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    1978 Munster v The All Blacks Thomond Park

    €80.00
    There are many chapters in Munster’s storied rugby journey but pride of place remains the game against the otherwise unbeaten New Zealanders on October 31, 1978. 40cm x 30cm There were some mighty matches between the Kiwis and Munster, most notably at the Mardyke in 1954 when the tourists edged home by 6-3 and again by the same margin at Thomond Park in 1963 while the teams also played a 3-3 draw at Musgrave Park in 1973. During that time, they resisted the best that Ireland, Ulster and Leinster (admittedly with fewer opportunities) could throw at them so this country was still waiting for any team to put one over on the All Blacks when Graham Mourie’s men arrived in Limerick on October 31st, 1978. There is always hope but in truth Munster supporters had little else to encourage them as the fateful day dawned. Whereas the New Zealanders had disposed of Cambridge University, Cardiff, West Wales and London Counties with comparative ease, Munster’s preparations had been confined to a couple of games in London where their level of performance, to put it mildly, was a long way short of what would be required to enjoy even a degree of respectability against the All Blacks. They were hammered by Middlesex County and scraped a draw with London Irish. Ever before those two games, things hadn’t been going according to plan. Tom Kiernan had coached Munster for three seasons in the mid-70s before being appointed Branch President, a role he duly completed at the end of the 1977/78 season. However, when coach Des Barry resigned for personal reasons, Munster turned once again to Kiernan. Being the great Munster man that he was and remains, Tom was happy to oblige although as an extremely shrewd observer of the game, one also suspected that he spotted something special in this group of players that had escaped most peoples’ attention. He refused to be dismayed by what he saw in the games in London, instead regarding them as crucial in the build-up to the All Blacks encounter. He was, in fact, ahead of his time, as he laid his hands on video footage of the All Blacks games, something unheard of back in those days, nor was he averse to the idea of making changes in key positions. A major case in point was the introduction of London Irish loose-head prop Les White of whom little was known in Munster rugby circles but who convinced the coaching team he was the ideal man to fill a troublesome position. Kiernan was also being confronted by many other difficult issues. The team he envisaged taking the field against the tourists was composed of six players (Larry Moloney, Seamus Dennison, Gerry McLoughlin, Pat Whelan, Brendan Foley and Colm Tucker) based in Limerick, four (Greg Barrett, Jimmy Bowen, Moss Finn and Christy Cantillon) in Cork, four more (Donal Canniffe, Tony Ward, Moss Keane and Donal Spring) in Dublin and Les White who, according to Keane, “hailed from somewhere in England, at that time nobody knew where”. Always bearing in mind that the game then was totally amateur and these guys worked for a living, for most people it would have been impossible to bring them all together on a regular basis for six weeks before the match. But the level of respect for Kiernan was so immense that the group would have walked on the proverbial bed of nails for him if he so requested. So they turned up every Wednesday in Fermoy — a kind of halfway house for the guys travelling from three different locations and over appreciable distances. Those sessions helped to forge a wonderful team spirit. After all, guys who had been slogging away at work only a short few hours previously would hardly make that kind of sacrifice unless they meant business. October 31, 1978 dawned wet and windy, prompting hope among the faithful that the conditions would suit Munster who could indulge in their traditional approach sometimes described rather vulgarly as “boot, bite and bollock” and, who knows, with the fanatical Thomond Park crowd cheering them on, anything could happen. Ironically, though, the wind and rain had given way to a clear, blue sky and altogether perfect conditions in good time for the kick-off. Surely, now, that was Munster’s last hope gone — but that didn’t deter more than 12,000 fans from making their way to Thomond Park and somehow finding a spot to view the action. The vantage points included hundreds seated on the 20-foot high boundary wall, others perched on the towering trees immediately outside the ground and some even watched from the windows of houses at the Ballynanty end that have since been demolished. The atmosphere was absolutely electric as the teams took the field, the All Blacks performed the Haka and the Welsh referee Corris Thomas got things under way. The first few skirmishes saw the teams sizing each other up before an incident that was to be recorded in song and story occurred, described here — with just the slightest touch of hyperbole! — by Terry McLean in his book ‘Mourie’s All Blacks’. “In only the fifth minute, Seamus Dennison, him the fellow that bore the number 13 jersey in the centre, was knocked down in a tackle. He came from the Garryowen club which might explain his subsequent actions — to join that club, so it has been said, one must walk barefooted over broken glass, charge naked through searing fires, run the severest gauntlets and, as a final test of manhood, prepare with unfaltering gaze to make a catch of the highest ball ever kicked while aware that at least eight thundering members of your own team are about to knock you down, trample all over you and into the bargain hiss nasty words at you because you forgot to cry out ‘Mark’. Moss Keane recalled the incident: “It was the hardest tackle I have ever seen and lifted the whole team. That was the moment we knew we could win the game.” Kiernan also acknowledged the importance of “The Tackle”.
    He said: “Tackling is as integral a part of rugby as is a majestic centre three-quarter break. There were two noteworthy tackles during the match by Seamus Dennison. He was injured in the first and I thought he might have to come off. But he repeated the tackle some minutes later.”
    Many years on, Stuart Wilson vividly recalled the Dennison tackles and spoke about them in remarkable detail and with commendable honesty: “The move involved me coming in from the blind side wing and it had been working very well on tour. It was a workable move and it was paying off so we just kept rolling it out. Against Munster, the gap opened up brilliantly as it was supposed to except that there was this little guy called Seamus Dennison sitting there in front of me. “He just basically smacked the living daylights out of me. I dusted myself off and thought, I don’t want to have to do that again. Ten minutes later, we called the same move again thinking we’d change it slightly but, no, it didn’t work and I got hammered again.” The game was 11 minutes old when the most famous try in the history of Munster rugby was scored. Tom Kiernan recalled: “It came from a great piece of anticipation by Bowen who in the first place had to run around his man to get to Ward’s kick ahead. He then beat two men and when finally tackled, managed to keep his balance and deliver the ball to Cantillon who went on to score. All of this was evidence of sharpness on Bowen’s part.” Very soon it would be 9-0. In the first five minutes, a towering garryowen by skipper Canniffe had exposed the vulnerability of the New Zealand rearguard under the high ball. They were to be examined once or twice more but it was from a long range but badly struck penalty attempt by Ward that full-back Brian McKechnie knocked on some 15 yards from his line and close to where Cantillon had touched down a few minutes earlier. You could sense White, Whelan, McLoughlin and co in the front five of the Munster scrum smacking their lips as they settled for the scrum. A quick, straight put-in by Canniffe, a well controlled heel, a smart pass by the scrum-half to Ward and the inevitability of a drop goal. And that’s exactly what happened. The All Blacks enjoyed the majority of forward possession but the harder they tried, the more they fell into the trap set by the wily Kiernan and so brilliantly carried out by every member of the Munster team. The tourists might have edged the line-out contest through Andy Haden and Frank Oliver but scrum-half Mark Donaldson endured a miserable afternoon as the Munster forwards poured through and buried him in the Thomond Park turf. As the minutes passed and the All Blacks became more and more unsure as to what to try next, the Thomond Park hordes chanted “Munster-Munster–Munster” to an ever increasing crescendo until with 12 minutes to go, the noise levels reached deafening proportions. And then ... a deep, probing kick by Ward put Wilson under further pressure. Eventually, he stumbled over the ball as it crossed the line and nervously conceded a five-metre scrum. The Munster heel was disrupted but the ruck was won, Tucker gained possession and slipped a lovely little pass to Ward whose gifted feet and speed of thought enabled him in a twinkle to drop a goal although surrounded by a swarm of black jerseys. So the game entered its final 10 minutes with the All Blacks needing three scores to win and, of course, that was never going to happen. Munster knew this, so, too, did the All Blacks. Stu Wilson admitted as much as he explained his part in Wardy’s second drop goal: “Tony Ward banged it down, it bounced a little bit, jigged here, jigged there, and I stumbled, fell over, and all of a sudden the heat was on me. They were good chasers. A kick is a kick — but if you have lots of good chasers on it, they make bad kicks look good. I looked up and realised — I’m not going to run out of here so I just dotted it down. I wasn’t going to run that ball back out at them because five of those mad guys were coming down the track at me and I’m thinking, I’m being hit by these guys all day and I’m looking after my body, thank you. Of course it was a five-yard scrum and Ward banged over another drop goal. That was it, there was the game”. The final whistle duly sounded with Munster 12 points ahead but the heroes of the hour still had to get off the field and reach the safety of the dressing room. Bodies were embraced, faces were kissed, backs were pummelled, you name it, the gauntlet had to be walked. Even the All Blacks seemed impressed with the sense of joy being released all about them. Andy Haden recalled “the sea of red supporters all over the pitch after the game, you could hardly get off for the wave of celebration that was going on. The whole of Thomond Park glowed in the warmth that someone had put one over on the Blacks.” Controversially, the All Blacks coach, Jack Gleeson (usually a man capable of accepting the good with the bad and who passed away of cancer within 12 months of the tour), in an unguarded (although possibly misunderstood) moment on the following day, let slip his innermost thoughts on the game. “We were up against a team of kamikaze tacklers,” he lamented. “We set out on this tour to play 15-man rugby but if teams were to adopt the Munster approach and do all they could to stop the All Blacks from playing an attacking game, then the tour and the game would suffer.” It was interpreted by the majority of observers as a rare piece of sour grapes from a group who had accepted the defeat in good spirit and it certainly did nothing to diminish Munster respect for the All Blacks and their proud rugby tradition.
    And Tom Kiernan and Andy Haden, rugby standard bearers of which their respective countries were justifiably proud, saw things in a similar light.
    “Jack’s comment was made in the context of the game and meant as a compliment,” Haden maintained. “Indeed, it was probably a little suggestion to his own side that perhaps we should imitate their efforts and emulate them in that department.” Tom Kiernan went along with this line of thought: “I thought he was actually paying a compliment to the Munster spirit. Kamikaze pilots were very brave men. That’s what I took out of that. I didn’t think it was a criticism of Munster.” And Stuart Wilson? “It was meant purely as a compliment. We had been travelling through the UK and winning all our games. We were playing a nice, open style. But we had never met a team that could get up in our faces and tackle us off the field. Every time you got the ball, you didn’t get one player tackling you, you got four. Kamikaze means people are willing to die for the cause and that was the way with every Munster man that day. Their strengths were that they were playing for Munster, that they had a home Thomond Park crowd and they took strength from the fact they were playing one of the best teams in the world.” You could rely on Terry McLean (famed New Zealand journalist) to be fair and sporting in his reaction to the Thomond Park defeat. Unlike Kiernan and Haden, he scorned Jack Gleeson’s “kamikaze” comment, stating that “it was a stern, severe criticism which wanted in fairness on two grounds. It did not sufficiently praise the spirit of Munster or the presence within the one team of 15 men who each emerged from the match much larger than life-size. Secondly, it was disingenuous or, more accurately, naive.” “Gleeson thought it sinful that Ward had not once passed the ball. It was worse, he said, that Munster had made aggressive defence the only arm of their attack. Now, what on earth, it could be asked, was Kiernan to do with his team? He held a fine hand with top trumps in Spring, Cantillon, Foley and Whelan in the forwards and Canniffe, Ward, Dennison, Bowen and Moloney in the backs. Tommy Kiernan wasn’t born yesterday. He played to the strength of his team and upon the suspected weaknesses of the All Blacks.” You could hardly be fairer than that – even if Graham Mourie himself in his 1983 autobiography wasn’t far behind when observing: “Munster were just too good. From the first time Stu Wilson was crashed to the ground as he entered the back line to the last time Mark Donaldson was thrown backwards as he ducked around the side of a maul. They were too good.” One of the nicest tributes of all came from a famous New Zealand photographer, Peter Bush. He covered numerous All Black tours, was close friends with most of their players and a canny one when it came to finding the ideal position from which to snap his pictures. He was the guy perched precariously on the pillars at the entrance to the pitch as the celebrations went on and which he described 20 years later in his book ‘Who Said It’s Only a Game?’
    “I climbed up on a gate at the end of the game to get this photo and in the middle of it all is Moss Keane, one of the great characters of Irish rugby, with an expression of absolute elation. The All Blacks lost 12-0 to a side that played with as much passion as I have ever seen on a rugby field. The great New Zealand prop Gary Knight said to me later: ‘We could have played them for a fortnight and we still wouldn’t have won’. I was doing a little radio piece after the game and got hold of Moss Keane and said ‘Moss, I wonder if ...’ and he said, ‘ho, ho, we beat you bastards’.
    “With that, he flung his arms around me and dragged me with him into the shower. I finally managed to disentangle myself and killed the tape. I didn’t mind really because it had been a wonderful day.” Dimensions :47cm x 57cm
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  • D.W.D Irish Whiskey Vintage Advert

    €80.00
    Vintage D.W.D Pot Still Whiskey Framed Advert          27cm x 35cm              Granard Co Longford

    History of the DWD Whiskey Distillery

    The Dublin Whiskey Distillery Co Rebirth & Redemption

    Ireland’s history of whiskey distilling runs long and deep. The word ‘whiskey’ comes from the Gaelic, “uisce beatha”, meaning “water of life”, and Irish whiskey is one of the earliest known distilled beverages in the world, believed to have originated when Irish monks brought the technique of distilling perfumes back to Ireland around 1000 AD. Ever resourceful, the Irish modified this craft to create the wonderful spirit that endures to this day. But Irish whiskey’s most recent past reveals an extraordinary tale of subterfuge and intrigue that belies this golden spirit. The mercurial craft of whiskey making has lost none of its ethereal mystique and remains indelibly woven with what it means to be Irish. It has oiled a rich and eclectic culture that has reached far beyond our island shores. Yet the ‘light music’ appreciated by Joyce hides a dramatic tale of endurance and fortitude that has demanded so much from its leading protagonists. Neither war, nor famine or draconian law, be it home-grown or foreign made, or the shifting sands of empires and nations, or the shallow trends of libatious fashion could halt this most resolute and enduring spirit.
    DWD-Whiskey-Review-Heritage-Edition

    The founder and Master Distiller of the Dublin Whiskey Distillery Company

    John Brannick, founder and master distiller of the Dublin Whiskey Distillery Company, was born into a renowned family of Irish whiskey-makers. His father Patrick and his uncles were all established distillers with Sir John Power of “Powers Irish Whiskey” fame, and in time both John and his younger brother Patrick Jr would follow in their father’s footsteps. Like all the great Irish distillers of the 19th century, the Brannick family used traditional “Pot Still” distillation, the simplest and oldest form of distillation, the principles of which have remained unchanged to this day. First, a whiskey “mash” comprised of water and grain is prepared. Yeast is added, causing fermentation, which creates alcohol in a solution known as “distiller’s beer” or “wash”. The “wash” is placed into a round bottomed copper kettle or “Pot Still” and heated to a temperature above the boiling point of alcohol but below that of water. The alcohol evaporates, leaving the water behind, and the vapour rises into a tube where it cools and condenses back into spirit. However, not all spirit is created equal. The early evaporations and the last evaporations, known as “heads” and “tails,” contain impurities, so it is the “heart” or mid part of the distillation process that the distiller seeks. The essence of distillation is timing, knowing when to “cut” between the head, heart and tail and retain only the best spirit. It was this time-honoured process that the young John Brannick learned from his father and uncles, a method to which he faithfully adhered and a skill which he perfected throughout his life. 1845 was a significant year for John Brannick when, at the age of 15, he began his formal apprenticeship at the John’s Lane Distillery. The Powers Distillery was one of the great distilleries of Dublin and young John’s experiences there instilled in him a lifelong passion for the fine art of whiskey-making. At the time, Ireland was an impoverished country with little or no industry. Distilleries constituted a rare exception and they, their owners and employees enjoyed significant status in their communities.
    The young John Brannick soon demonstrated a natural flair for the craft of whiskey-making. These early years, working within the hallowed halls of the John’s Lane Distillery, laid the foundations for his later exploits within the industry. It wasn’t long before the other great distilleries took note of his growing reputation and in 1852 George Roe & Sons enticed Brannick to join the House of George Roe & Co with the promise that he would some day become a Master Distiller.After nearly 20 years of perfecting his craft with the House of Roe, Brannick had reached the illustrious position of Master Distiller. His reputation amongst the great distilleries of Dublin was now firmly established, but his ambitions didn’t end there. Brannick had long harboured a burning desire to build the finest distillery in the world, and in 1870, having secured the necessary backing, he resigned his position and struck out on his own, establishing the Dublin Whiskey Distillery Company Limited. DWD.For the next two years Brannick worked on a revolutionary design for his distillery. A site was chosen, less than a mile north of Dublin’s city centre, on the banks of the River Tolka, and construction started on 22 July 1872 Exactly one year later, distillation began with the preparation of the first ever DWD wash. Meanwhile, with work on the great distillery underway, Brannick finally fulfilled another long-standing promise and married his sweetheart Mary Hayes on 26 January 1873.

