Historical pot still at the Jameson distillery in Cork
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Another beautiful example of the joint Tourism-Irish whiskey adverts Jameson ran in the 1950s and 1960s,depicting a romantic vision of the "Auld country",its scenic sights and the promise of a glass of Jameson to celebrate a days sightseeing. 60cm x 80cm. Athboy Co Meath John Jameson was originally a lawyer from Alloa in Scotland before he founded his eponymous distillery in Dublin in 1780.Prevoius to this he had made the wise move of marrying Margaret Haig (1753–1815) in 1768,one of the simple reasons being Margaret was the eldest daughter of John Haig, the famous whisky distiller in Scotland. John and Margaret had eight sons and eight daughters, a family of 16 children. Portraits of the couple by Sir Henry Raeburn are on display in the National Gallery of Ireland. John Jameson joined the Convivial Lodge No. 202, of the Dublin Freemasons on the 24th June 1774 and in 1780, Irish whiskey distillation began at Bow Street. In 1805, he was joined by his son John Jameson II who took over the family business that year and for the next 41 years, John Jameson II built up the business before handing over to his son John Jameson the 3rd in 1851. In 1901, the Company was formally incorporated as John Jameson and Son Ltd. Four of John Jameson’s sons followed his footsteps in distilling in Ireland, John Jameson II (1773 – 1851) at Bow Street, William and James Jameson at Marrowbone Lane in Dublin (where they partnered their Stein relations, calling their business Jameson and Stein, before settling on William Jameson & Co.). The fourth of Jameson's sons, Andrew, who had a small distillery at Enniscorthy, Co. Wexford, was the grandfather of Guglielmo Marconi, inventor of wireless telegraphy. Marconi’s mother was Annie Jameson, Andrew’s daughter. John Jameson’s eldest son, Robert took over his father’s legal business in Alloa. The Jamesons became the most important distilling family in Ireland, despite rivalry between the Bow Street and Marrowbone Lane distilleries. By the turn of the 19th century, it was the second largest producer in Ireland and one of the largest in the world, producing 1,000,000 gallons annually. Dublin at the time was the centre of world whiskey production. It was the second most popular spirit in the world after rum and internationally Jameson had by 1805 become the world's number one whiskey. Today, Jameson is the world's third largest single-distillery whiskey. Historical events, for a time, set the company back. The temperance movement in Ireland had an enormous impact domestically but the two key events that affected Jameson were the Irish War of Independence and subsequent trade war with the British which denied Jameson the export markets of the Commonwealth, and shortly thereafter, the introduction of prohibition in the United States. While Scottish brands could easily slip across the Canada–US border, Jameson was excluded from its biggest market for many years.The introduction of column stills by the Scottish blenders in the mid-19th-century enabled increased production that the Irish, still making labour-intensive single pot still whiskey, could not compete with. There was a legal enquiry somewhere in 1908 to deal with the trade definition of whiskey. The Scottish producers won within some jurisdictions, and blends became recognised in the law of that jurisdiction as whiskey. The Irish in general, and Jameson in particular, continued with the traditional pot still production process for many years.In 1966 John Jameson merged with Cork Distillers and John Powers to form the Irish Distillers Group. In 1976, the Dublin whiskey distilleries of Jameson in Bow Street and in John's Lane were closed following the opening of a New Midleton Distillery by Irish Distillers outside Cork. The Midleton Distillery now produces much of the Irish whiskey sold in Ireland under the Jameson, Midleton, Powers, Redbreast, Spot and Paddy labels. The new facility adjoins the Old Midleton Distillery, the original home of the Paddy label, which is now home to the Jameson Experience Visitor Centre and the Irish Whiskey Academy. The Jameson brand was acquired by the French drinks conglomerate Pernod Ricard in 1988, when it bought Irish Distillers. The old Jameson Distillery in Bow Street near Smithfield in Dublin now serves as a museum which offers tours and tastings. The distillery, which is historical in nature and no longer produces whiskey on site, went through a $12.6 million renovation that was concluded in March 2016, and is now a focal part of Ireland's strategy to raise the number of whiskey tourists, which stood at 600,000 in 2017.Bow Street also now has a fully functioning Maturation Warehouse within its walls since the 2016 renovation. It is here that Jameson 18 Bow Street is finished before being bottled at Cask Strength. In 2008, The Local, an Irish pub in Minneapolis, sold 671 cases of Jameson (22 bottles a day),making it the largest server of Jameson's in the world – a title it maintained for four consecutive years.
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Humorous and very sharp depiction of the last remaining horse Fair in the North of Ireland ,Ballyclare Co Antrim.The character depictions of this 19th century scene are very vivid and convey brilliantly the busy,raucous and exciting atmosphere of Fair Day back then when the horse was all important and the automobile had not yet been invented .A wonderful print . Ballyclare Co Antrim 50cm x 63cm -
On this day in 1963 JFK came to Ireland - What his historic trip meant to him and his ancestral home.
On this day (June 25) 1963, President John F. Kennedy arrived in Ireland on an emotional trip to his ancestral home. His speech is remembered for quoting the text of a Sinéad de Valera poem.
