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  • Extremely unusual & culturally significant historical sign from a once famous pub in Castlebar Co Mayo, the historic and now sadly closed down Humbert Inn.Please email us directly to enquire about this most unusual item at irishpubemporium@gmail.com. "Located on the Main Street of Castlebar, The Humbert Inn  excelled in its hospitality to the public for over 200 years. Its name was derived from the fact that the French General Jean Humbert with his second in command General Sarrazin located their headquarters within the building during the United Irishmen rebellion of 1798. Originally until 1912 due to rates purposes, the premises also consisted of what is known today as Paddy Fahey’s shop and over the years has been used as hotel, restaurant and public house. In 1798 the site of Paddy Fahey’s and the Humbert Inn was known as Geevy’s Hotel. A banquet was held there after the 1798 Rising and it was in The Humbert Inn premises, that John Moore was declared first President of Connaught! The public bar was unique in appearance with its interior rough cut stone walls, arches, Liscannor stone floor and a façade that has changed little over the past fifty years.

    The premises has changed hands many times over the years, more recent owners including Tom Coucil, the Moran family and since 1994 John Connaughton, more popularly known as 'John Humbert'. While memories aplenty abound about The Humbert Inn with many instances of people today stating that they are the third generation of their family to call into The Humbert.  Its lasting legacy will be an outstanding and legendary venue for all that is musical. The Humbert Inn was long associated with encouraging local musicians and providing the public with a steady stream of talent. Everything from traditional sessions to Industrial Rock has been catered for, everything from one guitar, 6 piece bands to many DJs have enthralled weekly audiences! In many cases their audience trying for a pint, while singing and dancing at the same time. Always a multi-talented bunch, The Humbert regulars! The most historically famous of these bands will be 'General Humbert' consisting of Steve Dunford (bodhran, bones), John Donegan (mandolin, harmonium), Ruairi Somers (uileann pipes, tin whistles, bagpipes), Shay Kavanagh (guitar, bouzouki) and one Miss Mary Black (vocals, bodhran) from approx 1972 until 1982. Mary Black’s brother Mick was working with the then P&T in Castlebar, he along with his brother Shay informed a group of Humbert musicians including, John Hoban and Frank O’Reilly, that he 'had a sister that could sing a bit (brotherly understatement) and would they be interested if she sang with them'. Mary Black may have received her first taste of success with 'General Humbert' in the ‘70s and recorded her first album in 1982. But, along with playing venues in Dublin, she started out singing in Castlebar with traditional group 'La Salle' which included John Dunford and Fintan Murphy within The Humbert a good ten years before her international success. Christmas in particular was always memorable in The Humbert, it was a major home coming venue and meeting place. If you were brought up in Castlebar, were of a certain age, then chances were there was one of two places you would have been found on Christmas Eve, The Humbert or Rays!. The Humbert Inn can also boast its very own VIP list among its regulars with two crowned Roses of Tralee Mindy O’Sullivan and Aoibhinn Ni Shulleabhain along with Fair City actress Vicky Burke. Plus any number of quality customers, musicians, fine sportsmen and women, business people and the odd politician. Fate had decided a different path for The Humbert and further to this an offer to buy the premises by a local developer was accepted. This has resulted in the developer’s decision to convert the building into retail outlets and apartments, thereby no longer retaining the premises two hundred year reign in the hospitality trade.Public opinion has stated a desire to at least retain the look of the existing bar, possibly using same as a restaurant, wine bar, part of the Linenhall for exhibitions or even as a Tourist Office However, the general consensus is an overall request that The Humbert Inn remains a public bar while recognising the logic in upper floor apartment conversion. The future of The Humbert has been proposed by the developer, but it is the present planning section of the Town Council who will ultimately decide this historic buildings fate as rumours abound of its possible demolition! What ever the future holds for The Humbert Inn, its last weekend under the command of General John Connaughton will be a musical filled celebration which John has requested to end quietly on its last closing time on Sunday 3rd September. Which is curiously the same date that Humbert and his men left The Humbert Inn premises in 1798! It will be an emotional time for both punters, staff and owner, an end of an era no matter what the future holds, so it is important that it is understood that the bar will be closing promptly on the last night" Origins : Co Mayo Dimensions : 88cm x60.5cm  5kg
  • Charming framed postcard of the famous John Keating R.H.A painting The Aran Fisherman and his wife . 20cm x 15cm

    he Paintings of Sean Keating

    • 1 January 1978
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    He sustained a belief in the dream world that could be created out of ordinary life as it surrounded him, writes Bruce Arnold in an evaluation of the work of the late Sean Keating. SEAN KEATING'S place in Irish art was, to a large extent, defined for him. As a traditional realist he responded to events; he painted historyo individual people, 'types', and the small worlds with" which they care associated. It was fortunate for him that his early life coincided with moomentous events, and it was natural, given his direct and forceful personnality, that he should attempt to grapple with such events and turn them into art.. His equipment for doing so was simple, traditional, and more or less unchanging throughout his long life. And it was acquired virtually from one source., William Orpen. Keating met Orpen in 1907 when he came from Limerick to Dublin as a student at the Metropolitan School of Art. He was Orpens favourite pupil, his friend, and then his studio assistant. The association lasted until the introduction of conscription in the second year of the first world war. At that point, having failed to persuade Orpen to leave England' and return to Ireland for the sake of Irish painting, Keating came home on his own and em barked on a career as a painter thatwas governned by intense nationalism, love of the language, a belief in the purity of the simple peasant life - which, for Keatting, was epitomised by the Aran Islands - and a repudiation of modernism in all its forms. He may be said to have learnt only the last of these from Orpen. What he had learnt, however, was a simplicity of line, a perfected co-ordination of hand and eye, and an understanding of paint, all of which provided a firm foundation for the increasingly hard task of sustaining realism through a very long life. Who shall judge his work finally? At times mawkish, at times sentimental, there is at the same time alway, ..I thread of truth and innocence III Keating's vision, a devastating cornbin ation when one is thinking of possterity. In his turn, Sean Keating inspu ,.: fresh generations of Irish artists. VIrrtually alone in the genera non of pam ters taught by Orpen , he sustained a belief not only in the principle, of sound draughtmanship , good technique, well primed canvasses. and an ancient and traditional use of paint. but also in the dream world that could he created out of the stuff of or dinar y life as it surrounded him. Like John Synge, Keating recognised .m the Irish character that propensity towards self-dramatisation that rescues humanity from the fearful boredom that surrrounds so much of life. And it Cd me to form a central part of his art Wheether he is painting a flying column resting during the War of Independence, a fisherman facing the western seas, or simply a farmer facing the eternal and unending struggle with the land, Keating was able to see forms of herooism and to paint them into the eyes and gestures. It is this that distinguishes his art, at its best, from what is loosely called the academic tradition in Irish art. In a rough and ready way, directly, instinctively, sometimes with inexcussable gaucheness, but rarely if ever with any loss of the essentials of line and colour, Sean Keating painted a record of his own time. He repudiated modernism because, for him, it departted from truth, and truth was something for which he had unqualified admiration. ' He admired beauty in women, characcter in men. He knew that, for both men and women, the best was often made out of threadbare essentials: yet he also knew that the beauty . and the character were often that much more exciting and dramatic because of the simplicity in achieving them. This is very often the message of his work. It is love that strikes fire in the heart of Christy Mahon, in 'The Playboy of the Western World', and makes him into a hero. And there is something of the same instinct, an instinct towards self-preservation, in the faces of Sean Keating's men and women. There was something of it in Keating himself. It made him a more forceful and dynamic artist that contemporaries like Leo Whelan and Patrick Tuohy, and pushed hini into an undisputed leadership of traditional realism in the period between the wars. For Irish art itself this was probably unfortunate. Keating's uncompromising lack of. sympathy with alternative traditions in art, when throughout Europe diversity and fragmentation was greater than at any other period in history, meant that divisions and antagonisms weakened still further the tread bare texture of Irish art. Organisations like the RHA and Living Art were set against each other; so were people; and 'all this at a time of public indifference, when few works by anyone were being bought.  
  • Lovely,limited edition  commemorative poster celebrating the bicentennial anniversary of the 1798 United Irishmen Rebellion. 78cm x 57cm The 1798 United Irishmen Rebellion led by Theobald Wolfe Tone was ill fated from the outset.Inspired by the recent successful American and French Revolutions,the Rebels leadership became fragmented and the revolt was only sporadically successful .This poster captures the portraits of such notable United Irishmen as Henry Joy McCracken,Napper Tandy and Wolfe Tone himself.
    The united Irish crest.
    An overview of the insurrection of 1798, by John Dorney. The 1798 rebellion was an insurrection launched by the United Irishmen, an underground republican society, aimed at overthrowing the Kingdom of Ireland, severing the connection with Great Britain and establishing an Irish Republic based on the principles of the French Revolution. The rebellion failed in its aim to launch a coordinated nationwide uprising. There were instead isolated outbreaks of rebellion in county Wexford, other Leinster counties, counties Antrim and Down in the north and after the landing of a French expeditionary force, in county Mayo in the west. The military uprising was put down with great bloodshed in the summer of 1798. Some of its leaders, notably Wolfe Tone were killed or died in imprisonment, while many others were exiled.
    The 1798 rebellion was failed attempt to found a secular independent Irish Republic.
    The 1790s marked an exceptional event in Irish history because the United Irishmen were a secular organisation with significant support both among Catholics and Protestants, including Protestants in the northern province of Ulster. However, the unity of Catholics and Protestants was far from universal and the fighting itself was marked in places by sectarian atrocities. As a result of the uprising, the Irish Parliament, which had existed since the 13th century, was abolished and under the Act of Union (1800) Ireland was to be ruled directly from London until 1922.

