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  •

    O’Donoghues Pub 15 Baggott Street Dublin Painting

    €80.00
    46cm x 33cm

    History

    This pub is closely associated with Irish traditional music and was where the popular Irish folk group, The Dubliners, began performing in the early 1960s. Many other notable Irish musicians—including Séamus Ennis, Joe Heaney, Andy Irvine,Christy Moore, The Fureys and Phil Lynott—have played at O’Donoghue’s, and their photographs are displayed in the pub. Included are portraits of The Dubliners themselves: the five founding members Ronnie Drew, Luke Kelly, Ciarán Bourke, John Sheahan and Barney McKenna, as well as later members Eamonn Campbell and Seán Cannon; these photographs hang to the right of the entrance, where the nightly sessions are played.
    O’Donoghue’s
    It was August 1962 When I first set foot in O’Donoghue’s A world of music, friends and booze Opened up before me I never could’ve guessed as I walked through the door Just what the future had in store A crossroads for my life I saw Lying there to taunt me.
    ~ Andy Irvine, 2004
    Andy Irvine wrote the tribute song "O'Donoghue's", in which he reminisces about his early days in Dublin—when he first started frequenting the pub in August 1962. The song was released on the album Changing Trains (2007). Dessie Hynes from Longford bought the bar from Paddy and Maureen O'Donoghue in 1977 and ran the pub with his family for 11 years. In 1988, O’Donoghue’s was purchased by publicans Oliver Barden and John Mahon. Barden is still the proprietor and continues to run the pub with his family and staff to this day
     
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  • Vintage De Valera Presidential Election Poster

    €120.00
    30cm x 65cm
    BEFORE THE ADVENT of opinion polls, by-elections were the most reliable means of gauging the mood of the electorate.
    For decades before the 1916 Rising, Irish nationalists represented by the Irish Parliamentary Party (IPP) sought Irish home rule – a subordinate parliament and government in Dublin.
    But the emergence of Sinn Féin, which championed an independent Irish republic, transformed the political landscape. In 1917 Sinn Féin won four by-elections on the bounce in North Roscommon, South Longford, East Clare and South Kilkenny.
    No victory was more emphatic than East Clare and no winning candidate more central to the future history of Ireland.
    A political novice
    The victor was a political novice with little experience of public speaking outside the classroom. The senior surviving Volunteer from 1916, he was largely unknown before the East Clare by-election.
    But after it he was catapulted to national prominence, became president of Sinn Féin and represented East Clare for the next four decades. That soldier turned politician was De Valera .
    The East Clare by-election on July 10 was precipitated by the death on the Western Front of the sitting MP: Major Willie Redmond, brother of the leader of the IPP.
    Patrick Lynch KC, a barrister, contested the seat for the IPP under the banner: “Clare for a Clareman – Lynch is the Man”. His supporters, who were strongest in Ennis, contended that an Irish republic was a political fantasy. For several reasons, few expected anything other than a Sinn Féin victory.
    One of the most rebellious counties in Ireland
    First, Clare was one of the most rebellious counties in Ireland and during the by-election the county inspector of the Royal Irish Constabulary had to obtain a draft of 150 soldiers. Eight months after the by-election Clare became the first county to be placed under military rule since the 1916 Rising.
    Second, no election had been contested in East Clare since 1895 and the IPP’s constituency machine was decrepit and almost bankrupt. By contrast, the Sinn Féin campaign was highly organised and backboned by the revamped Irish Volunteers who were unafraid to defy the authorities and acted as a private police force.
    De Valera, who had only been released from prison on 16 June, campaigned in his Volunteer uniform and told the electors that, “every vote you give now is as good as the crack of a rifle in proclaiming your desire for freedom”.
    Third, buoyed up by its earlier electoral successes Sinn Féin attracted not just the support of the young but that of the Clare Champion (the county newspaper) and, more significantly, the endorsement of Bishop Michael Fogarty of Killaloe and the majority of younger clergy. The Catholic card was played astutely and reassuringly by de Valera.
    Although everyone expected a victory for de Valera, no one expected so stunning a winning margin. When the result of the election was announced on July 11 de Valera had secured 5,010 votes to Lynch’s 2,035.
    A game changer
    The rural vote had turned against the IPP. The Freeman’s Journal, the newspaper of the IPP, lamented that, “East Clare has declared for revolution by an overwhelming majority”. Lynch was not the man after all.
    The East Clare by-election was a milestone for Sinn Féin because it secured a striking popular mandate which helped the organisation to continue its rapid growth ahead of the 1918 general election.
    For de Valera his victory was a pivotal episode in his progression from militant to political republican. More than any other factor, the scale of his success propelled him to the presidency of Sinn Féin in October 1917 and launched his long political career. For a man who in the early months of 1917 wished to have no truck with politics this was quite a turn of events.
     
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  • Vintage John Locke & Co Ltd Blended Irish Whiskey Advert

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

    Early years

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

    Locke's Distillery

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

    Decline and Closure

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

    Distillery reopens

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

    Present day

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

    Gallery

    • Machinery at the distillery
    • Historic view distillery buildings
    • Distillery buildings with roof sign
    • View of the distillery from the 1900s
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  • Vintage John Locke Pure Pot Still Irish Whiskey Advert

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

    Early years

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

    Locke's Distillery

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

    Decline and Closure

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

    Distillery reopens

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

    Present day

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

    Gallery

    • Machinery at the distillery
    • Historic view distillery buildings
    • Distillery buildings with roof sign
    • View of the distillery from the 1900s
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  • Vintage Cooper’s Sheep Dip Advert- Agent; Mrs Margaret Hayes Ironmongers Portumna Co Galway

    €90.00
    45cm x 35cm  
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  • The Rolling Stones 50th Anniversary

    €90.00
    46cm x 35cm
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  • Jackie Healy Rae Election Poster

    €140.00
      62cm x 42cm John Patrick Healy (9 March 1931 – 5 December 2014), known as Jackie Healy-Rae, was an Irish Independent politician who served as a Teachta Dála (TD) for the Kerry South constituency from 1997 to 2011.

