inspired by ??? The tales of Mick McQuaid  were first written by William Francis Lynam – a soldier, writer and editor who was born in Galway in 1833 and died in Dublin in 1894. Little is known about his background (or his military career), but by the 1860s he was living in Dublin and was – it appears – the owner and editor of the Shamrock story paper.   One of the earliest Irish story papers, it was established in 1866 as a penny weekly ‘companion’ paper to the Irishman newspaper. The Irishman, a very advanced nationalist paper, was established in 1859 by Richard Pigott – a very colourful character in Irish journalism who would acquire infamy as the forger of the damning letters supposedly written by Parnell in the 1880s. The exact editorial and proprietorial relationship between the Irishman and the Shamrock is rather murky – some sources imply Pigott owned them both, while others insist that Lynam owned the Shamrock, in which case the precise nature of their connection is unknown. Pigott and Lynam may have been actual business partners, or simply had an informal alliance. The 1860s was of course the era of the Fenian movement in Ireland and abroad, and under Pigott’s editorship the Irishmanwas a very popular voice for Fenianism. If the Irishman was aimed at an adult readership seeking radical political news and commentary, the Shamrock was its more entertaining younger sibling, intended to instil a sense of national pride and identity in its boy (and occasional girl) readers. To do this, it specialised in exciting Irish historical fiction serials, set at key moments of Irish nationalist history such as the 1798 Rebellion or the Jacobite Wars, and usually centred around an ordinary Irish boy who readers could identify with as he became swept into political and military excitements and encountered historical figures such as Wolfe Tone or Redmond O’Hanlon. But as well as historical fiction, the Shamrock also published romances and vernacular tales of Irish life. The most successful of these vernacular tales were, by a very long way, the Mick McQuaid stories. A series of comic tales (although to be quite honest the modern reader might take some convincing of that description) set in what was then contemporary Ireland, they all featured the adventures of central character Mick McQuaid – a quick-thinking, wise-cracking chancer who nevertheless usually managed to save the day and prevent the more straight-forward villainy of figures such as agents for absentee landlords, or local gombeen men. Each story saw Mick in a new role and setting, such as ‘Mick McQuaid, Money Lender’, ‘Mick McQuaid, Member of Parliament’, ‘Mick McQuaid, Detective’, and ‘Mick McQuaid, Evangelist’. Each story was long, with (overly) complex plots, many characters, comic tangents and multiple narrative threads to be resolved, so they were serialised in short instalments over several months of weekly issues. These kind of serial stories were crucial to story papers, designed to bring readers back week after week and build a loyal and regular readership, and the Mick McQuaid stories were a classic example of their type. It has to be admitted it would be difficult to that claim the stories deserve to be ‘rediscovered’ by modern readers. They are an interesting window into popular fiction of the era, especially in terms of their representations of Irish life and society – however their plots are unwieldy, their humour has not aged well and they are written in an almost impenetrable ‘Irish’ dialect which was obviously part of their appeal in the 1860s but which is extremely difficult to read now. Instead what is most interesting about the Mick McQuaid stories is their extraordinary popularity across many decades. Lynam reportedly became bored with the stories after just a few years, and indeed replaced them with tales of another very similar ‘charming Irish rogue’ anti-hero, the Darby Durkan series, which in their turn were also fairly popular. But popular demand for continued Mick McQuaid stories forced him to write more of them (a common experience for authors of popular fiction, most famously in the case of Conan Doyle’s reluctant resurrection of Sherlock Holmes). Indeed, the circulation of the Shamrock reportedly dropped sharply when he attempted to end the McQuaid stories, so they had to be revived and reprinted. It is difficult to be sure exactly how many stories there are in total (perhaps ten or so), each one lasting up to 6 months of weekly instalments – but for a youthful audience this was enough to keep printing and reprinting them over years and eventually decades. Rather like the endlessly circulating repeats of television sit-coms in our own era, which happily rewatched by fans and watched for the first time by successive generations (Faulty Towers being the obvious example, with just twelve episodes ever made in the 1970s, but which are still being screened 40 years later) these very popular serials played on an endless loop in the story papers. Lynam died in 1894, but his serials lived on without him. The Darby Durkan stories appeared in the Shamrock’s rival story paper the Emerald in the early 20thC, and after the two papers merged in 1912 the McQuaid stories also continued in the new paper until its demise in 1919 – and may well have continued to appear in other publications after that although I have yet to find them. Their popularity was such that in 1889 Carroll’s Tobacco company in Dundalk named a new brand of pipe tobacco after Mick McQuaid, who often smoked a pipe in the stories as he held forth with his distinctive folk wisdom. The brand was itself a great success (presumably the tobacco and the stories amplified each other’s standing among readers and smokers in ways that benefitted both), and by the 1920s Carroll’s had commissioned a cartoon version of Mick McQuaid for their packaging and advertising – the photograph accompanying this post is of a tobacco tin from the mid-20thC. So while the stories had not had significant illustrations during their 19thC hey-day, the Mick McQuaid character took visual form years after his author’s death, and in fact became one of mid-20thC Ireland’s most successful brands, only being discontinued in 2016 – a strange afterlife for a fictional character first invented in 1867.
  • 24cm x 30cm