    Aeneas Coffey Inventor of the Continuous “Patent Coffee Still”

    In the year in which John Brannick was born, Aeneas Coffey was granted patent #5974 for his design of a two column continuous still or “Patent Still”. The Patent Still represented a revolution in spirit distillation, eliminating the need for multi-distillation using traditional “Pot Stills” and producing a lighter spirit with a higher proof at a fraction of the cost. However, it was shunned by the great Dublin distilleries, who considered the whiskey produced to be bland and tasteless in comparison with their world-famous “Pot Still” creations. They may have also considered the arrival of the Patent Still a direct challenge to their profession, an early form of automation attempting to replace the distiller’s art and skill. Many years later John Brannick, who went on to become one of the great masters of Pot Still whiskey, would reflect on the irony that the year of his birth marked the establishment of the Patent Still, the nemesis of his life’s work

    The DWD Legacy is Reborn

    Two old friends meet amid the bustle of the city and retire to the Palace Bar on Fleet Street to remember old times. By chance, one of them notices a bottle – a very old, unopened whiskey bottle with a mysterious, faded label – sitting in a glass case behind the bar. A relic of lost times. ‘What is that?’ he asks the barman. With this simple question, not one but two journeys began: a journey back in time into the extraordinary story of the “Finest Whiskey in the World”, a story of one man’s vision, gloriously realised, crushed by history and destroyed in a very Irish betrayal. And a journey into the future, the future of a once-great distillery, dismantled, neglected and forgotten. Until now. After 75 long years, DWD is back. Today’s DWD is not a copy of the past: a simple reproduction for nostalgia’s sake. Since the distillery closed its doors in 1941 the world has moved on and advances in the art of distilling cannot be ignored. But some values are timeless and remain as cherished and respected as they did when John Brannick laid the cornerstone of his great distillery in theglorious summer of 1872: real character, brave resolve and a true sense of belonging. Today’s DWD is the natural heir of its noble ancestor, a modern whiskey that draws on the wisdom of the past. And this is only the beginning of the DWD revival. In time, Brannick’s great house will be rebuilt, his achievements rivalled and perhaps even surpassed. But for now let us raise a glass to the return of the “Finest Whiskey in the World”, and look forward to the glories yet to come.

    The Finest Whiskey in The World

    Today, Irish whiskey is regulated and controlled both by international law and the Irish Whiskey Association. The definition of Irish whiskey and the method of production is globally agreed and enforced to ensure industry standards are protected and maintained at all times. However, back in 1880 no such legal definitions existed, and the global success of the industry began to attract the attention of disreputable characters intent on passing off various spirits and concoctions as ‘Irish whiskey’. The problem was made worse by the great distilleries of Dublin, which were content to leave bottling and branding to merchants and bonders. This laissez-faire attitude enabled unscrupulous dealers to import cheap Scotch and pass it off as highly desirable Irish whiskey. True to form, John Brannick was one of the first to recognise the danger and take steps to protect both his whiskey and his customers from counterfeit products. In 1880 he introduced the famous DWD Post Still logo to identify and market the DWD brand. He controlled its use tightly, working only with trusted merchants and bonders to ensure the DWD brand was respected and admired as the “Finest Whiskey in the World”.
    “The extraordinary story of the ‘Finest Whiskey in the World’, a tale of one man’s vision, gloriously realised, only to be crushed by history and destroyed in a very Irish betrayal.” Tomas – DWD Brand Ambassador

    THE GREATEST ACCOLADE

    In 1887 Brannick’s achievements and DWD’s greatness were formally recognized by two seminal publications: The Whisky Distilleries of the United Kingdom by Alfred Barnard and The Industries of Dublin by Spencer Blackett. Barnard’s work has been described as the most important book ever written on whiskey. It was Barnard who first recognised DWD as one of the six “Great Distilleries of Dublin City” by inspecting the distillery in the summer of 1886. Barnard described DWD as “the most modern of the distilleries in Dublin, handsomely designed and of great ornamentation, it rears its head proud and at a distance looks like a monument built to commemorate the virtues of some dead hero.” Barnard also acknowledged “that a mastermind and skilled hand had planned this great work.”

    The Six Great Distilleries Of Dublin City

    During the 19th and early 20th centuries, Irish whiskey was the most prestigious whiskey industry in the world. At the heart of this industry stood Dublin, its whiskey recognised the world over as the finest expression of the art and now, with the acclaim of Alfred Barnard and other connoisseurs, DWD assumed its rightful place among the “Great Distilleries of Dublin City”, an exclusive club that brought together the six great masters of Irish whiskey: John Jameson & Co, William Jameson & Co, Sir John Power & Sons, George Roe & Sons, The Phoenix Park Distillery and, of course, the Dublin Whiskey Distillery.
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  • 1930 All Ireland Junior Hurling Final Poster Kilkenny v Tipperary

    €80.00
    40cm x 23cm  Thurles Co Tipperary   The All-Ireland Junior Hurling Championship was a hurling competition organized by the Gaelic Athletic Association in Ireland. The competition was originally contested by the second teams of the strong counties, and the first teams of the weaker counties. In the years from 1961 to 1973 and from 1997 until now, the strong counties have competed for the All-Ireland Intermediate Hurling Championship instead. The competition was then restricted to the weaker counties. The competition was discontinued after 2004 as these counties now compete for the Nicky Rackard Cup instead. From 1974 to 1982, the original format of the competition was abandoned, and the competition was incorporated in Division 3 of the National Hurling League. The original format, including the strong hurling counties was re-introduced in 1983. 1930 – TIPPERARY: Paddy Harty (Captain), Tom Harty, Willie Ryan, Tim Connolly, Mick McGann, Martin Browne, Ned Wade, Tom Ryan, Jack Dwyer, Mick Ryan, Dan Looby, Pat Furlong, Bill O’Gorman, Joe Fletcher, Sean Harrington.
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  • Beautiful Framed Print of Arkle

    €80.00
      45cm x 35cm   Naas Co Kildare Arkle (19 April 1957 – 31 May 1970) was an Irish Thoroughbred racehorse. A bay gelding by Archive out of Bright Cherry, he was the grandson of the unbeaten (in 14 races) flat racehorse and prepotent sire Nearco. Arkle was born at Ballymacoll Stud, County Meath, by Mrs Mary Alison Baker of Malahow House, near Naul, County Dublin. He was named after the mountain Arkle in Sutherland, Scotland that bordered the Duchess of Westminster’s Sutherland estate. Owned by Anne Grosvenor, Duchess of Westminster, he was trained by Tom Dreaper at Greenogue, Kilsallaghan in County Meath, Ireland, and ridden during his steeplechasing career by Pat Taaffe. At 212, his Timeform rating is the highest ever awarded to a steeplechaser. Only Flyingbolt, also trained by Dreaper, had a rating anywhere near his at 210. Next on their ratings are Sprinter Sacre on 192 and then Kauto Star and Mill House on 191. Despite his career being cut short by injury, Arkle won three Cheltenham Gold Cups, the Blue Riband of steeplechasing, and a host of other top prizes. On 19th April, 2014 a magnificent  1.1 scale bronze statue was unveiled in Ashbourne, County Meath in commemoration of Arkle.   In the 1964 Cheltenham Gold Cup, Arkle beat  Mill House (who had won the race the previous year) by five lengths to claim his first Gold Cup at odds of 7/4. It was the last time he did not start as the favourite for a race. Only two other horses entered the Gold Cup that year. The racing authorities in Ireland took the unprecedented step in the Irish Grand National of devising two weight systems — one to be used when Arkle was running and one when he was not. Arkle won the 1964 race by only one length, but he carried two and half stones more than his rivals. The following year's Gold Cup saw Arkle beat Mill House by twenty lengths at odds of 3/10. In the 1966 renewal, he was the shortest-priced favourite in history to win the Gold Cup, starting at odds of 1/10. He won the race by thirty lengths despite a mistake early in the race where he ploughed through a fence. However, it did not stop his momentum, nor did he ever look like falling. Arkle had a strange quirk in that he crossed his forelegs when jumping a fence. He went through the season 1965/66 unbeaten in five races. Arkle won 27 of his 35 starts and won at distances from 1m 6f up to 3m 5f. Legendary Racing commentator Peter O'Sullevan has called Arkle a freak of nature — something unlikely to be seen again. Besides winning three consecutive Cheltenham Gold Cups (1964, 1965, 1966) and the 1965 King George VI Chase, Arkle triumphed in a number of other important handicap chases, including the 1964 Irish Grand National (under 12-0), the 1964 and 1965 Hennessy Gold Cups (both times under 12-7), the 1965 Gallagher Gold Cup (conceding 16 lb to Mill House while breaking the course record by 17 seconds), and the 1965 Whitbread Gold Cup(under 12-7). In the 1966 Hennessy, he failed by only half a length to give Stalbridge Colonist 35 lb. The scale of the task Arkle faced is shown by the winner coming second and third in the two following Cheltenham Gold Cups, while in third place was the future 1969 Gold Cup winner, What A Myth. In December 1966, Arkle raced in the King George VI Chase at Kempton Park but struck the guard rail with a hoof when jumping the open ditch, which resulted in a fractured pedal bone; despite this injury, he completed the race and finished second. He was in plaster for four months and, though he made a good enough recovery to go back into training, he never ran again. He was retired and ridden as a hack by his owner and then succumbed to what has been variously described as advanced arthritis or possibly brucellosis and was put down at the early age of 13. Arkle became a national legend in Ireland. His strength was jokingly claimed to come from drinking 2 pints of Guinness  a day. At one point, the slogan Arkle for President was written on a wall in Dublin. The horse was often referred to simply as "Himself", and he supposedly received items of fan mail addressed to 'Himself, Ireland'. The Irish government-owned Irish National Stud, at Tully, Kildare, Co. Kildare, Ireland, has the skeleton of Arkle on display in its museum. A statue in his memory was erected in Ashbourne Co. Meath in April 2014.
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  • Treaty Stone,Thomond Bridge,King Johns Castle & River Shannon Limerick Lithograph

    €80.00
    34cm x 39cm Limerick City  
    The Treaty Stone is the rock that the Treaty of Limerick was signed in 1691, marking the surrender of the city to William of Orange.
    Limerick is known as the Treaty City, so called after the Treaty of Limerick signed on the 3rd of October 1691 after the war between William III of England (known as William of Orange) and his Father in Law King James II. Limericks role in the successful accession of William of Orange and his wife Mary Stuart, daughter of King James II to the throne of England cannot be understated. The Treaty, according to tradition was signed on a stone in the sight of both armies at the Clare end of Thomond Bridge on the 3rd of October 1691. The stone was for some years resting on the ground opposite its present location, where the old Ennis mail coach left to travel from the Clare end of Thomond Bridge, through Cratloe woods en route to Ennis. The Treaty stone of Limerick has rested on a plinth since 1865, at the Clare end of Thomond Bridge. The pedestal was erected in May 1865 by John Richard Tinsley, mayor of the city.
    King John's Castle  is a 13th-century castle located on King's Island in Limerick, Ireland, next to the River Shannon.Although the site dates back to 922 when the Vikings lived on the Island, the castle itself was built on the orders of King John in 1200. One of the best preserved Norman castles in Europe, the walls, towers and fortifications remain today and are visitor attractions. The remains of a Viking settlement were uncovered during archaeological excavations at the site in 1900. Thomondgate was part of the “Northern” Liberties granted to Limerick in 1216. This area was the border between Munster and Connacht until County Clare, which was created in 1565, was annexed by Munster in 1602. TheThomondgate bridge was originally built in 1185 on the orders of King John and is said to have cost the hefty sum of £30. As a result of poor workmanship the bridge collapsed in 1292 causing the deaths of 80 people. Soon after, the bridge was rebuilt with the addition of two gate towers, one at each end. It partially collapsed in 1833 as a result of bad weather and was replaced with a bridge designed by brothers James and George Pain at a cost of £10,000.  
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  • Vintage Guinness -These are Guinnessentials-Notice

    €80.00
    Framed Guinness ephemera -these are Guinnessentials- a guide to publicans selling the Black Stuff ! Dimensions : 43cm x 36cm  Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery 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.” Origins : Dublin Dimensions : 43cm x 35cm
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  • When Muhammad Ali Fought in Croke Park 1972

    €80.00
    29cm x 36cm. Dublin Famous picture during The Greatest's visit to Ireland of Muhammad Ali play fighting with two members of  An Garda Siochana.Some memory for those officers to tell their grandchildren about ! July 19, 1972, Muhammad Ali fought Al 'Blue' Lewis at Croke Park in Dublin, causing quite a stir in Ireland.Decades later, an Irish documentary recounting the epic fight not only won awards but also won the approval of Ali's daughter Jamilah Ali. "When Ali Came to Ireland" is an Irish documentary that details Muhammad Ali's trip to Dublin for a fight against Al 'Blue' Lewis at Croke Park. In 2013 the film was screened at the Chicago film festival, where Jamilah Ali was in attendance. TheJournal.ie reported that following the screening, Jamilah said "I've seen so much footage of my father over the years but the amazing thing about watching this film was that I had seen none of the footage of him in Ireland... I loved the film from the beginning to the end." The film highlights a moment in Ali's career where he was set to stage a world comeback. He had been recently released from prison after refusing to join the Vietnam War as a conscientious objector. His opponent Al Lewis had also just been released on parole after serving time in Detroit for a murder charge, and he intended to use his boxing career as "a path to a new life." The movie that won an IFTA in 2013 documents the spectacle in Croke Park, Ali's presence in Ireland and how the public reacted to his being there. It also demonstrates how Ali came to be in Dublin for a fight in the first place, highlighting the involvement of "former Kerry strongman"Michael  "Butty" Sugrue. Sugrue's story also proved to be revelatory to his family- in a quote from Ross Whittaker, co-director of the film, he speaks about how Sugrue's grandchildren had never had the chance to meet him. "We were amazed when we screened the film in London to find that Butty Sugrue's granddaughters had never heard their grandfather speak. He had died before they were born and they'd never seen footage of him in which he had spoken." After their 1972 meeting, however, Sugrue and Ali's fortunes took two divergent paths. Ali returned to the ring in America to further glories and fanfare before his retirement, while Sugrue lost a small fortune on the Dublin fight and after dying in London was laid to rest in an unmarked grave in his hometown of Killorglin, Co Kerry. The Louisville Lip was also incredibly proud of his County Clare roots. Today we recall the man's star quality and his Irish ancestry. The death of boxing legend Muhammad Ali at 74 in June 2016, from Parkinson’s, would have brought back many glorious memories of the greatest athlete of our times. At the height of his career, Ali was the most graceful, talented, and brilliant heavyweight boxer who ever stepped inside the ropes.
    I remember seeing him enter the room at the American Ireland Fund dinner in 2011 and grown men, including the Irish leader Enda Kenny, were simply awestruck that they were in the presence of the greatest living legend. Ali was more than a boxer, of course, he was a fighter who refused to become cannon fodder in the Vietnam War, the greatest mistaken war America entered until the invasion of Iraq. He was also a poet, a showman, a lover of many women, a devout Muslim, and simply a legend. Ali's stance to end the Vietnam War when he refused to be drafted cost us the best years of his sporting life. He came back still a brilliant boxer, but the man who could float like a butterfly could never quite recover that greatness. Still, the fights with Joe Frazier, the rope-a-dope that saw him defeat George Foreman in Zaire in the "Rumble in the Jungle" will forever enshrine his name in history.