    Early and private life

    Healy-Rae was the first of six children born to Daniel and Mary Healy, and grew up on his family's farm at the foot of Mangerton Mountain, near Kilgarvan in County Kerry. The Rae part of his surname came from the name of the Healys' farm, Reacashlagh. He was educated at the local National School in Kilgarvan. He emigrated to the United States in 1953 but soon returned to Ireland. He played for the local hurling and Gaelic football teams in Kilgarvan, where he won two senior county hurling titles with the club in 1956 and 1958. Healy-Rae was also a saxophone player with the Kilgarvan Dance Band. By the 1960s, he was well established in the plant hire business in south Kerry. In 1969, he became a publican when he purchased an old premises that had been closed for some time in Kilgarvan. The family pub is now run by his son, Danny. Healy-Rae was married to Julie Healy, but the couple separated in 1977.Two sons, Danny and Michael were members of Kerry County Council for the Killarney and Killorglin local electoral areas respectively before becoming TDs. His eldest daughter Joan (Mrs. Larkin) teaches in a Catholic Schoolin New York. His other daughter, Rosemary, is a barrister-at-law. She was appointed to a paid position on the Criminal Injuries Compensation Tribunal in 2007. She was re-appointed, for three further years, by Justice Minister Dermot Ahern on 11 November 2010.A son, Denis, runs his own business, and another son, John Healy (he does not use Rae), is a full-time official with and former President of the Garda Representative Association.

    Political career

    Early involvement

    Healy-Rae first became involved in politics in the 1960s. He headed several Fianna Fáil by-election campaigns, most notably the election of John O'Leary to the Dáil in 1966. O'Leary retained the seat for thirty-one years. Healy-Rae later lent his services to several other Fianna Fáil election campaigns in County Limerick, County Cork and County Galway. In 1973, Healy-Rae was first co-opted to Kerry County Council as a Fianna Fáil member, following the death of sitting Kerry County Councillor Michael Doherty. He was elected to the council in his own right in 1974 and re-elected in every subsequent election. Healy-Rae served on the council for 30 years, until he had to resign his seat because of the abolition of the dual mandate in 2003. During the 1970s and 1980s, Healy-Rae served three times as Fianna Fáil's director of elections in Kerry South. In this capacity he was given the task of delivering two of the three seats for the Fianna Fáil Party.

    Election to Dáil Éireann Healy-Rae broke from Fianna Fáil in controversial circumstances prior to the 1997 general election. When the party refused to nominate him as a candidate in Kerry South, he decided to run as an Independent candidate. This move surprised the party, with many commentators giving him little chance of getting elected. However, Healy-Rae took a seat and denied Fianna Fáil the chance of taking a second seat in the constituency.

    After the election, the Fianna Fáil and Progressive Democrats prospective government was still short of an overall majority. Healy-Rae was one of four Independent TDs (the others were Harry Blaney, Tom Gildea and Mildred Fox) who supported the government throughout its five-year term and rejected the opposition Fine Gael. In return for this support he secured funding for projects in his constituency and chairmanship of the Environment committee. His policy approach could be defined as populist, primarily driven by his rural background and constituency, and he frequently demanded upgrades to public services such as schools and roads in his constituency as the price of his support for the government. Healy-Rae contested the 2002 general election and although his seat looked in doubt at some stages of the campaign and he received only the fourth-highest number of first-preference votes, he was narrowly re-elected, winning the third seat. He sat through fewer than half the meetings of an Oireachtas committee tasked with dealing with social welfare he received €20,000 a year to chair. He got up and left during 25pc of the meetings of the committee leaving the vice-chairman, Charlie O'Connor, to oversee the meetings and absented himself entirely from a further 25pc of meetings, despite a convention that chairmen appointed by the government should fully chair all meetings.

    External support for Fianna Fáil

    He was again re-elected to the Dáil at the 2007 general election and signed a confidence and supply deal with Fianna Fáil. Promising to support the government in return for investment in the Kerry South constituency. The details of this deal were not made public. Healy-Rae has been criticised for not making the details of the deal public and for supporting the government over highly controversial cutbacks (in contrast to Finian McGrath who made the details public by entering his deal into the Dáil record and who withdrew his support from the government in 2008, over cutbacks in the health sector). He was confronted publicly by members of the Kerry Public Sector Workers Alliance about his continual support for cutbacks and for the Irish bank bailout. Healy-Rae said he was powerless as he had only one vote and that they "should talk to the Green Party that are making the big changes".

    Retirement

    On 26 June 2008, Healy-Rae announced that he intended to retire at the next general election. His son Michael Healy-Rae was selected as a candidate by the Healy-Rae organisation on 28 October 2010,and was elected at the 2011 general election.

    Death

    Healy-Rae died on 5 December 2014, at Kerry General Hospital in Tralee after a long illness.
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  • Vintage Player’s Please Cigarettes GAA Advert

    €100.00
    47cm x 37cm  Limerick Navy cut were  a brand of cigarettes manufactured by Imperial Brands –formerly John Player & Sons– in Nottingham, England.The brand became "Player's Navy Cut". They were particularly popular in Britain,Ireland and Germany in the late 19th century and early part of the 20th century, but were later produced in the United States. The packet has the distinctive logo of a smoking sailor in a 'Navy Cut' cap. The phrase "Navy Cut" is according to Player's adverts to originate from the habit of sailors taking a mixture of tobacco leaves and binding them with string or twine. The tobacco would then mature under pressure and the sailor could then dispense the tobacco by slicing off a "cut".The product is also available in pipe tobacco form. The cigarettes were available in tins and the original cardboard container was a four sided tray of cigarettes that slid out from a covering like a classic matchbox. The next design had fold in ends so that the cigarettes could be seen or dispensed without sliding out the tray. In the 1950s the packaging moved to the flip top design like most brands.

    Enamelled metal box for 1 ounce of tobacco
    The image of the sailor was known as "Hero" because of the name on his hat band. It was first used in 1883 and the lifebuoy was added five years later. The sailor images were an 1891 artists concept registered for Chester-based William Parkins and Co for their "Jack Glory" brand.Behind the sailor are two ships. The one on the left is thought to be HMS Britannia and the one on the right HMS Dreadnought or HMS Hero. As time went by the image of the sailor changed as it sometimes had a beard and other times he was clean shaven. In 1927 "Hero" was standardised on a 1905 version. As part of the 1927 marketing campaign John Player and Sons commissioned an oil painting Head of a Sailor by Arthur David McCormick.The Player's Hero logo was thought to contribute to the cigarettes popularity in the 20s and 30s when competitor W.D. & H.O. Wills tried to create a similar image. Unlike Craven A, Navy Cut was intended to have a unisex appeal. Advertisements referred to "the appeal to Eve's fair daughters" and lines like "Men may come and Men may go".
    WWII cigarette packets exhibited at Monmouth Regimental Museumin 2012
    Hero is thought to have originally meant to indicate traditional British values, but his masculinity appealed directly to men and as a potential uncle figure for younger women. One slogan written inside the packet was "It's the tobacco that counts" and another was "Player's Please" which was said to appeal to the perceived desire of the population to be included in the mass market. The slogan was so well known that it was sufficient in a shop to get a packet of this brand. Player's Medium Navy Cut was the most popular by far of the three Navy Cut brands (there was also Mild and Gold Leaf). Two thirds of all the cigarettes sold in Britain were Players and two thirds of these was branded as Players Medium Navy Cut. In January 1937, Players sold nearly 3.5 million cigarettes (which included 1.34 million in London. The popularity of the brand was mostly amongst the middle class and in the South of England. While it was smoked in the north, other brands were locally more popular. The brand was discontinued in the UK in 2016.  
     