    1857 Successful from the start

    W & A Gilbey was founded in 1857 and began in small basement cellars at the corner of Oxford Street and Berwick Street in London. Gilbeys benefitted greatly from the introduction of the off-licence system introduced in 1860 and a commercial agreement between Britain and France in 1861, following which, the British Prime Minister Gladstone reduced duty on French wines from 12 shillings to 2 shillings. Gilbeys were successful from the start and, within a couple of years, had branches in Dublin, Belfast and Edinburgh.

    1861 Wine importers and distillers

    By 1861 Gilbeys had premises at 31 Upper Sackville Street in Dublin (now called O’Connell Street), and were described as wine importers and distillers. They carried stocks of over 140 different wines and held between 700 and 1,000 wine casks under bond.

    1866 A distinctive brand

    In 1866, the company moved to new offices and stores at 46 & 47 Upper Sackville Street in the centre of Dublin (now O’Connell Street), which contained their own vaults. The buildings were previously the premises of Sneyd, French and Barton. The premises had its own tasting room and a small still for determining the alcoholic strength of wines and spirits. Gilbeys had their own patented bottle cases which could be easily stacked, a state of the art bottle washing machine and by this time, wax seals were replaced with their patented capsule seal. Gilbeys sold all their wines and spirits directly to consumers under their own distinctive brand.

    1874 300,000 Gallons in bond

    Initially famous for their wines, spirits were becoming a greater part of Gilbey’s business. By 1874, Gilbeys held a stock in bond of over 300,000 gallons of whiskey sourced from “the most celebrated Dublin Distilleries”. The proprietary brand at this time was Gilbey’s Castle Whiskey. They sold three main brands Castle U P Irish Whiskey 33% under proof (u.p.), Castle U V Irish Whiskey 17% u.p. and Castle D O Irish Whiskey at full proof strength.