    Background

     
    The Irish Parliament on Dublin’s College Green.
    In the 18th century, Ireland was a Kingdom in its own right, under the Kings of England. Executive power was largely in the hands of the Lord Lieutenant and the Chief Secretary, appointed by the British prime minister. However, Ireland also had its own parliament, which throughout the century, lobbied for greater control over trade and law making in Ireland. The Irish parliament was subservient to the British parliament at Westminster, but increasingly, as the century wore on, agitated for greater autonomy. In 1782, the Irish parliament managed to free itself from subservience to the Lord Lieutenant and, to an extent, from the British parliament through the passage of laws that enabled it to make its own laws for the first time without reference to Westminster.
    Ireland in the 18th century had its own parliament but the majority of the population was excluded from political participation on religious and property grounds.
    However, membership of the parliament was confined to members of the Anglican Church of Ireland, which, allowing for some conversions, was overwhelmingly composed of descendants of English settlers. The parliament was not a democratic body; elections were relatively infrequent, seats could be purchased and the number of voters was small and confined to wealthy, property-owning Protestants. Under the Penal Laws, enacted after the Catholic defeat in theJacobite-Williamite war of the 1690s, all those who refused to acknowledge the English King as head of their Church – therefore Catholic and Presbyterians – were barred not only from the parliament but from any public position or service in the Army.
    United Irish leader Theobald Wolfe Tone.
    Catholic owned lands were also confiscated for alleged political disloyalty throughout the 17th century. Catholics, to a large extent the descendants of the pre-seventeenth century Irish population, also suffered from restrictions on landholding, inheritance, entering the professions and the right to bear arms. Presbyterians, mostly descendants of Scottish immigrants, while not excluded as rigorously as Catholics from public life, also suffered from discrimination – marriages performed by their clergy were not legally recognised for instance. Although some of the Penal Laws were relaxed in 1782, allowing new Catholic churches and schools to open, and allowing Catholics into the professions and to purchase land, the great majority of the Irish population was still excluded from political power, and to a large extent from wealth and landholding also, as the last decade of the 18thcentury dawned. Discontent among Catholics was exacerbated by economic hardship and by tithes, compulsory taxes that people of all religions had to pay, for the upkeep of the established, Protestant Church. Initially the United Irishmen, founded, mainly by Presbyterians in Belfast in 1791, campaigned merely for reform, lobbying for the vote to be extended to Catholics and to non-property holders. The United Irishmen had a determinedly non-sectarian outlook, their motto being, as their leading member Theobald Wolfe Tone put it, ‘to unite Catholic Protestant and Dissenter under the common name of Irishman’.
    The United Irishmen, inspired by the American and French revolutions, initially lobbied for democratic reform.
    They were greatly inspired by the events of the American and French revolutions (1776 and 1789 respectively) and hoped to eventually found a self-governing, secular Irish state on the basis of universal male suffrage. The leadership of the United Irishmen was largely Protestant or Presbyterian at the start and it recruited men of all sects, mainly in the richer, more urban, eastern half of the country. Some of their early demands were granted by the Irish parliament, for example Catholics were given the right to vote in 1793, as well as the right to attend university, obtain degrees and to serve in the military and civil service. However the reforms did not go nearly as far as the radicals wished. Catholics still could not sit in the Parliament for example, nor hold public office and the vote was granted only to holders of property worth over forty shillings a year.

    Radicalisation

     
    A contemporary depiction of the ‘the mob’ during the French Revolution.
    The United Irishmen did not remain an open reformist organisation for long. The French revolution took a radical turn in 1791. In the following two years it deposed King Louis XVI and declared a Republic. Britain and revolutionary France went to war in 1793. In Ireland, the United Irishmen, who supported the French Republic, were banned and went underground in 1794. Wolfe Tone went into exile, first in America and then in France, where he lobbied for military aid for revolution in Ireland. The United Irishmen now stated that their goal was a fully independent Irish Republic. At the same time, popular discontent was growing, as the government dispatched troops to suppress the United Irishmen and other ‘seditious’ groups. The government also announced that men had to serve in the militia which would maintain internal security in Ireland during the war with France. Resistance to impressment into the militia led to fierce rioting in 1793 that left over 200 people dead.
    Repression of United Irish suspects, in this case a ‘half hanging’.
    Having been driven underground, the United Irishmen in Ireland began organising a clandestine military structure. In an effort to recruit more foot soldiers for the hoped-for revolution, they made contact with a Catholic secret society, the Defenders, who had been engaged in low level fighting, especially in the north, with Protestant groups such as the so called Peep of Day Boys and the newly founded Orange Order. As a result, while the majority of the United Irishmen’s top leadership remained Protestant, their foot soldiers, except in north east Ulster, became increasingly Catholic. That said, the Catholic Church itself was opposed to the ‘atheistical’ Republicans and was, for the first time, courted by the authorities, being granted the right to open a college for the education of priests in Maynooth in 1795. In 1796 revolutionary France dispatched a large invasion fleet, with nearly 14,000 troops, and accompanied by Wolfe Tone, to Ireland. By sheer chance, invasion was averted when the fleet ran into storms and part of it was wrecked off Bantry Bay in County Cork. Battered by the weather and after losing many men drowned, they had to return to France.
    The United Irishmen were banned after Britain went to war with France in 1793 and went underground.
    The government in Dublin, startled by the near-invasion, responded with a vicious wave of repression, passing an Insurrection Act that suspended habeas corpus and other peacetime laws. Using both British troops, militia and a newly recruited, mostly Protestant and fiercely loyalist, force known as the Yeomanry, government forces attempted to terrorise any would-be revolutionaries in Ireland who might aid the French in the event of another invasion. The Crown forces’ methods including burning of houses and Catholic churches, summary executions and the practice of ‘pitch-capping’ whereby lit tar was placed on a victim’s scalp. By the summer of 1798, the United Irishmen, under severe pressure from their own supporters to act, planned a co-ordinated nationwide uprising, aimed at overthrowing the government in Dublin, severing the connection with Britain and founding an Irish Republic.  

    The Rebellion breaks out

     
    Edward Fitzgerald is shot dead during arrest in Dublin.
    The rebellion was intended to be signalled by the stopping of all mail coaches out of Dublin on May 23, 1798. However, the authorities in Dublin were aware of the plans and on the eve of the rebellion arrested most of the senior United Irishmen leadership. Their most senior leader in Ireland, Edward Fitzgerald was shot and mortally wounded during his arrest. While mail coaches were stopped in some areas, other areas had no notice of the planned insurrection and with the United Irish leadership mostly in prison or in exile, the rising flared up in in a localised and uncoordinated manner. Large bodies of United Irishmen rose in arms in the counties around Dublin; Kildare, Wicklow, Carlow and Meath, in response to the stopping of the mail coaches, but Dublin city itself, which was heavily garrisoned and placed under martial law, did not stir.
    The Rising was uncoordinated as most of the United Irish leaders had been imprisoned.
    The first rebellions resulted in some sharp fighting but the poorly armed (they mostly had home-made pikes) and poorly led insurgents were defeated by British, militia and Yeomanry troops. In many cases, captured or surrendering rebels were massacred by vengeful government forces.

    Wexford, Ulster and Kilalla Bay

    The battle of Vinegar Hill.
    Only in County Wexford did the United Irishmen meet with success. There, after rising on May 27, the insurgents defeated some militia and Yeomanry units and took the towns of Enniscorthy and Wexford. The leadership of the Wexford rebels was both Catholic and Protestant (the leader was the Protestant Harvey Bagenal), but included some Catholic priests such as father John Murphy and the rank and file were largely Catholic, in many cases enraged by the sectarian atrocities committed in the previous months by the Yeomonary. The rebels failed to take the towns of New Ross and Arklow despite determined and costly assaults and remained bottled up in Ireland’s south eastern corner. In response to the government forces’ killing of prisoners at New Ross, the rebels killed over 100 local loyalists at Scullabogue and another 100 at Wexford Bridge. The fighting in the rebellion was marked by an extreme ideological and, increasingly, sectarian, bitterness. Prisoners on both sides were commonly killed after battle.
    The rebels in Wexford held most of the country for a month before being defeated at Vinegar Hill.
    The Wexford rebellion was smashed about a month after it broke out, when over 13,000 British troops converged on the main rebel camp at Vinegar Hill on June 21, 1798 and broke up, though failed to trap, the main rebel army. Guerrilla fighting continued, but the main rebel stronghold had fallen.
    A depiction of the Battle of Antrim 1798 at which the Ulster Irish uprising was crushed.
    In the north, the mainly Presbyterian United Irishmen there launched their own uprising in support of Wexford in early June, but again, after some initial success, were defeated by government troops and militia. Their leaders, Henry Joy McCracken and Henry Munro, were captured and hanged. The last act of the rebellion came in August 1798, when a small French expeditionary force of 1,500 men landed at Killalla Bay in county Mayo. Led by General Humbert, they defeated a British force at Castlebar, but were themselves defeated and forced to surrender at Ballinamuck. While the French soldiers were allowed to surrender, the Irish insurgents who accompanied them were massacred. Another, final, French attempt to land an expeditionary force in Ireland, accompanied by United Irish leader Wolfe Tone, was intercepted and defeated in a sea battle by the Royal Navy near Tory Island off the Donegal coast in October. Tone was captured along with over 2,000 French servicemen. Sentenced to death, Tone took his own life in prison in Dublin. Lord Cornwallis, the Lord Lieutenant, tried to end the bloodshed and reprisals by government forces by forgoing execution of the other imprisoned United leaders in return for their telling what they knew of the clandestine United Irish organisation. An amnesty and pardon was also declared for rank and file United Irishmen.