In June 1963, just five months before his assassination in Dallas, President John F. Kennedy made his historic trip to Ireland. On his last night in Ireland Kennedy was the guest of President de Valera and his wife Sinéad. Sinéad de Valera was an accomplished Irish writer, folklorist, and poet. During the evening she recited a poem of exile for the young president who was so impressed that he wrote it down on his place card. Over breakfast the next day, JFK memorized the poem and recited it in his last speech at Shannon as he departed.It reads: "'Tis the Shannon's brightly glancing stream, brightly gleaming, silent in the morning beam. Oh! the sight entrancing. Thus return from travels long, years of exile, years of pain to see Old Shannon's face again, O'er the waters glancing." Then he said, "Well, I am going to come back and see Old Shannon's face again, and I am taking, as I go back to America, all of you with me." Jackie Kennedy could not accompany her husband due to a difficult pregnancy with Patrick, her son who died soon after birth. Kennedy himself was suffering from physical stress and illness, a back condition and Addison's Disease to name but -two, but the vibrant face he showed to the world in Ireland would always be the lasting impression.Of course, he would never return to Ireland, struck down by an assassin's bullet 53 years ago. Yet, with each passing president, the JFK legend seems to grow larger. His popularity in America in the summer of 1963, just two and a half years into his presidency, seemed to make him a certainty for re-election. When he took his Irish trip, his approval rating was at an incredible 82 percent (Donald Trump is 45 percent at the moment; President Obama 63 percent) surpassing any president in history in a non-war situation. Kennedy was growing in stature, having faced down the Russians over Cuba, promising a man on the moon by 1970, and completing an amazing trip to Berlin where his speech “Ich Bin Ein Berliner” inspired a generation of separated Germans to come together again some 25-years later. Yet we will never know the full measure of the man. Two of his closest associates, Dave Powers and Kenneth O’Donnell, wrote a biography of Kennedy and entitled "Johnny We Hardly Knew You."President John F. Kennedy addresses a crowd at Redmond Place in Co. Wexford.
The title was taken from a sign someone held up when Kennedy was driving to Co. Wexford on his visit to his homestead. In 2013, the New Ross museum dedicated to Kennedy discovered the identity of the man holding up the sign and retrieved the sign for the museum. As sung by the Clancy Brothers and Tommy Makem, “Johnny We Hardly Knew You” is a fierce anti-war song which portrays an old lover meeting her former lover after he had fought in the Great War and was severely injured. He is now a cripple begging on the street. Here are some of the lyrics: “With your drums and guns and drums and guns, the enemy nearly slew ye, oh my darling dear, ye look so queer (strange). Johnny I hardly knew ye.” Ironically, of course, John F. Kennedy would have his own life cut short, suffering horrific injuries from an assassin's bullets just five months after the glorious Irish trip.He would never see 'Old Shannon’s' face again, but also he would never be forgotten by those who witnessed his visit.The emigrant and exile had returned home to a tiny country that revered and loved him. He was their stepping stone to the 21st century, but his own dreams died just months later. May he rest in peace. -
Very charming and interesting print of a smiling Irish soldier with a pipe in his mouth on his way to the front during WW1.Over 200,000 Irishmen served with the British Armed Forces in WW1 with more than 50,000 fatalities .The song Its a long long way to Tipperary became the song of the War with even the Germans singing a translated version in their own trenches after Count John McCormack recorded the definitive version in 1914.This print hung in a pub in Tipperary owned by an old woman whose father and two uncles were all killed during the carnage of the First World War. Cahir Co Tipperary 52cm x 42cm -
Atmospheric photograph of the Lansdowne Rugby Club's 3rd XV taken with the enormous old West Stand of Lansdowne Road in the background.It is estimated that half of this team were killed during the carnage of World War I just a few short years later-with surnames such as Gilligan,Beatty,O'Beirne,Nevin,Flavelle and Sadleir to be included on the sad Roll of Honour. 39cm x 45cm Ballsbridge Dublin -
43cm x 33cm Kilmainham Dublin A very old poster of three of the leaders of the 1916 Rebellion-John MacBride,Thomas Clarke and Thomas McDonagh with the Republican stamp underneath.On the 3rd May 1916,Thomas McDonagh and Thomas Clarke along with Padraig Pearse were the first of the leaders to be executed by firing squad at Kilmainham Jail followed by John McBride on May 5th.This piece is a poignant reminder of the sacrifice of these brave men and hung for years in a public house only a stones throw from where they died for their country. -
85cm x 72cm Rathdrum Co Wicklow Charles Stewart Parnell (1846-1891) will be remembered as one of the most iconic and indeed controversial politicians in Irish history.MP and Leader of the Irish Parliamentary or Home Rule Party from1882 to 1891 until revelations of his adulterous love affair with Kitty O'Shea forced his resignation.He died shortly afterwards from pneumonia in the arms of his newly divorced and remarried wife Katherine.His death was considered to be a direct result of the stresses he endured because of the Victorian era scandal and his subsequent funeral at Glasnevin Cemetery in Dublin was attended by more than 200000 people.His notability was such that his gravestone of unhewn Wicklow granite, erected in 1940,reads only Parnell. This faithful portrayal of Parnell,well over 130 years old, by the artist JG Wills dates to 1884 and is a beautiful homage to the "uncrowned king of Ireland". -