    1875 996,000 Bottles a year

    At this point Gilbey’s held the largest stocks of Irish whiskey, outside of the distilleries themselves, of any company in the world. In 1875 they were selling 83,000 cases of Irish whiskey compared with only 38,000 of Scotch, a reflection of the pre-eminence of Irish Whiskey at the time.
  • 47cm x 37cm  Limerick The building itself it is a terraced eight-bay four-storey late-Victorian commercial building, It was built across 1895 and 1896 for J McCarthy and Sons, Wholesale Tea and Wine Merchants. Named the Clancarty (family of Carty) Buildings, the building was designed by architect and built by John Delaney. The Cork Examiner on 10 August 1896 (p.9) describes the impressive building: “No person passing through George’s street, can fail to see and admire the beautiful structure, which has just been completed. The facade is 54 feet long and 48 feet high, divided into four storeys, with round headed windows in the classic style, and extends more than the whole length of George’s Street, as between Cook street and Marlboro Street. The ground floor is divided by handsome wrought pilasters and consoles, each console decorated with floral swags, with a richly-moulded dental cornice immediately over the facia. This basement is perfectly fire proof, the walls being built of brick and cement, whilst the ceiling and floor over are composed of a solid block of concrete. The first, second and third floors immediately overhead are altogether occupied by the firm as warerooms to meet the requirements of their immense business as tea and wine merchants and whiskey shippers, the growth of which necessitates this great extension of their premises”.
    J McCarthy and Sons, Wholesale Tea and Wine Merchants as shown in Goads Insurance Map of Cork, 1906 (source: Kieran McCarthy)
    J McCarthy and Sons, Wholesale Tea and Wine Merchants as shown in Goads Insurance Map of Cork, 1906 (source: Kieran McCarthy)
    Description of Clancarty Buildings, Cork Examiner, 10 August 1896, p.9 (source: Cork City Library)
    Description of Clancarty Buildings, Cork Examiner, 10 August 1896, p.9 (source: Cork City Library)
     
  • 47cm x 37cm  Limerick The building itself it is a terraced eight-bay four-storey late-Victorian commercial building, It was built across 1895 and 1896 for J McCarthy and Sons, Wholesale Tea and Wine Merchants. Named the Clancarty (family of Carty) Buildings, the building was designed by architect and built by John Delaney. The Cork Examiner on 10 August 1896 (p.9) describes the impressive building: “No person passing through George’s street, can fail to see and admire the beautiful structure, which has just been completed. The facade is 54 feet long and 48 feet high, divided into four storeys, with round headed windows in the classic style, and extends more than the whole length of George’s Street, as between Cook street and Marlboro Street. The ground floor is divided by handsome wrought pilasters and consoles, each console decorated with floral swags, with a richly-moulded dental cornice immediately over the facia. This basement is perfectly fire proof, the walls being built of brick and cement, whilst the ceiling and floor over are composed of a solid block of concrete. The first, second and third floors immediately overhead are altogether occupied by the firm as warerooms to meet the requirements of their immense business as tea and wine merchants and whiskey shippers, the growth of which necessitates this great extension of their premises”.
    J McCarthy and Sons, Wholesale Tea and Wine Merchants as shown in Goads Insurance Map of Cork, 1906 (source: Kieran McCarthy)
    J McCarthy and Sons, Wholesale Tea and Wine Merchants as shown in Goads Insurance Map of Cork, 1906 (source: Kieran McCarthy)
    Description of Clancarty Buildings, Cork Examiner, 10 August 1896, p.9 (source: Cork City Library)
    Description of Clancarty Buildings, Cork Examiner, 10 August 1896, p.9 (source: Cork City Library)
     
