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  • Striking and large print of a drawing on charcoal depicting five Irish Literary behemoths-James Joyce,W.B Yeats ,Samuel Beckett,Brendan Behan & Sean O'Casey.There is some slight water staining on the bottom of the front as this was stored in the basement of a long closed Dublin pub but now gladly resurrected and reframed.   Dublin 90cm x 68cm
  • This painting of Clare piper Pádraig Ó Briain by the artist Joseph Haverty was hugely popular in 19th-century Ireland.

    82cm x 58cm.  Limerick

    An oil painting of a street musician who played regularly in Limerick city, was painted in oil on canvas. The subject, uileann piper Pádraig Ó Briain (there are several variant spellings of his name on record), occupied a space on the corner of the Crescent and Hartstonge Street in Limerick and presumably Haverty noticed him there. Pipers were esteemed in Ireland and were a popular subject. Haverty had a sound instinct for what would appeal to an audience. He transposed the piper from an urban to a woodland setting, which is theatrical but effective, and the painting seems to have been known under several different titles, including The Father and Daughter (O’Brien had two daughters but opinions differ as to whether the girl depicted was one of them), The Blind Piper and The Irish Piper.

    Reproduced as a print under the title The Limerick Piper, it sold widely throughout the country and became extremely well-known. Haverty made another quite different painting of the piper, now in the University of Limerick collection, but he also made copies of his own work.

    To complicate things slightly: The Blind Piper was exhibited by the RHA in 1845, when it was praised in the Nation. It was perhaps this version that Sir Josslyn Gore-Booth bought and exhibited at the Cork exhibition in 1852. But there were other versions in circulation. Young Irelander William Smith O’Brien reputedly commissioned a copy from Haverty, and bequeathed it to the National Gallery of Ireland in 1864.

    The Blind Piper is included in the exhibition Oidhreacht: Transforming Tradition at the Highlanes Gallery, Laurence Street, Drogheda, Co Louth (July 13th – September 14th), timed to coincide with Fleadh Cheoil na hÉireann which takes place July 10th-18th in Drogheda.

    The annual week-long festival, a lively mix of summer school, competition and a packed programme of traditional music concerts attracts up to 500,000 people from throughout Ireland North and South, the UK and internationally. The exhibition of art and artefacts is drawn from Drogheda’s Municipal Art Collection as well as those of major public museums, including the National Gallery of Ireland and Imma. It aims to explore “the rich social, political and aesthetic contexts in which the traditional arts have been expressed”.

  • Fantastic framed .large Dubliners drinking pints of Bass display with autographs of all the band members underneath. 75cm x 66cm  Dublin The Dubliners were quite simply one of the most famous Irish folk bands of all time.Founded in 1962,they enjoyed a 50 year career with the success of the band centred on their two lead singers,Luke Kelly and Ronnie Drew.They garnered massive international acclaim with their lively Irish folk songs,traditional street ballads and instrumentals eventually crossing over to mainstream culture by appearing on Top of the Pops in 1967 with "Seven Drunken Nights" which sold over 250000 singles in the UK alone.Later a number of collaborations with the Pogues saw them enter the UK singles charts again on another 2 occasions.Instrumental in popularising Irish folk music abroad ,they influenced many generations of Irish bands and covers of Irish ballads such as Raglan Road and the Auld Triangle by Luke Kelly and Ronnie Drew tend to be regarded as definitive versions.They also enjoyed a hard drinking and partying image and this advertising collaboration with Bass Ales must be seen as the perfect fit in terms of a target audience !  
  • Fantastic ,imposing Dublin Gold Matured for Seven Years Irish Whiskey Advert in magnificent, gold frame 60 cm x 95cm  Dublin
    "A whiskey is the creation of something harmonious, balanced and fundamentally social... It brings together the mastery of the distilling process with the mystery of its humble ingredients. It is this indefinable nature that makes a Premium Whiskey far more than the sum of its parts.” The Jameson Masters
     