50cm x 35cm Birr Co Offaly "The Holland-America Line, a steamship company with passenger and freight steamers plying between Rotterdam and New York, is the only steamship line carrying emigrants from the Netherlands to the United States of America. Emigrants from the interior of the continent of Europe, who purchase their steamship tickets from the branch offices of the Holland-America Line in Germany, Austria, Switzerland, and Italy, arrive in Rotterdam on international trains, in which several cars have been set apart for their accommodation, from five to six days before the departure of the steamer on which they expect to sail; while emigrants from parts not far distant from this city, like southern Germany and the interior of the Netherlands, arrive at Rotterdam by train and river boat until the day previous to the departure of the steamer. All emigrants for the Holland-America Line are met at the railway station and boat landing at Rotterdam by runners of the line, who conduct them, immediately upon arrival, per steam tug to the NASM Hotel, the emigrant hotel owned and controlled by the Holland-America Line and situated opposite to the line's wharf. Here the emigrants remain until the departure of the steamer on which they are to sail or, in case they should be found undesirable immigrants by one of the medical inspectors, by the steamship company, or by the consul-general or vice-consul-general, until the time that they are returned again to the countries whence they came. The NASM Hotel was designed and built exclusively for the accommodation of the immigrants traveling per Holland-America Line. In the construction, besides the comfort of the emigrants, the sanitary requirements for a building of its kind have been given due consideration. The dining rooms and coffee or conversation rooms are, though necessarily somewhat sober in appearance in order to insure cleanliness, bright, spacious, and pleasant. The dormitories are spacious, clean, and airy. Sleeping apartments, open on top, each containing from four to six iron berths, similar to those used in the steerage of the company's twin-screw steamers, have been partitioned off along the walls. This gives the immigrants the desired privacy, besides the advantage of being together with the members of their family in one apartment. Between the partitions a wide space is left in the center of the dormitories for chairs, tables, etc., while windows and ventilators provide light and air on every side. There are separate dormitories for families, for men, and for women. Spacious wash and bath rooms, with modern appointments, are located on the vestibules conveniently close to each dormitory. The hotel has been constructed in such a manner that, should the need at any time arise, it would be possible to quarantine 800 passengers within its walls as effectually as though they were on shipboard. This possibility of isolation before sailing is a great sanitary advantage. With reference to this hotel, Consul Listoe wrote in his dispatch to the Department of State, under date of April 6, 1900: The company's claim that it is furnishing good lodging and board for emigrants at a low figure and at the same time protecting them against low, boardinghouse runners and sharpers, who would fleece them, is correct, and the Holland America Line is entitled to a great deal of credit for the humane manner in which it treats and cares for its emigrants. What is of more importance, though, from a United States point of view, is the facilities furnished the examining physician at the NASM Hotel for inspecting the emigrants as well as the arrangements for cleaning, bathing, and disinfecting the latter, and taking other sanitary measures in connection with those prospective citizens of the United States. At the hotel the emigrants are, at the instance of the Holland America Line, daily subjected to a medical inspection by a Dutch physician in the employ of the line. One day before sailing the emigrants are inspected at the hotel by a prominent Rotterdam oculist, engaged by the steamship company for its own protection,' to prevent emigrants suffering from infectious eye diseases sailing on its steamers. As the medical inspections referred to are not those prescribed by the United States Quarantine Regulations, they are not witnessed by a consular officer. The work of consular inspection is carried on as follows: The day previous to the departure of a passenger steamer, the baggage of all steerage passengers is inspected by the consul-general or his deputy. Among this baggage large quantities of mildewed and otherwise spoiled eatables are found. These are taken out, this having been the practice of the Marine-Hospital surgeon formerly detailed at Rotterdam. All feather pillows and beds are taken from the baggage and undergo a steam disinfection of 1000 Cel. As many as 60 beds can be disinfected at the same time by the Holland-America Line's disinfection plants, and each disinfection will require about one and one-half hours, viz, half an hour for getting up the required steam heat, half an hour for the disinfection, and half an hour for drying purposes. When there are 200 beds or more to be disinfected, which is frequently the case, supervision of the disinfection will keep a consular officer engaged for several hours. The inspection of the baggage takes from two to four hours, according to the number of packages to be inspected. The last medical and general inspection of the emigrants at which the consul-general or vice-consul-general is present is the inspection prescribed by the Quarantine Regulations, page I5, paragraph 5. It takes place in the hotel of the Holland-American Line or in the line's covered warehouse