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  • John Gilroy Lost Guinness Archives- Guinness Irish Gothic

    €140.00
    68cm x 46cm
    The biggest cliché in the collecting world is the “discovery” of a previously unknown cache of stuff that’s been hidden away for years until one day, much to everyone’s amazement, the treasure trove is unearthed and the collecting landscape is changed forever. As a corollary to this hoary trope, if you are in the right place at the right time, you can get in on the action before the word gets out.

    “Some of the canvases were 80 years old, dating from 1930.”

    Cliché or not, that’s roughly what happened in 2008 when hundreds of artist John Gilroy’s oil-on-canvas paintings started to appear on the market. The canvases had been painted by Gilroy as final proofs for his iconic Guinness beer posters, the most recognized alcoholic-beverage advertisements of the mid-20th century. Before most collectors of advertising art and breweriana knew what had happened, most of the best pieces had been snapped up by a handful of savvy collectors. In fact, the distribution of the canvases into the hands of private collectors was so swift and stealthy that one prominent member of the Guinness family was forced to get their favorite Gilroys on the secondary market.
    One of those early collectors, who wishes to remain anonymous, recalls seeing several canvases for the first time at an antiques show. At first, he thought they were posters since that’s what Guinness collectors have come to expect. But after looking at them more closely, and realizing they were all original paintings, he purchased the lot on the spot. “It was quite exciting to stumble upon what appeared to be the unknown original advertising studies for one of the world’s great brands,” he says. But the casualness of that first encounter would not last, as competition for the newly found canvases ramped up among collectors. Today, the collector describes the scramble for these heretofore-unknown pieces as “a Gilroy art scrum.”
    Among those who were particularly interested in the news of the Gilroy cache was David Hughes, who was a brewer at Guinness for 15 years and has written three books on Guinness advertising art and collectibles, the most recent being “Gilroy Was Good for Guinness,” which reproduces more than 150 of the recently “discovered” paintings. Despite being an expert on the cheery ephemera that was created to sell the dark, bitter stout, Hughes, like a lot of people, only learned of the newly uncovered Gilroy canvases as tantalizing examples from the cache (created for markets as diverse as Russia, Israel, France, and the United States) started to surface in 2008.
    “Within the Guinness archives itself,” Hughes says of the materials kept at the company’s Dublin headquarters, “they’ve got lots of advertising art, watercolors, and sketches of workups towards the final version of the posters. But they never had a single oil painting. Until the paintings started turning up in the United States, where Guinness memorabilia is quite collectible, it wasn’t fully understood that the posters were based on oils. All of the canvases will be in collections within a year,” Hughes adds. For would-be Gilroy collectors, that means the clock is ticking.
    As it turns out, Gilroy’s entire artistic process was a prelude to the oils. “The first thing he’d usually do was a pencil sketch,” says Hughes. “Then he’d paint a watercolor over the top of the pencil sketch to get the color balance right. Once that was settled and all the approvals were in, he’d sit down and paint the oil. The proof version that went to Guinness for approval, it seems, was always an oil painting.”
    Based on what we know of John Gilroy’s work as an artist, that makes sense. For almost half a century, Gilroy was regarded not only as one of England’s premier commercial illustrators, but also as one of its best portraitists. “He painted the Queen three times,” says Hughes, “Lord Mountbatten about four times. In 1942, he did a pencil-and-crayon sketch of Churchill in a London bunker.” According to Hughes, Churchill gave that portrait to Russian leader Joseph Stalin at the Yalta Conference with Franklin Delano Roosevelt, which may mean that somewhere in the bowels of the Kremlin, there’s a portrait of Winnie by the same guy who made a living drawing cartoons of flying toucans balancing pints of Guinness on their beaks.
    For those who collect advertising art and breweriana, Gilroy is revered for the numerous campaigns he conceived as an illustrator for S.H. Benson, the venerable British ad agency, which was founded in 1893. Though most famous for the Guinness toucan, which has been the internationally recognized mascot of Guinness since 1935, Gilroy’s first campaign with S.H. Benson was for a yeast extract called Bovril. “Do you have Bovril in the U.S.?” Hughes asks. “It’s a rather dark, pungent, savory spread that goes on toast or bread. It’s full of vitamins, quite a traditional product. He also did a lot of work on campaigns for Colman’s mustard and Macleans toothpaste.”
    pparently Gilroy’s work caught the eye of Guinness, which wanted something distinctive for its stout. “A black beer is a unique product,” says Hughes. “There weren’t many on the market then, and there are even fewer now. So they wanted their advertising to be well thought of and agreeable to the public.” For example, in the early 1930s, Benson already had an ad featuring a glass of Guinness with a nice foamy head on top. “Gilroy put a smiling face in the foam,” says Hughes. Collectors often refer to this charming drawing as the “anthropomorphic glass.”
    That made the black beer friendly. To ensure that it would be appealing to the common man, Benson launched its “Guinness for Strength” campaign, whose most famous image is the 1934 Gilroy illustration of a muscular workman effortlessly balancing an enormous steel girder on one arm and his head.
    Another early campaign put Guinness beer in the world of Lewis Carroll’s “Alice’s Adventures in Wonderland.” “Guinness and oysters were a big thing,” says Hughes. In one ad, “Gilroy drew all the oysters from the poem ‘The Walrus and the Carpenter’ sipping glasses of Guinness.”