    Muhammad Ali's Irish roots explained

    The astonishing fact that he had Irish roots, being descended from Abe Grady, an Irishman from Ennis, County Clare, only became known later in life. He returned to Ireland where he had fought and defeated Al “Blue” Lewis in Croke Park in 1972 almost seven years ago in 2009 to help raise money for his non–profit Muhammad Ali Center, a cultural and educational center in Louisville, Kentucky, and other hospices. He was also there to become the first Freeman of the town. The boxing great is no stranger to Irish shores and previously made a famous trip to Ireland in 1972 when he sat down with Cathal O’Shannon of RTE for a fascinating television interview. What’s more, genealogist Antoinette O'Brien discovered that one of Ali’s great-grandfathers emigrated to the United States from County Clare, meaning that the three-time heavyweight world champion joins the likes of President Obama and Professor Henry Louis Gates Jr. as prominent African-Americans with Irish heritage.
    In the 1860s, Abe Grady left Ennis in County Clare to start a new life in America.  He would make his home in Kentucky and marry a free African-American woman. The couple started a family, and one of their daughters was Odessa Lee Grady. Odessa met and married Cassius Clay, Sr. and on January 17, 1942, Cassius junior was born. Cassius Clay changed his name to Muhammad Ali when he became a Muslim in 1964.   Ali, an Olympic gold medalist at the 1960 games in Rome, has been suffering from Parkinson's for some years but was committed to raising funds for his center During his visit to Clare, he was mobbed by tens of thousands of locals who turned out to meet him and show him the area where his great-grandfather came from.

    Tracing Muhammad Ali's roots back to County Clare

    Historian Dick Eastman had traced Ali’s roots back to Abe Grady the Clare emigrant to Kentucky and the freed slave he married. Eastman wrote: “An 1855 land survey of Ennis, a town in County Clare, Ireland, contains a reference to John Grady, who was renting a house in Turnpike Road in the center of the town. His rent payment was fifteen shillings a month. A few years later, his son Abe Grady immigrated to the United States. He settled in Kentucky."
    Also, around the year 1855, a man and a woman who were both freed slaves, originally from Liberia, purchased land in or around Duck Lick Creek, Logan, Kentucky. The two married, raised a family and farmed the land. These free blacks went by the name, Morehead, the name of white slave owners of the area. Odessa Grady Clay, Cassius Clay's mother, was the great-granddaughter of the freed slave Tom Morehead and of John Grady of Ennis, whose son  Abe had emigrated from Ireland to the United States. She named her son Cassius in honor of a famous Kentucky abolitionist of that time. When he changed his name to Muhammad Ali in 1964, the famous boxer remarked, "Why should I keep my white slavemaster name visible and my black ancestors invisible, unknown, unhonored?" Ali was not only the greatest sporting figure, but he was also the best-known person in the world at his height, revered from Africa to Asia and all over the world. To the end, he was a battler, shown rare courage fighting Parkinson’s Disease, and surviving far longer than most sufferers from the disease.
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  • W.B Yeats Portrait

    €80.00
    40cm x 30cm  Enniscrone Co Sligo William Butler Yeats(13 June 1865 – 28 January 1939) Irish poet, dramatist, prose writer and one of the foremost figures of 20th-century literature. A pillar of the Irish literary establishment, he helped to found the Abbey Theatre, and in his later years served two terms as a Senator of the Irish Free State. He was a driving force behind the Irish Literary Revival along with Lady Gregory, Edward Martyn and others. Yeats was born in Sandymount, Ireland, and educated there and in London. He was a Protestant and member of the Anglo-Irish community. He spent childhood holidays in County Sligo and studied poetry from an early age, when he became fascinated by Irish legends and the occult. These topics feature in the first phase of his work, which lasted roughly until the turn of the 20th century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley, and the poets of the Pre-Raphaelite Brotherhood. From 1900, his poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life. In 1923, he was awarded the Nobel Prize in Literature.
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  • JFK John F Kennedy Election Poster -Leadership for the 60s

    €80.00
    Kennedy for President -Leadership for the 60s-Election Poster 40cm x 27cm  Bruree Co Limerick  

    Ulster is becoming Britain’s Vietnam,” Senator Edward M Kennedy, the youngest of three exceptionally accomplished brothers in the United States’ most famous Irish family, told the US Senate in the autumn of 1971.

    This year marks an important anniversary for the Kennedys, the Irish and the world, for it was 50 years ago when Ted Kennedy set his sights on peace in Northern Ireland. And, from that moment to the miracle of Stormont, in 1998, that secured peace, Ted spearheaded the United States’ peace-making efforts. He pushed presidents, worked with key Senate and House members of Irish descent, testified before Congress, delivered speeches, wrote articles, visited the region and met leaders on both sides of the conflict.

    Jack, Bobby and Ted Kennedy were all proudly Irish. They all spoke of the anti-Irish bigotry that had plagued their ancestors in the United States. Jack visited Ireland to trace his roots and, while there as president in 1963, called it “the land for which I hold the greatest affection”. Ted came in 1964 in grief after Jack’s murder, and he spent more time trying to end the Troubles in Northern Ireland than on any other global challenge.

    Joe and Rose led discussions about the world with the boys over meals, and Joe invited prominent people, such as aviator Charles Lindbergh and media mogul Henry Luce, to dine with them and enrich the conversations

    Ted’s peace-making in Northern Ireland, however, reflects far more than the proud Irishness that he shared with his brothers. It also reflects perhaps the most fascinating and consequential story about the Kennedy brothers that hardly anyone knows – a story with important lessons for the United States of today.

    Most people know that Joe and Rose Kennedy groomed their sons for success. They started with Joe jnr, who died at war in 1944 at the age of 29, and continued through Jack, Bobby and Ted. What most people don’t know (and what I explore in my new book, The Kennedys in the World: How Jack, Bobby, and Ted Remade America’s Empire) is that, from the time the brothers were little boys, Joe and Rose pushed them not just to succeed but to look beyond the United States’ borders – to learn about the world, care about the world and, once they attained power, shape the United States’ role in the world.

         
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  • Bloody Sunday Photo Collage 1920

    €80.00
    35cm x 50cm Limerick

    loody Sunday, 21st November 1920

     In 1920 the War of Independence was ongoing in Ireland.

    On the morning of November 21st, an elite assassination unit known as ‘The Squad’ mounted an operation planned by Michael Collins, Director of Intelligence of the Irish Republican Army (IRA). Their orders were clear – they were to take out the backbone of the British Intelligence network in Ireland, specifically a group of officers known as ‘The Cairo Gang’. The shootings took place in and around Dublin’s south inner city and resulted in fourteen deaths, including six intelligence agents and two members of the British Auxiliary Force. Later that afternoon, Dublin were scheduled to play Tipperary in a one-off challenge match at Croke Park, the proceeds of which were in aid of the Republican Prisoners Dependents Fund. Tensions were high in Dublin due to fears of a reprisal by Crown forces following the assassinations. Despite this a crowd of almost 10,000 gathered in Croke Park. Throw-in was scheduled for 2.45pm, but it did not start until 3.15pm as crowd congestion caused a delay.
    Dublin Team, Bloody Sunday 1920
    Eye-witness accounts suggest that five minutes after the throw-in an aeroplane flew over Croke Park. It circled the ground twice and shot a red flare - a signal to a mixed force of Royal Irish Constabulary (R.I.C.), Auxiliary Police and Military who then stormed into Croke Park and opened fire on the crowd. Amongst the spectators, there was a rush to all four exits, but the army stopped people from leaving the ground and this created a series of crushes around the stadium. Along the Cusack Stand side, hundreds of people braved the twenty-foot drop and jumped into the adjacent Belvedere Sports Grounds. The shooting lasted for less than two minutes. That afternoon in Croke Park, 14 people including one player (Michael Hogan from Tipperary), lost their lives. It is estimated that 60 – 100 people were injured.
    Tipperary Team, Bloody Sunday 1920
    The names of those who died in Croke Park on Bloody Sunday 1920 were. James Burke, Jane Boyle, Daniel Carroll, Michael Feery, Michael Hogan, Thomas (Tom) Hogan, James Matthews, Patrick O’Dowd, Jerome O’Leary, William (Perry) Robinson, Tom Ryan, John William (Billy) Scott, James Teehan, Joseph Traynor. In 1925, the GAA's Central Council took the decision to name a stand in Croke Park after Michael Hogan. The 21st November 2020 marks one hundred years since the events of Bloody Sunday in Croke Park.
    Michael Hogan
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  • Tullamore Dew Display

    €80.00
    Tullamore Dew advert 40cm x 30cm    Banagher Co Offaly Tullamore D.E.W. is a brand of Irish whiskey produced by William Grant & Sons. It is the second largest selling brand of Irish whiskey globally, with sales of over 950,000 cases per annum as of 2015.The whiskey was originally produced in the Tullamore, County Offaly, Ireland, at the old Tullamore Distillery which was established in 1829. Its name is derived from the initials of Daniel E. Williams (D.E.W.), a general manager and later owner of the original distillery. In 1954, the original distillery closed down, and with stocks of whiskey running low, the brand was sold to John Powers & Son, another Irish distiller in the 1960s, with production transferred to the Midleton Distillery, County Cork in the 1970s following a merger of three major Irish distillers.In 2010, the brand was purchased by William Grant & Sons, who constructed a new distillery on the outskirts of Tullamore. The new distillery opened in 2014, bringing production of the whiskey back to the town after a break of sixty years.

    Mick The Miller,as featured in this iconic advert, was the most famous greyhound of all time.  He was born in 1926 in the village of Killeigh, County Offaly, Ireland at Millbrook House(only 5 miles from Tullamore), the home of parish curate, Fr Martin Brophy. When he was born Mick was the runt of the litter but Michael Greene, who worked for Fr Brophy, singled  the little pup out as a future champion and insisted that he be  allowed to rear him. With constant attention and regular exercise Mick The Miller developed into a racing machine. His first forays were on local coursing fields where he had some success but he showed his real talent on the track where he won 15 of his first 20 races.

    In 1929 Fr Brophy decided to try Mick in English Greyhound Derby at White City, London. On his first trial-run, Mick equalled the  track record. Then, in his first heat, he broke the world record, becoming the first greyhound ever to run 525 yards in under 30 seconds. Fr Brophy was inundated with offers and sold him to Albert Williams. Mick  went on to win the 1929 Derby. Within a year he had changed hands again to Arundel H Kempton and won the Derby for a second time.

    Over the course of his English career he won 36 of his 48 races, including the  Derby (twice), the St Leger, the Cesarewitch, and the Welsh Derby.  He set six new world records and two new track records.  He was the first greyhound to win  19 races in a row. Several of his records went unbroken for over 40 years. He won, in total, almost £10,000 in prizemoney. But he also became the poster-dog for greyhound racing. He was a celebrity on a par with any sports person, muscisian or moviestar. The more famous he became, the more he attracted people to greyhound racing.  Thousands thronged to watch him, providing a huge boost to the sport. It is said that he actually saved the sport of greyhound racing.

    After retirement to stud his popularity continued.  He starred in the film Wild Boy (based on his life-story) in 1934 which was shown in cinemas all across the UK. He was in huge demand on the celebrity circuit, opening shops, attending big races and even rubbing shoulder with royalty (such as the King and Queen) at charity events. When he died in 1939 aged 12, his owner donated his body to the British Natural History Museum in London. And Mick`s fame has continued ever since. In 1981 he was inducted into the American Hall of Fame (International Section). In 1990 English author Michael Tanner published a book, Mick The Miller - Sporting Icon Of the Depression. And in 2011 the people of Killeigh erected a monument on the village green to honour their most famous son.  Mick The Miller is not just the most famous greyhound of all time but one of the most loved dogs that has ever lived.

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  • RFK-Bobby Kennedy Election Poster

    €80.00
    RFK Election Poster from 1968. 60cm x 50cm  Bruree Co Limerick

    Ulster is becoming Britain’s Vietnam,” Senator Edward M Kennedy, the youngest of three exceptionally accomplished brothers in the United States’ most famous Irish family, told the US Senate in the autumn of 1971.

    This year marks an important anniversary for the Kennedys, the Irish and the world, for it was 50 years ago when Ted Kennedy set his sights on peace in Northern Ireland. And, from that moment to the miracle of Stormont, in 1998, that secured peace, Ted spearheaded the United States’ peace-making efforts. He pushed presidents, worked with key Senate and House members of Irish descent, testified before Congress, delivered speeches, wrote articles, visited the region and met leaders on both sides of the conflict.

    Jack, Bobby and Ted Kennedy were all proudly Irish. They all spoke of the anti-Irish bigotry that had plagued their ancestors in the United States. Jack visited Ireland to trace his roots and, while there as president in 1963, called it “the land for which I hold the greatest affection”. Ted came in 1964 in grief after Jack’s murder, and he spent more time trying to end the Troubles in Northern Ireland than on any other global challenge.

    Joe and Rose led discussions about the world with the boys over meals, and Joe invited prominent people, such as aviator Charles Lindbergh and media mogul Henry Luce, to dine with them and enrich the conversations

    Ted’s peace-making in Northern Ireland, however, reflects far more than the proud Irishness that he shared with his brothers. It also reflects perhaps the most fascinating and consequential story about the Kennedy brothers that hardly anyone knows – a story with important lessons for the United States of today.

    Most people know that Joe and Rose Kennedy groomed their sons for success. They started with Joe jnr, who died at war in 1944 at the age of 29, and continued through Jack, Bobby and Ted. What most people don’t know (and what I explore in my new book, The Kennedys in the World: How Jack, Bobby, and Ted Remade America’s Empire) is that, from the time the brothers were little boys, Joe and Rose pushed them not just to succeed but to look beyond the United States’ borders – to learn about the world, care about the world and, once they attained power, shape the United States’ role in the world.

         
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  • 1963 Kennedy Brothers Framed Photo-JFK,RFK & Teddy Kennedy

    €80.00
    Framed  portrait of the three Kennedy Brothers from 1963 ,taken in the White House. 45cm x 35cm  Bruree Co Limerick  

    Ulster is becoming Britain’s Vietnam,” Senator Edward M Kennedy, the youngest of three exceptionally accomplished brothers in the United States’ most famous Irish family, told the US Senate in the autumn of 1971.

