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Original full page Guinness advert from Sketch Magazine,dated 1934.On reverse side is more advertising gold in the form of an De Reszke Advert-the "aristocrat of cigarettes " back in 1934.Sketch Magazine was a British illustrated weekly journal, which focused on high society and the aristocracy between 1893 and 1959. 52cm x 47cm London Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
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62cm x 45cm An absolute once off piece of Irish Memorabilia .We at the Irish Pub Emporium were so lucky to acquire from a private collector .These superb castiron road signs were commissioned by the Irish Free State in the late 1940s post and were initially the responsibility of the newly formed Irish Tourism Organisation -Fógra Failte (later to become Bord Failte and then Failte Ireland). "The former 'fingerpost' style of Irish directional signs can still be seen in many rural areas of the Republic of Ireland. These signs differ from their modern-day equivalent as they have black raised text on a white background. Destinations are in all caps (the placename in Irish was on top and in a smaller font than the one in English). Sometimes, the former route number ("T" for trunk road, "L" for link road) can be seen, and the former Bord Fáilte logo can be seen on some (they had responsibility for signs for a time), as well as occasionally a harp. Distances on these signs are in miles. This style of sign has become a common feature of many tourist images of Ireland and can be seen in some Irish pubs. However, they can be easily rotated, and have been done so on occasion and therefore are not completely reliable. While most examples of these signs still in situ are rural finger-posts, the advance directional sign of this era can still very occasionally be seen: this has a grey background, with the destinations in outlined, white-background boxes linked together with black lines, and the text is not raised on these, unlike on fingerposts. These signs, rare even when the system was in use, can be seen in some areas of Dún Laoghaire and Drogheda. These signs were prescribed under various regulations, with the final design prescribed under the Road Traffic Signs (Regulations) 1962. Despite the new sign style being introduced in 1977, the design change was never legislated for (apart from a reference to the change to italics in 1989) and the old designs were repealed only under the 1997 regulations, 20 years later.
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61cm x 69cm An absolute once off piece of Irish Memorabilia .We at the Irish Pub Emporium were so lucky to acquire from a private collector who has moved overseas.These superb castiron road signs were commissioned by the Irish Free State in the late 1940s post and were initially the responsibility of the newly formed Irish Tourism Organisation -Fógra Failte (later to become Bord Failte and then Failte Ireland). "The former 'fingerpost' style of Irish directional signs can still be seen in many rural areas of the Republic of Ireland. These signs differ from their modern-day equivalent as they have black raised text on a white background. Destinations are in all caps (the placename in Irish was on top and in a smaller font than the one in English). Sometimes, the former route number ("T" for trunk road, "L" for link road) can be seen, and the former Bord Fáilte logo can be seen on some (they had responsibility for signs for a time), as well as occasionally a harp. Distances on these signs are in miles. This style of sign has become a common feature of many tourist images of Ireland and can be seen in some Irish pubs. However, they can be easily rotated, and have been done so on occasion and therefore are not completely reliable. While most examples of these signs still in situ are rural finger-posts, the advance directional sign of this era can still very occasionally be seen: this has a grey background, with the destinations in outlined, white-background boxes linked together with black lines, and the text is not raised on these, unlike on fingerposts. These signs, rare even when the system was in use, can be seen in some areas of Dún Laoghaire and Drogheda. These signs were prescribed under various regulations, with the final design prescribed under the Road Traffic Signs (Regulations) 1962. Despite the new sign style being introduced in 1977, the design change was never legislated for (apart from a reference to the change to italics in 1989) and the old designs were repealed only under the 1997 regulations, 20 years later.
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61cm x 69cm An absolute once off piece of Irish Memorabilia .We at the Irish Pub Emporium were so lucky to acquire from a private collector who has moved overseas.These superb castiron road signs were commissioned by the Irish Free State in the late 1940s post and were initially the responsibility of the newly formed Irish Tourism Organisation -Fógra Failte (later to become Bord Failte and then Failte Ireland). "The former 'fingerpost' style of Irish directional signs can still be seen in many rural areas of the Republic of Ireland. These signs differ from their modern-day equivalent as they have black raised text on a white background. Destinations are in all caps (the placename in Irish was on top and in a smaller font than the one in English). Sometimes, the former route number ("T" for trunk road, "L" for link road) can be seen, and the former Bord Fáilte logo can be seen on some (they had responsibility for signs for a time), as well as occasionally a harp. Distances on these signs are in miles. This style of sign has become a common feature of many tourist images of Ireland and can be seen in some Irish pubs. However, they can be easily rotated, and have been done so on occasion and therefore are not completely reliable. While most examples of these signs still in situ are rural finger-posts, the advance directional sign of this era can still very occasionally be seen: this has a grey background, with the destinations in outlined, white-background boxes linked together with black lines, and the text is not raised on these, unlike on fingerposts. These signs, rare even when the system was in use, can be seen in some areas of Dún Laoghaire and Drogheda. These signs were prescribed under various regulations, with the final design prescribed under the Road Traffic Signs (Regulations) 1962. Despite the new sign style being introduced in 1977, the design change was never legislated for (apart from a reference to the change to italics in 1989) and the old designs were repealed only under the 1997 regulations, 20 years later.