    nd then there were the animals, of which the toucan is only the most recognized, and not even the first (that honor goes to a seal). “He had the lion and the ostrich and the bear up the pole,” Hughes says. “There was a whole menagerie of them. The animals kept going for 30 years. It’s probably the longest running campaign in advertising history.”
    Most of Gilroy’s animals lived in a zoo, so a central character of the animal advertisements was a zookeeper, who was a caricature of the artist himself. “That’s what Gilroy looked like,” says Hughes. “Gilroy was a chubby, little man with a little moustache. As a younger man, he drew himself into the advert, and he became the zookeeper.”
    Gilroy’s animals good-naturedly tormented their zookeeper by stealing his precious Guinness: An ostrich swallows his glass pint whole, whose bulging outline can be seen in its slender throat; a seal balances a pint on its nose; a kangaroo swaps her “joey” for the zookeeper’s brown bottle. Often the zookeeper is so taken aback by these circumstances his hat has popped off his head.
    In fact, Gilroy spent a lot of time at the London Zoo to make sure he captured the essence of his animals accurately. “In the archives at Guinness,” says Hughes, “there are a lot of sketches of tortoises, emus, ostriches, and the rest. He perfected the drawing of the animals by going to the zoo, then he adapted them for the adverts.” As a result, a Gilroy bear really looked like a bear, albeit one with a smile on its face.
    During World War II, Gilroy’s Guinness ads managed to keep their sense of humor (eg: two sailors painting the hull of an aircraft carrier, each wishing the other was a Guinness), and in the 1950s and early ’60s, Gilroy’s famous pint-toting toucans flew all over the world for Guinness, in front of the Kremlin as well as Mt. Rushmore, the Leaning Tower of Pisa, and the Statue of Liberty, although some of these paintings never made it to the campaign stage.
    Gilroy’s work on the Guinness account ended in 1962, and in 1971, Benson was gobbled up by the Madison Avenue advertising firm of Ogilvy & Mather. By then, says Hughes, Gilroy’s work for Guinness was considered the pinnacle of poster design in the U.K., and quite collectible. “The posters were made by a lithographic process. In the 1930s, the canvases were re-created on stone by a print maker, but eventually the paintings were transferred via photolithography onto metal sheets. Some of the biggest posters were made for billboards. Those used 64 different sheets that you’d give to the guy with the bucket of wheat paste and a mop to put up in the right order to create the completed picture.”
    In terms of single-sheet posters, Hughes says the biggest ones were probably 4 by 3 feet. Benson’s had an archive of it all, but “when Benson’s shut down in ’71, when they were taken over, they cleaned out their stockroom of hundreds of posters and gave them to the British Museum and the Victoria and Albert Museum in London. Today, both have collections of the original posters, including the 64-sheets piled into these packets, which were wrapped in brown paper and tied up with string. They’re extremely difficult to handle; you can’t display them, really.”
    At least the paper got a good home. As for the canvases? Well, their history can only be pieced together based on conjecture, but here’s what Hughes thinks he knows.
    Sometime in the 1970s, a single collector whose name remains a mystery appears to have purchased as many as 700 to 900 Gilroy paintings that had been in the archives. “The guy who bought the whole archive was an American millionaire,” Hughes says. “He’s a secretive character who doesn’t want to be identified. I don’t blame him. He doesn’t want any publicity about how he bought the collection or its subsequent sale.”
    air enough. What we do know for sure is that the years were not kind to Gilroy’s canvases while in storage at Benson’s. In fact, it’s believed that more than half of the cache did not survive the decades and were probably destroyed by the mystery collector who bought them because of their extremely deteriorated condition (torn canvases, images blackened by mildew, etc.). After all, when Gilroy’s canvases were put away, no one at Benson’s thought they’d be regarded in the future as masterpieces.
    “A lot of the rolled-up canvases were stuck together,” says Hughes. “Oil takes a long while to dry. Gilroy diluted his oils with what’s called Japan drier, which is a sort of oil thinner that allows you to put the oil on the canvas in a much thinner texture, and then roll them up afterwards. The painted canvas becomes reasonably flexible. The problem is that even with a drier, they still took a long time to dry. And if someone had packed them tightly together and put weight on them, which is what must have happened while the Gilroy paintings were in storage at Benson’s, they’d just stick together. Some of the canvases were 80 years old, dating from 1930.”
    For diehard Guinness-advertising fans, though, it’s not all bad news. After all, almost half of the cache was saved, “and it’s beautiful,” says Hughes. “I’ve just come back from Boston to look at a lot of these canvases out there, and they are superb. The guy who’s selling the canvases I saw had about 40 or 50 with him. They’re absolutely fabulous.”
    Although he has no proof, Hughes believes the person who bought the cache in the 1970s also oversaw its preservation. Importantly to many collectors, all of the Gilroy canvases are in their found condition, stabilized but essentially unchanged. Even areas in the paint that show evidence of rubbing from adjacent canvases remain as they were found. “I think the preservation has been done by the owner,” Hughes says. “I don’t think the dealers did it. It’s my understanding that they were supplied with fully stabilized canvases from the original buyer. It appears that they were shipped from the U.K., so that’s interesting in itself.” Which suggests they never left the United Kingdom after being purchased by the mysterious American millionaire.
    collectors of the approval process at Benson. Gilroy painted his canvases on stretchers, and in the bottom corner of each canvas was a small tag identifying the artist, account code, and action to be taken (“Re-draw,” “Revise,” “Hold,” “Print,” and, during World War II, “Submit to censor”). “They would’ve been shown to Guinness on a wooden stretcher,” Hughes says. “Before they went into storage, somebody removed the stretchers and either laid them flat or rolled them up.”