    This year marks an important anniversary for the Kennedys, the Irish and the world, for it was 50 years ago when Ted Kennedy set his sights on peace in Northern Ireland. And, from that moment to the miracle of Stormont, in 1998, that secured peace, Ted spearheaded the United States’ peace-making efforts. He pushed presidents, worked with key Senate and House members of Irish descent, testified before Congress, delivered speeches, wrote articles, visited the region and met leaders on both sides of the conflict.

    Jack, Bobby and Ted Kennedy were all proudly Irish. They all spoke of the anti-Irish bigotry that had plagued their ancestors in the United States. Jack visited Ireland to trace his roots and, while there as president in 1963, called it “the land for which I hold the greatest affection”. Ted came in 1964 in grief after Jack’s murder, and he spent more time trying to end the Troubles in Northern Ireland than on any other global challenge.

    Joe and Rose led discussions about the world with the boys over meals, and Joe invited prominent people, such as aviator Charles Lindbergh and media mogul Henry Luce, to dine with them and enrich the conversations

    Ted’s peace-making in Northern Ireland, however, reflects far more than the proud Irishness that he shared with his brothers. It also reflects perhaps the most fascinating and consequential story about the Kennedy brothers that hardly anyone knows – a story with important lessons for the United States of today.

    Most people know that Joe and Rose Kennedy groomed their sons for success. They started with Joe jnr, who died at war in 1944 at the age of 29, and continued through Jack, Bobby and Ted. What most people don’t know (and what I explore in my new book, The Kennedys in the World: How Jack, Bobby, and Ted Remade America’s Empire) is that, from the time the brothers were little boys, Joe and Rose pushed them not just to succeed but to look beyond the United States’ borders – to learn about the world, care about the world and, once they attained power, shape the United States’ role in the world.

         
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  • Framed Autographed Pogues Display-Dirty Old Town

    €80.00
    Fantastic framed Pogues -dirty old town display with autographs of all the band members included. 40m x 30cm  Dublin The Pogues were an English or Anglo-IrishCeltic punk band fronted by Shane MacGowan and others, founded in Kings Cross, London in 1982, as "Pogue Mahone" – the anglicisation of the Irish Gaelic póg mo thóin, meaning "kiss my arse".The band reached international prominence in the 1980s and early 1990s, recording several hit albums and singles. MacGowan left the band in 1991 owing to drinking problems, but the band continued – first with Joe Strummerand then with Spider Stacy on vocals – before breaking up in 1996.The Pogues re-formed in late 2001, and played regularly across the UK and Ireland and on the US East Coast, until dissolving again in 2014. The group did not record any new material during this second incarnation. Their politically-tinged music was informed by MacGowan and Stacy's punk backgrounds,[20] yet used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin and accordion. The future members of the Pogues first met when MacGowan (vocals), Peter "Spider" Stacy (tin whistle), and Jem Finer(banjo) were together in an occasional band called The Millwall Chainsaws in the late 1970s after MacGowan and Stacy met in the toilets at a Ramones gig at The Roundhouse in London in 1977. MacGowan was already with The Nips, though when they broke up in 1980 he concentrated more on Stacy's Millwall Chainsaws, who changed their name to The New Republicans.

    Early years: 1982–1986

    In 1982, James Fearnley (accordion), who had been a guitarist with The Nips, joined MacGowan, Stacy, and Finer, forming the band, then known as Pogue Mahone. The new group played their first gig at The Pindar of Wakefield on 4 October 1982.They then appeared at Gossips in Dean Street Soho on Thursday 3 November 1983 with Trash Trash Trash and The Stingrays. They later added Cait O'Riordan (bass) and Andrew Ranken (drums). The band played London pubs and clubs,and released a single, "Dark Streets of London",on their own, self-named label, gaining a small reputation – especially for their live performances. They came to the attention of the media and Stiff Records when they opened for The Clash on their 1984 tour.Shortening their name to "The Pogues" (partly due to BBC censorship following complaints from Gaelic speakers in Scotland) they released their first album Red Roses for Me on Stiff Records that October. The band gained more attention when the UK Channel 4's influential music show The Tube made a video of their version of "Waxie's Dargle" for the show. The performance, featuring Spider Stacy repeatedly smashing himself over the head with a beer tray, became a favourite with the viewers, but Stiff Records refused to release it as a single, feeling it was too late for it to help Red Roses for Me. Nevertheless, it remained a favourite request for the show for many years. With the aid of producer Elvis Costello, they recorded the follow-up, Rum Sodomy & the Lash, in 1985 during which time guitarist Philip Chevron joined. The album title is a famous comment falsely attributed to Winston Churchill who was supposedly describing the "true" traditions of the British Royal Navy. The album cover featured The Raft of the Medusa, with the faces of the characters in Théodore Géricault's painting replaced with those of the band members. The album shows the band moving away from covers to original material. Shane MacGowan came into his own as a songwriter with this disc, offering up poetic story-telling, such as "The Sick Bed of Cúchulainn" and "The Old Main Drag", as well as definitive interpretations of Ewan MacColl's "Dirty Old Town" and Eric Bogle's "And the Band Played Waltzing Matilda" (this had previously been covered by Shane's fellow punk contemporaries Skids in 1981). The band failed to take advantage of the momentum created by the strong artistic and commercial success of their second album. They first refused to record another album (offering up the four-track EP Poguetry in Motion instead); O'Riordan married Costello and left the band, to be replaced by bassist Darryl Hunt, formerly of Plummet Airlines and Pride of the Cross; and they added a multi-instrumentalist in Terry Woods, formerly of Steeleye Span. Looming over the band at this period (as throughout their entire career) was the increasingly erratic behaviour of their vocalist and principal songwriter, Shane MacGowan. Their record label, Stiff Records, went bankrupt soon after the 1987 release of the single "The Irish Rover" (with The Dubliners). Members of the band, including O'Riordan, acted in Alex Cox's Straight to Hell, and five songs by the band were included on the film's soundtrack album.

    Mainstream success and break-up: 1987–1996

    The band remained stable enough to record If I Should Fall from Grace with God with its Christmas hit duet with Kirsty MacColl "Fairytale of New York". "Fairytale of New York" was released as a single in 1987 and reached No. 1 in the Irish charts and No. 2 in the British charts over Christmas (the time of peak sales). The song has become a festive classic in the UK and Ireland over the years, and was voted the best Christmas song of all time three years running in 2004,2005,and 2006 in polls by music channel VH1 UK, despite not achieving Christmas Number One when it was released. It was also voted as the 27th greatest song never to reach UK#1 in another VH1 poll, and also voted as the 84th greatest song of all time by BBC Radio 2 listeners in the "Sold on Song" top 100 poll. In 2007 the record was briefly censored by the BBC because of the word "faggot" being deemed potentially offensive to homosexual people. Following protests from listeners, including the mother of Kirsty MacColl, the censorship was lifted. The band was at the peak of its commercial success, with both albums making the top 5 in the UK (numbers 3 and 5 respectively), but MacGowan was increasingly unreliable. He failed to turn up for the opening dates of their 1988 tour of America, and prevented the band from promoting their 1990 album Hell's Ditch, so in 1991 the band sacked him. Vocal duties were for a time handled by Joe Strummer. Spider Stacy took over permanently after Strummer left in the winter of 1991. After Strummer's departure, the remaining seven Pogues recorded in 1993 Waiting for Herb, which contained the band's third and final top twenty single, "Tuesday Morning", which became their best-selling single internationally. Terry Woods and James Fearnley then left the band and were replaced by David Coulter and James McNally respectively. Within months of their departures, ill health forced Phil Chevron to leave the band; he was replaced by his former guitar technician, Jamie Clarke. This line-up recorded the band's seventh and final studio album, Pogue Mahone. The album was a commercial failure, and, following Jem Finer's decision to leave the band in 1996, the remaining members decided it was time to call it quits. According to Shane MacGowan, among the reasons of the break-up was disagreement concerning the political orientation of his songs, the band not wanting to sing too obvious pro-Republican songs – though some of their previous songs were already politically engaged: for instance, Streams of Whiskey is about the poet and IRA member Brendan Behan. Soon after the break-up Shane MacGowan recorded a song titled Paddy Public Enemy Number One as a tribute to the Republican leader Dominic McGlinchey, a former leader of the INLA killed a few years before.

    Post-breakup

    After the Pogues's break-up, the three remaining long-term members (Spider Stacy, Andrew Ranken and Darryl Hunt) played together briefly as The Vendettas. They played mainly new Stacy-penned tracks, though Darryl Hunt also contributed songs, and the band's live set included a few Pogues songs. First Ranken then Hunt left the band, the latter going on to become singer/songwriter in an indie band called Bish, whose self-titled debut album was released in 2001. Ranken has gone on to play with a number of other bands, including Kippers, The Municipal Waterboard and, most recently, The Mysterious Wheels. In addition to The Vendettas, who Stacy freely admits lost all attraction when the Pogues reformed, Spider continued to write and record music with various bands, including the James Walbourne, Filthy Thieving Bastards, Dropkick Murphys and Astral Social Club. Shane MacGowan founded Shane MacGowan and The Popes in 1992. They released two studio albums and broke up in 2002. His autobiography A Drink With Shane MacGowan, co-written with his journalist girlfriend Victoria Mary Clarke, was released in 2001. Jem Finer went into experimental music, playing a big part in a project known as "Longplayer", a piece of music designed to play continuously for 1,000 years without repeating itself. In 2005, Finer released the album Bum Steerwith DB Bob (as DM Bob and Country Jem). James Fearnley moved to the United States shortly before leaving the Pogues. He was a member of The Low And Sweet Orchestra and later the Cranky George Trio. Philip Chevron reformed his former band The Radiators, which briefly included former Pogue Cait O'Riordan. Terry Woods formed The Bucks with Ron Kavana, releasing the album Dancin' To The Ceili Band in 1994. Later, he formed The Woods Band, releasing the album Music From The Four Corners of Hell in 2002.

    Reunion: 2001–2014

    The Pogues in Brixton, 2004
    The band, including MacGowan, re-formed for a Christmas tour in 2001 and performed nine shows in the UK and Ireland in December 2004. In 2002 Q magazine named the Pogues as one of the "50 Bands To See Before You Die". In July 2005, the band – again including MacGowan – played at the annual Guilfest festival in Guildford before flying out to Japan where they played three dates. Japan is the last place they all played together before MacGowan was originally sacked in 1991, and they have a strong following there. They played a date in Spain in early September. The reunited Pogues played dates in the UK with support from the Dropkick Murphys in late 2005, and re-released their 1987 Christmas classic "Fairytale of New York" on 19 December, which went straight in at No. 3 in the UK Singles charts on Christmas Day 2005, showing the song's enduring popularity. On 22 December 2005 the BBC broadcast a live performance (recorded the previous week) on the Jonathan RossChristmas show with Katie Melua filling in for the late Kirsty MacColl, the first time the band had played the song live on television. The following week they performed live on the popular music show CD:UK. Shane MacGowan wrote a blog for The Guardian in 2006, detailing his thoughts on the current tour.
    The Pogues with Shane MacGowan, 11 October 2006 in San Diego
    The band was awarded the lifetime achievement award at the annual Meteor Ireland Music Awards in February 2006. In March 2006, the band played their first US dates with Shane in over 15 years. The band played a series of sold-out concerts in Washington, D.C., Atlantic City, Boston, and New York. Later they played a series of highly acclaimed and sold-out gigs during mid-October 2006 in San Francisco, Las Vegas, and Los Angeles, and toured Glasgow, Manchester, Birmingham, London, Dublin, and Nottingham in mid-December 2006. They began a second US tour in March 2007, once again to coincide (and conclude) with a Roseland Ballroom New York City show on Saint Patrick's Day. 2007 has proved to be the most prolific year of touring since the reunion. A tour of the west coast of America and eleven dates in the UK in December complement the headlining festival appearances made in the summer across Europe (Sweden, Belgium and Spain). They continue to be in huge demand, often selling out very large venues, despite criticism of selling out, and claims that arenas and festivals do not suit the band's sound.
    The Pogues on 1 August 2010 in Amsterdam
    The Pogues 2011 in Munich, Philip Chevron, James Fearnley, Andrew Ranken, Shane MacGowan, Darryl Hunt, Spider Stacy, Jem Finer not on photo Terry Woods
    Guitarist Phil Chevron has stated there were no plans to record new music or release a new album. Chevron said that one way to keep enjoying what they were doing was to avoid making a new album, although he did say that there still is a possibility in the future for new music, but certainly not in the near future. Terry Woods has commented that MacGowan has been writing, and most of it sounds good. In 2008 the band released a box set Just Look Them Straight in the Eye and Say....POGUE MAHONE!!, which included rare studio out-takes and previously unreleased material. The band received mixed reviews of their performances though they continued to pull the crowds. Reviewing a March 2008 concert, The Washington Post described MacGowan as "puffy and paunchy," but said the singer "still has a banshee wail to beat Howard Dean's, and the singer's abrasive growl is all a band this marvelous needs to give its amphetamine-spiked take on Irish folk a focal point". The reviewer continued: "The set started off shaky, MacGowan singing of `goin' where streams of whiskey are flowin,' and looking like he'd arrived there already. He grew more lucid and powerful as the evening gathered steam, through two hours and 26 songs, mostly from the Pogues' first three (and best) albums".In December 2010 the Pogues (with support from Crowns) played what was billed as a farewell UK Christmas tour. In March 2011, the Pogues played a six-city/ten-show sold out US tour titled "A Parting Glass with The Pogues" visiting Chicago, Detroit, Baltimore, Washington, D.C., Boston, and New York City (in that order), with only the last three cities getting more than one show. Stacy said "I think we are basically pretty certain this is the last tour of this type we'll be doing in the States. There might be the odd sort of one-off here and there. We're not saying this is absolutely, definitely the end". In August 2012, the Pogues embarked on a 30th Anniversary Summer 2012 8-city European Tour scheduled from 4 August 2012 at the Stockton Weekender Festival in Stockton-on-Tees, UK to 11 & 12 September 2012 at L'Olympia, Paris, two shows filmed and recorded for a live album and DVD released on 19 November 2012. In March 2013, the Pogues released 30:30: The Essential Collection, a 2-disc set featuring 30 songs along with eleven videos. In October 2013, the Pogues released a box set titled Pogues 30 containing remastered versions of all of their studio albums plus a previously unreleased live album featuring Joe Strummer at the London Forum in December 1991. Guitarist Philip Chevron died on 8 October 2013 in Dublin, Ireland from oesophageal cancer, aged 56. In December 2013, the Pogues went on a four-date UK Christmas tour, followed by a few shows during spring and summer 2014.The Pogues' last performance on British soil occurred on 5 July 2014 at the British Summer Time festival in London's Hyde Park. The Pogues' last performance to date occurred on 9 August 2014 during the "Fête du bruit dans Landerneau" festival in Landerneau, Brittany, France. About his future with the Pogues, in a 24 December 2015 interview with Vice Magazine, when the interviewer asked whether the band were still active, Shane MacGowan said: "We're not, no", saying that, since their 2001 reunion happened, "I went back with [The] Pogues and we grew to hate each other all over again", adding, "I don't hate the band at all – they're friends. I like them a lot. We were friends for years before we joined the band. We just got a bit sick of each other. We're friends as long as we don't tour together. I've done a hell of a lot of touring. I've had enough of it".