and· begins from three to six hours before the departure of the steamer. The emigrants pass in single file before the ship's surgeon, an American physician, who inspects them in the presence of the consular officer, who, for his part, looks over their inspection cards, prescribed by the Quarantine Regulations, page 19, paragraph 40, and stamps the same with a consular rubber seal, for all emigrants approved of. There are also present an officer of the State commission controlling the transit of emigrants through the Netherlands, who tallies their numbers, and a Rotterdam police officer, who watches for fugitives from justice among them reported to the Netherlands police authorities. Immediately after the inspection, the emigrants in possession of inspection cards bearing the consular stamp board the steamer and enter the steerage, which has previously been inspected by the consul. A few minutes before departure, after looking over the freight manifests of the vessel to see if all the requirements of the Quarantine Regulations and of the regulations of the Department of Agriculture have been complied with reference to disinfection certificates and certificates of healthy origin, the bill of health is issued. The emigrants are vaccinated by the ship's surgeon as soon as practicable after the departure of the vessel. Of late years no emigrants from infected districts have passed through Rotterdam on their way to the United States. Should such occur at any time, then they can be effectually quarantined in the hotel of the Holland-America Line for the periods prescribed by the Quarantine Regulations. AIRE H. VOORWINDEN, Vice and Deputy Consul- Gtneral. In a letter by Mr. Voorwinden to Mr. Peirce. CONSULATE-GENERAL, UNITED STATES OF AMERICA, Rotterdam, Netherlands, September 23 1903. -
Lovely Irish Mist advertising print depicting the iconic Irish soldier exiled and serving in the Irish Regiment of the Austrian Army around the mid 1750s. Nenagh Co Tipperary 50cm x 40cm Irish Mist is a brown Whiskey Liqueur produced in Dublin, Ireland, by the Irish Mist Liqueur Company Ltd. In September 2010 it was announced that the brand was being bought by Gruppo Campari from William Grant, only a few months after Grants had bought it from the C&C Group. It is made from aged Irish whiskey, heather and clover honey, aromatic herbs, and other spirits, blended to an ancient recipe claimed to be 1,000 years old.Though it was once 80 US proof (40% alcohol per volume), Irish Mist is now 35% or 70 US proof. The bottle shape has also been changed from a “decanter” style to a more traditional whiskey bottle shape. It is currently available in more than 40 countries. Irish Mist was the first liqueur to be produced in Ireland when commercial production began in 1947 at Tullamore, County Offaly. Tullamore is the hometown of the Williams family who were the original owners of Irish Mist. The company history goes back to 1829 when the Tullamore Distillery was founded to produce Irish whiskey. In the mid-1940s Desmond E. Williams began the search for an alternative yet related product, eventually deciding to produce a liqueur based on the ancient beverage known as heather wine.In 1985 the Cantrell & Cochrane Group purchased the Irish Mist Liqueur Company from the Williams family. In the summer of 2010 Irish Mist and the entire spirit division of C&C was bought by William Grant of Scotland. In September 2010 they in turn sold Irish Mist to Gruppo Campari.Irish Mist is typically served straight up or on ice, but also goes with coffee, vodka, or cranberry juice. Per the makers, Irish Mist’s most popular recipe is Irish Mist with Cola and Lime. A Rusty Mist is an ounce of Irish Mist with an ounce of Drambuie Scotch whisky liqueur.A Black Nail is made from equal parts Irish Mist and Irish whiskey. -
Enniscrone Co Sligo 45.5cm x 68.5cm Famous print of painting by Richard Moynan titled "Military Manoeuvres" which now resides in the National Gallery in Dublin.The Dublin-born painter Richard Moynan was 24 years old at the commencement of his artistic training. He was educated with a view to entering the medical profession and proceeded so far on the course to need only his final examination to qualify, but his artistic instincts proved to be too strong to be resisted, and he abandoned the profession of medicine for that of art, and made it his life long study. (The Irish Times, 11 April 1906, p. 5.) Moynan entered the Dublin Metropolitan School of Art (DMSA) in January 1880, having initially studied there on a part-time basis. Due to an Act of Parliament passed in 1877 the school came under the control of the Department of Science and Art of South Kensington, which aligned it with the British art education system. The headmaster, Robert Edwin Lyne, was a product of this education as he had received his instruction in the (British) National Training School prior to taking up his appointment in Dublin in 1863. In the DMSA, Moynan gained the requisite qualifications in 'Freehand, Geometry, Perspective and Object Drawing, 2nd grade' (Thoms, 1891, p. 833), which allowed him entry to the Royal Hibernian Academy Schools in 1882. The following July he was awarded the 'Albert Scholarship for the best picture shown in the Academy by a student' (Strickland, Vol II, 1913, p. 144). This enabled the artist to continue his studies in Académie Royale des Beaux Arts in Antwerp, moving on to Paris in 1885, where he honed his skills in portraiture at Académie Julian. Moynan returned to his native Dublin in December 1886 to establish a practice as a portrait painter, but he also pursued his craft in terms of genre scenes, history painting and literary subjects. The painting, Military Manoeuvres (1891), marks a watershed in the artist's development. It demonstrates his art-making process and provides an insight into his political beliefs.