  • 47cm x 37cm  Limerick
    Much of the last century, and indeed for well over half of the present one, Limerick's importance was directly attributed to her three well-known bacon factories, namely, J. Matterson & Sons, Roches Street, established in 1816 by Mr. John Russell, a Cumberland man in con-junction with Mr. Matterson, using the method of curing then current in Berwick-on-Tweed. W.J. Shaw & Sons, founded in the year 1831 at Mulgrave Street by William John Shaw, a descendant of a County Down family, and O'Mara's bacon factory, Roches Street, which had its origin in Mungret Street some few years before 1839, when James O'Mara from Toomevara started curing bacon in the basement of his house there. Apparently, this basement business flourished, for in 1839 he moved to Roches Street to the premises it last occupied .
    About the middle of the last century, for some reason now difficult to fathom, Limerick bacon and especially Limerick hams, became well-known for their excellent flavour throughout the English-speaking world. It is on record that Glasgow curers in an effort to produce hams equal in excellence to those of Limerick, imported Limerick workmen who were supposed to know all about the way in which the meat was turned out at home. Apparently, they did not bring secrets with them for their efforts were unsuccessful. There were also much larger bacon factories in parts of the British Isles; for instance, Belfast is reputed to have exported four times the number of hams produced in Limerick, and places like Glasgow and Liverpool had several factories producing very large quantities of bacon as well. None of them, however, quite matched' those produced in the three local factories for flavour and quality.
    O’MARA’S, MATTERSON’S, SHAW’S and Denny’s were the names that made Limerick famous for its bacon produce for 180 years – earning it the nickname ‘Pigstown’. The reputation of Limerick ham, the food culture that arose from a plentiful supply of cheap products, the story of the pork butchers, the pig buyers, the sounds of the city with factory horns signalling the call to work – all of these still resonate in Limerick in the memories of its citizens and former workers. A definitive account of this industry that operated at the centre of the city, supplied by the farms of rural county Limerick for over 180 years will be documented in a new book called Pigtown – A History of Limerick’s Bacon Industry. Ruth Guiry was commissioned to undertake the research under the guidance of Dr Maura Cronin from Mary Immaculate College and one of the 27 people she interviewed to understand the role the bacon factories had in Limerick was Joe Hayes. O'Mara's bacon factory,Roches Street, Limerick Courtesy Tony PunchO'Mara's bacon factory, Roches Street, Limerick.Source: Courtesy of Tony Punch Joe Hayes started working in a bacon factory in 1962, aged 16 years old. He worked with his dad, and later on with his two sons until the factory closed in 1986.   “When the factory closed, a group of us got our own little unit, we rented it, and produced our own sausages, puddings and things.” It was a huge part of Limerick’s social scene: four generations of Joe’s family worked in bacon factories, with uncles, sisters, brothers, sons and cousins all working in the factory at one time or another: “If one factory was caic, you wouldn’t have a problem getting a job in the other one. Leaving Mattersons at dinner hour, Courtesy Limerick Diocesan Archives Leaving Mattersons at dinner hour.Source: Limerick Diocesan Archives And he doesn’t mince his word when talking about the work they did. “They brought the pigs in, we killed the pigs, and prepared the bacon: that’s the way it was in the bacon factories.” When asked about if there were ever animal cruelty protests, he laughs at the idea.
    People still eat sausages and bacon – where do they think they come from?
    They started at 8am and finished at 5.30 working a 40 hour week when the factory closed in 1986, but despite their work, the people who worked in factories often couldn’t afford to buy the expensive cuts of meat. Mattersons advertisment, Courtesy Limerick ArchivesMatterson's advertisement for cuts of meat.Source: Limerick Archives After the expensive cuts were prepared, the offal, the spare ribs, the pigs’ heads would go to the poorer people. “The blood was used to make the pudding, the packet, the tripe was made off the belly. Everything was used off the pig, and it fed Limerick city.” It was a way of life down in Limerick, so when the factories closed, thousands of people working in a bacon factories were out of jobs, and thousands of families were affected. But it wasn’t the competition from big supermarkets that did it – it was free trade. The Danes, the French, the Dutch all started exporting their products here, and Limerick factories didn’t have the money to export to compete. Limerick ButchersSource: National Library of Ireland “Michael O’Mara’s funeral was this week – he was the last of the bacon factory managers.” says Joe. “After the Limerick factory closed, he tried doing different bits and pieces, but nothing worked out for him, so he worked in a factory for a couple of years before retiring.” Joe Hayes himself is retired now, and when he buys his meat he gets it in a supermarket. “Meat is meat,” he says.”But if I see the tricolour flag, I’ll still buy it even if it’s dearer.” Pigtown - A History of Limerick’s Bacon Industry by Ruth Guiry is co-edited by Dr Maura Cronin and Jacqui Hayes.
     
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