    “As a younger man, he drew himself into the advert, and he became the zookeeper.”

    Without exception, the canvases Hughes has seen, which were photographed exclusively for his book, are in fine shape and retain their mounting holes for the stretchers and Benson agency tags. “The colors are good,” he says. “They haven’t been in sunlight. They’ll keep for years and years and years.” One collector notes that you can even see the ruby highlights in Gilroy’s paintings of glasses of the stout. “When a pint of Guinness is backlit by a very strong light, the liquid has a deep ruby color,” this collector says. “Gilroy was very careful to include this effect when he painted beer in clear pint glasses.”
    Finally, for Guinness, breweriana, and advertising-art collectors, the Gilroy canvases also offer a peek of what might have been. “I would say about half the images were never commercially used, so they are absolutely brand new, never been seen before,” says Hughes. “They’re going to blow people away.” Of particular interest to collectors in the United States are the Gilroy paintings of classic cars that were created for an aborted, early 1950s campaign to coincide with the brewing of Guinness on Long Island.
    Still, it’s the medium that continues to amaze Hughes. “The idea of the canvases, none of us expected that,” he says. “As a Guinness collector, I’ve always collected their adverts, but they’re prints. They never touched Gilroy, he was never anywhere near the printing process. I had acquired a pencil drawing, which I was delighted with. Then these oils started turning up,” he Naturally, Hughes the Guinness scholar has seen a few oils that Hughes the Guinness collector would very much like to own. “If I had a magic wand? Well, I saw one this weekend that I really liked. It’s one of the animal ones. But it’s an animal that was not used commercially. It’s of a rhinoceros sitting on the ground with the zookeeper’s Guinness between his legs. The rhinoceros is looking at the zookeeper, and the zookeeper’s looking around the corner holding his broom. It’s just a great image, and it’s probably the only one of that advert that exists. So if I could wave my magic wand, I think that’s what I’d get. But I’d need $10,000
    With those kinds of prices and that kind of buzz, you might think that whoever is handling the Guinness advertising account today might be tempted to just re-run the campaign. But Hughes is realistic about the likelihood of that. “Advertising moves on,” he says. “Gilroy’s jokey, humorous, cartoon-like poster design is quintessentially 1930s, ’40s, and ’50s. It is a bit quaint, maybe even a little juvenile for today’s audiences. But it’s still amusing. The other day I showed the draft of my book to my mother, who’s 84. She sat in the kitchen, just giggling at the pictures.”
    That sums up Gilroy to Hughes; not that it’s only appealing to people in their 80s, but that his work is ultimately about making people happy, which is why his advertising images connected so honestly with viewers. “Gilroy had a tremendous sense of humor,” Hughes says. “He always saw the funny side of things. He was apparently a chap who, if you were feeling a little down and out, you’d spend a couple of hours with him and he’d just lift your spirits.” You know, in much the same way as a lot of us feel after a nice pint of Guinness.
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  • Vintage W.R. Jacob & Co. Dublin Biscuits Cream Crackers Advert

    €100.00
    46cm x 39cm  Limerick The Jacobs Biscuit Bakery originated in Waterford in 1851,after being founded by William Beale Jacob and his brother Robert.It later moved to Bishop Street in Dublin with a further factory in Peters Row.Jacobs Bishop Street premises was occupied as a strategic location by rebels during the 1916 Easter Rebellion. W. & R. Jacob's were one the largest employers in the Dublin of 1916, and their factory was seized on Easter Monday by perhaps 100 members of the 2nd Battalion of the Dublin Brigade of the Irish Volunteers under Thomas MacDonagh. The factory itself was an enormous and formidable Victorian edifice located on the 'block' enclosed by Bishop St, Bride St, Peter's St and Peter's Row, and between St Patrick's Cathedral and St Stephen's Green. Its seizure helped to complete a loop of building cross the south inner city; the factory had two large towers that could act as observation points, while its location was very close to both Camden St and Patrick St: natural routeways for troops entering the city centre from Portobello Barracks in Rathmines and Wellington Barracks on the South Circular Road. There were only a few staff present in the building when the Volunteers broke into it; a number of smaller outposts were established in the area around the factory. While the garrison saw some fighting early in the week, their principal enemies proved to be boredom and the locals: the factory was surrounded by tenements, and the Volunteers were attacked and abused by residents, many of whom were Jacob's workers themselves. The families of servicemen were also quite hostile, but there may have been another reason for this hostility: Michael O'Hanrahan, who was in Jacob's, expressed his concern that the choice of location might endanger local residents if the British chose to attack. As it happens, the factory was largely by-passed, though it was fired upon intermittently throughout the week by troops in Dublin Castle and elsewhere. MacDonagh surrendered in nearby St Patrick's Park on Sunday 30 April; some of the factory was looted after the Volunteers had left. Three members of the Jacob's garrison were executed. Most of the factory was eventually demolished, though fragments of the ground storey and one of the towers are still visible on Bishop St between the DIT campus on Aungier St and the National Archives of Ireland.  
     
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  • Vintage Irish Jaunting Car/Wellington Monument Phoenix Park Scene

    €80.00
    58cm x 42cm Quaint vintage poster of a jaunting car carrying a group around Phoenix Park- the giant Wellington monument can be seen in the background. The Wellington Monument or sometimes the Wellington Testimonial,is an obelisk located in the Phoenix Park, Dublin, Ireland. The testimonial is situated at the southeast end of the Park, overlooking Kilmainham and the River Liffey. The structure is 62 metres (203 ft) tall, making it the largest obelisk in Europe

    History

    The Wellington Testimonial was built to commemorate the victories of Arthur Wellesley, 1st Duke of Wellington. Wellington, the British politician and general, also known as the 'Iron Duke', was born in Ireland. Originally planned to be located in Merrion Square, it was built in the Phoenix Park after opposition from the square's residents. The obelisk was designed by the architect Sir Robert Smirke and the foundation stone was laid in 1817. In 1820, the project ran out of construction funds and the structure remained unfinished until 18 June 1861 when it was opened to the public. There were also plans for a statue of Wellington on horseback, but a shortage of funds ruled that out.

    Features

    There are four bronze plaques cast from cannons captured at Waterloo – three of which have pictorial representations of his career while the fourth has an inscription. The plaques depict 'Civil and Religious Liberty' by John Hogan, 'Waterloo' by Thomas Farrell and the 'Indian Wars' by Joseph Robinson Kirk. The inscription reads:
    Asia and Europe, saved by thee, proclaim
    Invincible in war thy deathless name,
    Now round thy brow the civic oak we twine
    That every earthly glory may be thine.

    Cultural references

    The monument is referenced throughout James Joyce's Finnegans Wake. The first page of the novel alludes to a giant whose head is at "Howth Castle and Environs" and whose toes are at "a knock out in the park (p. 3)"; John Bishop extends the analogy, interpreting this centrally located obelisk as the prone giant's male member. A few pages later, the monument is the site of the fictional "Willingdone Museyroom" (p. 8).
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  • Commemorative Kevin Barry Portrait-Died for Ireland 1920

    €80.00
    The iconic portrait of a teenage Kevin Barry,one of our most celebrated republican martyrs-in the black and white hooped rugby jersey of Belvedere College SJ. 26cm x 30cm          Dunmanway  Co Cork Kevin Gerard Barry (20 January 1902 – 1 November 1920) was an Irish republican paramilitary who was executed by the British Government during the Irish War of Independence. He was sentenced to death for his part in an attack upon a British Army supply lorry which resulted in the deaths of three British soldiers. His execution inflamed nationalist public opinion in Ireland, largely because of his age. The timing of the execution, only days after the death by hunger strike of Terence MacSwiney, the republican Lord Mayor of Cork, brought public opinion to a fever-pitch. His death attracted international attention, and attempts were made by U.S. and Vatican officials to secure a reprieve. His execution and MacSwiney's death precipitated an escalation in violence as the Irish War of Independence entered its bloodiest phase, and Barry became an Irish republican martyr.