    Aftermath

     
    Cornwallis, the Lord Lieutenant who oversaw the Act of Union.
    The fighting in the 1798 rebellion lasted just three months, but the deaths ran into the tens of thousands. A high estimate of the death toll is 70,000 and the lowest one puts it at about 10,000. Thousands more former rebels were exiled in Scotland, transported to penal colonies in Australia and others such as Miles Byrne went into exile serving in the French revolutionary and Napoleonic armies until 1815. A brief rebellion led by Robert Emmet, younger brother of one of the 1798 United Irish leaders, in 1802 achieved little beyond Emmet’s own death by execution. In 1800 the Irish parliament, under pressure from the British authorities, voted itself out if existence and Ireland was ruled directly from London from then until 1922.
    The Irish parliament was abolished in 1800 and Ireland ruled directly from London until 1922.
    While the radicals of the 1790s had hoped that religious divisions in Ireland could be made a thing of the past, the fierce sectarian violence that took place on both sides during the rebellion actually hardened sectarian animosities. Many northern Presbyterians began to see the British connection as less potentially dangerous for them than an independent Ireland. The United Irishmen’s hope of founding a secular, independent, democratic Irish Republic therefore ended in total defeat.
  •   Dimensions : 20x 35cm  Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
    Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.” Origins : Dublin Dimensions : 43cm x 35cm
  •   Dimensions : 20x 35cm  Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
    Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.” Origins : Dublin Dimensions : 43cm x 35cm
  • Quaint framed photograph of the pre parade of the 1971 All Ireland final between Offaly and Galway.Galway were appearing in their first final since the three-in-a-row side of the 1960s. Dimensions: 27cm x 25cm  G Offaly, who had never won an All-Ireland title, had last contested a final in 1969.Galway were favourites. Instead a shock occurred.A Murt Connor goal gave Offaly their first title.However, with the duration of certain championship matches increasing from 60 to 80 minutes during the 1970s before being settled at 70 minutes after five seasons of this in 1975, this is the only All-Ireland final whose outcome would have changed if the time had remained the same; had it done so, the 1971 final would have ended in a draw. This was the first All-Ireland final attended by Martin Breheny. The weather on the day was later described by Breheny as consisting of a "steady drizzle" in the first half, followed by a "deluge of monsoon proportions" during the second half.
    1971 All-Ireland Senior Football Championship
    Date 26 September 1971
    Venue Croke Park, Dublin
    Attendance 70,789
    Weather Rain
    It would be a further 21 years before another team won their first All-Ireland Senior Football Championship. Origins : Co Offaly Dimensions : 27cm x 25cm

  • 30cm x 35cm These atmospheric prints dating from the early 20th century are from the Aran collection,a series of superbly photographed images depicting life on the Aran Islands at the turn of the last century. "The early part of the 20th century saw little change come to the Aran Islands so far removed from outside influences off the west coast of Ireland.As if time had stood still ,these unique photographs depict the islanders going about their daily lives as they had done for centuries in almost complete self sufficiency from the outside world and as a result form an integral part of our national heritage.
    Aran Islands: on the road to Synge’s Chair, on Inishmaan. Photograph: Andy Haslam/New York Times

    Aran Islands: on the road to Synge’s Chair, on Inishmaan. Photograph: Andy Haslam/New York Times

     
     
    Aran Islands: the pub on Inishmaan. Photograph: Andy Haslam/New York Times
    Aran Islands: the Man of Aran Fudge shop, at Kilmurvey Craft Village, on Inishmore. Photograph: Andy Haslam/New York Times
  • 30cm x 35cm These atmospheric prints dating from the early 20th century are from the Aran collection,a series of superbly photographed images depicting life on the Aran Islands at the turn of the last century. "The early part of the 20th century saw little change come to the Aran Islands so far removed from outside influences off the west coast of Ireland.As if time had stood still ,these unique photographs depict the islanders going about their daily lives as they had done for centuries in almost complete self sufficiency from the outside world and as a result form an integral part of our national heritage.
    Aran Islands: on the road to Synge’s Chair, on Inishmaan. Photograph: Andy Haslam/New York Times

    Aran Islands: on the road to Synge’s Chair, on Inishmaan. Photograph: Andy Haslam/New York Times

     
     
    Aran Islands: the pub on Inishmaan. Photograph: Andy Haslam/New York Times
    Aran Islands: the Man of Aran Fudge shop, at Kilmurvey Craft Village, on Inishmore. Photograph: Andy Haslam/New York Times
  • 30cm x 35cm These atmospheric prints dating from the early 20th century are from the Aran collection,a series of superbly photographed images depicting life on the Aran Islands at the turn of the last century. "The early part of the 20th century saw little change come to the Aran Islands so far removed from outside influences off the west coast of Ireland.As if time had stood still ,these unique photographs depict the islanders going about their daily lives as they had done for centuries in almost complete self sufficiency from the outside world and as a result form an integral part of our national heritage.
    Aran Islands: on the road to Synge’s Chair, on Inishmaan. Photograph: Andy Haslam/New York Times

    Aran Islands: on the road to Synge’s Chair, on Inishmaan. Photograph: Andy Haslam/New York Times

     
     
    Aran Islands: the pub on Inishmaan. Photograph: Andy Haslam/New York Times
    Aran Islands: the Man of Aran Fudge shop, at Kilmurvey Craft Village, on Inishmore. Photograph: Andy Haslam/New York Times
  • Enlarged,framed bottle label from James McGurrans Kinlough Co Leitrim. Dimensions : 27cm x 32cm Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
    Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.” Origins : Dublin Dimensions : 43cm x 35cm
  • 32cm x 29cm  Killorglin Co Kerry
    The 1938 All-Ireland Football Final Replay on October 23rd, 1938 ended in the most bizarre fashion imaginable when with 2 minutes left to play, Galway supporters, mistakenly believing the referee had blown for full-time, invaded the pitch, causing a 20 minute delay before the final minutes could be played out. Even more dramatic was the fact that by the time the pitch was cleared, most of the Kerry players seemed to have disappeared. The confusion all began with a free awarded to Kerry by referee Peter Waters of Kildare with Galway leading the defending champions, by 2-4 to 0-6. The referee placed the ball and blew his whistle for the kick to be taken while running towards the Galway goals. He looked round just as Sean Brosnan was taking the kick and seeing a Galway player too close he blew for the kick to be retaken. Thinking that he had blown for full-time the jubilant Galway supporters invaded the pitch. It took all of twenty minutes to clear the pitch but only then did the real problems come to light. Jerry O’Leary Chairman of the Kerry Selection Committee outlined their dilemma. Somehow or other Kerry managed to re-field even if the team which played out the remaining minutes bore little resemblance to the starting fifteen. More remarkable again was the fact that Kerry went on to add another point to their total before the referee finally blew for full-time with Galway winners by 2-4 to 0-7. It was generally agreed that the confusion was of the crowd’s and not the referee’s making but questions remained about the total number of players Kerry had been permitted to use in those final few minutes. The National and Provincial papers and indeed all available Records to this day list only those 16 Kerry players who were involved prior to the 20 minute interruption but now (80 years on) for the first time all the players who played for Kerry in that October 23rd, 1938 All-Ireland Final Replay can be given their rightful place in the Record Books. KERRY’s 24:
    1. Dan O’Keeffe (Tralee O’Rahilly’s)
    2. Bill Kinnerk (Tralee, Boherbee John Mitchel’s)(Captain)
    3. Paddy ‘Bawn’ Brosnan (Dingle)
    4. Bill Myers (Killarney)
    5. Bill Dillon Dingle)
    6. Bill Casey (Dingle)
    7. Tom ‘Gega’ O’Connor (Dingle)
    8. Sean Brosnan (Dingle)
    9. Johnny Walsh (Ballylongford, North Kerry)
    10. Paddy Kennedy (Tralee O’Rahilly’s)(Annascaul native)
    11. Charlie O’Sullivan (Tralee O’Rahilly’s)(Camp native)
    12. Tony McAuliffe (Listowel, North Kerry)
    13. Martin Regan (Tralee Rock Street Austin Stacks)
    14. Michael ‘Miko’ Doyle ((Tralee Rock Street Austin Stacks)
    15. Timmy O’Leary (Killarney).
    16.  J.J. ‘Purty’ Landers (Tralee Rock Street Austin Stacks)(brother of Tim and Bill)(replaced Johnny Walsh – injured hip and dislocated collarbone)
    17. Joe Keohane (Geraldines, Dublin)(former Tralee Boherbee John Mitchel’s player)
    18. Michael ‘Murt’ Kelly (Geraldine’s, Dublin)(formerly Tralee O’Rahilly’s)
    19. J.Sheehy (Tralee Boherbee John Mitchel’s)
    20. Eddie Walsh (Knocknagoshel, North Kerry)
    21. Ger Teahan (Laune Rangers, Killorglin)
    22. Bob Murphy (Newtown, North Kerry)
    23. Con Gainey (Tralee Boherbee John Mitchel’s)(Castleisland native)
    24. M. Raymond (Tralee O’Rahilly’s)
    So in total and in contravention of the Rules Kerry used 24 players including 9 substitutes. Galway in contrast used a mere 17 players including 2 substitutes. GALWAY’S 17:
    1. Jimmy McGauran (University College Galway)(Roscommon native)
    2. Mick Raftery (University College Galway)(Mayo native)
    3. Mick Connaire (Beann Éadair, Dublin)(Ballinasloe native)
    4. Dinny Sullivan (Oughterard)
    5. Frank Cunniffe (Beann Éadair, Dublin)(Ballinasloe native)
    6. Bobby Beggs (Wolfe Tones, Galway City)(Dublin native)(former Skerries Harps player)
    7. Charlie Connolly (Ballinasloe Mental Hospital)
    8. John ‘Tull’ Dunne (Ballinasloe St. Grellan’s)(Captain)
    9. John Burke (Remore)(Clare native)
    10. Jackie Flavin (Wolfe Tones, Galway City)(Kerry native – Newtownsandes)(won 1937 All-Ireland with Kerry)
    11. Ralph Griffin (Ballinasloe St. Grellan’s)
    12. Mick Higgins (Wolfe Tones, Galway City)
    13. Ned Mulholland (Wolfe Tones, Galway City)(Westmeath native)
    14. Martin Kelly (Ardagh, Limerick)(Ahascragh native)
    15. Brendan Nestor (Geraldines, Dublin)(Dunmore native)
    16. Mick Ryder (Tuam Stars)
    17. Pat McDonagh
    It was almost as if Galway had won the All-Ireland twice in one day beating two different Kerry teams in the process. That night, in front of a 1,500 crowd, at a Gaelic League organised Siamsa Mór in the Mansion House in Dawson Street, Art McCann presented the Galway team with their winners’ medals. The Kerry players meanwhile joined 300 of their suppoeters at a Ceilidhe hosted by the Kerrymen’s Social Club in Rathmines Town Hall. The National Newspapers may not always have reported the facts to Galway’s satisfaction but there can be no questioning the support of Galway County Council. Needless to say the Galway players received an unprecedented welcome on their return to Galway having first been feted along the way in Mullingar, Streamstown, Moate and Athlone. GALWAY – 1938 ALL-IRELAND SENIOR FOOTBALL CHAMPIONS Back (L-R) Bobby Beggs, Ralph Griffin, John Burke, Jimmy McGauran, Charlie Connolly, Brendan Nestor, Dinny Sullivan, Mick Connaire, Martin Kelly. Front (L-R) Frank Cunniffe, Jackie Flavin, Mick Higgins, John ‘Tull’ Dunne (Capt), Ned Mulholland, Mick Raftery. Substitutes: (not in photograph) Mick Ryder and Pat McDonagh. TIME ADDED ON: Not far behind the controversy surrounding the last few minutes of 1938 All-Ireland Football Final Replay was the controversy surrounding the last few seconds of the drawn match played a month earlier. The sides were level, Kerry 2-06 Galway 3-03, when Kerry’s J.J. Landers sent the ball between the Galway uprights for what looked like the winning point. However the thousands of celebrating Kerry supporters making for the Croke Park exits were soon stopped in their tracks. It was cruel luck on Kerry and while there were many who criticised the referee, Tom Culhane from Glin, County Limerick, for blowing the final whistle while John Joe Landers was it the act of shooting, Kerry’s County Board Chairman Denis J. Bailey wasn’t among them. At the next Central Council meeting, in a remarkably generous response to the Referee’s Report being read he stated that ‘they in Kerry were quite satisfied with the result’ and ‘They wished to pay a tribute to Galway for their sporting spirit and also to the referee who, in their opinion, carried out his duties very well.’ The Central Council then awarded the two counties £300 each towards the costs of the two-week Collective Training Camps both counties had planned in the lead up to the Replay on October 23rd. Munster Council granted Kerry (pictured here in Collective Training) an additional £100. Prior to that Central Council meeting, General Secretary, Pádraig Ó’Caoimh, received a telephone call from the New York GAA suggesting the replay take place in New York but the request (which was successfully repeated nine years later in 1947) was on this occasion turned down. However doubts about the Replay even going ahead were immediately raised. Satisfactory transport arrangements were eventually agreed and the match went ahead although the Kerry supporters who left Tralee on the so-called ‘ghost’ train at 1am on the morning of the October 23rd may still have felt hard done by. In the lead-up to the game the Galway selectors expressed their delight at the success of their forwards short hand-passing game against the Kerry backs in the drawn match although there were some worries that not all their players had been able to attend the first week of Collective Training and of course there was Kerry’s Replay record to be considered. Kerry had previously played in 4 All-Ireland Replays and won them all, a great source of encouragement to the Kerry supporters. However amid some reports of disharmony within the Kerry camp, following a ‘trial match’ on the Sunday before the Replay, the Kerry selection Committee dropped a real bombshell. Joe Keohane (Dublin Geraldines) who had been Kerry’s regular full-back for the previous two years and was one of the stars of their 1937 All-Ireland win over Cavan was replaced by young Paddy ‘Bawn’ Brosnan a member of the 1938 Kerry Junior team. A back injury to Kerry’s best forward, J.J. Landers made him an extreme doubt for the Replay with Martin Regan on stand-by to take his place if required which is exactly what happened before that fateful free-kick, that infamous 20 minute delay and Kerry’s unprecedented use of 24 players. Most definitely an All-Ireland Final and Final Replay never to be forgotten. The Galway and Kerry players parade in front of the newly opened (1938) Cusack Stand  
  • Framed copy of the An Post sponsored Gaelic football Team of the Millennium in the form of commemorative postage stamps of each of the nominees. Dimensions: 36cm x 29cm      Glazed