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55cm x 68cm An absolute once off piece of Irish Memorabilia .We at the Irish Pub Emporium were so lucky to acquire from a private collector who has moved overseas.These superb castiron road signs were commissioned by the Irish Free State in the late 1940s post and were initially the responsibility of the newly formed Irish Tourism Organisation -Fógra Failte (later to become Bord Failte and then Failte Ireland). "The former 'fingerpost' style of Irish directional signs can still be seen in many rural areas of the Republic of Ireland. These signs differ from their modern-day equivalent as they have black raised text on a white background. Destinations are in all caps (the placename in Irish was on top and in a smaller font than the one in English). Sometimes, the former route number ("T" for trunk road, "L" for link road) can be seen, and the former Bord Fáilte logo can be seen on some (they had responsibility for signs for a time), as well as occasionally a harp. Distances on these signs are in miles. This style of sign has become a common feature of many tourist images of Ireland and can be seen in some Irish pubs. However, they can be easily rotated, and have been done so on occasion and therefore are not completely reliable. While most examples of these signs still in situ are rural finger-posts, the advance directional sign of this era can still very occasionally be seen: this has a grey background, with the destinations in outlined, white-background boxes linked together with black lines, and the text is not raised on these, unlike on fingerposts. These signs, rare even when the system was in use, can be seen in some areas of Dún Laoghaire and Drogheda. These signs were prescribed under various regulations, with the final design prescribed under the Road Traffic Signs (Regulations) 1962. Despite the new sign style being introduced in 1977, the design change was never legislated for (apart from a reference to the change to italics in 1989) and the old designs were repealed only under the 1997 regulations, 20 years later.
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45cm x 66cm An absolute once off piece of Irish Memorabilia .We at the Irish Pub Emporium were so lucky to acquire from a private collector who has moved overseas.These superb castiron road signs were commissioned by the Irish Free State in the late 1940s post and were initially the responsibility of the newly formed Irish Tourism Organisation -Fógra Failte (later to become Bord Failte and then Failte Ireland). "The former 'fingerpost' style of Irish directional signs can still be seen in many rural areas of the Republic of Ireland. These signs differ from their modern-day equivalent as they have black raised text on a white background. Destinations are in all caps (the placename in Irish was on top and in a smaller font than the one in English). Sometimes, the former route number ("T" for trunk road, "L" for link road) can be seen, and the former Bord Fáilte logo can be seen on some (they had responsibility for signs for a time), as well as occasionally a harp. Distances on these signs are in miles. This style of sign has become a common feature of many tourist images of Ireland and can be seen in some Irish pubs. However, they can be easily rotated, and have been done so on occasion and therefore are not completely reliable. While most examples of these signs still in situ are rural finger-posts, the advance directional sign of this era can still very occasionally be seen: this has a grey background, with the destinations in outlined, white-background boxes linked together with black lines, and the text is not raised on these, unlike on fingerposts. These signs, rare even when the system was in use, can be seen in some areas of Dún Laoghaire and Drogheda. These signs were prescribed under various regulations, with the final design prescribed under the Road Traffic Signs (Regulations) 1962. Despite the new sign style being introduced in 1977, the design change was never legislated for (apart from a reference to the change to italics in 1989) and the old designs were repealed only under the 1997 regulations, 20 years later.