    Early life

    Kevin Barry was born on 20 January 1902, at 8 Fleet Street, Dublin, to Thomas and Mary (née Dowling) Barry. The fourth of seven children, two boys and five sisters, Kevin was baptised in St Andrew's Church, Westland Row. Thomas Barry Sr. worked on the family's farm at Tombeagh, Hacketstown, County Carlow, and ran a dairy business from Fleet Street. Thomas Barry Sr. died in 1908, aged 56. His mother came from Drumguin, County Carlow, and, upon the death of her husband, moved the family to nearby Tombeagh. As a child he went to the national school in Rathvilly. On returning to Dublin, he attended St Mary's College, Rathmines, until the school closed in the summer of 1916.When he was thirteen, he attended a commemoration for the Manchester Martyrs, who were hanged in England in 1867. Afterwards he wished to join Constance Markievicz's Fianna Éireann, but was reportedly dissuaded by his family.

    Belvedere College

    From St Mary's College he transferred to Belvedere College, where he was a member of the championship Junior Rugby Cup team, and earned a place on the senior team. In 1918 he became secretary of the school hurling club which had just been formed, and was one of their most enthusiastic players.
    Belvedere College, the Jesuit college attended by Kevin Barry. To mark the anniversary of his execution, Belvedere's museum mounted a special exhibition of Kevin Barry memorabilia.
    A Jesuit priest, Thomas Counihan, who was Barry's science and mathematics teacher, said of him: "He was a dour kind of lad. But once he got down to something he went straight ahead… There was no waving of flags with him, but he was sincere and intense." Notwithstanding his many activities, he did not neglect his studies. He won a merit-based scholarship given annually by Dublin Corporation, which allowed him to become a student of medicine at UCD.

    Medical student

    He entered University College Dublin in 1919. His closest friend at college was Gerry MacAleer, from Dungannon, whom he had first met in Belvedere. Other friends included Frank Flood, Tom Kissane and Mick Robinson, who, unknown to many in the college, were, along with Barry, members of the Irish Volunteers.

    Volunteer activities

    In October 1917, during his second year at Belvedere, aged 15, he joined the IRA. Assigned originally to ‘C’ Company 1st Battalion, based on the north side of Dublin, he later transferred to the newly formed ‘H’ Company, under the command of Capt. Seamus Kavanagh. His first job as a member of the IRA was delivering mobilisation orders around the city. Along with other volunteers, Barry trained in a number of locations in Dublin, including the building at 44 Parnell Square, the present day headquarters of Sinn Féin, now named Kevin Barry Hall. The IRA held Field exercises during this period which were conducted in north county Dublin and in areas such as Finglas.
    Wall plaque marking the site in 1919, where the Active Service Unit of the Dublin Brigade of the Irish Republican Army was founded. The building is in Great Denmark Street, Dublin.
    The following year, at the age of 16, he was introduced by Seán O'Neill and Bob O'Flanagan to the Clarke Luby Club of the IRB, which had been reorganised. He took part in a number of IRA operations in the years leading up to his capture. He was part of the unit which raided the Shamrock Works for weapons destined to be handed over to the R.I.C. He also took part in the raid on Mark's of Capel Street, looking for ammunition and explosives. On 1 June 1920, under Vice-Commandant Peadar Clancy, he played a notable part in the seizing of the King's Inn, capturing the garrison’s arms. The haul included 25 rifles, two light machine guns and large quantities of ammunition. The 25 British soldiers captured during the attack were released as the volunteers withdrew. In recognition of his dedication to duty he was promoted to Section Commander.

    Ambush

    On the morning of 20 September 1920, Barry went to Mass, then joined a party of IRA volunteers on Bolton Street in Dublin. Their orders were to ambush a British army lorry as it picked up a delivery of bread from the bakery, and capture their weapons. The ambush was scheduled for 11:00am, which gave him enough time to take part in the operation and return to class in time for an examination he had at 2:00pm. The truck arrived late, and was under the command of Sergeant Banks. Armed with a .38 Mauser Parabellum, Barry and members of C Company were to surround the lorry, disarm the soldiers, take the weapons and escape. He covered the back of the vehicle and, when challenged, the five soldiers complied with the order to lay down their weapons. A shot was then fired; Terry Golway, author of For the Cause of Liberty, suggests it was possibly a warning shot from an uncovered soldier in the front. Barry and the rest of the ambush party then opened fire. His gun jammed twice and he dived for cover under the vehicle. His comrades fled and he was left behind. He was then spotted and arrested by the soldiers.One of the soldiers, Private Harold Washington, aged 15, had been shot dead. Two others, Privates Marshall Whitehead and Thomas Humphries, were both badly wounded and later died of their wounds. The British Army released the following statement on Monday afternoon:
    This morning a party of one N.C.O. and six men of the Duke of Wellington's Regiment were fired on by a body of civilians outside a bakery in Church Street, Dublin. One soldier was killed and four were wounded. A piquet of the Lancashire Fusiliers in the vicinity, hearing the shots, hurried to their comrades' assistance, and succeeded in arresting one of the aggressors. No arms or equipment were lost by the soldiers.
    Much was made of Barry's age by Irish newspapers, but the British military pointed out that the three soldiers who had been killed were "much the same age as Barry". On 20 October, Major Reginald Ingram Marians OBE, Head of the Press Section of the General Staff, informed Basil Clarke, Head of Publicity, that Washington was "only 19 and that the other soldiers were of similar ages." General Macready was well aware of the "propaganda value of the soldier's ages." Macready informed General Sir Henry Wilson on the day that sentence was pronounced "of the three men who were killed by him (Barry) and his friends two were 19 and one 20 — official age so probably they were younger... so if you want propaganda there you are."It was later confirmed that Private Harold Washington was 15 years and 351 days old, having been born 4 October 1904. About this competing propaganda, Martin Doherty wrote in a magazine article entitled 'Kevin Barry & the Anglo-Irish Propaganda War':
    from the British point of view, therefore, the Anglo-Irish propaganda war was probably unwinable [sic]. Nationalist Ireland had decided that men like Kevin Barry fought to free their country, while British soldiers — young or not — sought to withhold that freedom. In these circumstances, to label Barry a murderer was merely to add insult to injury. The contrasting failure of British propaganda is graphically demonstrated by the simple fact that even in British newspapers Privates Whitehead, Washington and Humphries remained faceless names and numbers, for whom no songs were written.”