Military Manoeuvres was exhibited when Moynan was at the height of his powers. In July of the previous year he was elected to full membership of the Royal Hibernian Academy, which earned him the honour of being one of 30 constituent members of the most important professional Irish artistic institution. This radically changed the painter's studio practice. It allowed him to modify both the size and pricing structure of his paintings, as he was no longer obliged to submit his work for selection to the RHA jury. Therefore, from 1891 onward Moynan tended to focus on one expensively-priced, large-scale painting per year, as well as smaller auxiliary pieces to help sustain his income. The asking price of Military Manoeuvres was £210, an amount that far exceeded the price requested by his fellow exhibitors. However, it appears that the practice of RHA members seeking inflated prices for their work was not unknown: It has often been observed by the public, though seldom ventured into print, that the resident artists of capacity demand exorbitant prices for their work and the fact is advanced as a reason why so few pictures are sold. (The Freeman's Journal, 24 March 1891, p. 5). Military Manoeuvres illustrates a crowded street-scene depicting a group of children amusing themselves by pretending to be a regimental band. The title of the work is humorous and although Moynan shows the children's ragged dress, he focuses mainly on the boys’ ability to have fun. Their toys include saucepan lids as cymbals, an upturned bucket serving as a drum, a biscuit tin, a coffee pot, a paper trumpet, a penny whistle and a wooden sword. Their leader carries a broom and wears a splendid brass helmet, which contrasts with his general apparel. This helmet was obviously purloined nefariously from some source. This attracts the attention of a passing soldier who happens to recognize the elaborate headgear as being a black-plumed band helmet from his own regiment, the 4th (Royal Irish) Dragoon Guards. The trooper makes eye contact with the bandleader and steps threateningly towards him. The soldier’s lady-friend encourages him to see the funny side of the incident, while passers-by stop and stare. The success of this piece lies primarily in two areas, the skill of the artist in challenging the viewer to interpret the story, and the excellent execution of the figure work. There are 15 children in the band, all individual in facial type and dress. Moynan’s sketchbooks in the National Gallery of Ireland demonstrate his commitment to grouping and regrouping his subjects as he explored different dynamics in an effort to achieve the most effective composition. He was an acute observer of human nature and although this picture contains over 30 figures, the scene appears to be naturalistic and spacious. The viewer’s eye-movement is guided by the interaction between the young 'drum-major' and the soldier, and is, in turn, reinforced by the anxious glances of the flower seller in the foreground. This finely-painted genre scene reflects the artist's academic training. The detailed execution of the figures demonstrates the influence of the painter's RHA professor, Augustus Burke, while also showing a connection with French art practice as the cloudy sky exhibits a dull, even light made popular by the plein air painter Bastien Lepage. The scale of the work is significant as it measures 148 x 240 cm, a size that was considered to be more suitable for a history subject rather than a genre piece. The expansive scale was not without precedent, as two years earlier Aloysius O'Kelly exhibited The Station, Saying Mass in a Connemara Cabin in the R.H.A. exhibition. This work, measuring 152.5 x 178 cm is slightly smaller than Military Manoeuvres. O’Kelly’s quintessential Irish subject reflects the importance of Catholicism among the peasant population. Moynan was a keen observer of O'Kelly's work. He adapted the central motif for his award-winning painting The Last of the 24th at Isandula from an O'Kelly newspaper print entitled The State of Ireland, Affray at Belmullet, Co. Mayo, published in 1881 in The London Illustrated News. Moynan's Unionist politics differed radically from O'Kelly's Nationalism but, nevertheless, the size and the subject matter of The Station, Saying Mass in a Connemara Cabin must have struck a chord, as, two years after its appearance in the R.H.A exhibition, Moynan painted a large street scene which explored another important aspect of Irish life, the effect of the military in the every-day lives of the people. Moynan's sketchbooks in the National Gallery of Ireland provide an insight into the artist's working methods and contribute to our knowledge of the process involved in the construction of his paintings. This invaluable collection of 9 sketchbooks was donated by Gordon Lambert in memory of his friend, the artist's daughter, Eileen Nora (known as Biddy). One of the chief characteristics of the artist's work is mise en scene, or the ability to present a composition with dramatic force, as if the characters were actors arranged under the proscenium arch. This was not simply a serendipitous occurrence, as the artist's sketchbooks reveal no less than 8 studies for Military Manoeuvres. These illustrate the painter's careful assembly of material, taking infinite pains in constructing a suitable streetscape, while also exploring several alternative arrangements of the figures within the composition. This approach demonstrates the methodology employed by a classically-trained artist, who painstakingly built up a picture by addressing compositional issues and architectural detail along with exploring different methods of conveying the narrative. Most of the artist’s NGI sketchbooks are pocket-sized containing pencil slots suggesting their primary function was to capture ideas and poses. An analysis of the material relating specifically to Military Manoeuvres suggests that their chief thrust is generic, rather than specific. The artist employed the sketchbooks as a kind of manual camera, to record ideas as opposed to developing studies for specific figures. There are over 30 individuals depicted in Military Manoeuvres, each of whom is a distinct character. Moynan must have sketched and painted studies for all of these people, yet this type of detail is not present in the sketchbooks. Instead, they contain studies dealing mostly with compositional matters.
