The Irish Farming Emporium - The Irish Pub Emporium

Classic 1960’s Irish Fair Day Scene-Ennistymon Co Clare

€60.00

Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm

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Classic 1960’s Irish Fair Day Scene-Killorglin Co Kerry

€60.00

Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm

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Classic 1960’s Irish Fair Day Scene-Killorglin Co Kerry

€60.00

Classic Irish Fair Day scene from Ennistymon Co Clare circa 1960s. cm x cm

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Famous Anticipation Guinness Retro Advert

€130.00

45cm x 60cm Anticipation is an Irish advertisement launched by Guinness plc in 1994 to promote Guinness-brand draught stout. The advert, which appeared in print, posters, and cinema and television spots, was conceived by Irish advertising agency Arks, and starred relatively unknown Irish actor Joe McKinney as the 'Dancing Man' and Gordon Winter as the barman. It was the final part of the "Guinness Time" advertising campaign, which had been running in Ireland since the late 1980s. The advert was credited with increasing Guinness' sales, market share and brand awareness figures. However, controversy arose following claims of plagiarism raised by British director Mehdi Norowzian, who launched an unsuccessful lawsuit in 1998 seeking remuneration for the use of techniques and style from his 1992 short film Joy.
Sequence
The low-budget ad featured only two characters: a patron of a pub and the barman serving him. The patron (McKinney) orders a pint of Guinness stout and, while waiting for the pint to be poured, carries out a series of quirky dancing movements with the settling pint in the foreground, to the amusement of the barman (Winter). The piece ends with the patron taking his first sip of the freshly poured pint overlaid by the Guinness advertising slogan "No time like Guinness Time". The advert is set to Guaglione by Pérez Prado, and makes heavy use of jump cutting from a static camera to allow the dancer to make a series of movements that could not be achieved in reality.
Reception
The distinctive jump cut editing techniques of Anticipation won the commercial critical acclaim and several awards from within the advertising industry, including the 1995 Institute of Creative Advertising & Design craft award for editing as well as a Gold Medal for editing and a Golden Shark award at the Kinsale International Advertising Festival. The success of the campaign led Guinness to re-broadcast it in the United Kingdom in 1995, as a transition between the campaign "The Man With the Guinness"/"Pure Genius", which had just concluded with Chain, and its new "Black and White" campaign, still in development.Though Chain was to be the last in the Pure Genius campaign, Anticipationwas tagged with the Pure Genius slogan in the UK instead of There's No Time Like Guinness Time. As a result of its featuring in the spot, Pérez Prado's Guaglione reached the Number 1 spot in the Irish music charts,and Number 2 in the British Top 40.
Lawsuit
In 1992, British director Mehdi Norowzian submitted a show reel containing a number of short examples of his work to several prospective employers, including the Irish advertising agency Arks Ltd., in the hopes of being taken on to direct one or more of their commercials. Included on the reel was a short piece entitled Joy, which was shot using a static camera on a London rooftop and comprised a jump cut sequence of a man performing an extended dance of exuberance against a plain canvas background. Arks Ltd. were contracted by Guinness to produce an advertisement to run in Ireland. Among the ideas proposed was one based on a scene from the cinematic version of Roddy Doyle's novel, The Snapper, where a man rushes into a pub to celebrate the birth of his grandson with a pint of Guinness. The artistic director at Arks, thinking of possible ways to build on the concept, recalled Norowzian's submitted reel and came up with a script and storyboard based on Joy to present to Guinness. The idea was accepted, and Arks approached Norowzian to direct the commercial. Norowzian refused, as he was unwilling to simply "commercialise" an old idea, and wanted to create something new. The agency then took on Richie Smyth as director, urging him to create something "with an atmosphere broadly similar to that portrayed in Joy". Feeling that the original storyboard was too close to Joy, a new one was prepared. The result was Anticipation. Following the broadcast of the television spot in 1994, Norowzian lodged a complaint and ultimately a lawsuit against Arks Ltd. and Guinness, claiming that Anticipation breached his copyrights and accusing the agency of passing off. The plaintiff's claim for copyright infringement were based on a passage in the Copyright, Designs and Patents Act 1988defining a dramatic work as including "recordings of a work of dance or mime", and that Anticipation was, or included, a copy of a substantial part of Joy. The case reached the High Court in 1997, where the claim of passing off was dropped. On 17 July 1998, Justice Rattee rendered his judgment that the jump cutting techniques used in Joy produced something qualitatively different from a recording of a dance or mime routine and that, as such, Joy was not in itself a dramatic work. It was therefore defined as an entrepreneurial work, a status which confers protection over only the physical recording of a work rather than the work itself. He also ruled that Anticipation did not reproduce either the whole or part of Joy. The decision was appealed, but while the Court of Appeal unanimously held that the content of a film (including the use of film and editing techniques) could enjoy copyright protection as a dramatic work, the presiding Justices ruled that Anticipation did not significantly copy any portion of Joy and dismissed the case. Ultimately, Norowzian was ordered to pay £200,000 in legal costs.As a result of the case, the Institute of Contemporary Arts called for reform of copyright law in the United Kingdom.
Legacy
Actor Joe McKinney spent 1994–6 making personal appearances around Europe publicising Guinness. The lifestyle became too hectic and he gave up alcohol in 1997.He found it difficult to secure other roles due to typecasting as "the Guinness man", spending time in the US where the ad had not been broadcast.