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  • Vintage Guinness Advert 1959

    €80.00
    Framed print of vintage Guinness advert extolling the delights of a pint being poured by draught.Draught Guinness was first introduced in 1959 Dimensions : 44cmx 37cm  Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery 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.” Origins : Dublin Dimensions : 43cm x 35cm
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  • Retro Get together with a Guinness Advert -From old rugby programme

    €80.00
    Whimsical,retro Get together with  Guinness advert from the 1970s. Dimensions : 40cmx 33cm  Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery 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.” Origins : Dublin Dimensions : 43cm x 35cm
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  • Vintage Guinness Battle of Hastings 1966 Advert

    €80.00
    Framed print of the famous Guinness battle of Hastings 1066-1966 advert. Dimensions : 40cmx 30cm  Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery 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.” Origins : Dublin Dimensions : 43cm x 35cm
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  • Locke’s Old Kilbeggan Pure Pot Still Whiskey Advert

    €80.00
    Locke's Old Kilbeggan Pure Pot Still Whiskey Advert Origins: Kilbeggan Co Westmeath  Dimensions: 32cm x 37cm The Kilbeggan Distillery (formerly Brusna Distillery and Locke's Distillery) is an Irish whiskey distillery situated on the River Brosna in Kilbeggan, County Westmeath, Ireland. It is owned by Beam Suntory. A small pot still distillery, the licence to distil dates to 1757, a copy of which can be seen in the distillery. Similar to many Irish distilleries, Kilbeggan endured financial difficulties during the early 20th century, and ceased operations in 1957. However, the distillery was later refurbished, with distilling recommencing on-site in 2007. Noted devotees of the distillery's whiskeys include British Prime Minister Sir Winston Churchill, and Myles na gCopaleen, the Irish playwright.

    Early years

    The distillery was founded in 1757 by Matthew MacManus, who may have distilled elsewhere before founding Kilbeggan.Although information about the early years of the distillery is scarce, documentation suggests that in its early years the distillery operated with a 232 gallon still, and an annual output of 1,500 gallons. By the early 19th century, the distillery was being run by a John and William Codd. In 1841, the distillery was put up for sale following the dissolution of the partnership between its then owners, William Codd and William Cuffee.The distillery at the time consisted of a brew house, still house with three pot stills (wash still: 8,000 gallons; low wine still, no. 1; 2,000 gallons; low wine still, no. 2: 1,500 gallons), run-room with five receivers, malt house, corn stores capable of storing 5,000 barrels, and oat-meal mills. Also listed in the sale were 400 tonnes of coal, and 10,000 boxes of turf - the latter reflecting the immense quantities of turf consumed at the distillery, so much so, that it was reported to have kept hundreds of poor people profitably employed in cutting, rearing, and drawing it to the town throughout the year.

    Locke's Distillery

    In 1843, the distillery was taken over by John Locke, under whose stewardship the distillery flourished. Locke treated his staff well, and was held in high regard by both his workers and the people of the town. Informal records show that under Locke the distillery provided cottages for its employees, either for rent or purchase through a form of in-house mortgage scheme. In addition, all staff received a wagon load of coal at the start of each winter, the cost of which was deducted from salaries retrospectively on a weekly basis. Testimony of the respect with which he was held is offered by an incident in 1866. Following an accident on-site which had rendered a critical piece of equipment, the steam boiler, inoperable, the distillery had come to a standstill. With Locke unable to afford or obtain a loan to fund a replacement, the future of distillery lay in doubt.However, in a gesture of solidarity, the people of Kilbeggan came together and purchased a replacement boiler, which they presented to John Locke, along with the following public letter of appreciation, which was printed in several local newspapers at the time:
    An Address from the People of Kilbeggan to John Locke, Esq. Dear Sir - Permit us, your fellow townsmen, to assure of our deep and cordial sympathy in your loss and disappointment from the accident which occurred recently in your Distillery. Sincerely as we regret the accident, happily unattended with loss of life, we cannot but rejoice at the long-wished-for opportunity it affords us of testifying to you the high appreciation in which we hold you for your public and private worth. We are well aware that the restrictions imposed by recent legislation on that particular branch of Irish industry, with which you have been so long identified, have been attended with disastrous results to the trade, as is manifest in the long list of Distilleries now almost in ruins, and which were a few years ago centres of busy industry, affording remunerative employment to thousands of hands; and we are convinced the Kilbeggan Distillery would have long since swelled the dismal catalogue had it fallen into less energetic and enterprising hands. In such an event we would be compelled to witness the disheartening scene of a large number of our working population without employment during that period of the year when employment Is scarcest, and at the same time most essential to the poor. Independent then of what we owe you, on purely personal grounds, we feel we owe you a deep debt of gratitude for maintaining in our midst a manufacture which affords such extensive employment to our poor, and exercises so favourable an influence on the prosperity of the town. In conclusion, dear Sir, we beg your acceptance of a new steam boiler to replace the injured one, as testimony, inadequate though it is, of our unfeigned respect and esteems for you ; and we beg to present it with the ardent wish and earnest hope that, for many long years to come, it may contribute to enhance still more the deservedly high and increasing reputation of the Kilbeggan Distillery.
    In a public response to mark the gift, also published in several newspapers, Locke thanked the people of Kilbeggan for their generosity, stating "...I feel this to be the proudest day of my life...". A plaque commemorating the event hangs in the distillery's restaurant today. In 1878, a fire broke out in the "can dip" (sampling) room of the distillery, and spread rapidly. Although, the fire was extinguished within an hour, it destroying a considerable portion of the front of the distillery and caused £400 worth of damage. Hundreds of gallons of new whiskey were also consumed in the blaze - however, the distillery is said to have been saved from further physical and financial ruin through the quick reaction of townsfolk who broke down the doors of the warehouses, and helped roll thousands of casks of ageing spirit down the street to safety. In 1887, the distillery was visited by Alfred Barnard, a British writer, as research for his book, "the Whiskey Distilleries of the United Kingdom". By then, the much enlarged distillery was being managed by John's sons, John Edward and James Harvey, who told Barnard that the distillery's output had more than doubled during the preceding ten years, and that they intended to install electric lighting.Barnard noted that the distillery, which he referred to as the "Brusna Distillery", named for the nearby river, was said to be the oldest in Ireland. According to Barnard, the distillery covered 5 acres, and employed a staff of about 70 men, with the aged and sick pensioned-off or assisted. At the time of his visit, the distillery was producing 157,200 proof gallons per annum, though it had the capacity to produce 200,000. The whiskey, which was sold primarily in Dublin, England, and "the Colonies", was "old pot still", produced using four pot stills (two wash stills: 10,320 / 8,436 gallons; and two spirit stills: 6,170 / 6,080 gallons), which had been installed by Millar and Company, Dublin. Barnard remarked that at the time of his visit over 2,000 casks of spirit were ageing in the distillery's bonded warehouses. In 1893, the distillery ceased to be privately held, and was converted a limited stock company, trading as John Locke & Co., Ltd., with nominal capital of £40,000.

    Decline and Closure

    In the early part of the 20th century, Kilbeggan, like many Irish whiskey distilleries at the time, entered a period of decline. This was due to the combined effects of loss and hampering of market access - due to prohibition in the United States, the trade war with the British Empire, shipping difficulties during the world wars, and Irish Government export quotas; as well as competition from blended Scotch, and disruption to production during the Irish war of Independence. As a result, Kilbeggan was forced to cease production of new spirit for 7 years between 1924 and 1931, decimating the company's cash flow and finances.Most of the staff at the distillery were let go, and the distillery slowly sold off its stocks of aged whiskey. Distilling resumed in 1931, following the end of prohibition in the United States, and for a time the distillery's finances improved - with a loss of £83 in 1931, converted to a modest profit of £6,700 in 1939. In the 1920s, both of John sons passed away, John in 1920, and James in 1927, and ownership of the distillery passed to Locke's granddaughters, Mary Evelyn and Florence Emily.However, by then the distillery was in need to repair, with the turbulent economic conditions of the early 20th century having meant that no investment had been made in new plant since the 1890s. In 1947, the Lockes decided to put the distillery was put up for sale as a going concern. Although run down, the distillery had valuable stocks of mature whiskey, a valuable commodity in post-war Europe.An offer of £305,000 was received from a Swiss investor fronted by an Englishman, going by the name of Horace Smith.Their unstated interest, was not the business itself, but the 60,000 gallons of whiskey stocks, which they hoped to sell on the black market in England at £11 a gallon - thus, more than doubling their investment overnight. However, when they failed to come up with the deposit, the duo were arrested and promptly interrogated by Irish police. The Englishman, it turned out, was an impostor named Maximoe, who was wanted by Scotland Yard.]The Irish authorities placed Maximoe on a ferry back to England for extradition, but he jumped overboard and escaped with the help of unknown accomplices. An Irish opposition politician, Oliver J. Flanagan, subsequently alleged under parliamentary privilege that members of the governing Fianna Fáil political party were linked to the deal, accusing then Irish Taoiseach Éamon de Valera and his son of having accepted gold watches from the Swiss businessman. A tribunal of inquiry discounted the allegations but the damage contributed to Fianna Fáil's defeat in the 1948 election. In addition, as the scandal remained headline news in Ireland for several months, it discouraged interest from other investors in the distillery. Thus with no buyer found, operations continued at the distillery, with production averaging between 120,000 - 150,000 proof gallons per annum, and consumption running at between 15,000 - 20,000 barrels of barrel.In addition, although heavily indebted, investments were made in new plant and equipment. However, the death knell for the distillery came in April 1952, when the Irish Government introduced a 28% hike in the excise duties on spirits, causing a drastic decline in domestic whiskey sales. By November 1953, the distillery could not afford to pay the duty to release whiskey ordered for Christmas from bond, and production was forced to come to a halt. Although distilling had stopped, the firm struggled on until 27 November 1958, when a debenture issued in 1953 fell due, which the distillery could not afford to pay, forcing the bank to call in the receivers. Thus, bringing to an end 201 years of distilling in the town. In 1962, the distillery was purchased for £10,000 by Karl Heinz Moller, a German businessman, who owned a motor distribution company in Hamburg.Moller made a substantial profit on the deal, by selling off the whiskey stocks (about 100,000 gallons - worth tens of thousands of pounds alone) and a rare Mercedes Benz owned by the distillery. Much to the dismay of locals, Moller proceeded to convert the distillery into a pigsty, smashing thousands of Locke earthenware crocks (which would be worth a substantial amount at auction today) to create a hard-core base for the concrete floor. In 1969, the distillery was sold to Powerscreen, a firm which sold Volvo loading shovels, and in the early 1970s, the stills and worms were removed and sold for scrap.

    Distillery reopens

    In 1982, almost thirty years after the distillery ceased operations, the Kilbeggan Preservation and Development Association was formed by locals in the town. Using funds raised locally, the Association restored the Distillery, and reopened it to the public as a whiskey distillery museum. Then, in 1987, the newly opened Cooley Distillery acquired the assets of Kilbeggan distillery, allowing Cooley to relaunch whiskeys under the Kilbeggan and Locke's Whiskey brands. Cooley later also took over the running of the museum, and began the process of re-establishing a working distillery on-site. Cooley were aided in the process by the fact that since the distillery's closure, each subsequent owner had faithfully paid the £5 annual fee to maintain the distilling licence. In 2007, the 250th anniversary of the distillery's founding, distillation recommenced at Kilbeggan. The official firing of the pot stills was witnessed by direct descendants of the three families, the McManuses, the Codds, and the Lockes, who had run the distillery during its 200 year distilling history. In a fitting nod to the long history of distilling at Kilbeggan, one of the two pot stills installed in the refurbished distillery was a 180-year old pot still, which had originally been installed at the Old Tullamore Distillery in the early 1800s.] It is the oldest working pot still producing whiskey in the world today. In 2010, with the installation of a mash tun and fermentation vats, Kilbeggan became a fully operational distillery once again.

    Present day

    Bottle of "Kilbeggan Finest Irish whiskey"
    Today the distillery is known as Kilbeggan Distillery, and includes a restaurant, The Pantry Restaurant, and a 19th-century waterwheel that has been restored to working condition. The distillery can also be powered by a steam engine, which is in working condition but rarely used. It was installed to allow the distillery to continue operating in times of low water on the river. Prior to the recommencement of operations of Kilbeggan, the three brands associated with the distillery—Kilbeggan, Locke's Blend and Locke's Malt were produced at the Cooley Distillery in County Louth, before being transported to Kilbeggan, where they were to stored in a 200 year old granite warehouse. However, following recommencement of operations at Kilbeggan, new whiskey produced on-site has been sufficiently mature for market since around 2014. Since reopening, the distillery has launched a Kilbeggan Small Batch Rye, the first whiskey to be 100% distilled and matured on-site since the restoration was completed. Double-distilled, the whiskey is produced from a mash of malt, barley, and about 30% rye, said to reflect the traditional practice of using rye, which was common at 19th century Irish distilleries, but has since virtually died out. In late 2009, the distillery released small '3-pack' samples of its still-developing "new make spirit" at 1 month, 1 year, and 2 years of age (in Ireland, the spirit must be aged a minimum of three years before it can legally be called "whiskey"). The distillery's visitor centre was among the nominations in Whisky Magazine's Icons of Whisky visitor attraction category in 2008.