The artist's notebooks in the National Gallery provide two alternative compositions for Military Manoeuvres. Sketchbook no. 19.171, Folio 10 Verso shows a group of children marching in time to the beat of their instruments and sketchbook no. 19.175, Folio 9 recto, is essentially the same group of children, but, in this version, their leader holds a sword in his hand. It is interesting to note that the artist finally selected a passive, more psychological composition as opposed to the simpler, more action-packed version depicted in sketchbook no. 19.171, Folio 10 verso. This dynamic sketch exudes motion as the band members march forward four-abreast, the tilt of their bodies and the movement of their feet suggesting rhythm and pace as they advance energetically towards the viewer. The theme of motion is reinforced by the presence of a soldier and his lady-friend, as they walk in step with the children's band. This rhythm is also expressed by Moynan's quick, slashing pencil-strokes as he loosely establishes the figures in the foreground, the soldier and the lady. Standing on the right of the composition, conducting the action is the young drum major. Once again he is wearing the elaborate brass, regimental helmet of the 4th (Royal Irish) Dragoon Guards, with its horsehair plume. His body is arched in counter-rhythm to the marching band and, at first glance, he appears to be halting the action. He waves both hands in the air; his left hand directing the music, while the tightly-gripped staff in his right hand confers almost regal authority. The attention of all members of the band is focused on his directions. The soldier looks directly ahead, while his companion curiously gesticulates towards the drum major. This composition differs enormously from the final painted version of Military Manoeuvres. It tells a much less complex story of the children's ability to find amusement by pretending to be an army band. Their enjoyment is infectious, as the soldier and his companion march along to the beat of the music. The children concentrate on their own pursuits and do not notice that their game has the added benefit of also entertaining the adults. There is no air of mystery about this piece. All parties in the picture are in harmony. The children do not tease the soldier, and there is no sign of the concerned-looking flower girl. In this version, the soldier is proud of his occupation and this sense of pride is endorsed by the children's games. The humour in the piece lies in the fact that, for a brief moment, it appears as if the trooper is an honorary member of the children's band, who has temporarily fallen under the command of the bandleader. There is a freshness and sense of immediacy about this sketch that begs the question, was this perhaps an actual event that Moynan witnessed? The soldier has been identified as wearing the walking-out dress of the 4th (Royal Irish) Dragoon Guards, a regiment based in Newbridge between the late 1880s and 1893 under the command of General Sir Edward Cooper Hodge, K.B.E. Could the trooper have been visiting his home in Leixlip when he saw his young brother parading about the streets wearing his regimental band helmet? Moynan frequently worked in the Lucan/Leixilp area during the period when the Dragoon Guards were situated in Newbridge. The popularity of the spa at Lucan made it much favoured by 'visitors and invalids' (Thoms, 1891 p. 1310) as it was accessible by steam tramway which ran from Conyngham Road. The artist was a member of the Dublin Sketching Club who ventured on a field trip to the village of Lucan in the spring of 1889. His 1892 painting entitled, Old Mill - Leixlip, also suggests familiarity with the Leixlip area. Moynan's knowledge of Aloysius O'Kelly's Mass in a Connemara Cabin may have prompted him to consider the possibility of producing a large genre piece, reflecting Unionist rather than Nationalist values. The sketch he made in Leixlip village provided an excellent opportunity to explore the importance of the military within an Irish rural environment. But the artist was dissatisfied with such a simplistic arrangement as found in sketchbook no. 19.171, Folio 10 Verso, as he wished to challenge the viewer to interpret the scene. In the final version of Military Manoeuvres, the children's band is far more intent on baiting the soldier than pursuing their games. The inclusion of the flower girl enables the artist to construct a moment of tension as she observes the expression of the soldier and awaits the interaction between the trooper and the bandleader. Moynan rejected the forward march of the musical band in favour of a more diffuse arrangement, as the triangular relationship between the flower girl, the Drum-Major and the soldier prompts inquiry into the reactions of the various groups within the canvas. Indeed, the painted version of Military Manoeuvres could in fact be the sequel to the sketchbook version. This shows the artist's ability to develop, not just the compositional elements within the painting, but to modify the idea behind the narrative to produce a more engaging story line. Opinion has long been divided on the setting for Military Manoeuvres. At first glance, the streetscape mirrors that of Main Street in the village of Leixlip, Co. Kildare but certain details do not support this theory. Dr. Brian P. Kennedy's careful comparison with the near-contemporary Lawrence photograph establishes broad parallels between the photographic and the painted version, but it is difficult to reconcile certain details. This is precisely because of Moynan's approach to formulating a composition was creative rather than topographical. He had no difficulty in relocating solid architectural features in an effort to gain balance and symmetry. Kennedy remarks that the church spire is the result of 'artistic license' (Kennedy, 1993, p. 28). This is true on two counts. The church of St. Mary's is situated on the left side of the road as one proceeds up Main Street, Leixlip, in the direction of Pound Street. Furthermore, St. Mary's does not have a conventional spire but terminates in a castellated Norman-style tower. Reference to the artist’s sketchbooks reveals that the spire featured in Military Manoeuvres was 'borrowed' from the church of St. Andrew in the nearby village of Lucan. This distinctive architectural gem obviously attracted the artist, as he sketched it from no less than three different angles. Therefore, Moynan sacrificed architectural accuracy in his quest for a perfectly balanced composition. It is also possible that the presence of the spire in Military Manoeuvres had another, more personal significance for the artist, as a spire, or an obelisk, is emblematic of the craft of Freemasonry. By including the spire in Military Manoeuvres the artist may have been acknowledging the importance of ‘the craft’ and paying tribute to his fellow Masons. He had been a member of the Dublin Lodge of St. Cecilia (No. 250), since January 1887. He had special links with the Masonic Orphan Schools as its headmaster, J. Holbrook, was a fellow member of the Lodge of St. Cecilia. In 1888 the Masonic Boys School moved premises from Adelaide Hall in Merrion to Richview in Clonskeagh, to allow an increase in the student body. The artist's involvement with this charity was held in such high regard that his fellow lodge members held a special dinner in his honour. Pictorial comparisons between the school’s sports day activities, such as the tug-of-war featured in the Masonic magazine, and a 1891 painting of the same title by the artist suggest