A comparison of two frames from Anticipation with their respective versions in Eskimo.

As one of the most recognisable Guinness advertisements of the 1990s, Anticipation has been mimicked or parodied in a number of more recent Guinness campaigns, including the Irish Waiting spot in 2004 promoting cans of Guinness draught beer,and director JJ Keith's British Eskimo commercial, which was part of an extended campaign promoting Guinness Extra Cold in summer 2004 and 2005. In March 2009, Guinness announced that Anticipation would be aired again as part of a "Classic Ads" campaign to mark the brewery's 250th anniversary. Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Give him a Guinness ! Retro Advert

€150.00

35cm x 57cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Guinness Irish Oaks Retro Advert

€90.00

38cm x 40cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Guinness Retro Advert

€130.00

74cm x 38cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Guinness Toucan World Cup 1990 Advert

€130.00

51cm x 51cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Medicinal value of Guinness Vintage Advert

€100.00

40cm x 23cm There was a period of time during which my father — who doesn’t even truly like beer — would insist on ordering Guinness whenever we found ourselves in a restaurant that offered it. He would take a sip from his glass filled with ebony liquid topped by a frothy foam, and I’d watch as he inevitably recoiled at the bitter flavor. “I don’t know why I ordered this,” he’d usually utter, shaking his head. “I guess I just believed that Guinness was supposed to be better than most other beers. But it isn’t even really a beer, right? It’s like its own thing.”

I can understand why my father would believe that Guinness is good. After all, the “Guinness is Good” slogan was the figurative linchpin holding together the Guinness brand for decades. Along with the belief that Guinness is good — which my father and several others would vehemently disagree with — exists the belief that Guinness is good for you.

Guinness advertisement from the late 1920s
By fueling this belief, Guinness dangles the elusive hope that all barflies crave: That it’s possible to guzzle alcohol and reframe what everyone knows to be a commonly deleterious activity as surreptitiously healthy. So those are the real questions in need of answering: Can you sip a Guinness and skip the multivitamin? Can you literallydrink to your health?
WHY WOULD ANYONE BELIEVE THAT YOU COULD?
Because Guinness did everything in its power to ensure that people believed it to be true.

R

Even the Guinness ad campaigns of the 1920s and 1930s — again, built around the ubiquitous “Guinness is Good for You” slogan — were replete with fantastical references to the healthful benefits ostensibly lurking within Guinness. The standard style of the company’s advertising from this era tended to feature a general reference to the value of Guinness as a health tonic, one or more specific claims about the ways in which Guinness benefits its imbibers and then quotes allegedly extracted from the thousands of supposed letters that arrived in Guinness’ offices each month penned by “medical professionals.” Suspiciously, the medical professionals were never named; they were only referenced by their certifications as holders of the MD, LRCP, LRCPI, MRCS and MB designations, many of which are exclusive to the U.K., or are now outdated. Some of the alleged claims about the medicinal value of Guinness are as follows:
“I have been accustomed to recommend Guinness medicinally, particularly for sleeplessness, finding it preferable to bromides and hypnotics in such cases, being in addition to its sedative action of great nutritional value.” — MRCS, LRCP

“In many cases of anemia and debility after almost everything has failed, a single glass of Guinness after dinner has often been a turning point for the better.” — FRCS