    Gallery

    • Machinery at the distillery
    • Historic view distillery buildings
    • Distillery buildings with roof sign
    • View of the distillery from the 1900s
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  • Thomas Power Dungarvan- St Brigids Well Brewery -Lemonade Advert

    €80.00
    Lovely'quaint advert extolling the delightful and refreshing :Powers of Dungarvan Lemonade. 30cm x 37cm Thomas Power (1856-1930) was the first chairman of Waterford County Council and was chairman of Dungarvan Town Commissioners on a number of occasions.  In the 1880s he was in partnership with his brother producing mineral waters.  In 1904 he began producing his award winning Blackwater Cider.
    In 1917 Thomas purchased the old St Brigid's Well Brewery in Fair Lane, Dungarvan from the Marquis of Waterford.  The business was a great success and its produce was in demand all over County Waterford and beyond.  After his death the brewery was taken over by his son Paul I. Power who managed it until 1976 when his son Ion took over. Brewing took place in Dungarvan throughout history but we only have detailed information from the late 18th century onwards. In 1917 the Marquis sold the property and it was acquired by Thomas Power. He developed a thriving business known as Power's Brewery. This brewing tradition continues into the modern era with the Dungarvan Brewing Company.
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  • Thomas Power Dungarvan- St Brigids Well Brewery -Guinness Bottle

    €80.00
    Brilliant photo of an old & unique 1/2 pint Bottles Guinness as supplied by Thomas Power's of Dungarvan. 35cm x 30cm   Dungarvan Co Waterford 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. The St Brigid’s Well Brewery was owned by the Marquis of Waterford and was run in the 19th century by the Dower family, it was later managed directly by the Marquis of Waterford. In 1917 the Marquis sold the property and it was acquired by Thomas Power. He developed a thriving business known as Power's Brewery. This brewing tradition continues into the modern era with the Dungarvan Brewing Company.
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  • Thomas Power Dungarvan- St Brigids Well Brewery-Staff Photo

    €80.00
    Staff photo of the Thomas Power's St Brigids Well distillery, brewery,cider,lemonade & bottling factory in Dungarvan Co Waterford. 23cm x 27cm 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. The St Brigid’s Well Brewery was owned by the Marquis of Waterford and was run in the 19th century by the Dower family, it was later managed directly by the Marquis of Waterford. In 1917 the Marquis sold the property and it was acquired by Thomas Power. He developed a thriving business known as Power's Brewery. This brewing tradition continues into the modern era with the Dungarvan Brewing Company.
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  • Beautiful Framed Print of Arkle

    €80.00
      45cm x 35cm   Naas Co Kildare Arkle (19 April 1957 – 31 May 1970) was an Irish Thoroughbred racehorse. A bay gelding by Archive out of Bright Cherry, he was the grandson of the unbeaten (in 14 races) flat racehorse and prepotent sire Nearco. Arkle was born at Ballymacoll Stud, County Meath, by Mrs Mary Alison Baker of Malahow House, near Naul, County Dublin. He was named after the mountain Arkle in Sutherland, Scotland that bordered the Duchess of Westminster’s Sutherland estate. Owned by Anne Grosvenor, Duchess of Westminster, he was trained by Tom Dreaper at Greenogue, Kilsallaghan in County Meath, Ireland, and ridden during his steeplechasing career by Pat Taaffe. At 212, his Timeform rating is the highest ever awarded to a steeplechaser. Only Flyingbolt, also trained by Dreaper, had a rating anywhere near his at 210. Next on their ratings are Sprinter Sacre on 192 and then Kauto Star and Mill House on 191. Despite his career being cut short by injury, Arkle won three Cheltenham Gold Cups, the Blue Riband of steeplechasing, and a host of other top prizes. On 19th April, 2014 a magnificent  1.1 scale bronze statue was unveiled in Ashbourne, County Meath in commemoration of Arkle.   In the 1964 Cheltenham Gold Cup, Arkle beat  Mill House (who had won the race the previous year) by five lengths to claim his first Gold Cup at odds of 7/4. It was the last time he did not start as the favourite for a race. Only two other horses entered the Gold Cup that year. The racing authorities in Ireland took the unprecedented step in the Irish Grand National of devising two weight systems — one to be used when Arkle was running and one when he was not. Arkle won the 1964 race by only one length, but he carried two and half stones more than his rivals. The following year's Gold Cup saw Arkle beat Mill House by twenty lengths at odds of 3/10. In the 1966 renewal, he was the shortest-priced favourite in history to win the Gold Cup, starting at odds of 1/10. He won the race by thirty lengths despite a mistake early in the race where he ploughed through a fence. However, it did not stop his momentum, nor did he ever look like falling. Arkle had a strange quirk in that he crossed his forelegs when jumping a fence. He went through the season 1965/66 unbeaten in five races. Arkle won 27 of his 35 starts and won at distances from 1m 6f up to 3m 5f. Legendary Racing commentator Peter O'Sullevan has called Arkle a freak of nature — something unlikely to be seen again. Besides winning three consecutive Cheltenham Gold Cups (1964, 1965, 1966) and the 1965 King George VI Chase, Arkle triumphed in a number of other important handicap chases, including the 1964 Irish Grand National (under 12-0), the 1964 and 1965 Hennessy Gold Cups (both times under 12-7), the 1965 Gallagher Gold Cup (conceding 16 lb to Mill House while breaking the course record by 17 seconds), and the 1965 Whitbread Gold Cup(under 12-7). In the 1966 Hennessy, he failed by only half a length to give Stalbridge Colonist 35 lb. The scale of the task Arkle faced is shown by the winner coming second and third in the two following Cheltenham Gold Cups, while in third place was the future 1969 Gold Cup winner, What A Myth. In December 1966, Arkle raced in the King George VI Chase at Kempton Park but struck the guard rail with a hoof when jumping the open ditch, which resulted in a fractured pedal bone; despite this injury, he completed the race and finished second. He was in plaster for four months and, though he made a good enough recovery to go back into training, he never ran again. He was retired and ridden as a hack by his owner and then succumbed to what has been variously described as advanced arthritis or possibly brucellosis and was put down at the early age of 13. Arkle became a national legend in Ireland. His strength was jokingly claimed to come from drinking 2 pints of Guinness  a day. At one point, the slogan Arkle for President was written on a wall in Dublin. The horse was often referred to simply as "Himself", and he supposedly received items of fan mail addressed to 'Himself, Ireland'. The Irish government-owned Irish National Stud, at Tully, Kildare, Co. Kildare, Ireland, has the skeleton of Arkle on display in its museum. A statue in his memory was erected in Ashbourne Co. Meath in April 2014.
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  • Peter O’Toole outside Toners of Baggott Street Framed Print

    €80.00
    45cm x 35cm.   Dublin Iconic b&w photograph of legendary Actor & Bon Viveur Peter O'Toole outside one of his favourite Dublin Watering Hole's-Toners of Baggott Street. Peter Seamus O'Toole ( 2 August 1932 – 14 December 2013) was a British stage and film actor of Irish descent. He attended the Royal Academy of Dramatic Art and began working in the theatre, gaining recognition as a Shakespearean actor at the Bristol Old Vic and with the English Stage Company. In 1959 he made his West End debut in The Long and the Short and the Tall, and played the title role in Hamlet in the National Theatre’s first production in 1963. Excelling on the London stage, O'Toole was known as a "hellraiser" off it. Making his film debut in 1959, O'Toole achieved international recognition playing T. E. Lawrence in Lawrence of Arabia (1962) for which he received his first nomination for the Academy Award for Best Actor. He was nominated for this award another seven times – for playing King Henry II in both Becket (1964) and The Lion in Winter (1968), Goodbye, Mr. Chips (1969), The Ruling Class (1972), The Stunt Man (1980), My Favorite Year (1982), and Venus (2006) – and holds the record for the most Academy Award nominations for acting without a win. In 2002, O'Toole was awarded the Academy Honorary Award for his career achievements. He was additionally the recipient of four Golden Globe Awards, one BAFTA Award for Best British Actor and one Primetime Emmy Award. Brought up in Leeds, England in a Yorkshire Irish family, O'Toole has appeared on lists of greatest actors from publications in England and Ireland. In 2020, he was listed at number 4 on The Irish Times list of Ireland's greatest film actors. Situated on Baggot Street, Toners is one of Dublin’s oldest and most famous traditional pubs. To prove this, we were the overall winners of “Best Traditional Pub” in the National Hospitality Awards 2014. In September 2015 we also won Dublin Bar of the Year at the Sky Bar of the Year Awards. Original features in the pub take visitors back in time, including the old stock drawers behind the bar from when Toners first opened in 1818 as a bar and grocery shop. The interior details like the glazed cabinets filled with curio, elaborate mirrors, the brass bar taps and flagstone floors to mention a few, makes you feel like you are stepping in to a museum… A museum in which you can drink in! Frequented by many of Ireland’s literary greats, including Patrick Kavanagh, the pub was also a favourite spot of W.B. Yeats and the snug is said to be the only place he would drink when he took an occasional tipple.

    History of Toners Pub

    • Acquired first License by Andrew Rogers 1818 – 1859.
    • William F. Drought 1859 – 1883, Grocer, Tea, Wine & Spirit Merchant
    • John O’Neill 1883 – 1904, Tea, Wine & Spirit Merchant
    • James M Grant 1904 – 1923, Grocer, Tea, Wine & Spirit Merchant
    • James Toner 1923 – 1970, Grocer, Tea, Wine & Spirit Merchant
    • Joe Colgan Solicitor 1970 – 1976
    • Ned & Patricia Dunne & Partner Tom Murphy 1976 – 1987
    • Frank & Michael Quinn 1987 – Present

    Snug of the Year 2010

    Toner's Pub DublinToners won “Snug of the Year” 2010, a competition hosted by Powers Whiskey. 110 pubs across Ireland were shortlisted, and after counting the public’s votes Toners was announced the winner. A snug is a private area separated within a pub and is a timeless feature in a traditional Irish pub. Like the one in Toners, it typically has its own door, a rugged bench and is completely private. Back in the day it was where the likes of policemen, lovers and the Irish literati met up.

    Toners Yard

    Since Toners opened its doors to the yard in 2012 it has been a very popular spot with both locals and tourists. The beer garden is ideal for sunny days as it gets the sun from morning until evening, and if it is a bit chillier the heaters will keep you warm.

    Mumford & Sons – Arthurs Day 2012 in Toners Yard

    Arthurs Day, the annual celebration of all things Guinness, has been hugely successful since it launched in 2009. Diageo launched a “vote for your local” competition for Arthurs Day 2012. The public got a chance to vote and help bring a headline artist to their local pub. Toners, serving the best pint of Guinness in Dublin, got so much support from everyone and ended up being one of the winning pubs. The winning pubs were kept a secret until the night of Arthurs Day and to everyone’s delight, Mumford & Sons walked in to Toners Yard and played an amazing set.  
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  • 2017 U21 Limerick v Cork-Epic Hurling Aerial Contest Framed Print

    €80.00
    35cm x 45cm   Caherdavin Limerick Epic Hurling photograph encapsulating the supreme physicality, skill sets and bravery required to play this most ancient of field sports .This amazing photograph was taken in 2017 in the U21 Munster Championship Final between Limerick and Cork which Limerick won 0-16 to 1-11. Current inter county stars that can be recognised in the photo include Barry Nash,Aaron Gillane of Limerick.  
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  • Michael Collins throws in at the 1921 Leinster Hurling Final Framed Print

    €80.00
    35cm x 45cm.     Dublin Famous b&w photo of Michael Collins about to throw in the sliotar to start the 1921 Leinster hurling final. Dublin (4-04) beat Kilkenny (1-05) in this provincial final which was played in Croke Park on the September 11, 1921.  
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  • Michael Collins & De Valera at Hurling Match in Croke Park 1919 Framed Print

    €80.00
    35cm x 45cm. Dublin Extraordinary moment captured in time as a seemingly cordial Eamon De Valera & Michael Collins plus Arthur Griffith and Lord Mayor of Dublin Laurence O'Neill enjoying each others company at Croke Park for the April 6, 1919 Irish Republican Prisoners' Dependents Fund match between Wexford and Tipperary. Staging Gaelic matches for the benefit of the republican prisoners was one of the ways in which the GAA supported the nationalist struggle. How so much would change between those two behemoths of Irish History-Collins and De Valera over the next number of years.    
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  • Vintage Young Tipperary Supporter Photograph

    €80.00
    45cm x 35cm Just a great study taken in the 1960s of a young Tipperary Hurling fan watching the action on the field of play unfold as he wears an improvised paper cap.
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  • 1910 Vintage Tipperary Hurling Captains Print

    €80.00
    45cm x 35cm  Thurles Co Tipperary Superb framed portrait taken in 1910 of three separate Thurles men when captained Tipperary in the early 20th century- Tom Semple of Fianna Road  ,Dinny Maher of Killinin  & Jim Stapleton of Cathedral Road. Thomas Semple (8 April 1879 – 11 April 1943) was an Irish hurler who played as a half-forward for the Tipperary senior team. Semple joined the panel during the 1897 championship and eventually became a regular member of the starting seventeen until his retirement after the 1909 championship. During that time he won three All-Ireland medals and four Munster medals. An All-Ireland runner-up on one occasion, Semple captained the team to the All-Ireland title in 1906 and in 1908. At club level Semple was a six-time county club championship medalist with Thurles.

    Playing career

    Club

    Semple played his club hurling with the local club in Thurles, the precursor to the famous Sarsfield's club. He rose through the club and served as captain of the team for almost a decade. In 1904 Semple won his first championship medal following a walkover from Lahorna De Wets. Thurles failed to retain their title, however, the team returned to the championship decider once again in 1906. A 4-11 to 3-6 defeat of Lahorna De Wets gave Semple his second championship medal as captain. It was the first of four successive championships for Thurles as subsequent defeats of Lahorna De Wets, Glengoole and Racecourse/Grangemockler brought Semple's medal tally to five. Five-in-a-row proved beyond Thurles, however, Semple's team reached the final for the sixth time in eight seasons in 1911. A 4-5 to 1-0 trouncing of Toomevara gave Semple his sixth and final championship medal as captain.

    Inter-county

    Tipperary Hurling Team outside Clonmel railway station, August 26, 1910. Semple is in the centre of the middle row.
    Semple's skill quickly brought him to the attention of the Tipperary senior hurling selectors. After briefly joining the team in 1897, he had to wait until 1900 to become a regular member of the starting seventeen. That year a 6-11 to 1-9 trouncing of Kerry gave him his first Munster medal.Tipp later narrowly defeated Kilkenny in the All-Ireland semi-final before trouncing Galway in the "home" All-Ireland final. This was not the end of the championship campaign because, for the first year ever, the "home" finalists had to take on London in the All-Ireland decider. The game was a close affair with both sides level at five points with eight minutes to go. London then took the lead; however, they later conceded a free. Tipp's Mikey Maher stepped up, took the free and a forward charge carried the sliotar over the line. Tipp scored another goal following a weak puck out and claimed a 2-5 to 0-6 victory. It was Semple's first All-Ireland medal. Cork dominated the provincial championship for the next five years; however, Tipp bounced back in 1906. That year Semple was captain for the first time as Tipp foiled Cork's bid for an unprecedented sixth Munster title in-a-row. The score line of 3-4 to 0-9 gave Semple a second Munster medal. Tipp trounced Galway by 7-14 to 0-2 on their next outing, setting up an All-Ireland final meeting with Dublin. Semple's side got off to a bad start with Dublin's Bill Leonardscoring a goal after just five seconds of play. Tipp fought back with Paddy Riordan giving an exceptional display of hurling and capturing most of his team's scores. Ironically, eleven members of the Dublin team hailed from Tipperary. The final score of 3-16 to 3-8 gave victory to Tipperary and gave Semple a second All-Ireland medal. Tipp lost their provincial crown in 1907, however, they reached the Munster final again in 1908. Semple was captain of the side again that year as his team received a walkover from Kerry in the provincial decider. Another defeat of Galway in the penultimate game set up another All-Ireland final meeting with Dublin. That game ended in a 2-5 to 1-8 draw and a replay was staged several months later in Athy. Semple's team were much sharper on that occasion. A first-half goal by Hugh Shelly put Tipp well on their way. Two more goals by Tony Carew after the interval gave Tipp a 3-15 to 1-5 victory.It was Semple's third All-Ireland medal. 1909 saw Tipp defeat arch rivals Cork in the Munster final once again. A 2-10 to 1-6 victory gave Semple his fourth Munster medal. The subsequent All-Ireland final saw Tipp take on Kilkenny. The omens looked good for a Tipperary win. It was the county's ninth appearance in the championship decider and they had won the previous eight. All did not go to plan as this Kilkenny side cemented their reputation as the team of the decade. A 4-6 to 0-12 defeat gave victory to "the Cats" and a first final defeat to Tipperary. Semple retired from inter-county hurling following this defeat.