that Moynan may have sourced many of the young models for his genre scenes, including Military Manoeuvres, from the Masonic Boys School. Military Manoeuvres marks a turning point in the artist's oeuvre as it demonstrates a move away from his usual studio-based painting and shows a tendency to work out of doors. This street scene was one of six paintings exhibited by the artist in the 1891 RHA exhibition, and three other titles, Tug-of-War, ‘Wady-Buckety’, and View on the Dodder, (near Templeogue) also suggest outdoor scenes. This trend to work en plein air was a practice developed by the artist over the next ten years. It led to a group of distinctly ‘Irish Impressionist’ style paintings and canvases such as Killiney Sands painted in 1894 (currently in the Allied Irish Bank Collection), demonstrate this trend as it expresses Impressionist influences in terms of subject matter, application of paint and use of colour. Moynan was a passionate Unionist who used his art as a platform for his political beliefs. He was the chief illustrator with the leading Unionist newspaper of the day, The Union. He painted a number of highly political works, such as Home Again (1883). But the main thrust of the narrative in Military Manoeuvres is observational and humourist rather than political. Yet the artist does not shy away from showing the children's shabby surroundings. He frankly portrays the neglected state of the roads. This was probably a popular topic of discussion within the Moynan family circle as his brother, John Ouseley Bonsell Moynan, was the principal engineer for county Tipperary where he introduced an innovative system of road building and maintenance. Contrasting reviews of the 1891 RHA exhibition provide an insight into contemporary attitudes to Irish art. The critic writing for The Freeman's Journal initially addressed controversial issues such as the high prices of the exhibits and then proceeded to embark on a major diatribe regarding the lack of support for the exhibition by the government, the aristocracy and the so-called patrons of the RHA. He questioned the quality of some of the work: 'Allusion has been made to the fact that many very inferior productions are allowed a place on the walls of the exhibition' (The Freeman's Journal, 24 March 1891, p. 7) and even condemned a painting by the President of the RHA, Sir Thomas Alfred Jones (Jones was an associate of Moynan's in the Masonic Lodge): 'The President's picture Paddy's Proposal is anything but a success. Subjects of this kind are quite outside his range. He should stick to portrait painting' (The Freeman's Journal, 24 March 1891, p. 7). Yet, consistently through out three reviews the same critic extols Moynan's virtues: There is one fact undoubted that will be gratifying to the members of the Academy and the public - namely, that in one or two special instances the younger members unquestionably have shown a desire and a capacity to prove worthy of their name. Mr. Moynan's large picture has already been spoken of as an example of this. (The Freeman's Journal, 5 March 1891, p. 5) He also mentioned Military Manoeuvres in an earlier review: There is a lot of exceedingly good work in this picture. The subject is good and it has been treated with great humour and skill and with genuine artistic instinct. (The Freeman's Journal, 2 March 1891, p. 5) The reviewer in The Irish Times was also fulsome in his praise of both the artist and the painting in question: Mr. Moynan is another artist who has this year come to the front. His big picture Military Manoeuvres (No. 26) at once challenges attention on account of its size and the novelty of its caption, and the abundant labour that has been expended upon its detail. For an Irish artist the work is a most ambitious one, and we cordially recognise the success of the artist. The group of boys passing through the village streets playing at soldiers equipped in mock panoply is full of life and movement, and the introduction of a real red coat is a happy stroke. (The Irish Times, 2 March 1891, p. 3) But it is equally important to note that Moynan's reaction to the critics was bi-directional. It appears that Military Manoeuvres in its original format had a dog in the centre of the composition and in response to a newspaper notice the painter altered the composition. The instigator of the change was the reviewer form The Freeman's Journal: '... the picture (Military Manoeuvres) is really interesting and very clever of its kind. There is a very eccentric looking dog in the centre of the picture - very eccentric' (The Freeman's Journal, 2 March 1891, p. 5). Yet, on publication of the Second RHA Notice, just three days later, the artist has taken this criticism on board and reacted by removing the dog from the composition: 'and bye-the-bye, he has quite rightly painted out that very eccentric dog alluded to in our last notice' (The Freeman's Journal, 5 March 1891, p. 6). This shows the artist's willingness to accept informed criticism and to act accordingly. But despite all the praise heaped on Military Manoeuvres, this work, like many other paintings exhibited in the 1890s Dublin market, remained unsold at the close of the exhibition. Two years later it was shown in America: Military Manoeuvres, exhibited at the RHA, at the Chicago exhibition and at the San Francisco exhibition. In the following year it was purchased in the latter place for a large sum. (The Irish Times, 11 April 1906, p.5.) Military Manoeuvres is the product of the confluence of the artist's academic training and experience. This mid-term painting offers an insight into various elements, which helped forge Moynan’s professional identity and provides a glimpse of some of the educational, social and political issues that affected the art-making practice of his day. -
Ennis Co Clare 50cm x 60cm De Valera was a near demagogue type politician who dominated Irish Political life from 1917 to 1973,whether as Prime Minister or President or as leader of the Opposition.Known as the Long Fella,Irish people either loved or hated him-there was simply no ambivalent feelings about this most polarising of politicians.This fine portrait of De Valera catches him perfectly and would make a superb addition to any Irish Pub ,both at home or abroad with a Fianna Fail or Republican bias or anyone from Clare,a county where he was always at his most popular. Eamon de Valera, first registered as George de Valero; changed some time before 1901 to Edward de Valera;14 October 1882 – 29 August 1975) was a prominent statesman and political leader in 20th-century Ireland. His political career spanned over half a century, from 1917 to 1973; he served several terms as head of government and head of state. He also led the introduction of the Constitution of Ireland. Prior to de Valera's political career, he was a Commandant at Boland's Mill during the 1916 Easter Rising, an Irish revolution that would eventually contribute to Irish independence. He was arrested, sentenced