“I consider Guinness to be out and away the best tonic of them all.” — MB
Another Guinness advertisement included a statement that Guinness is “particularly suitable as a tonic restorative after influenza, bronchitis and other illnesses,” along with a supposed doctor’s recommendation that Guinness should be indulged in daily for its medicinal value.
WHAT IS THE TRUE NUTRITIONAL VALUE OF GUINNESS?
Well, we can start by dissecting a more contemporary analysis of Guinness. In a 2005 article from the Hartford Courant bearing the wishful-thinking title “Cheers! Certain Brands of Beer May Be Good for You,” Guinness was declared to be superior to other beers in a relative sense. It was lauded for having less alcohol, along with fewer calories and carbohydrates than Samuel Adams, Budweiser and Heineken, and Guinness proved to be twice as effective as Heineken at preventing blood clots in a University of Wisconsin study. From there, some of the language requires parsing so as to minimize inappropriate attributions; Guinness is credited with possessing flavonoids, and these flavonoids had been demonstrated to be superior to vitamins C and E with respect to the abilities of those respective vitamins to prevent LDL cholesterol from clogging arteries. First of all, it’s niacin — part of the vitamin B complex — that’s most heavily credited amongst the vitamins with LDL reduction. Second, the same flavonoid logic can be applied to dark chocolate, and often is. The logical takeaway in that scenario should be that dark chocolate is superior to other forms of chocolate in terms of its relative health value, which it arguably is, as opposed to taste, which it definitely isn’t. In fact, it’s highly possible that the makers of Guinness had to sell consumers on its somewhat nebulous health benefits precisely because it wasn’t hitting any home runs in the taste department. For instance, another Guinness ad campaign from the same 1930s era provided readers with a lengthy explanation for how Guinness is intended to be consumed, instructing them how to draw Guinness into their mouths in a way that enables it to bypass the sweetness-detecting taste buds, and practically chastised customers for possessing immature palates if they felt displeasure derived from experiencing Guinness’ sour taste.

In terms of the raw numbers, when it comes to the antioxidant content in the form of the flavonoids in Guinness, they collectively possess 10 percent of the antioxidant value of a comparable amount of brewed coffee. In other words, Guinness may have some antioxidants present, but to describe it as “antioxidant rich” would be a massive stretch. Basically, if you’re looking for a substantive source of antioxidants, there are plenty of other foods and beverages you can consume. As for vitamins and minerals, it’s critical that you consider the source that micronutrient information is being filtered through. The labeling of food items in the U.S. requires Reference Daily Intakes (RDI), while other organizations use guidelines like Recommended Daily Allowances (RDA). The recommendations generated by each are different, which means that selectively choosing one instead of the other and falling prey to confusion caused by the similarities between the two can have massive implications on how adequate you believe your food to be. Here are the top six micronutrients contained in a pint of Guinness Stout — the most micronutrient-abundant beer within the Guinness family — along with its quantity, its RDA percentage and its RDI percentage:

Now that we’re all speaking the same language, we can get down to brass tacks. Aside from the quantity of copper present in the Guinness Stout, and the marginal amount of phosphorus contained therein, there’s nothing on this list that doesn’t get absolutely demolished by a can of Monster Energy. We can put Monster on trial for other reasons, but at least they deliver on their advertising promise of energy and never masqueraded as an all-purpose tonic for illness recovery. Speaking of promises made in advertisements, there’s no evidence that ordinary vitamin content has a strong connection with either improving or inhibiting sleep. On the other hand, there’s an abundance of evidence — and probably plenty of personal anecdotes you can draw from — that underscores the ease with which alcohol can help to induce sleep. When you get right down to it, the “cure for insomnia” offered by Guinness was a nightly dose of drunkenness, which is also what would be required to drive most of the vitamin values of Guinness Stout into 100 percent territory.
SO GUINNESS ISN’T NUTRITIOUS?
Research indicates that Guinness is certainly more abounding in some vitamins and nutrients than several of its alcoholic brethren. Still, you’re likely to become sloppy drunk if your pursuit of micronutrient sufficiency requires you to piggyback on the overhyped shoulders of Guinness. My advice: If combining alcohol with vitamins is your thing, then pop a multivitamin and wash it down with something that actually tastes pleasant.

Ian Douglass

Ian Douglass is a volunteer firefighter, lackadaisical Concept2 rower and SkiErger and is the worst masters swimming All-American in recorded history. He also helps professional wrestlers publish their autobiographies, assists businesspeople with the writing of coherent thoughts and has overhyped degrees from Michigan and Northwestern.

Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Ni Neart go Guinness ( Guinness makes you Strong) Vintage Advert

€90.00

35cm x 47cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Tall,dark and have some Guinness Retro Advert

€120.00

50cm x 65cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Tall,dark and have some Guinness Retro Advert

€100.00

50cm x 65cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Thank Goodness for Guinness Retro Advert

€120.00

50cm x 65cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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The Man with the Golden Gun Guinness Retro Advert

€70.00

30cm x 36cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Vintage Bord Na Mona Briquettes Advert

€90.00
50cm x 48cm

ORD NA MÓNA produces some 315,000 tons of briquettes per annum from 800,000 tons of milled peat. Production takes place at three factories situated at Derrinlough (between Birr and Cloghan), Co. Offaly, Croghan (between Edenderry and Daingean), Co. Offaly, and at Lullymore, Co. Kildare. Lullymore was erected in 1935 and modified extensively in 1957-58, and production is 45,000 tons/annum. Derrinlough followed in 1959 and Croghan in 1961, each producing 135,000 tons/ annum. There are several descriptions available of earlier attempts at briquetting dried milled peat in Ireland, and of these the most interesting is that by Hodgson (Transactions of I.C.E.1. 1862, and Proceedings of the Inst. of Mech. Engineers 1865) at Derrylea, Co. Offaly. Considerable detail is given in these articles of, not alone Hodgson’s method of winning milled peat on Derrylea bog, but of the erection and operation of the associated briquette factory. Much of the technical data on the process at the time is topical still. Of particular interest is the means by which he dried the peat to 10% m.c. in a 500 foot long scraper dryer, and his development of the string type briquette press claimed to be the progenitor of all subsequent presses as used for brown coal and peat briquetting throughout the world. Bord na Móna briquettes go to customers in the form of bales (28-lb. bundles), loose or in brickeen form, i.e. single loose briquettes cut into 3 equal parts. These latter are used extensively for industrial boiler applications. The processing of the milled peat from its arrival in the factory as far as the briquetting and storage stages is shown in the accompanying flow diagram. The data and descriptions which follow refer to the new factories unless otherwise designated. Following the tippling, blending, fine milling and screening process, it will be seen that the peat tailings are used as fuel in a boiler producing steam at a pressure of 37 atmospheres for a back pressure turbo-alternator of 2,400 kW. maximum output. All power used in the factory is supplied from this source, whilst the low pressure steam at 3 atmospheres passes to the peat dryers. About 9 tons per hour of tailings are used in the boiler, whilst 36 tons per hour of fine peat are conveyed from the screens to the Peco drying process. This system of drying was developed in Scotland during the First World War and the first plant using the system was built near Dumfries. The Peco system is essentially the indirect drying of milled peat by means of hot water and steam while the peat is being pneumatically conveyed in an air/vapour stream. The peat in finely divided form (all through a 10 mm. screen) dries rapidly from its intake moisture-circa 50% m.c.-to 10% m.c. At this moisture content briquettes can be formed under a pressure of some 750 atmospheres in a specially designed press which extrudes the briquettes continuously into cooling runners some 70 metres long. This process is necessary so as to cool and thereby harden the briquettes prior to baling and storage, and to provide steady back pressure on briquettes issuing from the press mouth. The output of briquettes in the new factories averages 18 tons an hour from an input of 45 tons, or 2.5 to 1 input/output ratio.
Special Equipment
Milled peat as delivered to the briquette factory possesses rather variable physical characteristics in regard to moisture content, bulk density, fibre content, ash content, etc., and there is need to process this variable feed material to make it suitable for manufacturing a finished product of minimum variation from fixed standards. To this end a number of special pieces of equipment have been developed and built into each factory:

Blending Bunker

Buffer Bunker

Dryers

Spiral tubes (dryers)