    Personal life

    Semple was born in Drombane, County Tipperary in 1879. He received a limited education at his local national school and, like many of his contemporaries, finding work was a difficult prospect. At the age of 16 Semple left his native area and moved to Thurles. Here he worked as a guardsman with the Great Southern & Western Railway. In retirement from playing Semple maintained a keen interest in Gaelic games. In 1910 he and others organised a committee which purchased the showgrounds in Thurles in an effort to develop a hurling playing field there. This later became known as Thurles Sportsfield and is regarded as one of the best surfaces for hurling in Ireland. In 1971 it was renamed Semple Stadium in his honour. The stadium is also lovingly referred to as Tom Semple's field. Semple also held the post of chairman of the Tipperary County Board and represented the Tipperary on the Munster Council and Central Council. He also served as treasurer of the latter organization. During the War of Independence Semple played an important role for Republicans. He organized dispatches via his position with the Great Southern & Western Railway in Thurles. Tom Semple died on 11 April 1943.
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  • Tom Semple ‘A legend of Tipperary Hurling” Vintage Print

    €80.00
    45cm x 35cm  Thurles Co Tipperary Thomas Semple (8 April 1879 – 11 April 1943) was an Irish hurler who played as a half-forward for the Tipperary senior team. Semple joined the panel during the 1897 championship and eventually became a regular member of the starting seventeen until his retirement after the 1909 championship. During that time he won three All-Ireland medals and four Munster medals. An All-Ireland runner-up on one occasion, Semple captained the team to the All-Ireland title in 1906 and in 1908. At club level Semple was a six-time county club championship medalist with Thurles.

    Playing career

    Club

    Semple played his club hurling with the local club in Thurles, the precursor to the famous Sarsfield's club. He rose through the club and served as captain of the team for almost a decade. In 1904 Semple won his first championship medal following a walkover from Lahorna De Wets. Thurles failed to retain their title, however, the team returned to the championship decider once again in 1906. A 4-11 to 3-6 defeat of Lahorna De Wets gave Semple his second championship medal as captain. It was the first of four successive championships for Thurles as subsequent defeats of Lahorna De Wets, Glengoole and Racecourse/Grangemockler brought Semple's medal tally to five. Five-in-a-row proved beyond Thurles, however, Semple's team reached the final for the sixth time in eight seasons in 1911. A 4-5 to 1-0 trouncing of Toomevara gave Semple his sixth and final championship medal as captain.

    Inter-county

    Tipperary Hurling Team outside Clonmel railway station, August 26, 1910. Semple is in the centre of the middle row.
    Semple's skill quickly brought him to the attention of the Tipperary senior hurling selectors. After briefly joining the team in 1897, he had to wait until 1900 to become a regular member of the starting seventeen. That year a 6-11 to 1-9 trouncing of Kerry gave him his first Munster medal.Tipp later narrowly defeated Kilkenny in the All-Ireland semi-final before trouncing Galway in the "home" All-Ireland final. This was not the end of the championship campaign because, for the first year ever, the "home" finalists had to take on London in the All-Ireland decider. The game was a close affair with both sides level at five points with eight minutes to go. London then took the lead; however, they later conceded a free. Tipp's Mikey Maher stepped up, took the free and a forward charge carried the sliotar over the line. Tipp scored another goal following a weak puck out and claimed a 2-5 to 0-6 victory. It was Semple's first All-Ireland medal. Cork dominated the provincial championship for the next five years; however, Tipp bounced back in 1906. That year Semple was captain for the first time as Tipp foiled Cork's bid for an unprecedented sixth Munster title in-a-row. The score line of 3-4 to 0-9 gave Semple a second Munster medal. Tipp trounced Galway by 7-14 to 0-2 on their next outing, setting up an All-Ireland final meeting with Dublin. Semple's side got off to a bad start with Dublin's Bill Leonardscoring a goal after just five seconds of play. Tipp fought back with Paddy Riordan giving an exceptional display of hurling and capturing most of his team's scores. Ironically, eleven members of the Dublin team hailed from Tipperary. The final score of 3-16 to 3-8 gave victory to Tipperary and gave Semple a second All-Ireland medal. Tipp lost their provincial crown in 1907, however, they reached the Munster final again in 1908. Semple was captain of the side again that year as his team received a walkover from Kerry in the provincial decider. Another defeat of Galway in the penultimate game set up another All-Ireland final meeting with Dublin. That game ended in a 2-5 to 1-8 draw and a replay was staged several months later in Athy. Semple's team were much sharper on that occasion. A first-half goal by Hugh Shelly put Tipp well on their way. Two more goals by Tony Carew after the interval gave Tipp a 3-15 to 1-5 victory.It was Semple's third All-Ireland medal. 1909 saw Tipp defeat arch rivals Cork in the Munster final once again. A 2-10 to 1-6 victory gave Semple his fourth Munster medal. The subsequent All-Ireland final saw Tipp take on Kilkenny. The omens looked good for a Tipperary win. It was the county's ninth appearance in the championship decider and they had won the previous eight. All did not go to plan as this Kilkenny side cemented their reputation as the team of the decade. A 4-6 to 0-12 defeat gave victory to "the Cats" and a first final defeat to Tipperary. Semple retired from inter-county hurling following this defeat.

    Personal life

    Semple was born in Drombane, County Tipperary in 1879. He received a limited education at his local national school and, like many of his contemporaries, finding work was a difficult prospect. At the age of 16 Semple left his native area and moved to Thurles. Here he worked as a guardsman with the Great Southern & Western Railway. In retirement from playing Semple maintained a keen interest in Gaelic games. In 1910 he and others organised a committee which purchased the showgrounds in Thurles in an effort to develop a hurling playing field there. This later became known as Thurles Sportsfield and is regarded as one of the best surfaces for hurling in Ireland. In 1971 it was renamed Semple Stadium in his honour. The stadium is also lovingly referred to as Tom Semple's field. Semple also held the post of chairman of the Tipperary County Board and represented the Tipperary on the Munster Council and Central Council. He also served as treasurer of the latter organization. During the War of Independence Semple played an important role for Republicans. He organized dispatches via his position with the Great Southern & Western Railway in Thurles. Tom Semple died on 11 April 1943.
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  • Vintage Jimmy Doyle Tipperary Legend Print

    €80.00
    20cm x 35cm.  Thurles Co Tipperary "Jimmy Doyle would have seen many things, and watched a lot of hurling, in his 76 years. But the Tipperary legend, who died last Monday, was possibly most pleased to watch the sumptuous performance of his native county, against Limerick, just the day before. Simply put, the way Tipp hurl at the moment is pure Jimmy Doyle - and no finer compliment can be paid in the Premier County. Eamon O'Shea's current group are all about skill, vision, élan, creativity, elegance: the very things which defined Doyle's playing style as he terrorised defences for close on two decades. Indeed, it's a funny irony that the Thurles Sarsfields icon, were he young today, would easily slip into the modern game, such was his impeccable technique, flair and positional sense. There may have been "better" hurlers in history (Cork's Christy Ring surely still stands as the greatest of all). There may even have been better Tipp hurlers - John Doyle, for example, who won more All-Irelands than his namesake. But there was hardly a more naturally gifted man to play in 125 years. The hurling of Doyle's heyday, by contrast with today, was rough, tough, sometimes brutal. His own Tipp team featured a full-back line so feared for taking no prisoners, they were christened (not entirely unaffectionately) "Hell's Kitchen". While not quite unique, Doyle was one of a select group back then who relied less on brute force, and more on quick wrists, "sixth sense" spatial awareness, and uncanny eye-hand co-ordination to overcome. During the 1950s and '60s, when he was in his pomp, forwards were battered, bruised and banjaxed, with little protection from rules or referees. It speaks even more highly, then, of this small, slim man ("no bigger in stature than a jockey", as put by Irish Independent sportswriter Vincent Hogan) that he should achieve such greatness. What, you'd wonder, might have been his limitations - if any - had he played in the modern game? Regardless, his place in hurling's pantheon is assured; one of a handful of players to transcend even greatness and enter some almost supernatural realm of brilliance. This week his former teammate, and fellow Tipp legend, Michael "Babs" Keating recalled how Christy Ring had once told him, "If Jimmy Doyle was as strong as you and I, nobody would ever ask who was the best." Like Ring, Jimmy made both the 1984 hurling Team of the Century, compiled in honour of the GAA's Centenary, and the later Team of the Millennium. We can also throw in a slot on both Tipperary and Munster Teams of the Millennium, and being named Hurler of the Year in 1965 - and that's just the start of one of the most glittering collections of honours in hurling history.
    Six All-Ireland senior hurling titles. Nine Munster. Seven league. Ten county titles with Thurles Sarsfields. One of only four players to twice captain their county to the Liam MacCarthy Cup. One of four to have captained All-Ireland winning minor and senior teams. One of two to have won three All-Ireland minor medals. The only hurler to have played in four minor finals.
    At the time of his inter-country retirement in 1973, Jimmy Doyle's career tally of 18 goals and 176 points marked him as Tipperary's all-time top scorer. That stood until 2007, when surpassed by Eoin Kelly, and still makes 14th place on the list, despite modern-day hurlers playing more games against more lenient defences. He's also the third-highest scorer in All-Ireland finals, and one of a tiny group to have won senior titles in three different decades. He was born, appropriately enough, in Thurles, birthplace of the GAA, on March 20th, 1939. He grew up just around the corner from the famed Semple Stadium, and lived in the town his whole life.
    His father and uncle had won All-Irelands with Tipp, and Jimmy's aptitude for the small-ball game was evident from an early age at Thurles CBS. Having honed his skills in the shadow of Semple, he made the Tipperary minor team aged just 14, and would later debut for the seniors at 18, one of the youngest ever (he also won a first county title with Sarsfields as a mere stripling of 16). His first appearance at Croke Park ended in defeat to Dublin - Jimmy played in goals - but happier days, and a move to the forwards, lay ahead. He won three minor All-Irelands in a row, and senior success soon followed. Having straddled underage and adult grades briefly, his senior championship bow came in defeat to Cork in 1957. Within a year, though, Doyle landed his first league, provincial and All-Ireland medals, defeating Galway in the last final and ending that campaign as top scorer for good measure. Many more honours were to come, as part of the legendary Tipp side of the 1960s: possibly the most dominant team ever until the recent all-conquering Kilkenny group, they and Jimmy won Liam MacCarthy four years out of five, with just a freak defeat to Waterford in 1963 preventing a likely five-in-a-row. His last title came in 1971 (coincidentally, also Tipp's last for nearly two decades). Doyle continued to play for two more years, but a series of injuries - broken bones, back trouble and premature arthritis - eventually forced his retirement in 1973. He later indulged in a little coaching with Laois. Since retirement, the honours continued to amass. In 2008 Jimmy was featured on the popular TG4 programme Laochra Gael. A year later, as part of the GAA 125 celebrations, he was chosen as the Tipperary representative in a commemorative torch parade through Thurles on the day of the Munster final. In 2012 a road was named in his honour in his hometown, where he had worked in the local Assumption Hospital for many years (he also, in his youth, spent some time as a cobbler, which was his father's trade). Tributes flooded in this week as news of Jimmy's death broke, from friend and foe alike. Minister Alan Kelly, a fellow Tipp man, paid tribute thus: "A genius on the hurling field and a gentleman off it, Jimmy was just about to launch a book on his life and times. I was delighted to open the Jimmy Doyle Road in 2012 with Jimmy present and as proud as could be. I had the pleasure of his company on many occasions and he's going to be very sadly missed." Kilkenny great Eddie Keher, a contemporary of Jimmy, said, "He was brilliant. I was always a great fan of his even though we were great rivals. Jimmy was a gentleman both on and off the field and such a beautiful striker of the ball." Former Tipp goalkeeper Brendan Cummins remarked pithily, "Tipp has lost one of its great hurling legends."  
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  • Vintage Young Jimmy Doyle Tipperary Legend

    €80.00
    Fantastic piece of Tipperary Hurling Nostalgia here as we see a very young Jimmy Doyle being presented with a Thurles Schoolboys Streel League Trophy. 45cm x 35cm. Thurles Co Tipperary "Jimmy Doyle would have seen many things, and watched a lot of hurling, in his 76 years. But the Tipperary legend, who died last Monday, was possibly most pleased to watch the sumptuous performance of his native county, against Limerick, just the day before. Simply put, the way Tipp hurl at the moment is pure Jimmy Doyle - and no finer compliment can be paid in the Premier County. Eamon O'Shea's current group are all about skill, vision, élan, creativity, elegance: the very things which defined Doyle's playing style as he terrorised defences for close on two decades. Indeed, it's a funny irony that the Thurles Sarsfields icon, were he young today, would easily slip into the modern game, such was his impeccable technique, flair and positional sense. There may have been "better" hurlers in history (Cork's Christy Ring surely still stands as the greatest of all). There may even have been better Tipp hurlers - John Doyle, for example, who won more All-Irelands than his namesake. But there was hardly a more naturally gifted man to play in 125 years. The hurling of Doyle's heyday, by contrast with today, was rough, tough, sometimes brutal. His own Tipp team featured a full-back line so feared for taking no prisoners, they were christened (not entirely unaffectionately) "Hell's Kitchen". While not quite unique, Doyle was one of a select group back then who relied less on brute force, and more on quick wrists, "sixth sense" spatial awareness, and uncanny eye-hand co-ordination to overcome. During the 1950s and '60s, when he was in his pomp, forwards were battered, bruised and banjaxed, with little protection from rules or referees. It speaks even more highly, then, of this small, slim man ("no bigger in stature than a jockey", as put by Irish Independent sportswriter Vincent Hogan) that he should achieve such greatness. What, you'd wonder, might have been his limitations - if any - had he played in the modern game? Regardless, his place in hurling's pantheon is assured; one of a handful of players to transcend even greatness and enter some almost supernatural realm of brilliance. This week his former teammate, and fellow Tipp legend, Michael "Babs" Keating recalled how Christy Ring had once told him, "If Jimmy Doyle was as strong as you and I, nobody would ever ask who was the best." Like Ring, Jimmy made both the 1984 hurling Team of the Century, compiled in honour of the GAA's Centenary, and the later Team of the Millennium. We can also throw in a slot on both Tipperary and Munster Teams of the Millennium, and being named Hurler of the Year in 1965 - and that's just the start of one of the most glittering collections of honours in hurling history.
    Six All-Ireland senior hurling titles. Nine Munster. Seven league. Ten county titles with Thurles Sarsfields. One of only four players to twice captain their county to the Liam MacCarthy Cup. One of four to have captained All-Ireland winning minor and senior teams. One of two to have won three All-Ireland minor medals. The only hurler to have played in four minor finals. At the time of his inter-country retirement in 1973, Jimmy Doyle's career tally of 18 goals and 176 points marked him as Tipperary's all-time top scorer. That stood until 2007, when surpassed by Eoin Kelly, and still makes 14th place on the list, despite modern-day hurlers playing more games against more lenient defences. He's also the third-highest scorer in All-Ireland finals, and one of a tiny group to have won senior titles in three different decades. He was born, appropriately enough, in Thurles, birthplace of the GAA, on March 20th, 1939. He grew up just around the corner from the famed Semple Stadium, and lived in the town his whole life. His father and uncle had won All-Irelands with Tipp, and Jimmy's aptitude for the small-ball game was evident from an early age at Thurles CBS. Having honed his skills in the shadow of Semple, he made the Tipperary minor team aged just 14, and would later debut for the seniors at 18, one of the youngest ever (he also won a first county title with Sarsfields as a mere stripling of 16). His first appearance at Croke Park ended in defeat to Dublin - Jimmy played in goals - but happier days, and a move to the forwards, lay ahead. He won three minor All-Irelands in a row, and senior success soon followed. Having straddled underage and adult grades briefly, his senior championship bow came in defeat to Cork in 1957. Within a year, though, Doyle landed his first league, provincial and All-Ireland medals, defeating Galway in the last final and ending that campaign as top scorer for good measure. Many more honours were to come, as part of the legendary Tipp side of the 1960s: possibly the most dominant team ever until the recent all-conquering Kilkenny group, they and Jimmy won Liam MacCarthy four years out of five, with just a freak defeat to Waterford in 1963 preventing a likely five-in-a-row. His last title came in 1971 (coincidentally, also Tipp's last for nearly two decades). Doyle continued to play for two more years, but a series of injuries - broken bones, back trouble and premature arthritis - eventually forced his retirement in 1973. He later indulged in a little coaching with Laois. Since retirement, the honours continued to amass. In 2008 Jimmy was featured on the popular TG4 programme Laochra Gael. A year later, as part of the GAA 125 celebrations, he was chosen as the Tipperary representative in a commemorative torch parade through Thurles on the day of the Munster final. In 2012 a road was named in his honour in his hometown, where he had worked in the local Assumption Hospital for many years (he also, in his youth, spent some time as a cobbler, which was his father's trade). Tributes flooded in this week as news of Jimmy's death broke, from friend and foe alike. Minister Alan Kelly, a fellow Tipp man, paid tribute thus: "A genius on the hurling field and a gentleman off it, Jimmy was just about to launch a book on his life and times. I was delighted to open the Jimmy Doyle Road in 2012 with Jimmy present and as proud as could be. I had the pleasure of his company on many occasions and he's going to be very sadly missed." Kilkenny great Eddie Keher, a contemporary of Jimmy, said, "He was brilliant. I was always a great fan of his even though we were great rivals. Jimmy was a gentleman both on and off the field and such a beautiful striker of the ball." Former Tipp goalkeeper Brendan Cummins remarked pithily, "Tipp has lost one of its great hurling legends."  
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    1962 All Ireland Hurling Final Programme Cover:Tipperary v Wexford