    "The An Post-GAA Team of the Millennium was unveiled at Croke Park yesterday. The selection which serves as the first 15 inductions into the GAA's new Hall of Fame has also been marked by an issue of 15 commemorative stamps by An Post. The stamps will be available in a variety of combinations from today. Next year, a similar exercise will take place to honour 15 hurlers.

    There was some comment on the absence of Dublin's Brian Mullins and Jack O'Shea from Kerry but it seemed generally appreciated that there were only two centrefield slots on the team and someone had to lose out. Tommy Murphy, the Boy Wonder of the 1930s Laois team which won three Leinster titles in a row, who was included ahead of Mullins and O'Shea had the added distinction of being the only player honoured who had not won an All-Ireland medal.

    Not surprisingly, Kerry - who top the All-Ireland roll of honour with 31 titles - lead the way on the team with six selections. Despite being clearly second behind Kerry with 22 All-Irelands, Dublin provide only one player, Kevin Heffernan at left corner forward. Galway and Mayo have two players each with one from Cavan, Down, Meath and Laois making up the balance.

    Joe McDonagh, President of the GAA, described the project as a reflection "on the history and evolution of our association, its games and its central characters, the players who have left such giant footprints in the sands that is the chronicle of the GAA".

    The Hall of Fame which is inaugurated by this team will be represented all through Croke Park, according the GAA director general Liam Mulvihill. He said that the Hall will be added to with a small number of inductions on an annual basis.

    "We decided that this team would be the initial members of the Hall of Fame and we were planning to honour those selected around the main areas of the concourse of the re-developed stadium, in the bottom tier and the upper tier. We wanted those ordinary tiers where ordinary supporters gather as the most appropriate place to honour those players.

    "The inductions will be in very small numbers, we're probably talking about two a year. Two footballers, two hurlers or one footballer and one hurler. It has to be made very, very special."

    Paddy Downey, formerly GAA correspondent of The Irish Times, was one of the adjudicators and confirmed the widespread feeling that the task of selecting such a team wasn't an enviable one.

    "It's nearly impossible because there's so many players, particularly in what you might call the big, central positions: midfield, centre-back, full back. Already people are saying to me: `why isn't Brian Mullins on, why isn't Paddy Kennedy of Kerry, Jack O'Shea - above all at the present time' and so on.

    "We also had the problem of not picking a half-century team of people we had seen ourselves. You could also argue how could we pick someone we hadn't seen - Dick Fitzgerald, apparently one of the greatest players of all time, Paul Russell of Kerry, Jack Higgins of Kildare, from the earlier part of the century.

    "I was conscious that we could have gone further back and taken the word of our predecessors in journalism who had praised these players and done so in print. Inevitably it came to be more a team of the second half of the century than the early years."

    Martin O'Connell of Meath was the only player of what might roughly be called contemporary times - one whose career was largely after the selection of the 1984 Centenary Team - to earn a place.

    "I was surprised," he said. "I didn't even know until I came up here. I arrived a bit late and Micheal O Muircheartaigh was just reading out the names. I was absolutely delighted."

  • Great piece of Gaelic football Nostalgia here as Meath captain lifts the Sam Maguire on the occasion of the Royal county's first All Ireland Football success in 1949. Origins: Dunboyne Co Meath  Dimensions :26cm x 32cm.  Glazed  

    All-Ireland football final day, 1949. Meath fans are en route to Croke Park by steam train, and will see their county win its first championship. They stop at Dunboyne. He hears their cheers fall through the billowing steam from the railway bridge. Five-year-old Seán Boylan knows something big is stirring.

    Then he was simply a small boy kicking a ball around the family garden. The green and gold throng roared encouragement through fellowship and goodwill, buoyed by the occasion.

    In later years he would give them good cause to cheer. Just a snapshot, but the moment seems to have acquired a near-cinematic resonance through what it prefigured. That railway bridge is now known locally as Boylan's bridge.

    Around Dunboyne, there were local heroes to fire the imagination. His neighbours included Meath players like Jimmy Reilly, Bobby Ruske and 1949 All-Ireland-winning captain Brian Smyth.

    "Brian Smyth was a great friend of my father's. I have a memory of kicking a ball around with him in the run-up to the 1954 All-Ireland final.

    "He'd call out to the house on a Wednesday night to Daddy, getting the brews. Brian had a very famous dummy and he showed me how to do it. Of course, I practised it and used it all my life after."

    He drew inspiration, too, from further afield. The great Gaelic names of his childhood were lent further mystique by Micheál O'Hehir's radio commentaries, which painted bold pictures in his head.

    The legends were remote yet vividly present through the voice piercing the static.

    "When he was doing matches you'd swear you were at the game. You were trying to be a John Dowling or a Seán Purcell or a Bobby or Nicky Rackard, a Christy Ring when you heard the way he described it."

    Not that Gaelic games alone dominated his formative years. Motor races held in Dunboyne thrilled him as a youngster. Even now, his heart quickens a little at the vroom-vrooming of racing engines.

    "I was always mad into motorsport, but most kids around Dunboyne were, because you had the racing which started in the '50s.

    "It was outside your door so you followed the motorbikes and the cars. Of course, the only thing you could afford to do yourself was the go-karting. You'd go across to Monasterboice, where there was a track, or down to Askeaton in Limerick. The bug is still there."

    At the age of nine, he was sent to Belvedere College. Rugby, of course, was on the sporting curriculum and he played with enthusiasm, once certain positional difficulties had been resolved.

    "At the time the Ban was in but I played for a few years. In the first match I played I was put in the secondrow. At my height! I ended up in the backs afterwards, but it was very funny."

    He chuckles at the thought of himself as a secondrow forward. In later years he was to meet Peter Stringer after an Ireland international. The scrumhalf greeted him warmly, announcing he was delighted to meet someone even smaller than himself.

    His participation in rugby at Belvedere was never questioned, despite his GAA and republican family background. He was left to find his own course.

    "My father, Lord be good to him, never tried to influence me in any way with regard to what I would play or what I became involved in. He wasn't that sort of man. And, well, in Belvedere, you're talking about the place where Kevin Barry went to school."

    He took two of his boys in to see the old alma mater a few years back and was touched at the reception he received.

    "I said I'd see if the then headmaster, Fr Leonard Moloney, was around. I hadn't been back in the place much but he invited us into his office. He went over to the press and took out two Club Lemons and two Mars bars for the lads. From then on that was the only school they wanted to go to and they're there now."

    He hurled too at Belvedere, but his education in Gaelic games was to be furthered at Clogher Road Vocational School in Crumlin, which he attended after leaving Belvedere at 15. Moving from the privileged halls of Belvedere to the earthier environment of his new school was a jolt, but football and hurling helped smooth the transition.

    In Crumlin, he would learn how to use his hands, within and without the classroom.

    "The big thing there was the sport end of it. It was Gaelic and soccer we played. The PE instructor was Jim McCabe, who played centre-half back on the Cavan team that won the All-Ireland in 1952. He was still playing for Cavan at this stage. He was a lovely man and a terrific shooter."