    In order to be called an “Irish Whiskey”, distilled spirit must be;
    • -  aged in wood barrels for a minimum of 3 years.
    • -  a minimum of 40% ABV.
    • -  distilled and matured on the island of Ireland.There are several types of Irish Whiskey including; Pot still Irish Whiskey Pot still whiskey is whiskey made from a combination of malted barley and unmalted barley and is distilled in traditional copper pot stills. Pot Still Irish Whiskeys are characterised by full bodied flavours and a wonderful creamy mouth feel. Blended Irish Whiskey A blended whiskey is a combination of 2 or more styles of whiskey (grain, pot still or malt whiskey). Grain Irish Whiskey Grain whiskey is typically produced from a mash of maize and malted barley. Grain whiskey is lighter in character than pot still whiskey and generally the characteristics display delicate, fragrant and floral notes. Malt Irish WhIskey A single malt whiskey is made exclusively from malted barley and is distilled using a pot still.
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  • 80cm x 65cm.    Ballysimon Co Limerick Detailed and illustrated large Map of Ireland outlining the numerous antiquities & places of historical interest to be visited .
  • 32cm x 24cm  Caherciveen Co Kerry Framed print of one of there greatest Gaelic Footballers of all time - the legendary Mick O'Connell. Michael "Mick" O'Connell (born 4 January 1937) is an Irish retired Gaelic footballer. His league and championship career with the Kerry senior team spanned nineteen seasons from 1956 to 1974. O'Connell is widely regarded as one of the greatest players in the history of the game. Born on Valentia Island, County Kerry, O'Connell was raised in a family that had no real link to Gaelic football. In spite of this he excelled at the game in his youth and also at Cahersiveen CBS. By his late teens O'Connell had joined the Young Islanders, and won seven South Kerry divisional championship medals in a club career that spanned four decades. He also lined out with South Kerry, winning three county senior championshipmedals between 1955 and 1958. O'Connell made his debut on the inter-county scene at the age of eighteen when he was selected for the Kerry minor team. He enjoyed one championship season with the minors, however, he was a Munster runner-up on that occasion. O'Connell subsequently joined the Kerry senior team, making his debut during the 1956 championship. Over the course of the next nineteen seasons, he won eight All-Ireland medals, beginning with lone triumphs in 1959 and 1962, and culminating in back-to-back championships in 1969 and 1970. O'Connell also won twelve Munster medals, six National Football League medals and was named Footballer of the Year in 1962. He played his last game for Kerry in July 1974. Recollecting his early years on RTÉ Raidió na Gaeltachta and Radio Kerry, O’Connell spoke of how he was introduced to Gaelic football.He also revealed he had regularly played soccer with Spanish fishermen on his native Valentia Island. “Well, I remember I was 11 or 12, my father bought them (boots) in the shop in Cahirsiveen. I remember playing beside the house at home and I remember the first day I got those from the shop I was delighted. But after that there wasn’t a lot of people with football boots. “We would play barefoot often during the summer — and we were happy to play barefoot — that’s the way it was back then. “My father bought us a ball, a size 4. It wasn’t too big but it was fine. We would play at home and coming home from school a lot of people would come in playing with us, schoolboys, and often, very often, the Spanish would come in taking shelter from the weather, they would come in and play soccer with us. “If there was bad weather, they’d take shelter here in the harbour. They wouldn’t have a penny but a drop of wine in bags but they had no money and they’d come in and play. It was nice to watch them. I was practicing left and right but we had no trainers or coaches at the time. It was just a case of practicing between ourselves, nice and gently. There were no matches but games between ourselves and that’s all we had at the time.” It was O’Connell’s father Jeremiah who helped begin his son’s love of Gaelic football although he himself had no background in the game. “My own mother (Mary), she was never at a match and my uncle who was born in 1880 or that, he was living with us on Valentia Island, he was never at a match.
  • 35cm x 45cm  Caherciveen Co Kerry Framed print of one of there greatest Gaelic Footballers of all time - the legendary Mick O'Connell. Michael "Mick" O'Connell (born 4 January 1937) is an Irish retired Gaelic footballer. His league and championship career with the Kerry senior team spanned nineteen seasons from 1956 to 1974. O'Connell is widely regarded as one of the greatest players in the history of the game. Born on Valentia Island, County Kerry, O'Connell was raised in a family that had no real link to Gaelic football. In spite of this he excelled at the game in his youth and also at Cahersiveen CBS. By his late teens O'Connell had joined the Young Islanders, and won seven South Kerry divisional championship medals in a club career that spanned four decades. He also lined out with South Kerry, winning three county senior championshipmedals between 1955 and 1958. O'Connell made his debut on the inter-county scene at the age of eighteen when he was selected for the Kerry minor team. He enjoyed one championship season with the minors, however, he was a Munster runner-up on that occasion. O'Connell subsequently joined the Kerry senior team, making his debut during the 1956 championship. Over the course of the next nineteen seasons, he won eight All-Ireland medals, beginning with lone triumphs in 1959 and 1962, and culminating in back-to-back championships in 1969 and 1970. O'Connell also won twelve Munster medals, six National Football League medals and was named Footballer of the Year in 1962. He played his last game for Kerry in July 1974. Recollecting his early years on RTÉ Raidió na Gaeltachta and Radio Kerry, O’Connell spoke of how he was introduced to Gaelic football.He also revealed he had regularly played soccer with Spanish fishermen on his native Valentia Island. “Well, I remember I was 11 or 12, my father bought them (boots) in the shop in Cahirsiveen. I remember playing beside the house at home and I remember the first day I got those from the shop I was delighted. But after that there wasn’t a lot of people with football boots. “We would play barefoot often during the summer — and we were happy to play barefoot — that’s the way it was back then. “My father bought us a ball, a size 4. It wasn’t too big but it was fine. We would play at home and coming home from school a lot of people would come in playing with us, schoolboys, and often, very often, the Spanish would come in taking shelter from the weather, they would come in and play soccer with us. “If there was bad weather, they’d take shelter here in the harbour. They wouldn’t have a penny but a drop of wine in bags but they had no money and they’d come in and play. It was nice to watch them. I was practicing left and right but we had no trainers or coaches at the time. It was just a case of practicing between ourselves, nice and gently. There were no matches but games between ourselves and that’s all we had at the time.” It was O’Connell’s father Jeremiah who helped begin his son’s love of Gaelic football although he himself had no background in the game. “My own mother (Mary), she was never at a match and my uncle who was born in 1880 or that, he was living with us on Valentia Island, he was never at a match.
  • Commemorative team photo of the 3 in a row winning Kerry Footballers 1978,1979 & 1§980 Sneem Co Kerry  Dimensions :63cm x 45cm  

