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  • struggle for independence, this month marks the 100-year anniversary of an important moment in Irish-US relations.

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

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

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

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

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

    Public speeches

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

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

  • JAMES J. MURPHY

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

    OUR LADY’S WELL BREWERY

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

    THE BEGINNING

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

    FROM STRENGTH TO STRENGTH

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

    A FRIEND OF THE POOR, HURRAH

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

    THE MALT HOUSE

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

    MURPHY’S GOLD

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

    MURPHY’S FOR STRENGTH

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

    THE JUBILEE

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

    SWIMMING IN STOUT

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

    JOINING UP

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

    THE FIRST LORRY IN IRELAND

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

    THE BURNING OF CORK

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

    MURPHY’S IN A BOTTLE

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

    THE FIRST CAMPAIGNS

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

    WWII

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

    LT. COL JOHN FITZJAMES

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

    THE IRON LUNG

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

    MURPHY’S IN AMERICA

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

    1985

    MURPHY’S GOES INTERNATIONAL

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

    MURPHY’S OPEN

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

    MURPHY’S GOLD

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

    150 YEARS OF BREWING LEGEND

    The Murphy Brewery celebrates 150 years of brewing from 1856 to 2006 going from strength to strength; the now legendary stout is sold in over 40 countries and recognised worldwide as superior stout. We hope James J. would be proud.
  • Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm
  • Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm
  • Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm
  • 25cm x 40cm Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
    Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.”  
  • 40cm x 30cm Luke Kelly (17 November 1940 – 30 January 1984) was an Irish singer, folk musician and actor from Dublin, Ireland. Born into a working-class household in Dublin city, Kelly moved to England in his late teens and by his early 20s had become involved in a folk music revival. Returning to Dublin in the 1960s, he is noted as a founding member of the band The Dubliners in 1962. Becoming known for his distinctive singing style, and sometimes political messages, the Irish Postand other commentators have regarded Kelly as one of Ireland's greatest folk singers. Early life Luke Kelly was born into a working-class family in Lattimore Cottages at 1 Sheriff Street.His maternal grandmother, who was a MacDonald from Scotland, lived with the family until her death in 1953. His father who was Irish- also named Luke- was shot and severely wounded as a child by British soldiers from the King's Own Scottish Borderers during the 1914 Bachelor's Walk massacre.His father worked all his life in Jacob's biscuit factory and enjoyed playing football. The elder Luke was a keen singer: Luke junior's brother Paddy later recalled that "he had this talent... to sing negro spirituals by people like Paul Robeson, we used to sit around and join in — that was our entertainment". After Dublin Corporation demolished Lattimore Cottages in 1942, the Kellys became the first family to move into the St. Laurence O’Toole flats, where Luke spent the bulk of his childhood, although the family were forced to move by a fire in 1953 and settled in the Whitehall area. Both Luke and Paddy played club Gaelic football and soccer as children. Kelly left school at thirteen and after a number of years of odd-jobbing, he went to England in 1958.[6] Working at steel fixing with his brother Paddy on a building site in Wolverhampton, he was apparently sacked after asking for higher pay. He worked a number of odd jobs, including a period as a vacuum cleaner salesman.Describing himself as a beatnik, he travelled Northern England in search of work, summarising his life in this period as "cleaning lavatories, cleaning windows, cleaning railways, but very rarely cleaning my face".

    Musical beginnings

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

    The Dubliners

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

    Personal life

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

    Final years

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

    Legacy

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

    Early boxing career

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

    King of the Curragh

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

    Cooper's challenge

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

    Later life

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

    Donnelly's arm

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

    Legends

    Almost two centuries after his death. Donnelly remains the subject of urban legend. One contends that he had the longest arms in boxing history, with the ability to touch his knees without bending down. Another claims that he was knighted by the Prince Regent. His arms were actually of normal length for a man of his size. No known documentation exists to support the latter.
  • 50cm x 45cm x 10cm   Co Carlow Sir Alfred James Munnings, KCVO PRA RI (8 October 1878 – 17 July 1959) was known as one of England's finest painters of horses, and as an outspoken critic of Modernism. Engaged by Lord Beaverbrook's Canadian War Memorials Fund, he earned several prestigious commissions after the Great War that made him wealthy. Between 1912 and 1914 he was a member of the Newlyn School of artists. His work was part of the art competitions at the 1928 Summer Olympics, the 1932 Summer Olympics, and the 1948 Summer Olympics. Munnings was president of the Royal Academy of Arts from 1944 until his death.

    Biography

    Alfred Munnings was born on 8 October 1878 at Mendham Mill, Mendham, Suffolk, across the River Waveney from Harleston in Norfolk to Christian parents. His father was the miller and Alfred grew up surrounded by the activity of a busy working mill with horses and horse-drawn carts arriving daily. After leaving Framlingham College at the age of fourteenhe was apprenticed to a Norwich printer, designing and drawing advertising posters for the next six years, attending the Norwich School of Art in his spare time. When his apprenticeship ended, he became a full-time painter. The loss of sight in his right eye in an accident in 1898 did not deflect his determination to paint, and in 1899 two of his pictures were shown at the Royal Academy Summer Exhibition.He painted rural scenes, frequently of subjects such as Gypsiesand horses. He was associated with the Newlyn School of painters, and while there met Florence Carter-Wood (1888–1914), a young horsewoman and painter. They married on 19 January 1912 but she tried to kill herself on their honeymoon and did so in 1914. Munnings bought Castle House, Dedham, in 1919, describing it as 'the house of my dreams'.He used the house and adjoining studio extensively throughout the rest of his career, and it was opened as the Munnings Art Museum in the early 1960s, after Munnings's death. Munnings remarried in 1920; his second wife was another horsewoman, Violet McBride (née Haines). There were no children from either marriage. Although his second wife encouraged him to accept commissions from society figures, Munnings became best known for his equine painting: he often depicted horses participating in hunting and racing.