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64cm x 45cm Fantastic original Guinness showcard from 1959 at the dawn of Draught Guinness. Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
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Cartoon Page from the satirical Punch Magazine August 10 1977 advertising a Guinness competition-Let Guinness show you how to keep a cool head this summer. Origins : UK Dimensions:44cm x 38cm Glazed Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
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Another extremely rare and quite ancient advertising print from 1911 depicting the Aintree Grand National of that year when Burkes Whiskey Ltd celebrated the fact that the first 3 horses home were all Irish Bred;1-Glenside,2-Rathnally,3- Shady Girl.The actual image taken by the photographer W.A Rouch shows an almighty tussle at the famous Valentines Brook fence between Shady Girl and Glenside.Despite their valiant attempts to market their business Burkes Three Star Irish Whiskey,another once famous distillery also became sadly defunct a few short years later. Mullingar Co. Westmeath 37cm x 44cm
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Really cool Capstan Navy Cut Vintage Mirror . Dublin. 62cm x 46cm W.D. & H.O. Wills was a British tobacco importer and manufacturer formed in Bristol, England. It was the first UK company to mass-produce cigarettes. It was one of the founding companies of Imperial Tobacco along with John Player & Sons. The company was founded in 1786 and went by various names before 1830 when it became W.D. & H.O. Wills. Tobacco was processed and sold under several brand names, some of which were still used by Imperial Tobacco until the second half of the 20th century. The company pioneered the use of cigarette cards within their packaging. Many of the buildings in Bristol and other cities around the United Kingdom still exist with several being converted to residential use. Henry Overton Wills I arrived in Bristol in 1786 from Salisbury, and opened a tobacco shop on Castle Street with his partner Samuel Watkins. They named their firm Wills, Watkins & Co. When Watkins retired in 1789, the firm became Wills & Co. Next, the company was known from 1791 to 1793 as Lilly, Wills & Co, when it merged with the firm of Peter Lilly, who owned a snuff mill on the Land Yeo at Barrow Gurney. The company then was known from 1793 up until Lilly's' retirement in 1803 as Lilly and Wills. In 1826 H.O. Wills's sons William Day Wills and Henry Overton Wills II took over the company, which in 1830 became W.D. & H.O. Wills. William Day Wills' middle name is from his mother Anne Day of Bristol. Both W.D. and H.O. Wills were non-smokers. When William Day Wills was killed in 1865 in a carriage accident, 2000 people attended his funeral at Arnos Vale Cemetery.The Wills Building in Newcastle upon Tyne, a former W.D. & H.O. Wills factoryThe former W.D. & H.O. warehouse building in Perth, Western AustraliaA Woodbine vending machine, now in the Staffordshire County Museumat Shugborough Hall, England
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Franklin Roosevelt, 1902
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J.E. Doig of Sunderland, 1902
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James Dickson of Port Adelaide, 1906
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S.J. Cagney of Ireland, 1929
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Stanley Matthews, 1939
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New Croton Dam, NY The factory in Hartcliffe, Bristol, was the location for the filming of UK television series Doctor Who, Episode 95 - The Sun Makers (1977). Filming at the Wills Factory spanned 13 to 15 June 1977. In addition to the roof and tunnels, scenes were also filmed in the lift and the roof vent.
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45cm x 60cm Naas Co Kildare Extremely unusual charcoal sketch "Study for Metamorphosis"from the internationally renowned sculptor Bob Quinn.Quinn works from preparatory sketches like the beautiful charcoal featured here to the wax or clay original.He then makes his own moulds before taking the wax through the long casting procedure to the patination process and to the permanence of the final sculpture. Please email us directly at irishpubemporium@gmail.com for more information. BOB QUINN grew up with sculpture. His father, a bank manager, was a part-time artist and, as a boy, Bob would watch him casting and moulding sculptures for sale. Bob dabbled for years too, producing the odd private commission but it was only after a long career in commercial art and design that he took the "frankly terrifying" step of giving up his job as a commercial designer BOB QUINN grew up with sculpture. His father, a bank manager, was a part-time artist and, as a boy, Bob would watch him casting and moulding sculptures for sale. Bob dabbled for years too, producing the odd private commission but it was only after a long career in commercial art and design that he took the "frankly terrifying" step of giving up his job as a commercial designer to become a full-time sculptor. His first major exhibition, at the Solomon Gallery in the Powerscourt Centre, Dublin, is the culmination of months of hard work. Seeking inspiration in everyday life, Bob first sketches his tableaux of human interaction in charcoals before moulding the figures in clay and finally casting them in bronze. The pieces are full of quiet drama. In the ironically titled Conspiracy, two womencasually gossip on a bench while a third listens in.Without overburdening each figure with facial detail,Bob lets the weight of the bodies and the angles of the glances between them convey their various personalities. Quinn lists Epstein and Rodin amongst his inspirations but his sculpture Waiting recalls the stark memorial pieces of German sculptor Kathe Kollwitz. We see the lonely figure of a man grieving on the rugged western shoreline. His hand pulls the coat around his face shielding him from the elements, but also to hide his grief. The figures are largely naturalistic, but Quinn is not over-preoccupied with a rigidly-correct anatomy. In many pieces, such as The Christmas Swim the enlarged hands and feet exaggerate the gestures giving the figures an almost playful expression. Quinn's works are being displayed in an exhibition of work from various artists at the Solomon Gallery until July 21.
He has pursued his love of drawing and sculpture throughout his career and has illustrated several publications and has been a regular contributor of illustrations to Independent Newspapers. His sculptures appear in private collections and gardens throughout Ireland, Britain and Europe.
Although loosely described as figurative his art is expressionist and his deep knowledge of anatomy allows him to abstract the human form and make the simplest of observations. His lifelong influences have been Epstein, Marini and Giacometti and painters such as Millet and Degas. His current work is a celebration of the drama and the nobility of the most ordinary of human activity. In terms of the craft of sculpture he enjoys the whole time worn process: Working from preparatory sketches to the wax or clay original he then makes his own moulds before taking the wax through the long casting procedure to the patination process and to the permanence of the final sculpture.