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  • Charming 1940s advert from the merchant bottler Wm Kearney & Sons Limerick City.These bottling merchants would bottle for the major brands such as Jamesons and Bushmills and very often would distill their own single malt whiskey as well, usually for the local market.The "real Irish beauty " featured smoking a cigarette certainly added to the allure of the Wm Kearney brand ! Doon Co Limerick  56cm x 50cm
  • 30cm x 30cm If ever a time symbolised flag-waving, delirious, green white and orange national pride, Italia '90 was that time. It all came down to one single glorious moment on a steamy June night in the Stadio Luigi Ferraris in Genoa when Packie Bonner saved that penalty and a deafening Une Voce roar erupted, ricocheting through every home and bar across Ireland. Seconds later when David O'Leary's winning penalty unleashed tears of unbridled joy Irish tricolours billowed like crazy in the breezeless stands and cascaded from the terraces to seemingly endless choruses of 'Olé, Olé, Olé, Olé'. We had made it through to the quarter-finals of the World Cup but we might as well have won and no-one wanted to let that moment go. Back home, cars catapulted onto the streets of every town and village with horns honking and flags wavering precariously from rolled-down windows. In Donegal an impromptu motorcade, suddenly, impulsively headed for Packie's home place in the Rosses, where fans danced in the front garden and waved the tricolour. It was an epic display of patriotic fervour and a defining moment, not just for Irish football but for our sense of identity. Historian and author, John Dorney describes it as the moment when Irish identity and international football collided. In his analysis of the era, he concludes that the Irish team's English manager, Jack Charlton neither knew nor cared about the multiple divisions in Irish society. Likewise, many of the team had been born in England of Irish ancestry and were "a clean slate" without baggage.
    "The 11 men on the football fields of Italy in the 1990 tournament represented a joyous shedding of much that had gone on before," he points out.
    In the previous decades leading up to Italia '90, the Irish flag had been politicised and people in the Republic felt disengaged from the so-called Troubles

    "I think Italia '90 was about letting go of the past. The eighties had been a very difficult decade and there was a sense of something very cathartic happening. There was a real sense of letting go of the baggage of the past. In essence people were saying that they wanted Ireland to be successful, to be respected and not to always be associated with negative things.