    €80.00
    45cm x 35cm Tipperary and Kilkenny met for the fourth successive year in the Minor final, with Kilkenny completing their third victory in a row. For the Senior match, Tipperary (captained by legend Jimmy Doyle) were looking to avenge their shock defeat when they last met Wexford (led in 1962 by Billy Rackard) in the 1960 All-Ireland. Dignitaries present to witness the final included: President of Ireland, Éamon de Valera, Former President Seán T O Kelly, An Taoiseach Seán Lemass, Minister of Industry and Commerce, former Cork hurling star Jack Lynch, and renowned actor Noel Purcell. Tipperary started explosively with two goals from Tom Moloughney and Theo English. Padge Keogh scored Wexford’s first point and they eventually clawed back into contention with Ned Wheeler drawing them level with a goal and a point. However, Tipperary went in at half time three points ahead with scores from Jimmy Doyle and Seán McLoughlin and it could have been more only due to the great goalkeeping display by Wexford’s Pat Nolan. The second half was tense and tough with Wexford drawing level again with Jimmy O Brien scoring a goal and Billy Rackard drawing them level. The sides were level three more times in a keenly fought encounter. Jimmy Doyle was a big loss to Tipperary having to go off injured, however a goal from the substitute Liam Connolly and points from Donie Nealon and Seán McLoughlin meant that Tipperary just pulled ahead and took the title by a two-point margin. Tony Wall deputised for the injured Tipperary captain and accepted the Liam McCarthy Cup.
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  • 1913 All Ireland Hurling Final Programme Cover:Tipperary v Kilkenny

    €80.00
    45cm x 35cm  Thurles Co Tipperary The 1913 All-Ireland Senior Hurling Championship Final was the 26th All-Ireland Final and the culmination of the 1913 All-Ireland Senior Hurling Championship, an inter-county hurling tournament for the top teams in Ireland. The match was held at Croke Park, Dublin, on 2 November 1913, between Kilkenny, represented by a club side from Mooncoin, and Tipperary, represented by club side Toomevara. The Munster champions lost to their Leinster opponents on a score line of 2–4 to 1–2.

    Summary

    J. Murphy opened the scoring with a goal for Tipperary and Matt Gargan replied with a Kilkenny goal. Kilkenny's vital second goal was scored by Sim Walton. It was Kilkenny's third All-Ireland title in-a-row and a remarkable seventh All-Ireland title in ten championship seasons. It was also the first all-Ireland final in which teams of 15 took part. A matchday programme from the game sold at auction in Kilkenny for more than €2,000 in 2018.

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    1913-11-02
    Kilkenny 2–4 – 1–2 Tipperary
    Attendance: 12,000
    Referee: M. F. Crowe (Limerick
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  • 1990 Munster Hurling Final Nicky English Tipperary v Cork

    €80.00
    45cm x 35cm.  Thurles Co Tipperary Very interesting action shot of Denis Walsh of Cork getting very up close and personal with Nicky English of Tipperary during the 1990 Munster Final,in the era before the wearing of protective helmets became mandatory.

    The Munster hurling final day is one of the great occasions in Irish sport.Be it Semple Stadium, the Gaelic Grounds or in Páirc Uí Chaoimh, it is a huge date on the provincial and national stage.It is a well-documented fact that on Munster final day, carloads of supporters would travel from the Glens of Antrim to Thurles to view the protagonists in action.

    It’s 30 years ago now but it was a similar situation in 1990 when the two old foes collided on a scalding July day in Thurles .Tipperary had the MacCarthy Cup in their possession back then too having beaten Antrim in the All-Ireland final the previous September.Cork, on the other hand, were down in the dumps having lost to what proved to be a very poor Waterford team in 1989, a Waterford team that were subsequently hammered by Tipp in the Munster final.Cork went into the Munster final in 1990 as raging underdogs, almost no-hopers against the reigning All-Ireland champions.But it was a different Cork team that they were facing this time. In attitude as much as anything, as Teddy McCarthy and Tomás Mulcahy were both out for the provincial decider through injury.

    Pat Buckley in action against Tipperary's John Kennedy. Picture: Ray McManus/SPORTSFILE.
    Canon Michael O’Brien had taken the managerial reigns while Cork’s 1966 All-Ireland winning captain Gerald McCarthy had taken over the coaching duties.In the pre-match build-up Tipperary’s coach Babs Keating had riled Cork supporters with his infamous quote, ‘You don’t win derbies with donkeys’. It was a statement that to this day he has lived to regret although it must be said that nobody has more respect for Cork hurling than Babs Keating has.

    The Canon and Gerald brought a fresh and renewed impetus to the Cork set up, brought back a few players who had been discarded and going up to Thurles there was a calm and cautiously optimistic approach.

    For Cork to be in the hunt they needed a positive start to have any chance of outright victory, they needed to unsettle Tipp early on and that is exactly what transpired.

    Cork started brilliantly, inspired by Jim Cashman who was a dominant figure at centre-back, while Tony O’Sullivan, later Hurler of the Year, was hugely influential at wing-forward, as the below clip from the @corkhurlers1 twitter shows.A Tipperary laden with great players like Nicky English, Pat Fox, the Bonner brothers, Declan Ryan, John Leahy and Bobby Ryan quickly realised that this was a different Cork team than the one who had went down so meekly to Waterford a year earlier.

    The Cork crowd really got behind the team and as the game progressed an unlikely hero was to emerge from a small club in West Cork.

    Argedeen Rangers’ Mark Foley had one of those magical days that you could only ever dream about. Everything ‘The Dentist’ touched turned to gold, there was no holding him.

    Cork's Mark Foley scores on the stroke of half time against Tipperary in the 1990 Munster final at Semple Stadium. 
    Cork's Mark Foley scores on the stroke of half time against Tipperary in the 1990 Munster final at Semple Stadium. He banged in a brace of goals, rifled over seven points, all from play, he was simply unstoppable on that July afternoon in Semple Stadium.

    Tipp couldn’t cope and the rest is history as Cork swept to one of their greatest Munster Final triumphs.

    One can recall sitting in the Ryan Stand that day with Cork Examiner sports editor Tom Aherne and both of us losing the run of ourselves surrounded by Tipp supporters who were in a state of shock. Foley’s performance that day has stood the test of time as one of the greatest individual displays ever given in a Munster Final or otherwise.

    But there were heroes everywhere, from Ger Cunningham out. Teddy McCarthy, John Fitzgibbon, Tomás Mulcahy, Kevin Hennessy, Denis Walsh, Ger Fitzgerald, Tony O’Sullivan to mention just a handful.

    Jim Cashman had the game of his life at number six completely stifling Declan Ryan. But it was Foley’s day.

    That performance would be nearly impossible to repeat but in the All Ireland final against Galway he scored 1-1 which was a major contribution as Cork regained the McCarthy Cup.

    Tipp exacted revenge a year later in a Munster final replay when Jim Cashman was controversially taken out of the game.

    The Cork Tipp rivalry was as intense as it ever was back then and Cork won back the Munster final in 1992.

    The Cork team that day in 1990 was: G Cunningham; J Considine, D Walsh, S O’Gorman; S McCarthy, J Cashman, K McGuckin; P Buckley, B O’Sullivan; D Quirke, M Foley, T O’Sullivan; G Fitzgerald, K Hennessy, J Fitzgibbon

    Scorers: Mark Foley 2-7, John Fitzgibbon 2-0, Tony O’Sullivan 0-5, Cathal Casey, Ger Fitzgerald, Kevin Hennessy, David Quirke 0-1 each.

     

    In the All-Ireland final a short few months later Cork defeated Galway in a seven-goal thriller in Croke Park, winning in a scoreline of 5-15 to 2-21.

    The Cork scorers that day were: John Fitzgibbon 2-1, Kevin Hennessy 1-4, Tomás Mulcahy 1-2, Mark Foley 1-1, Teddy McCarthy 0-3, Tony O’Sullivan 0-2, Ger Fitzgerald, Kieran McGuckin 0-1 each.

     
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  • 1987 Munster Hurling Final Nicky English Famous Goal v Cork

    €80.00
    45cm x 35cm. Thurles Co Tipperary

    "It’s worth stating at the outset that my favourite sports moment of all time is not when Tipperary’s Nicky English kicked that soccer-style goal past Ger Cunningham of Cork in the Munster final. Not exactly. Not quite. But we’ll come back to that.First, some context. In the summer of 1987 I was nine years old. It was the first year that my parents had deemed me old enough to bring to matches. And the match-going experience was decidedly different to what it is these days.

    For one thing, the roads were all shite, as the EU had yet to wave their magic motorway wand. Travelling to pretty much anywhere was likely at some point to take you down a boreen with grass up the middle of it. But apparently the GAA hadn’t noticed this particular problem. Believe it or not, Tipperary played five matches in the Munster hurling championship that year, and four of them were in the hurling mecca that is Killarney.

    And yes, before you ask, we brought sandwiches and flasks of tea to every game. Given how long it took to get from south Tipp to Killarney in those days we should have brought sleeping bags as well.

    The night before a game my parents would pore over a map, picking a route and, depending on the opposition, identifying the arteries that were ripe for congestion. “The Clare crowd will surely come through Ballydesmond, so if we go through Millstreet we’ll avoid them until Barraduff.” Ah, the glamour.

    My Dad drove, while my Mam took navigation duties, the toughest task being the effort of folding the gargantuan map in a manner that allowed her to read it without obscuring the entire windshield.

    Two family friends came to most of the games with us. Tommy Sweeney wore a baseball cap and puffed on a pipe, while delivering droll witticisms from the free side of his mouth. Patrick “Butt” O’Dwyer had a loud laugh and an easy manner. Long retired from the pitch, he had once been renowned for his on-field temper but by that stage the only thing that seemed to raise his ire was bad referees. My sister Michelle and I would sit wedged in between these two bears of men. There were no seat belts but I’d wager we could have survived the car flipping over with those two on either side .

    I suspect that everyone in the car other than me was travelling more in hope than expectation. Sixteen years of losing will do that to you. What’s the opposite of a magician pulling a rabbit from a hat? That was Tipperary – finding new and painful ways to lose every year.

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  • Special Old Irish Whiskey Label Print

    €80.00
    26cm x 32cm Nice,enlarged example of the labels used by bottling pubs in Ireland back in the day. The (nearly) Lost Art of Irish Whiskey Bonding It may seem extraordinary considering the system we have now, but during the 19th century Irish distillers did not bottle and sell their own whiskey. They simply produced the spirit, put it in casks and then sold it on to retailers directly, who would then supply the public as they wished. These spirits merchants were known as bonders, from the practice of holding whiskey “in bond” (i.e. without duties paid on it) in their specialised bonded warehouses. Many pubs also doubled as bonders, which meant they could, supply their patrons with whiskey of which they were assured the provenance. Provenance and dishonesty were the main problem with this system as distilleries had no control over what happened to their whiskey after it left their premises. This lead some of the more unscrupulous proprietors to adulterate the whiskey coming from the cask or lie about how old it was, meaning that a distillery might end up with a bad name for their product through no fault of their own. However, some whiskey bonders of the era were renowned for their dedication to the art of maturing and blending, such that their names and products have today become some of the most important in Irish whiskey. Mitchell & Sons (Spot Whiskeys) Though beginning life in 1805 as a tea shop and confectionary business, it was in 1887 that the Mitchell family made their mark on Irish spirit history. That was the year they decided to go into the whiskey bonding, following a period as solely wine merchants. The ingenious idea must have seemed quite obvious, they had lots of empty wine and sherry casks so why not send them across the river to Jameson’s Bow Street distillery to be filled with new make single pot still whiskey. Once in the bonded warehouse the casks were given a coloured dash or spot, depending on how long they were due to be aged for, blue for seven years, green for 10, yellow for 12 and red for 15. This led to its renown as “Spot Whiskey” which became hugely popular with the high society of the time and had no lesser proponent than Samuel Beckett, who would order casks to be delivered to his Parisian literary atelier. Thankfully, Mitchell and Son are still going strong, and aged single pot still whiskey from Midleton, in the form of Green and Yellow Spot is widely available. Gilbey’s (Redbreast) A huge wine and spirit retailer, Gilbey’s Irish operation had stores of Irish, particularly Dublin, pot still that could only be matched by the distilleries themselves. At the turn of the 19th century for example they held over 700,000 gallons of Jameson whiskey. Its most famous brand at the time was its 6-year old “Castle Whiskey”, which was discontinued in the 30s (the castle having a negative political connotation in the Republic of Ireland). It was in 1912 however that its lasting legacy on Irish whiskey was founded, when it introduced its 12-year old single pot still, Redbreast. This was to last under the Gilbey’s name until the 1980s, more than a decade after the Jameson Distillery in Dublin had actually stopped producing, relying on stocks that had been built up. Today, after a joining with Irish Distillers and being produced in Midleton, Redbreast is still the preeminent expression of single pot still whiskey and a testament to the enduring good name of quality bonding. Chapel Gate (JJ Corry – ‘The Gael’) The resurgent life force affecting all other aspects of Irish whiskey has also laid its hands on the art of whiskey bonding. Chapel Gate, in west Clare, have resurrected the practice of buying whiskey straight from distilleries, casking it in their own barrels and maturing it and blending it as they wish. Their JJ Corry ’The Gael’ is their first release and contains a blend of whiskey up to 26 years old, with the majority being 11 to 15 year single malt. With the wild Atlantic air providing a perfect climate for maturing whiskey we can expect them to be continuing this great Irish whiskey tradition for a long time into the future. If you would like to see what the art of bonding has endowed to Irish whiskey, you can try the excellent Green and Yellow Spots from Mitchell and Son, or the wonderful Redbreast including an original Gilbey’s bottling.
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Irish Pub at Home & Abroad

The Pub has been at the forefront and epicentre of Irish life for hundreds of years. Often humble but always unpretentious, it has served many and varied functions.  A place where strangers become friends and friendships are solidified. A refuge from the stresses of everyday life, the headquarters of local life.

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