    War artists

    Charge of Flowerdew's Squadron(1918), Canadian War Museum
    Felling a Tree in the Vosges (1918), Canadian War Museum
    Study of a Swiss Bull (before 1919), Canadian War Museum
    Although he volunteered to join the Army, he was assessed as unfit to fight. In 1917, his participation in the war was limited to a civilian job outside Reading, processing tens of thousands of Canadian horses en route to France — and often to death. Later, he was assigned to one of the horse remount depots on the Western Front. Munnings's talent was employed as a war artistto the Canadian Cavalry Brigade, under the patronage of Max Aitken, in the latter part of the war. During the war he painted many scenes, including in 1918 a portrait of General Jack Seely mounted on his horse Warrior (now in the collection of the National Gallery of Canada, Ottawa). Munnings worked on this canvas a few thousand yards from the German front lines. When General Seely's unit was forced into a hasty withdrawal, the artist discovered what it was like to come under shellfire.
    Le Comte d'Etchegoyen features Olivier d'Etchegoyen, the headquarters staff interpreter for the Canadian Cavalry Brigade (before 1919), Canadian War Museum
    In 1918 Munnings also painted Charge of Flowerdew's Squadron.After what is known as "the last great cavalry charge" at the Battle of Moreuil Wood, Gordon Flowerdew was posthumously awarded the Victoria Cross for leading Lord Strathcona's Horse in a successful engagement with entrenched German forces.[11] The Canadian Forestry Corps invited Munnings to tour its work camps in France, and in 1918 he produced drawings, watercolors, and oil paintings, including Draft Horses, Lumber Mill in the Forest of Dreux.This role of horses in the war was critical and under-reported; and in fact, horse fodder was the single largest commodity shipped to the front by some countries. The Canadian War Records Exhibition at the Royal Academy after the Armistice of November 1918 included forty-five of Munnings's canvasses.
    Shelters in Smallfoot Wood (before 1919), Canadian War Museum
    After the war, Munnings began to establish himself as a sculptor, although he had no formal training in the discipline. His first public work was the equestrian statue of Edward Horner in Mells, Somerset, a collaboration with his friend Sir Edwin Lutyens, who designed a plinth for the statue. This work led to a commission from the Jockey Club for a sculpture of Brown Jack.

    Later career

    Munnings was elected president of the Royal Academy of Arts in 1944. He was made a Knight Bachelor in July of the same year,and was appointed a Knight Commander of the Royal Victorian Order in the 1947 New Year Honours.His presidency is best known for the valedictory speech he gave in 1949, in which he attacked modernism. The broadcast was heard by millions of listeners to BBC radio. An evidently inebriated Munnings claimed that the work of Cézanne, Matisse, and Picasso had corrupted art. He recalled that Winston Churchill had once said to him, "Alfred, if you met Picasso coming down the street would you join with me in kicking his ... something something?" to which Munnings said he replied, "Yes Sir, I would". In 1950, Munnings, got hold of some of Stanley Spencer's Scrapbook Drawings and initiated a police prosecution against him for obscenity. Munnings died at Castle House, Dedham, Essex, on 17 July 1959. His ashes were interred at St Paul's Cathedral, with an epitaph by John Masefield ('O friend, how very lovely are the things, The English things, you helped us to perceive'). After his death, his widow turned their house in Dedham into a museum of his work. The village pub in Mendham is named after him, as is a street there. Munnings was portrayed by Dominic Cooper in the film Summer in February, which was released in Britain in 2013.The film is adapted from a novel by Jonathan Smith.

    At auction

    His sporting art works have enjoyed popularity in the United Kingdom, the United States and elsewhere. As of 2007, the highest price paid for a Munnings painting was $7,848,000 for The Red Prince Mare, far above his previous auction record of $4,292,500 set at Christie's in December 1999. It was one of four works by Munnings in the auction. The Red Prince Mare is a 40 by 60 inches (100 by 150 cm) oil on canvas that was executed in 1921 and had an estimate of $4,000,000 to $6,000,000.

    Writings

    Munnings wrote an autobiography in three volumes:
    • An Artist's Life, London: Museum Press, 1950
    • The Second Burst, London: Museum Press, 1951
    • The Finish, London: Museum Pres
  • 33cm x 38cm  Co Kerry Stumbling upon an old suitcase, we discovered a cache of wonderful old bullheads,return dockets, invoices and other commercial ephemera from the late 1920's and 1930's.They originated from a now closed licensed premises-Courtney's of Castlegregory Co Kerry-situated on the Dingle Peninsula not far from the start of the Connor Pass. We then decided to out them to best use by making framed  display collages using the original items and have also included some original Guinness bottle labels from around the country to add a little more historical flavour ! A truly unique and unusual piece of Irish Pub Memorabilia which can only appreciate in value over the years given they are already heading for a century old. Each display is different to the next also adding to their rarity value- a truly once off item for any proud Irish Pub or home bar !
  • 24cm x 40cm Thwaite’s Mineral Waters had been established by Dublin chemist Augustine Thwaite in the late 1700s. Thwaite’s would amalgamate with a number of other firms, including the Belfast firm of Cantrell & Cochrane, to form Mineral Water Distributers (from whence derives the name ‘MiWadi’) in 1927.

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

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

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

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

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

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