    He found himself spending Wednesday afternoons kicking a ball around with McCabe and another Cavan player, Charlie Gallagher. The latter's patiently rigorous application to practising his free-taking left a deep impression on the manager of the future.

    While at Clogher Road, he represented Dublin Vocational Schools at centre-half back in both hurling and football. The goalkeeper on the football team was Pat Dunne, who would later play with Manchester United and Ireland.

    He was on the move again at 16, switching to Warrenstown Agricultural College near Trim. His family background working with the land made the choice seem logical. Besides, the college did a nice sideline in cultivating footballers and hurlers. Again, he found an All-Ireland-winner circling prominently within his youthful orbit, foreshadowing his own relationship with Sam Maguire.

    "The man who taught us veterinary was Séamus Murphy, who won five All-Irelands with Kerry in five different positions, an extraordinary record, from corner back to wing-half back to midfield to wing-half forward to corner forward. He brought a few of us from the college to Meath minor football trials."

    Hurling, though, was the game at which he was most successful as a player. He broke into the Meath minor hurling panel while at Warrenstown. One day shortly after beginning there, he had another chance encounter which was to echo into the future. He was thumbing a lift home to Dunboyne, hurl slung over a shoulder, only to see a fawn-coloured Ford Anglia pull up. Its driver was Des "Snitchy" Ferguson. Thus began a long association. In later years, his two sons would win All-Irelands with Meath under Boylan's tutelage.

    Back in his school days, though, nothing could top the feeling of making the Meath minor hurling panel. "The man who brought me for trials was the famous Brian Smyth. I'll never forget him coming to collect me for the trials. Here I was with Brian Smyth! Then when I got picked for Meath, it was just clover."

  • Real retro GAA hurling photo here of Kevin Hennessy of Cork & Conor Hayes of Galway marking each other in an All Ireland Final.Conor is wearing what appears to be a very old Cooper Ice hockey Head guard and it became his signature piece during his career as Galway Captain and Full Back. Kiltormer Co Galway 29cm x 23cm Conor Hayes was a three-time All-Star. He made his debut for the Galway senior hurlers during the 1979 championship and went on to play a key role for the Tribesmen for over a decade, winning three All-Irelands and two National Leagues. He was captain when Galway won back-to-back All-Ireland titles in 1987 and 1988.  Conor is also an All-Ireland winner at club level, having achieved the highest honour in club hurling with Kiltormer in 1992.  He is the holder of two Connacht club championships and three Galway hurling championships with Kiltormer and was named on the Galway Hurling Team of the Millennium. Kevin Hennessy (born 8 March 1961) is an Irish retired hurler who played as a left-corner forward for the Cork senior team. Born in Midleton, County Cork, Hennessy first arrived on the inter-county scene at the age of 18 when he first linked up with the Cork minor team, before later lining out with the under-21 side. He made his senior debut in the 1982 championship. Hennessy went on to play a key part for over a decade, and won three All-Ireland medals and seven Munster medals. He was an All-Ireland runner-up on three occasions. Hennessy represented the Munster inter-provincial team in the early stages of his career, winning two Railway Cup medals. At club level he won one All-Ireland medal, two Munster medals and four championship medals with Midleton. Throughout his career Hennessy made 22 championship appearances for Cork. He retired from inter-county hurling following the conclusion of the 1993 championship.
  • 26cm x 33cm Fantastic shot of the most westerly GAA pitch in Ireland and prob in Western Europe-the pitch on Care Island where the resourceful locals have mangaged to produce a decent playing surface on the only flat patch of land on the island ! Inishturk (Inis Toirc in Irish, meaning Wild Boar Island) is an inhabited island of County Mayo, in Ireland.

    Geography

    Islands off County Mayo
    The island lies about 15 km (9 mi) off the coast; its highest point reaches 189.3 m (621.1 ft) above sea level. Between Inisturk and Clare Island lies Caher Island. It has a permanent population of 58 people.There are two main settlements, both on the more sheltered eastern end of the island, Ballyheer and Garranty. Bellavaun and Craggy are abandoned settlements. The British built a Martello tower on the western coast during the Napoleonic Wars. Inisturk has the highest per capita donation rate towards the RNLI in the whole of Ireland.

    History

    Inishturk has been inhabited on and off since 4,000 BCE and has been inhabited permanently since at least 1700. Some of the more recent inhabitants are descended from evacuees from Inishark to the southwest. The social club Mountain Common is situated on the hill that separates the two settlements.

    Recent history

    In 1993 Inishturk Community centre was opened, this community centre doubles as a library and a pub. In June 2014 the ESB commissioned three new Broadcrown BCP 110-50 100kVA diesel generators to supply electricity to the island The ESB have operated a diesel power station on the island since the 1980s Inishturk gained international attention in 2016 after a number of websites claimed that the island would welcome any American "refugees" fleeing a potential Donald Trump presidency.These claims were used as one example of the type of "fake news" that arose during the 2016 US presidential election campaign. As of November 2016, no changes to inward migration have been reported. The island is home to a primary school on the island which in 2011 had only 3 pupils, this believed to be the smallest primary school in Ireland

    Demographics

    The table below reports data on Inisturk's population taken from Discover the Islands of Ireland (Alex Ritsema, Collins Press, 1999) and the Censusof Ireland.
    Historical population
    Year Pop. ±%
    1841 577
    1851 174 −69.8%
    1861 110 −36.8%
    1871 112 +1.8%
    1881 116 +3.6%
    1891 135 +16.4%
    1901 135 +0.0%
    1911 132 −2.2%
    1926 101 −23.5%
    Year Pop. ±%
    1936 107 +5.9%
    1946 125 +16.8%
    1951 123 −1.6%
    1956 110 −10.6%
    1961 108 −1.8%
    1966 92 −14.8%
    1971 83 −9.8%
    1979 85 +2.4%
    1981 76 −10.6%
    Year Pop. ±%
    1986 90 +18.4%
    1991 78 −13.3%
    1996 83 +6.4%
    2002 72 −13.3%
    2006 58 −19.4%
    2011 53 −8.6%
    2016 51 −3.8%
    Source: Central Statistics Office. "CNA17: Population by Off Shore Island, Sex and Year". CSO.ie. Retrieved October 12, 2016.

    Transport[edit]