to death but released for a variety of reasons, including the public response to the British execution of Rising leaders. He returned to Ireland after being jailed in England and became one of the leading political figures of the War of Independence. After the signing of the Anglo-Irish Treaty, de Valera served as the political leader of Anti-Treaty Sinn Fein until 1926, when he, along with many supporters, left the party to set up Fianna Fáil, a new political party which abandoned the policy of abstentionism from Dáil Éireann. From there, de Valera would go on to be at the forefront of Irish politics until the turn of the 1960s. He took over as President of the Executive Councilfrom W. T. Cosgrave and later Taoiseach, with the passing of Bunreacht Na hEireann (Irish constitution) in 1937. He would serve as Taoiseach on 3 occasions; from 1937 to 1948, from 1951 to 1954 and finally from 1957 to 1959. He remains the longest serving Taoiseach by total days served in the post. He resigned in 1959 upon his election as President of Ireland. By then, he had been Leader of Fianna Fáil for 33 years, and he, along with older founding members, began to take a less prominent role relative to newer ministers such as Jack Lynch, Charles Haughey and Neil Blaney. He would serve as President from 1959 to 1973, two full terms in office. De Valera's political beliefs evolved from militant Irish republicanism to strong social, cultural and economic conservatism.He has been characterised by a stern, unbending, devious demeanor. His roles in the Civil War have also portrayed him as a divisive figure in Irish history. Biographer Tim Pat Coogan sees his time in power as being characterised by economic and cultural stagnation, while Diarmaid Ferriter argues that the stereotype of de Valera as an austere, cold and even backward figure was largely manufactured in the 1960s and is misguided. -
Extremely unusual & culturally significant historical sign from a once famous pub in Castlebar Co Mayo, the historic and now sadly closed down Humbert Inn.Please email us directly to enquire about this most unusual item at irishpubemporium@gmail.com. "Located on the Main Street of Castlebar, The Humbert Inn excelled in its hospitality to the public for over 200 years. Its name was derived from the fact that the French General Jean Humbert with his second in command General Sarrazin located their headquarters within the building during the United Irishmen rebellion of 1798. Originally until 1912 due to rates purposes, the premises also consisted of what is known today as Paddy Fahey’s shop and over the years has been used as hotel, restaurant and public house. In 1798 the site of Paddy Fahey’s and the Humbert Inn was known as Geevy’s Hotel. A banquet was held there after the 1798 Rising and it was in The Humbert Inn premises, that John Moore was declared first President of Connaught! The public bar was unique in appearance with its interior rough cut stone walls, arches, Liscannor stone floor and a façade that has changed little over the past fifty years.
The premises has changed hands many times over the years, more recent owners including Tom Coucil, the Moran family and since 1994 John Connaughton, more popularly known as 'John Humbert'. While memories aplenty abound about The Humbert Inn with many instances of people today stating that they are the third generation of their family to call into The Humbert. Its lasting legacy will be an outstanding and legendary venue for all that is musical. The Humbert Inn was long associated with encouraging local musicians and providing the public with a steady stream of talent. Everything from traditional sessions to Industrial Rock has been catered for, everything from one guitar, 6 piece bands to many DJs have enthralled weekly audiences! In many cases their audience trying for a pint, while singing and dancing at the same time. Always a multi-talented bunch, The Humbert regulars! The most historically famous of these bands will be 'General Humbert' consisting of Steve Dunford (bodhran, bones), John Donegan (mandolin, harmonium), Ruairi Somers (uileann pipes, tin whistles, bagpipes), Shay Kavanagh (guitar, bouzouki) and one Miss Mary Black (vocals, bodhran) from approx 1972 until 1982. Mary Black’s brother Mick was working with the then P&T in Castlebar, he along with his brother Shay informed a group of Humbert musicians including, John Hoban and Frank O’Reilly, that he 'had a sister that could sing a bit (brotherly understatement) and would they be interested if she sang with them'. Mary Black may have received her first taste of success with 'General Humbert' in the ‘70s and recorded her first album in 1982. But, along with playing venues in Dublin, she started out singing in Castlebar with traditional group 'La Salle' which included John Dunford and Fintan Murphy within The Humbert a good ten years before her international success. Christmas in particular was always memorable in The Humbert, it was a major home coming venue and meeting place. If you were brought up in Castlebar, were of a certain age, then chances were there was one of two places you would have been found on Christmas Eve, The Humbert or Rays!. The Humbert Inn can also boast its very own VIP list among its regulars with two crowned Roses of Tralee Mindy O’Sullivan and Aoibhinn Ni Shulleabhain along with Fair City actress Vicky Burke. Plus any number of quality customers, musicians, fine sportsmen and women, business people and the odd politician. Fate had decided a different path for The Humbert and further to this an offer to buy the premises by a local developer was accepted. This has resulted in the developer’s decision to convert the building into retail outlets and apartments, thereby no longer retaining the premises two hundred year reign in the hospitality trade.Public opinion has stated a desire to at least retain the look of the existing bar, possibly using same as a restaurant, wine bar, part of the Linenhall for exhibitions or even as a Tourist Office However, the general consensus is an overall request that The Humbert Inn remains a public bar while recognising the logic in upper floor apartment conversion. The future of The Humbert has been proposed by the developer, but it is the present planning section of the Town Council who will ultimately decide this historic buildings fate as rumours abound of its possible demolition! What ever the future holds for The Humbert Inn, its last weekend under the command of General John Connaughton will be a musical filled celebration which John has requested to end quietly on its last closing time on Sunday 3rd September. Which is curiously the same date that Humbert and his men left The Humbert Inn premises in 1798! It will be an emotional time for both punters, staff and owner, an end of an era no matter what the future holds, so it is important that it is understood that the bar will be closing promptly on the last night" Origins : Co Mayo Dimensions : 88cm x60.5cm 5kg