    "They were saying we can be proud of our flag and we can carry it with us and it doesn't have to mean x, y or z. It can just be our flag and that's it." At the end of Ireland's final game in Stadio Olimpico in Rome, a tearful-looking Charlton brandishing a large tricolour as he led the players in a lap of honour in moving tribute to the fans, instantly became one of the abiding memories of an unforgettable tournament. It had all begun low key with the odd flag-waving fan among the stay-at-home supporters but by the time Ireland had reached Genoa for the game against Romania, excitement levels had rocketed to fever pitch. Flags were suddenly everywhere. Children beamed out from tricolour-painted faces and funny hats in the colours of the national flag had even made their way into the usually more solemn sports studios of the National Broadcaster. Bill O'Herlihy, who remained at home to anchor the RTE coverage, recalls Italia '90 as a defining moment, not just for the team and for soccer coverage but for the fans who rallied behind the team. "You have to remember that the World Cup is the biggest sporting event in the world so the fact that we qualified for the first time, meant there was a great sense of national pride. "In my judgment it was the best time I ever remember in Dublin. We all walked a little taller. There was much less crime. There was an awful lot of happiness and joy and a huge number of celebrations. It was more than a soccer event. It was a national event. "Everywhere you went there were flags flying. It was later calculated that everybody over the age of 4 was watching RTE to see that the penalty shoot out in Genoa which was an astounding thing," he said. The veteran sports' broadcaster pointed out that Italia '90 was also a defining time for Irish fans abroad. "I think we are very proud of our sports people and we have a great sporting tradition. The Irish flag is central to that in my estimation and we respect the flag because of the way we behave when we are away. "Everyone was talking about the Irish fans." He has no regrets about being in Dublin for the tournament and for the return of the team when half a million people turned out on the streets of the capital to welcome them home. "It was a very special time and I don't think it will ever be replicated. When we got to the next World Cup finals in 1994, I got a sense that the celebration was a bit forced. In 1990 it came from the heart."
  • Pair of tastefully framed portraits (after the paintings by R.M Hodgetts)  of one of the greatest  statesmen, orators and wits in Irish  history -John Philpott Curran     28cm x 25cm John Philpot Curran (24 July 1750 – 14 October 1817) was an Irish orator, politician, wit, lawyer and judge, who held the office of Master of the Rolls in Ireland.