    Prior to 1997 there was no scheduled ferry service and people traveled to and from the islands using local fishing boats. Since then a ferry service operates from Roonagh Quay, Louisburgh, County Mayo.[13] The pier was constructed during the 1980s by the Irish government, around this time the roads on the island were paved.[14]
  • 35cm x 25cm  Limerick William Butler Yeats (13 June 1865 – 28 January 1939) was an Irish poet, dramatist, prose writer and one of the foremost figures of 20th-century literature. A pillar of the Irish literary establishment, he helped to found the Abbey Theatre, and in his later years served two terms as a Senator of the Irish Free State. He was a driving force behind the Irish Literary Revival along with Lady Gregory, Edward Martyn and others. Yeats was born in Sandymount, Ireland, and educated there and in London. He was a Protestant and member of the Anglo-Irish community. He spent childhood holidays in County Sligo and studied poetry from an early age, when he became fascinated by Irish legends and the occult. These topics feature in the first phase of his work, which lasted roughly until the turn of the 20th century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley, and the poets of the Pre-Raphaelite Brotherhood. From 1900, his poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life. In 1923, he was awarded the Nobel Prize in Literature.
  • Out of stock
    John Skelton was born in Armagh in 1925. A very talented artist who delighted in portraying the ordinary men and women of Rural Ireland, his works are on permanent display in the Joyce Collection of Northwestern University of Illinois,the headquarters of the ESB,Bank of Ireland and the Embassy of South Korea. Skelton started his professional career in London, where he came under influence of Euston Road School in the late 1940s. In 1946 he married Caroline, settling four years later in Dublin. He worked initially in advertising as Art Director and illustrator of books, most of them educational. After 1975 he worked full-time as a painter. He had numerous one man shows in Dublin; two in Belfast, one in Los Angeles and one in the Mystic Seaport Museum in Connecticut. Up to the late 1980s, Skelton was a frequent exhibitor in group shows, particularly the annual Royal Hibernian Academy and the Watercolour Society shows in Dublin. In recent years, however, his work was in such demand that he contributed to these less often. During the 1970s and earlier 1980s he earned a reputation as a gifted teacher and lecturer in the National College of Art and Design in Dublin. John Skelton's grave can be found at Mount Jerome Cemetery, Harold's Cross, Dublin, Ireland. Origins:Co Mayo Dimensions :29cm x 36cm
  • 30cm x 39cm. Gort Co Galway Terry Willers was a famous cartoonist and animator.Born in England in 1935 he later moved to Co Wicklow and worked extensively for the Irish Times and other publications and magazines and also on RTE. In 1992 he founded the Guinness International Cartoon Festival in Rathdrum Co Wicklow. He also won the Jacobs award for his work in Television. He died in 2011. Guinness were an original sponsor of the Galway International Oyster Festival . The Galway International Oyster Festival is a food festival held annually in Galway on the west coast of Ireland on the last weekend of September, the first month of the oyster season. Inaugurated in 1954, it was the brainchild of the Great Southern Hotel (now Hotel Meyrick) manager, Brian Collins. In 2000 was described by the Sunday Times as "one of the 12 greatest shows on earth" and was listed in the 1987 AA Travel Guide as one of Europe's Seven Best Festivals. The Galway International Oyster Festival was created to celebrate the Galway Native Oyster as it is a unique feature of Galway City & County. Hotel Manager, Brian Collins had been searching for something unique to attract more visitors to Galway in what was then, a quieter month of the year. Collins discussed the idea with the folk at Guinness and Patrick M. Burke's Bar in Clarenbridge and the first Galway Oyster Festival was created in 1954 with a whole 34 attendees. The festival was originally held in Clarenbridge village during the day and the Great Southern Hotel in Galway City at night until the mid-1980s when it grew so large, all of the festivities were held in the city centre of Galway. There was a red & white striped marquee at Spanish Arch and then at Nimmo's Pier by the Claddagh. In order to reduce ticket prices, the festival changed location to The Radisson Hotel Galway in 2009 but due to popular demand, the marquee was brought back in 2011, located in the Docks and the festival was renamed as the Galway International Oyster & Seafood Festival. In 2014, the 60th anniversary of the event, its producers, Milestone Inventive, brought it back to its original Galway City home at the aptly named Fishmarket at the Spanish Arch. The main events are two Oyster Opening Championships, the Irish Oyster Opening Championship and the World Oyster Opening Championship.Other events include a Masquerade Gala 'Mardi-Gras', a seafood trail, a silent disco and a family day featuring everything from cookery demonstrations, to jazz, to circus skills workshops.
  • Quaint green ceramic clock with Irish theme,manufactured by Knock Pottery,Co Mayo. 23cm x 22cm x8cm Knock (Irish Cnoc Mhuire, 'Hill of the Virgin Mary') is a major international Catholic pilgrimage and prayer site. On August 21st, 1879, the Virgin Mary, St Joseph and St John the Evangelist, appeared on the south gable of Knock Parish Church. This Apparition was witnessed by fifteen local people, young and old. As a result, Knock became a major Irish pilgrimage site of prayer and worship. In the latter part of the 20th century Knock's popularity increased steadily, making it one of Europe's major Catholic Marian shrines, together with Lourdes and Fatima. Today this shrine is visited by one and a half million pilgrims annually. In 1979, Knock was visited by Pope John Paul II, to commemorate the centenary of the apparition. Mother Teresa of Calcutta visited the Shrine in June 1993 Monsignor James Horan was parish priest of Knock from 1967, until his death in 1986. In that period of his service to the parish of Knock, he accomplished some landmark achievements, amongst them the building of a new basilica in 1976, which can accommodate 10,000 people, and also the construction of Ireland West Airport Knock, which he saw completed in 1985. Monsignor Horan was also instrumental in organising the visit of Pope John Paul II to the shrine in 1979Knock Shrine is open all year round. The main pilgrimage season extends from the last Sunday in April until the second Sunday in October. The clock mechanism in good working order. Origins : Co Mayo Dimensions : 22cm x 21cm  4kg  
  • Huge Guinness All Ireland Hurling championship unframed advertisement from the first year of sponsorship in 1995. 38cm wide x 150cm long .   It was not until 1994 that the GAA decided that the football championship would benefit from bringing on a title sponsor in Bank of Ireland. Although an equivalent offer had been on the table for the hurling championship, Central Council pushed the plate away.Though the name of the potential sponsor wasn’t explicitly made public, everyone knew it was Guinness. More to the point, everyone knew why Central Council wouldn’t bite. As Mulvihill himself noted in his report to Congress, the offer was declined on the basis that “Central Council did not want an alcoholic drinks company associated with a major GAA competition”. As it turned out, Central Council had been deadlocked on the issue and it was the casting vote of then president Peter Quinn that put the kibosh on a deal with Guinness. Mulvihill’s disappointment was far from hidden, since he saw the wider damage caused by turning up the GAA nose at Guinness’s advances. “The unfortunate aspect of the situation,” he wrote, “is that hurling needs support on the promotion of the game much more than football.” Though it took the point of a bayonet to make them go for it, the GAA submitted in the end and on the day after the league final in 1995 , a three-year partnership with Guinness was announced. The deal would be worth £1 million a year, with half going to the sport and half going to the competition in the shape of marketing. That last bit was key. Guinness came up with a marketing campaign that fairly scorched across the general consciousness. Billboards screeched out slogans that feel almost corny at this remove but made a huge impact at the same time . This man can level whole counties in one second flat. This man can reach speeds of 100mph. This man can break hearts at 70 yards Its been Hell for Leather. Of course, all the marketing in the world can only do so much. Without a story to go alongside, the Guinness campaign might be forgotten now – or worse, remembered as an overblown blast of hot air dreamed up in some modish ad agency above in Dublin.Until the  Clare hurlers came along and changed everything." Malachy Clerkin Irish Times GAA Correspondent   The All Ireland Senior Hurling Championship, known simply as the All-Ireland Championship, is an annual inter-county hurling competition organised by the Gaelic Athletic Association (GAA). It is the highest inter-county hurling competition in Ireland, and has been contested every year except one since 1887. The final, currently held on the third Sunday in August, is the culmination of a series of games played during July and August, with the winning team receiving the Liam MacCarthy Cup. The All-Ireland Championship has always been played on a straight knockout basis whereby once a team loses they are eliminated from the championship. The qualification procedures for the championship have changed several times throughout its history. Currently, qualification is limited to teams competing in the Leinster Championship, the Munster Championship and the two finalists in the Joe McDonagh Cup. Twelve teams currently participate in the All-Ireland Championship, with the most successful teams coming from the provinces of Leinster and Munster. Kilkenny, Cork and Tipperary are considered "the big three" of hurling. They have won 94 championships between them. The title has been won by 13 different teams, 10 of whom have won the title more than once. The all-time record-holders are Kilkenny, who have won the championship on 36 occasions. Tipperary are the current champions. The All-Ireland Senior Hurling Championship final was listed in second place by CNN in its "10 sporting events you have to see live", after the Olympic Games. After covering the 1959 All-Ireland Senior Hurling Championship Final between Kilkenny and Waterford for BBC Television, English commentator Kenneth Wolstenholme was moved to describe hurling as his second favourite sport in the world after his first love, soccer. Alex Ferguson used footage of an All-Ireland Senior Hurling Championship final in an attempt to motivate his players during his time as manager of Premier League soccer outfit Manchester United; the players winced at the standard of physicality and intensity in which the hurlers were engaged. Since 1995 the All Ireland Hurling  Championship has been sponsored. The sponsor has usually been able to determine the championship's sponsorship name.
    Period Sponsor(s) Name
    1887−1994 No main sponsor The All-Ireland Championship
    1995−2007 Republic of Ireland Guinness The Guinness Hurling Championship
    2008−2009 Republic of Ireland RTÉ Sport, United Arab Emirates Etihad Airways, Republic of Ireland Guinness The GAA Hurling All-Ireland Championship
    2010−2012 Republic of Ireland Centra, United Arab Emirates Etihad Airways, Republic of Ireland Guinness The GAA Hurling All-Ireland Championship
    2013−2016 Republic of Ireland Centra, United Arab Emirates Etihad Airways, United States Liberty Insurance The GAA Hurling All-Ireland Championship
    2017−2019 Republic of Ireland Centra, Republic of Ireland Littlewoods Ireland, Republic of Ireland Bord Gáis Energy The GAA Hurling All-Ireland Championship
        Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
    Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.” Origins : Dublin Dimensions : 43cm x 35cm
  • Origins : Scarriff Co Clare     Dimensions: 32cm x 20cm
    Viewed from a distance of two decades, maybe the most remarkable thing about the hurling summer of 1995 is just how unpromising it was roundly agreed to be at the get-go. The previous year had been airily dismissed as something of a freak – never more freakish than in that harum-scarum end to the All-Ireland final when Offaly overturned Limerick with a quickfire 2-5 in the closing minutes.