    Capture and torture

    Sinn Féin's Dublin HQ at the Kevin Barry Memorial Hall
    Barry was placed in the back of the lorry with the young body of Private Harold Washington, and was subjected to some abuse by Washington's comrades. He was transported then to the North Dublin Union. Upon arrival at the barracks he was taken under military police escort to the defaulters' room where he was searched and handcuffed. A short while later, three sergeants of the Lancashire Fusiliers and two officers began the interrogation. He gave his name and an address of 58 South Circular Road, Dublin (his uncle's address), and his occupation as a medical student, but refused to answer any other questions. The officers continued to demand the names of other republicans involved in the ambush. At this time a publicity campaign was mounted by Sinn Féin. Barry received orders on 28 October from his brigade commander, Richard McKee, "to make a sworn affidavit concerning his torture in the North Dublin Union." Arrangements were made to deliver this through Barry's sister, Kathy, to Desmond Fitzgerald, director of publicity for Sinn Féin, "with the object of having it published in the World press, and particularly in the English papers, on Saturday 30th October." The affidavit, drawn up in Mountjoy Prison days before his execution, describes his treatment when the question of names was repeated:
    He tried to persuade me to give the names, and I persisted in refusing. He then sent the sergeant out of the room for a bayonet. When it was brought in the sergeant was ordered by the same officer to point the bayonet at my stomach ... The sergeant then said that he would run the bayonet into me if I did not tell ... The same officer then said to me that if I persisted in my attitude he would turn me out to the men in the barrack square, and he supposed I knew what that meant with the men in their present temper. I said nothing. He ordered the sergeants to put me face down on the floor and twist my arm ... When I lay on the floor, one of the sergeants knelt on my back, the other two placed one foot each on my back and left shoulder, and the man who knelt on me twisted my right arm, holding it by the wrist with one hand, while he held my hair with the other to pull back my head. The arm was twisted from the elbow joint. This continued, to the best of my judgment, for five minutes. It was very painful ... I still persisted in refusing to answer these questions... A civilian came in and repeated the questions, with the same result. He informed me that if I gave all the information I knew I could get off.
    On 28 October, the Irish Bulletin (organised by Dick McKee, the IRA Commandant of the Dublin Brigade), a news-sheet produced by Dáil Éireann's Department of Publicity,published Barry's statement alleging torture. The headline read: English Military Government Torture a Prisoner of War and are about to Hang him. The Irish Bulletin declared Barry to be a prisoner of war, suggesting a conflict of principles was at the heart of the conflict. The English did not recognise a war and treated all killings by the IRA as murder. Irish republicans claimed that they were at war and it was being fought between two opposing nations and therefore demanded prisoner of war status. Historian John Ainsworth, author of Kevin Barry, the Incident at Monk's bakery and the Making of an Irish Republican Legend, pointed out that Barry had been captured by the British not as a uniformed soldier but disguised as a civilian and in possession of flat-nosed "Dum-dum" bullets, which expand upon impact, maximising the amount of damage done to the "unfortunate individual" targeted, in contravention of the Hague Convention of 1899. Erskine Childers addressed the question of political status in a letter to the press on 29 October, which was published the day after Barry's execution.
    This lad Barry was doing precisely what Englishmen would be doing under the same circumstances and with the same bitter and intolerable provocation — the suppression by military force of their country's liberty.
    To hang him for murder is an insulting outrage, and it is more: it is an abuse of power: an unworthy act of vengeance. contrasting ill with the forbearance and humanity invariably shown by the Irish Volunteers towards the prisoners captured by them when they have been successful in encounters similar to this one. These guerrilla combats with soldiers and constables — both classes do the same work with the same weapons; the work of military repression — are typical episodes in Ireland.
    Murder of individual constables, miscalled ‘police’, have been comparatively rare. The Government figure is 38, and it will not, to my knowledge, bear examination. I charge against the British Government 80 murders by soldiers and constables: murders of unarmed people, and for the most part wholly innocent people, including old men, women and boys.
    To hang Barry is to push to its logical extreme the hypocritical pretense that the national movement in Ireland unflinchingly supported by the great mass of the Irish people, is the squalid conspiracy of a ‘murder gang’.
    That is false; it is a natural uprising: a collision between two Governments, one resting on consent, the other on force. The Irish are struggling against overwhelming odds to defend their own elected institutions against extinction.
    In a letter addressed to "the civilised nations of the world", Arthur Griffith — then acting President of the Republic wrote:
    Under similar circumstances a body of Irish Volunteers captured on June 1 of the present year a party of 25 English military who were on duty at the King's Inns, Dublin. Having disarmed the party the Volunteers immediately released their prisoners. This was in strict accordance with the conduct of the Volunteers in all such encounters. Hundreds of members of the armed forces have been from time to time captured by the Volunteers and in no case was any prisoner maltreated even though Volunteers had been killed and wounded in the fighting, as in the case of Cloyne, Co. Cork, when, after a conflict in which one Volunteer was killed and two wounded, the whole of the opposing forces were captured, disarmed, and set at liberty.
    Ainsworth notes that "Griffith was deliberately using examples relating to IRA engagements with British military forces rather than the police, for he knew that engagements involving the police in particular were usually of an uncivilized nature, characterized by violence and brutality, albeit on both sides by this stage."

    Trial

    The War Office ordered that Kevin Barry be tried by court-martial under the Restoration of Order in Ireland Act, which received Royal Assent on 9 August 1920. General Sir Nevil Macready, Commander-in-Chief of British forces in Ireland then nominated a court of nine officers under a Brigadier-General Onslow.
    Kevin Barry Commemorative Plaque close to the spot where he was captured on Church Street, Dublin
    On 20 October, at 10 o’clock, the nine officers of the court — ranging in rank from Brigadier to Lieutenant — took their places at an elevated table. At 10.25, Kevin Barry was brought into the room by a military escort. Then Seán Ó hUadhaigh sought a short adjournment to consult his client. The court granted this request. After the short adjournment Barry announced "As a soldier of the Irish Republic, I refuse to recognise the court." Brigadier Onslow explained the prisoner's "perilous situation" and that he was being tried on a capital charge. He did not reply. Ó hUadhaigh then rose to tell the court that since his client did not recognise the authority of the court he himself could take no further part in the proceedings. Barry was charged on three counts of the murder of Private Marshall Whitehead. One of the bullets taken from Whitehead's body was of .45 calibre, while all witnesses stated that Barry was armed with a .38 Mauser Parabellum. The Judge Advocate General informed the court that the Crown had only to prove that the accused was one of the party that killed three British soldiers, and every member of the party was technically guilty of murder. In accordance with military procedure the verdict was not announced in court. He was returned to Mountjoy, and at about 8 o’clock that night, the district court-martial officer entered his cell and read out the sentence: death by hanging. The public learned on 28 October that the date of execution had been fixed for 1 November.