    Career

    Born in Newmarket, County Cork, he was the eldest of five children of James Curran, seneschal of the Newmarket manor court, and Sarah, née Philpot. The Curran family were said to have originally been named Curwen, their ancestor having come from Cumberland as a soldier under Cromwell; Curran's grandfather was from Derry, but settled in Cork. The Philpots were Irish judges, bishops and noblemen.[ A friend of the family, Rev. Nathaniel Boyse, arranged to have Curran educated at Midleton College, County Cork. He studied law at Trinity College, Dublin (he was described as "the wildest, wittiest, dreamiest student") and continued his legal studies at King's Inns and the Middle Temple. He was called to the Irish Bar in 1775. Upon his first trial, his nerves got the better of him and he couldn't proceed. His short stature, boyish features, shrill voice and a stutter were said to have impacted his career, and earned him the nickname "Stuttering Jack Curran". However, he could speak passionately in court on subjects close to his heart. He eventually overcame his nerves, and got rid of his speech impediment by constantly reciting Shakespeare and Bolingbroke in front of a mirror, and became a noted orator and wit. His occasional tendency of challenging people to duels (he fought five in all) rather than compromise his values, along with his skilful oratory, quick wit and his championing of popular Irish causes such as Catholic Emancipation and the enlargement of the franchise, made him one of the most popular lawyers in Ireland. He also could speak Irish, still the language of the majority at that time. He wrote a large amount of humorous and romantic poetry. The case which cemented Curran's popularity was that of Father Neale and St Leger St Leger, 1st Viscount Doneraile at the County Cork Assizes in 1780. Father Neale, an elderly Catholic priest in County Cork, criticised an adulterous parishioner. The adulterer's sister was mistress to Lord Doneraile, a cruel Protestant landlord. Doneraile demanded that Neale recant his criticism of his mistress' brother. When the priest stood by his principles, Doneraile horse-whipped him, secure in the confidence that a jury of the time would not convict a Protestant on charges brought forward by a Catholic. Curran, who had a passion for lost causes, represented the priest and won over the jury by setting aside the issue of religion. The jury awarded Curran's client 30 guineas. Doneraile challenged Curran to a duel, in which Doneraile fired and missed. Curran declined to fire. The year 1796 saw Curran again attacking the character of a peer, the Earl of Westmeath, in a civil case. The circumstances were very different from the Doneraile case: Curran was defending another aristocrat, Augustus Bradshaw, allegedly the lover of Lady Westmeath, in a criminal conversationaction. For once his eloquence went for nothing and despite his attacks on the characters of both Lord and Lady Westmeath, the jury awarded the enormous sum of £10000. He earned the nickname "The little Jesuit of St. Omer"from wearing a brown coat outside a black one, and making pro-Catholic speeches. Started in 1780, his drinking club "The Order of St. Patrick" also included Catholic members along with liberal lawyers (who then had to be Protestant). The Club members were called The Monks of the Screw, as they appreciated wine and corkscrews. Curran was its "Prior" and consequently named his Rathfarnham home "The Priory". The club had no link to the Order of St. Patrick established in 1783.

    Political cases and views

    A liberal Protestant whose politics were similar to Henry Grattan, he employed all his eloquence to oppose the illiberal policy of the Government, and also the Union with Britain. Curran stood as Member of Parliament (MP) for Kilbeggan in 1783. He subsequently represented Rathcormack between 1790 and 1798 and served then for Banagher from 1800 until the Act of Union in 1801, which bitterly disappointed him; he even contemplated emigrating to the United States. He also visited France in the 1780s and in 1802 at the time of the Treaty of Amiens, and considered that an Ireland ruled by the United Irishmen under French protection would be as bad as, if not worse than, British rule. However, he defended several of the United Irishmen in prominent high treason cases in the 1790s. Among them were the Revd. William Jackson, Archibald Hamilton Rowan, Wolfe Tone, Napper Tandy, The Sheares Brothers, Lord Edward Fitzgerald, William Orr and William Drennan. His difficulty in defending treason cases was that the Dublin administration could rely upon one witness to secure a conviction, while in England the law required that the prosecution had to use two or more witnesses. Consequently, his success depended on his lengthy examination of a single witness to try to find an inconsistency. He used this technique to great effect in the case of Patrick Finney, a Dublin tobacconist charged with treason in 1798, largely on the evidence of one James O'Brien. Curran destroyed O'Brien's credit and the judges, for once in sympathy with the accused, virtually ordered an acquittal. In the same year he unsuccessfully defended the journalist Peter Finnerty for seditious libel in publishing an attack on the judges who heard the William Orr case, and the Lord Lieutenant. Despite an eloquent speech by Curran, Finnerty was found guilty and sentenced to two years imprisonment. In 1797 he was condemned as "the leading advocate of every murderer, ruffian and low villain". In 1802, Curran won damages from Major Sirr, who in 1798 had arrested Irish revolutionaries Lord Edward FitzGerald, Thomas Russell and Robert Emmet. Curran spoke for a Protestant, who had volunteered against the Rebellion but had happened to cross Sirr by convincing a jury of the "infamous" character of Sirr's witness in a treason trial, so causing Sirr's case to collapse. Sirr and his colleague were alleged then to have used wrongful arrest, imprisonment incommunicado, and condemnation to hanging as means to extortion and personal satisfaction. Curran implied that these were typical of their methods and of the methods used to suppress the Rebellion. Niles' Register of 24 March 1821 describes Sirr as "this old sinner, given to eternal infamy by the eloquence of Curran'" He was appointed Master of the Rolls in Ireland in 1806, following Pitt's replacement by a more liberal cabinet.