    Put to the pin of their collars, most judges shrugged and presumed the Liam MacCarthy would find his way back around to the blue-bloods in the end – probably to Kilkenny who had just beaten Clare in the National League final, maybe to Tipperary if they got their act together. If there was going to be a yarn, Limerick might provide it. But nobody had an inkling of what was around the corner. Or if they did, they weren’t shouting about it. Nobody was shouting about very much of anything. Hurling was what it was – guarded like the family jewels in certain parts of the land, barely amounting to a rumour in others. Tipp, Kilkenny and Cork had split five of the previous six All-Irelands between them and in a given year, you could just about half-rely on Offaly or Galway to keep them honest. For everyone else, the door looked shut. For all the sweet words and paeans that followed the game around, the championship was reduced each year to four or five games. This was pre-qualifiers, pre-back door of any kind. Galway walked into the All-Ireland semi-final each year and Antrim did the same before providing whoever they met with more or less a bye into the final. The Munster championship had its adherents but they weren’t all just as committed as they let on – when Clare met Cork in Thurles in June 1995, they did so in front of just 14,101 paying guests. The game needed shaking up. If not everyone admitted as much at the time, it didn’t escape the notice of the association’s then general director Liam Mulvihill. In his report to Congress earlier that year, he had scratched an itch that had been bugging him for most of the previous 12 months. The 1994 football championship had been the first to benefit from bringing on a title sponsor in Bank of Ireland and though an equivalent offer had been on the table for the hurling championship, Central Council pushed the plate away. Though the name of the potential sponsor wasn’t explicitly made public, everyone knew it was Guinness. More to the point, everyone knew why Central Council wouldn’t bite. As Mulvihill himself noted in his report to Congress, the offer was declined on the basis that “Central Council did not want an alcoholic drinks company associated with a major GAA competition”. As it turned out, Central Council had been deadlocked on the issue and it was the casting vote of then president Peter Quinn that put the kibosh on a deal with Guinness. Mulvihill’s disappointment was far from hidden, since he saw the wider damage caused by turning up the GAA nose at Guinness’s advances. “The unfortunate aspect of the situation,” he wrote, “is that hurling needs support on the promotion of the game much more than football.” Though it took the point of a bayonet to make them go for it, the GAA submitted in the end and on the day after the league final, a three-year partnership with Guinness was announced. The deal would be worth £1 million a year, with half going to the sport and half going to the competition in the shape of marketing. That last bit was key. Guinness came up with a marketing campaign that fairly scorched across the general consciousness. Billboards screeched out slogans that feel almost corny at this remove but made a huge impact at the same time . This man can level whole counties in one second flat. This man can reach speeds of 100mph. This man can break hearts at 70 yards Of course, all the marketing in the world can only do so much. Without a story to go alongside, the Guinness campaign might be forgotten now – or worse, remembered as an overblown blast of hot air dreamed up in some modish ad agency above in Dublin. Instead, Clare came along and changed everything. In the spring of 1995, Clare were very easy to stereotype. These were the days when the league wrapped around Christmas and in the muck and the cold and the drudgery, Clare had a fierceness to them that took advantage of any opposition that fancied a handy afternoon with the summer well off in the distance. A pain in the neck if you met them on a going day in the league but not to be relied upon on the biggest days. They had a recent, ill-starred record in Munster finals to bear that out. Heavy beatings from Tipp and Limerick in 1993 and ’94 were bad enough on their own; piled on decades of hurt going all the way back to their last title in 1932, they were toxic. On the day before the league final, new manager Ger Loughnane outlined what the coming summer would mean to them. “I’d swap everything for a Munster title. The whole lot. My whole hurling life. These fellas today, they have the chance. They can get out there and realise that this is what it is all about, that this is what you play hurling for. They can build on that and win their Munster title. That means so much to us all. They won’t have to look back and regret.” When Clare promptly lost 2-12 to 0-9 to Kilkenny in that league final, you didn’t have many takers for Loughnane’s assertion that this could be the group to turn everything around. Loughnane had been involved in 12 Munster finals as a player and selector at various levels down the years and he’d lost them all. Big talk was fine and dandy but what was there to believe in? Come the Munster championship, Clare were quietly but firmly dismissed by all and sundry. Cashman’s bookies in Cork priced their championship opener thus: Cork 2/5, Clare 9/4. A bar in Ennis had sent the Clare squad a cheque for £250 so they could have a pre-championship drink together. Anthony Daly took it instead and slapped it down on Clare to win the Munster championship at odds of 7/1. Anyone with half an interest in the game knows the rest. Or at least knows bits and pieces of it. That summer was a blazing one, the hottest for decades, and in the mind’s eye Clare’s summer is a jigsaw of sun-scorched fables and legends. Seanie McMahon and his broken collarbone, playing out the last 15 minutes against Cork at corner-forward. Ollie Baker’s bundled goal to win that game in injury-time. Limerick swept aside in the second half of the Munster final. Bonfires across the county on the Monday night. Galway put to the sword in the All-Ireland semi-final. Offaly just squeezed out in the final. Eamonn Taaffe’s goal, whipped to the net with his only touch of the sliotar all summer. Daly’s 65, Johnny Pilkington’s reply just flicking the post and missing. A first Clare All-Ireland senior title since 1914. It was all just so unlikely. After the Cork game, the cars heading home for Clare were stuck in traffic. A group of Cork teenagers stood at the side of the road as they passed, chanting Tipp, Tipp, Tipp – presuming Clare would meet and be beaten by them next day out. The notion that this was the beginning of a golden era, or that these Claremen were about to popularise the sport as never before, would still have felt ludicrous And yet here they were, All-Ireland champions in a year when hurling caught the wider imagination in a way it rarely had up to that point. The Guinness campaign had made its mark and allied to Clare’s rise, the sport was grabbing people again. Not before time. “The game had gone stale,” wrote Jimmy Barry-Murphy in The Irish Times in the run-up to the final. “This All-Ireland was one that game needed very badly. Interest was waning and this was reflected in the attendances at finals. “There was no comparison to football where the arrival of the Ulster counties as major powers generated enormous interest and a new awareness of the game. Clare have had many setbacks but they have kept battling and are now being rewarded. They have done hurling a great service.” The depth and breadth of that service became more and more apparent as the decade wore on. Attendances at the hurling championship matches ballooned. From an aggregate total of 289,281 in 1994, they rose to 543,335 in 1999. There were plenty of factors, of course – more counties with more hope, more matches with the introduction of the back-door, a growing economy, those Guinness ads. But it was Clare’s summer of 1995 that sparked it all. They weren’t a pebble in a pond that caused a few ripples. They were a boulder that landed from the clear blue sky and left a crater on the landscape. Everything changed after ’95. Not forever, just for a while. But for long enough for the game to stretch itself and grab hold of imaginations outside the usual places of worship. On the Monday night they brought Liam MacCarthy home, one of the towns that got a good rattle was Newmarket-On-Fergus. In the bedlam, the home club put up a stage and stuck any living Newmarket man who ever put on a Clare jersey up there as the backdrop while Daly and Loughnane grabbed the mic out front. One unusual face cloistered at the back of the stage was then Wexford manager Liam Griffin. Of the multitude of stories excavated by Denis Walsh for his towering book Hurling: The Revolution Years, maybe that night in Newmarket captured the giddiness of the time the best. Griffin’s father was from Clare and he’d lived there for a time in his early 20s, long enough to play club hurling and get called up to the Clare under-21s. Thus were his bona fides established for an appearance – however reluctant – up on-stage. Griffin had been in charge of Wexford for a year at that point and their summer had ended with a limp exit against Offaly away back in June. By the skin of his teeth, Griffin had survived an attempted county board putsch in the meantime and was almost certainly the only man alive who thought that the riches showering down upon Clare heads could be Wexford’s 12 months later. “Clare came and I thought, ‘This is fantastic,’” Griffin told Walsh. “I thought, ‘Jesus, the team I have are as good as these,’ and I went through them man for man. There’s no way we’re not as good as these guys. Then Clare won the All-Ireland and I went straight to Clare the following morning because I wanted to see the homecoming and now I understand why. I wanted to drive it into my own psyche.” As the speeches finished and the stage began to clear, Loughnane turned and caught Griffin’s eye. “It could be you next year,” he said. Whether he meant it or not, Griffin’s mind was made up already. He drove home convinced that Wexford could reach out and grab some of that for themselves. The next day he rang around and organised training, 51-and-a-half weeks shy of the 1996 All-Ireland final. In a world of endless trees and branches and roots, it’s obviously simplistic to say that Clare’s All-Ireland begat Wexford’s which begat all the rest of it. But what is inarguable is this – in that sun-drenched summer of 1995, everything felt possible.
    he 1995 Munster Senior Hurling Championship Final was a hurling match played on 9 July 1995 at Semple Stadium, Thurles, County Tipperary. It was contested by Clare and Limerick. Clare claimed their first Munster Championship since 1932 and fourth ever after beating Limerick on a scoreline of 1-17 to 0-11. Clare were leading the game by 1-5 to 0-7 at half time. With the scores at 0-5 to 0-3 in Clare's favour in the first half, Davy Fitzgerald scored from a penalty five minutes before the break, crashing the ball high into the net at the town end before sprinting back to his goal-line. In 2005 this penalty goal came fifth in the Top 20 GAA Moments poll by the Irish public. Clare were captained by Anthony Daly and managed by Ger Loughnane in his first year. Clare had defeated Cork in the semi-final by 2-13 to 3-09 to reach the final, while Limerick had defeated Tipperary by 0-16 to 0-15 in their semi-final. The match was screened live by RTÉ as part of The Sunday Game programme with commentary by Ger Canning and analysis by Éamonn Cregan.
    July 9 Final
    Clare 1-17 – 0-11 Limerick
    J. O'Connor (0-6), P. J. Connell (0-4), D. FitzGerald (1-0), C. Clancy (0-2), S. McMahon (0-1), F. Tuohy (0-1), F. Hegarty (0-1), S. McNamara (0-1), G. O'Loughlin (0-1). Report G. Kirby (0-6), M. Galligan (0-3), P. Heffernan (0-1), F. Carroll (0-1).
    Referee: J. McDonnell (Tipperary)
  • 36cm x 29cm The An Post GAA Hurling Team of the Millennium was chosen in 2000 to comprise, as a fifteen-member side divided as one goalkeeper, three full-backs, three half-backs, two midfielders, three half-forwards and three full-forwards, the best hurling team of all-time. The team, announced by GAA President Seán McCague on 24 July 2000 at a special function in Croke Park, was selected by a special committee, comprising five past GAA presidents - Joe McDonagh, Con Murphy, Paddy Buggy, Pat Fanning and Séamus Ó Riain - as well as GAA director-general Liam Mulvihill and four Gaelic games journalists: Paddy Downey, Mick Dunne, Seán Óg Ó Ceallacháin and Jim O'Sullivan. The initiative was sponsored by An Post, who issued special commemorative stamps of the millennium team members.
    Position Player County team Club team(s) Team Number All-Ireland SHC, NHL, All-Stars and other awards
    Goalkeeper Tony Reddin Colours of Roscommon.svg Tipperary (19471957) Mullagh Lorrha 1 All-Ireland SHC (1949, 1950, 1951) Munster SHC (1949, 1950, 1951) National Hurling League (1949, 1950, 1952, 1954)
    Right corner-back John Doyle Colours of Roscommon.svg Tipperary (19491967) Holycross-Ballycahill 2 All-Ireland SHC (1949, 1950, 1951, 1958, 1961, 1962, 1964, 1965) Munster SHC (1949, 1950, 1951, 1958, 1960, 1961, 1962, 1964, 1965, 1967) National Hurling League (1950, 1952, 1954, 1955, 1957, 1959, 1960, 1961, 1964, 1965)
    Full-back Nick O'Donnell Colours of Wexford.svg Wexford (19511962) St. Aidan's 3 All-Ireland SHC (1955, 1956, 1960)
    Left corner-back Bobby Rackard Colours of Wexford.svg Wexford (19451957) Rathnure 4 All-Ireland SHC (1955, 1956) Leinster SHC (1951, 1954, 1955, 1956) National Hurling League (1956)
    Right wing-back Paddy Phelan Colours of Kilkenny.svg Kilkenny (19311940) Tullaroan 5 All-Ireland SHC (1932, 1933, 1935, 1939) Leinster SHC (1931, 1932, 1933, 1935, 1936, 1937, 1939, 1940) National Hurling League (1933)
    Centre-back John Keane Colours of Monaghan.svg Waterford (19351951) Mount Sion 6 All-Ireland SHC (1948) Munster SHC (1938,1948)
    Left wing-back Brian Whelahan Colours of Offaly.svg Offaly (19892006) Birr 7 All-Ireland SHC (1994, 1998) Leinster SHC (1989, 1990, 1994, 1995) National Hurling League (1991) Texaco Hurler of the Year (1994, 1998) All-Star Awards (1992, 1995, 1998, 1999)
    Midfield Jack Lynch Colours of Cork.svg Cork (19361950) Glen Rovers 8 All-Ireland SHC (1941, 1942, 1943, 1944, 1946) Munster SHC (1939, 1942, 1943, 1944, 1946, 1947) National Hurling League (1940, 1941, 1948) GAA All-Time All-Star Award (1981)
    Midfield Lory Meagher Colours of Kilkenny.svg Kilkenny (19241936) Tullaroan 9 All-Ireland SHC (1932, 1933, 1935) Leinster SHC (1925, 1926, 1931, 1932, 1933, 1935) National Hurling League (1933)
    Right wing-forward Christy Ring Colours of Cork.svg Cork (19401962) Glen Rovers 10 All-Ireland SHC (1941, 1942, 1943, 1944, 1946, 1952, 1953, 1954) Munster SHC (1942, 1943, 1944, 1946, 1947, 1952, 1953, 1954, 1956) National Hurling League (1940, 1941, 1953)
    Centre-forward Mick Mackey Colours of Leinster Council.svg Limerick (19301946) Ahane 11 All-Ireland SHC (1934, 1936, 1940) Munster SHC (1933, 1934, 1935, 1936, 1940) National Hurling League (1934, 1935, 1936, 1937, 1938) GAA All-Time All-Star Award (1980)
    Left wing-forward Jim Langton Colours of Kilkenny.svg Kilkenny (19391950) Éire Óg 12 All-Ireland SHC (1939, 1947) Leinster SHC (1939, 1940, 1943, 1945, 1946, 1947, 1950) GAA All-Time All-Star Award (1984)
    Left corner-forward Eddie Keher Colours of Kilkenny.svg Kilkenny (19591977) Rower-Inistioge 13 All-Ireland SHC (1963, 1967, 1969, 1972, 1974, 1975) Leinster SHC (1963, 1964, 1966, 1967, 1969, 1971, 1972, 1973, 1974, 1975) National Hurling League (1962, 1976) Texaco Hurler of the Year (1972) Cú Chulainn Awards (1963, 1966, 1967, 1969) All-Star Awards (1971, 1972, 1973, 1974, 1975)
    Full-forward Ray Cummins Colours of Cork.svg Cork (19691982) Blackrock 14 All-Ireland SHC (1970, 1976, 1977, 1978) Munster SHC (1969, 1970, 1972, 1975, 1976, 1977, 1978, 1979, 1982) National Hurling League (1970, 1972, 1980) All-Ireland Club SHC (1974, 1979) Munster Club SHC (1973, 1975, 1978, 1979) All-Star Hurling Awards (1971, 1972, 1977) All-Ireland SFC (1973) Munster SFC (1971, 1973, 1974) All-Star Football Awards (1971, 1973)
    Right corner-forward Jimmy Doyle Colours of Roscommon.svg Tipperary (19571973) Thurles Sarsfields 15 All-Ireland SHC (1958, 1961, 1962, 1964, 1965, 1971) Munster SHC (1958, 1960, 1961, 1962, 1964, 1965, 1967, 1968, 1971) National Hurling League (1957, 1959, 1960, 1961, 1964, 1965)