    Execution

    Barry spent the last day of his life preparing for death. His ordeal focused world attention on Ireland. According to Sean Cronin, author of a biography of Barry (Kevin Barry), he hoped for a firing squad rather than the gallows, as he had been condemned by a military court. A friend who visited him in Mountjoy prison after he received confirmation of the death sentence, said:
    He is meeting death as he met life with courage but with nothing of the braggart. He does not believe that he is doing anything wonderfully heroic. Again and again he has begged that no fuss be made about him.
    He reported Barry as saying "It is nothing, to give one's life for Ireland. I'm not the first and maybe I won't be the last. What's my life compared with the cause?" Barry joked about his death with his sister Kathy. "Well, they are not going to let me like a soldier fall… But I must say they are going to hang me like a gentleman." This was, according to Cronin, a reference to George Bernard Shaw's The Devil's Disciple, the last play Kevin and his sister had seen together. On 31 October, he was allowed three visits of three people each, the last of which was taken by his mother, brother and sisters. In addition to the two Auxiliaries with him, there were five or six warders in the boardroom. As his family were leaving, they met Canon John Waters, on the way in, who said, "This boy does not seem to realise he is going to die in the morning." Mrs Barry asked him what he meant. He said: "He is so gay and light-hearted all the time. If he fully realised it, he would be overwhelmed." Mrs Barry replied, "Canon Waters, I know you are not a Republican. But is it impossible for you to understand that my son is actually proud to die for the Republic?" Canon Waters became somewhat flustered as they parted. The Barry family recorded that they were upset by this encounter because they considered the chief chaplain "the nearest thing to a friend that Kevin would see before his death, and he seemed so alien."
    Plaque placed by the Irish Government on the graves of the Volunteers
    Kevin Barry was hanged on 1 November, after hearing two Masses in his cell. Canon Waters, who walked with him to the scaffold, wrote to Barry's mother later, "You are the mother, my dear Mrs Barry, of one of the bravest and best boys I have ever known. His death was one of the most holy, and your dear boy is waiting for you now, beyond the reach of sorrow or trial." Dublin Corporation met on the Monday, and passed a vote of sympathy with the Barry family, and adjourned the meeting as a mark of respect. The Chief Secretary's office in Dublin Castle, on the Monday night, released the following communiqué:
    The sentence of death by hanging passed by court-martial upon Kevin Barry, or Berry, medical student, aged 18½ years, for the murder of Private Whitehead in Dublin on September 20, was duly executed this morning at Mountjoy Prison, Dublin. At a military court of inquiry, held subsequently in lieu of an inquest, medical evidence was given to the effect that death was instantaneous. The court found that the sentence had been carried out in accordance with law.
    Barry's body was buried at 1.30 p.m, in a plot near the women's prison. His comrade and fellow-student Frank Flood was buried alongside him four months later. A plain cross marked their graves and those of Patrick Moran, Thomas Whelan, Thomas Traynor, Patrick Doyle, Thomas Bryan, Bernard Ryan, Edmond Foley and Patrick Maher who were hanged in the same prison before the Anglo-Irish Treaty of July 1921 which ended hostilities between Irish republicans and the British.The men had been buried in unconsecrated ground on the jail property and their graves went unidentified until 1934.They became known as The Forgotten Ten by republicans campaigning for the bodies to be reburied with honour and proper rites.On 14 October 2001, the remains of these ten men were given a state funeral and moved from Mountjoy Prison to be re-interred at Glasnevin Cemetery in Dublin.

    Aftermath

    Kevin Barry monument in Rathvilly, County Carlow
    On 14 October 2001 the remains of Kevin Barry and nine other volunteers from the War of Independence were given a state funeral and moved from Mountjoy Prison to be re-interred at Glasnevin Cemetery in Dublin. Barry's grave is the first on the left.
    The only full-length biography of Kevin Barry was written by his nephew, journalist Donal O'Donovan, published in 1989 as Kevin Barry and his Time. In 1965, Sean Cronin wrote a short biography, simply entitled "Kevin Barry"; this was published by The National Publications Committee, Cork, to which Tom Barry provided a foreword. Barry is remembered in a well-known song about his imprisonment and execution, written shortly after his death and still sung today. The tune to "Kevin Barry" was taken from the sea-shanty "Rolling Home".[17] The execution reportedly inspired Thomas MacGreevy's surrealist poem, "Homage to Hieronymus Bosch". MacGreevy had unsuccessfully petitioned the Provost of Trinity College Dublin, John Henry Bernard, to make representations on Barry's behalf.

    Legacy[edit]

    A commemorative stamp was issued by An Post to mark the 50th anniversary of Barry's death in 1970.[18] The University College Dublin and National University of Ireland, Galway branches of Ógra Fianna Fáil are named after him.[19] Derrylaughan Kevin Barry's GAA club was founded in Clonoe, County Tyrone. In 1930, Irish immigrants in Hartford, Connecticut, created a hurling club and named it after Barry. The club later disappeared for decades, but was revived in 2011 by more recently arrived Irish immigrants and local Irish-Americans in the area.[20] In 1934, a large stained-glass window commemorating Barry was unveiled in Earlsfort Terrace, then the principal campus of University College Dublin. It was designed by Richard King of the Harry Clarke Studio. In 2007, UCD completed its relocation to the Belfield campus some four miles away and a fund was collected by graduates to defray the cost (estimated at close to €250,000) of restoring and moving the window to this new location.[21] A grandnephew of Kevin Barry is Irish historian Eunan O'Halpin.[22] There is an Irish republican flute band named after him, the "Volunteer Kevin Barry Republican Flute Band", which operates out of the Calton area of the city.[citation needed] Barry's execution is mentioned in the folk song "Rifles of the I.R.A." written by Dominic Behan in 1968. A ballad bearing Barry's name, relating the story of his execution, has been sung by artists as diverse as Paul Robeson,[23] Leonard Cohen,[24] Lonnie Donegan, and The Dubliners. At the place where Kevin Barry was captured (North King Street/Church Street, Dublin), there are two blocks of flats named after him.
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