    Death

    He retired in 1814 and spent his last three years in London. He died in his home in Brompton in 1817. In 1837, his remains were transferred from Paddington Cemetery, London to Glasnevin Cemetery, where they were laid in an 8-foot-high classical-style sarcophagus. In 1845 a white marble memorial to him, with a carved bust by Christopher Moore,was placed near the west door of St Patrick's Cathedral, Dublin.

    Private life

    He married in 1774, to his cousin Sarah Creagh (1755–1844), the daughter of Richard Creagh, a County Cork physician. His eldest daughter Amelia was born in 1775, and eight more children resulted from the union, but his marriage disintegrated, his wife eventually deserting him and eloping with Reverend Abraham Sandys, whom Curran sued afterwards for criminal conversation in 1795. His youngest daughter Sarah's romance with the rebel Robert Emmet, who was hanged for treason in 1803, scandalised Curran, who had tried to split them up. He was arrested and agreed to pass their correspondence on to Standish O'Grady, 1st Viscount Guillamore, the Attorney General for Ireland. In the circumstances he could not defend Emmet. He was suspected with involvement in Emmet's Rebellion, but was completely exonerated. However, his friend Lord Kilwarden was killed by the rebels, and he lost any faith in the beliefs of the United Irishmen. He disowned Sarah, who died of tuberculosis five years later. In Dublin, he was a member of Daly's Club.

    Quotations

    A restated version of John Curran's quote is engraved into a statue in Washington D.C.
    • "I have never yet heard of a murderer who was not afraid of a ghost." - A retort to a unionist MP who spoke of how he shuddered each time he passed the now-empty Parliament House, Dublin. The MP had voted in favour of the Act of Union which abolished the Irish Parliament.
    • "Assassinate me you may; intimidate me you cannot."
    • "His smile is like the silver plate on a coffin."
    • "In this administration, a place can be found for every bad man."
    • "Twenty four millions of people have burst their chains, and on the altar erected by despotism for public slavery, have enthroned the image of public liberty" – Speaking of the French Revolution, 4 February 1790.
    • "It is the common fate of the indolent to see their rights become a prey to the active. The condition upon which God hath given liberty to man is eternal vigilance; which condition if he break, servitude is at once the consequence of his crime and the punishment of his guilt." – John Philpot Curran: Speech upon the Right of Election for Lord Mayor of Dublin, 1790. (Speeches. Dublin, 1808.) as quoted in Bartlett's Familiar Quotations
    • "No matter with what solemnities he may have been devoted on the altar of slavery, the moment he touches the sacred soil of Britain, the altar and the god sink together in the dust; his soul walks abroad in her own majesty; his body swells beyond the measure of his chains which burst from around him, and he stands redeemed, regenerated, and disenthralled, by the irresistible genius of universal emancipation." – (Curran's speech in defence of James Somersett, a Jamaican slave who declared his freedom upon being brought to Britain [where slavery was banned] by his master; quoted extensively by US abolitionists such as Harriet Beecher Stowe in Uncle Tom's Cabin, Chapter 37. Frederick Douglass always recited this speech on stage when playing Curran.)
    • "Evil prospers when good men do nothing." (Also attributed to Edmund Burke; the quote cannot be definitely traced to either man.)
    • Judge: (whose wig was awry, to Curran) Curran, do you see anything ridiculous in this wig?
    Curran: Nothing but the head, my lord!
    • "My dear doctor, I am surprised to hear you say that I am coughing very badly, as I have been practising all night."
    • "When I can't talk sense, I talk metaphor."
    • "Everything I see disgusts and depresses me: I look back at the streaming of blood for so many years, and everything everywhere relapsed into its former degradation – France rechained, Spain again saddled for the priests, and Ireland, like a bastinadoed elephant, kneeling to receive the paltry rider." – Written in a letter, after the exile of Napoleon Bonaparte.
    • "If sadly thinking, with spirits sinking,
    Could more than drinking my cares compose,
    A cure for sorrow my sighs would borrow
    And hope tomorrow would end my woes.
    But as in wailing there's naught availing
    And Death unfailing will strike the blow
    And for that reason, and for a season,
    Let us be merry before we go.
    To joy a stranger, a wayworn ranger,
    In every danger my course I've run
    Now hope all ending, and death befriending,
    His last aid lending, my cares are done.
    No more a rover, or hapless lover,
    My griefs are over – my glass runs low;
    Then for that reason, and for a season,
    Let us be merry before we go." – ("The Deserter's Meditation")
    • "O Erin how sweetly thy green bosom rises,
    An emerald set in the ring of the sea,
    Each blade of thy meadows my faithful heart prizes,
    Thou queen of the west, the world's cushla ma chree."