    Controversy

    While universal agreement on such a team would prove impossible, the selection committee came in for some criticism regarding omissions and changes from the earlier GAA Hurling Team of the Century. Kilkenny's D. J. Carey was seen as a shock omission from the team. As the holder of a then record seven All-Stars, Carey, whose inter-county career began in 1989, was seen as one of the greatest goal-scorers of his era and was hotly tipped to get one of the half-forward spots for which he was nominated. The 1990s were regarded as a golden age of hurling with many new teams emerging, however, this was not reflected in the team. Clare's Brian Lohan had been tipped for full-back but Wexford's Nick O'Donnell held on. There were no places for any of the Clare team that emerged to win two championships in the nineties. Brian Whelehan was the only player from the previous 20 years to make the team. An absence of players from Galway also sparked off major controversy in that county where the selection committee were accused of belittling the county by not recognising any of its heroes. There was anger too in Wexford over the dropping of full-forward Nicky Rackard from the Team of the Century. Former midfielder Dave Bernie, who won an All-Ireland medal in 1968, when Rackard was a selector, said Wexford fans were stunned by the news he had not been included.
  • 30cm x 38cm    Westport Co Mayo On 17 December 1916, the week before Christmas, a Mayo team stepped onto a frost-bitten Croke Park pitch to break new ground not only for themselves, but for their province – somewhat remarkably, in the already storied history of the Gaelic games, no Connacht county had previously climbed to such a rarefied heights. Mayo’s maiden final was played on a day that was winter raw. As snow, hail and rain fell in turns, the low temperatures left the ground underfoot little short of treacherous. Already, the belt of miserable weather had taken chunks out of England’s soccer programme the day before and in Dublin, on the morning of the final, hospitals filled with those presenting with injuries from falls on ice-glazed pavements, many of them worshippers walking to and from Sunday services. There was tragedy, too, when three residents of the Peaumont Sanitorium drowned when treading the frozen surface of a pond that cracked and gave way beneath them. In ordinary circumstances, most likely, the All-Ireland final meeting of Mayo and defending champions Wexford wouldn’t have gone ahead. But these were not ordinary circumstances and this was no ordinary time. The backdrop was one of international war and domestic upheaval and for the GAA, the struggle to maintain a semblance of normality – to operate a schedule of fixtures free of disruption and delay – was a constant. It didn’t help that the official Commission of Inquiry into the April Rebellion identified the Association as a contributory factor in its outbreak. It was a finding that the GAA leadership robustly refuted, their cool-headed pragmatism leading them not only into a denial of any involvement in the Rising, but to openly enter into negotiations with the British authorities in an effort to fend off threats to their sporting operations. What the GAA sought to secure as priorities was an exemption from a new entertainment tax that was to be levied on sporting and recreational bodies across Britain and Ireland; and an end to the curtailment of special train services to GAA matches. If the actions of the GAA emphasised the primacy of play, those of the British authorities – in London and Dublin – laid stress on law and order, and on the monitoring and the suppression of anything, or anyone, who might undermine it. Towards that end, in the months following the Rising, police reports tumbled into Dublin Castle evaluating the political temperature in each county and detailing the organisational strength of the various social, cultural and political groupings within.

    Statement issued by the GAA in May 1916 in response to allegations made by the Rebellion Commission, set up by the British to investigate the Rising, that the GAA was involved in the planning and staging of the Easter Rising. In this statement the GAA strenuously expresses its non-political constitution. Click the image to read the statement in full. (Image: GAA)

    Reports from Mayo in the summer of 1916 revealed a county in a ‘peaceable’ condition and with, amongst other things, a thriving GAA community: in all, the county was said to have boasted 18 clubs with just over 1,000 members. The strongest of these clubs was undoubtedly Ballina Stephenites. Founded in 1888, they had dominated the local Mayo scene since the turn of the 20th century, and spent years scorching all Connacht opposition at a time when champion clubs also served as county representatives in provincial and All-Ireland competitions. In 1908, they even secured national honours when defeating Kerry in a Croke Memorial Cup final. This was a day when at least one journalist – a reporter for the Western People – parked his professionalism in favour of partisan self-indulgence. Disabusing his readers of the expectation that they might receive anything in the way of actual reportage, he wrote: ‘I put my notebook away when Andy Corcoran (the captain) won the toss, and thereafter, along with hundreds of others, I abandoned myself to an hour’s delightful cheering and yelling.’ If this was primarily a Ballina triumph, the joy was by no means confined to the town. In Crossmolina a tar barrel was set alight to honour a moment that created ripples of excitement across the county. By 1916, the Mayo team was still backboned by Ballina men, though it was bolstered – as was then commonplace – by select players from rival clubs, including Balla, Ballyhaunis, Kiltimagh, Lacken and Swinford. It appears not to have been the most harmonious of mixes. When they took the field in Castlerea against Roscommon for the Connacht final at the start of October, they were a seriously depleted outfit – seven of those selected to travel failed to show up and a further two refused to tog out. As it transpired, the team was plagued by unwanted controversy. Later, when they defeated Cork in the All-Ireland semi-final, they were forced to do it all over again – on a day so sodden the referee wore his Mackintosh throughout – after an objection was lodged that they had played an illegal player in Bernard Durkin, a Mayo native who had earlier the same year played in a Cork County Championship for Youghal. For all that the extra game stood to Mayo, it also exposed weaknesses that could only be addressed, many believed, by better preparation. The message that went out was clear-cut. As one GAA writer put it starkly: ‘The war cry for the present Mayo team is – Train! Train! Train!' There was nothing particularly sagacious in this advice; most of the top teams were already doing this as a matter of course. However, the problem for Mayo was that, whatever way you looked at it, they appeared to be starting from a poorer position than their final opponents. Nowhere was the disparity more striking than in the resources available to the two sides. Wexford had raised £100 in subscriptions and secured a grant of £25 from the Leinster Council before a cash-strapped Mayo had gotten out of the fundraising blocks. It was late November, less than a month before the final, when the county eventually launched a training fund to help defray the costs of organising trial matches against their provincial neighbours and to ensure, as one contributor put it, that they didn’t suffer from a ‘lack of the sinews of war’. Clubs and the county board established committees to solicit money and commitments were given that all contributions would be dutifully acknowledged in the local press. That they were, but the purpose of publication was as much to shame as name. Indeed, slackers were unrepentantly called out. So while the people of Ballina and Crossmolina won plaudits for their efforts, those from Foxford stood indicted: ‘There’s an old saying that “apples will grow again”’, one scribe observed. ‘When they do they won’t ripen in Foxford.’

    The Wexford (Blues & Whites) team that won the 1916 GAA Football All-Ireland title. (Image: GAA)

    The final, when it finally arrived, disappointed in every way. Despite the temporary easing of train restrictions that had already forced the deferment of the hurling decider until late January 1917, it was played before a small crowd of 3,000 and on a pitch that barely cut muster. The conditions undoubtedly conspired against good football, yet the match itself was, as one report had it, remarkable only for its ‘tameness’. It’s perhaps sufficient to say the outcome was never in doubt and that the Wexford-men won, on a 3-4 to 1-2 score-line, easing up. The Mayo players were not exactly crestfallen at the result. There was no wailing, no recrimination, no burning regret at perhaps a once in a lifetime opportunity squandered. Theirs was not a house of pain. On the night of their final they happily joined with the Wexford players at an ‘all night dance’ at Conarchy’s Hotel on Dublin’s Parnell Square. And their captain, Frank Courrell, expressed himself pleased with his team’s performance. The players, he felt, had acquitted themselves well as individuals if not as cohesive unit. In any case, as Courell himself confessed, they had never come to Dublin ‘with the idea of beating Wexford’. Not a bit of it. ‘We came with one object’ Courrell said, ‘to fight every inch of the ground and go down gamely, and we did. We Connachtmen pride ourselves on the fact that we entered the final for the first time, and we are not a bit downhearted on our defeat by such a splendid side.’
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