    His witticisms

    One night, Curran was dining with Justice Toler, a notorious "hanging judge".
    Toler: Curran, is that hung-beef?
    Curran: Do try it, my lord, then it is sure to be!
    A wealthy tobacconist, Lundy Foot, asked Curran to suggest a Latin motto for his coach. "I have just hit on it!', exclaimed Curran. "It is only two words, and it will explain your profession, your elevation, and your contempt for the people's ridicule; it has the advantage of being in two languages, Latin and English, just as the reader chooses. Put up "Quid Rides" upon your carriage!" (A quid was a lump of tobacco to be chewed, and also slang for a sovereign (stg£1); "rides" is Irish slang for "has sexual intercourse"; in Latin "Quid rides" means: "so you may laugh"). Curran hated the Act of Union, which abolished the Parliament of Ireland and amalgamated it with that of Great Britain. The parliament had been housed in a splendid building in College Green, Dublin, which faced an uncertain future. "Curran, what do they mean to do with this useless building? For my part, I hate the very sight of it!" said one lord, who was for the Act of Union. "I do not wonder at it, my lord", said Curran contemptuously. "I have never yet heard of a murderer who is not afraid of a ghost." Curran arrived at court late one morning. The judge, Viscount Avonmore, demanded an explanation. "On my way to court, I passed through the market—" "Yes, I know, the Castle Market," interrupted Lord Avonmore. "Exactly, the Castle Market, and passing near one of the stalls, I beheld a brawny butcher brandishing a sharp gleaming knife. A calf he was about to slay was standing, awaiting the deathstroke, when at that moment—that critical moment—a lovely little girl came bounding along in all her sportive mirth from her father's stall. Before a moment had passed the butcher had plunged his knife into the breast of—" "Good God! His child!" sobbed the judge, deeply affected. Curran carried on: "No, the calf, but your Lordship often anticipates." A prosecutor, infuriated by Curran's insults, threatened to put him in his pocket. "If you do that," replied Curran, "you will have more law in your pocket than you ever had in your head." In debate with John Fitzgibbon, 1st Earl of Clare, Fitzgibbon rebutted one of Curran's arguments by saying "If that be the law, Mr. Curran, I shall burn all my law books." To which he replied "You had better read them first, my lord." On another occasion Fitzgibbon objected that Curran was splitting hairs- surely the words "also" and "likewise" have exactly the same meaning ? "Hardly, my Lord". Curran replied. "I remember when the great Lord Lifford presided over this Court. You also preside here, but you certainly do not preside likewise".

    Appreciation

    Lord Byron said, after the death of Curran, "I have heard that man speak more poetry than I have seen written", and, in a letter to Thomas Moore, 1 October 1821, "I feel, as your poor Curran said, before his death, 'a mountain of lead upon my heart, which I believe to be constitutional, and that nothing will remove it but the same remedy.'". An engraved portrait of Curran by J.J. Wedgwood was published in volume one of the first Irish biographical dictionary, Biographia Hibernica, a Biographical Dictionary of the Worthies of Ireland, from the earliest periods to the present time, (London, 1819: Richard Ryan (biographer)). In Fisher's Drawing Room Scrap Book, 1832, Letitia Elizabeth Landon includes an illustrative poem to the engraved portrait therein. Karl Marx recommended to Friedrich Engels that he read the speeches of John Philpot Curran in a letter of 10 December 1869: "You must get Curran's Speeches edited by Davies [i.e. Thomas Davis] (London: James Duffy, 22, Paternoster Row). .... I consider Curran the only great lawyer (people's advocate) of the eighteenth century and the noblest personality, while Grattan was a parliamentary rogue, but because you will find quoted there all the sources for the United Irishmen. "  
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