Press Prepackers

Anti-corrosive devices

Blending Bunker
Each day’s factory requirements of milled peat about 1,000 tons – is tippled and conveyed by belt over a 150 metre long x 10 metres wide x 12 metres high concrete box building. The belt runs overhead on the centre line of this building and distributes the milled peat in layer upon layer to a total depth of about 8 metres. Some 200 wagons per day from 3 or more bog piles are blended in this way and a mean value for each of the peat physical characteristics is obtained. The bog piles of peat have widely different characteristics and blending achieves the following results. Moisture content -This varies on receipt from 40% to 60%. As far as possible blending is arranged to yield a moisture content of around 50% in the factory supply. Ash content – In blending peat from bogs of low ash content the target is 1.5% plus/minus 1%, and from higher ash bogs the target is 3% plus/ minus 1% in practice. Bulk density – As measured at the presses where the peat is both fine and free flowing – the target density is 210 grms/litre from bogs of low general density, and 240 grms/litre from higher density areas. A given blend will vary some 10 grms/litre above and below this target figure during the duration of the blend-1 day. If peat were fed to the factory directly as it came from the bog, then 2-hourly (train load) variations in density from 140 grms/litre up to 350 grms/litre could be expected, making control of the process virtually impossible. Fibre -Some areas of bog provide milled peat of very high fibre content and this is controlled during the blending operation by dilution to a figure acceptable to the factory process. Some conveyors in the factory have an upper tolerance level for fibre and these conveyors are used as controls. High fibre content restricts peat flow in ducts and chutes and can inhibit output as a result.
Buffer Bunker
Interposed between the blending bunker and the 125 KW. hammer mill is a buffer bunker which is designed to act as the factory feed control. Its floor consists of an infinitely variable speed chain grate to feed milled peat to the factory screens via the hammer mill. This finely regulated feed is necessary in order to present the mill with a steady load and so ensure even and regular comminution. The bunker itself has vertical walls in order to keep the milled peat flowing downwards evenly – particularly when it is in the higher moisture ranges. In the case of narrower bunkers and chutes within the factory the walls have been given negative slopes to aid flow, and are insulated where desirable. The fully automatic peat removal device in the main blending bunker bites into the milled peat pile in a regular forward motion, but for a variety of reasons the flow of peat to the underground belt conveyor can vary plus/minus 20% or more on the control figure. The buffer bunker is essential in the levelling out of this fluctuation in peat coming from the blending bunker. The forward speed of the blending bunker peat removal device is controlled automatically by upper and lower level indicators in the buffer bunker.
Dryers
The Peco type dryer consists essentially of an upper and lower tube plate set in a shell capable of holding either hot water (as in the first 2 of the 5 dryers in the factory dryer system) or steam (as in the last 3 dryers). Tubes are fitted between the tube plates, and fine peat is blown up through these tubes and dried due to heat transfer from the heating medium surrounding the tubes. Owing to the fact that the largest peat briquette factories built up to 1958 were for 50,000 tons briquette output, it was necessary to redesign the dryers to suit outputs of 135,000 tons/annum. Dryers for the lower output were some 2 metres diameter by 10 to 12 metres high and with tubes from 38 mm. i.d. to 55 mm. i.d. Throughputs of 8-10 tons per hour were possible but some tube chokage was a recurring factor in operation. Redesign involved lengthening the dryer to 18 metres high, increasing the diameter to 3 metres, and increasing the tube size to 70 mm. i.d. with consequential increases in all loadings and in the problems associated with the peat feed flow and distribution to the bottom tube plates. After some initial commissioning difficulties in providing the necessary air and air/vapour quantities the dryers performed satisfactorily at throughputs ranging from 18 to 24 tons per hour, depending on input moisture content, density and flow characteristics, of the peat feed.
Dryer Tubes
In order to obtain the highest possible specific evaporation rates from the heated tube area in 5 dryers of the system, it was essential to fit specially designed tubes with a 3-start indented spiral helix a form of rifling. By such means the ascending peat particles are pressed by centrifugal force against the hot walls of the tube and this effectively breaks the adhering air skin flowing at 15 m/sec. parallel with the tube inner surface. As a result heat flows more efficiently from the tube walls to the moisture in the peat.
Press Prepackers
Following initial experiments without any form of prepacking of the dry peat fines just prior to their entry to the ram of the press, it was found essential to fit such a device. Without a pre-packer the maximum thickness of briquette obtainable from a press was 18-21 mm. A simple push type ram prepacker was added above and behind the main press ram in such a way that the peat fines descending into the press chamber were held in a packed condition (approximately 2 to 1 by volume) awaiting the next stroke of the main ram. With this device briquette thickness is controllable up to 40 mm. (or more in the case of higher density peat).
Anti-corrosion
As would be anticipated when dealing with a product which has a pH value of 3.5 in its moistened condition, many problems of corrosion have had to be solved in the briquette factories. Associated with corrosive attack is that of erosion from mineral matter in the peat, and care had to be taken in deciding which form of attack was the predominant one prior to prescribing a solution, as combatant materials are costly. Amongst the items of plant modified were the press formes or moulds within which the briquettes are formed. Originally made from carbon steel with a life between grindings of about 3 weeks, the use of a stainless die tool steel increased forme life to some 12-26 weeks, depending on the mineral matter content of the peat being briquetted. Apart from the elongation of time between grindings the main gain was the ability to hold a high standard of briquette finish and strength over a much longer period. Many mild steel ducts and cyclones are in use where condensation of vapour caused corrosion the products of which were soft enough to be cleaned off by low level erosion. This erosion exposed the surface to renewed corrosion and the vessels had to be clad internally, or be replaced entirely in stainless steel of suitable quality. An interesting example of this occurred on outdoor cyclones where the supports passed through the heat insulation and were welded to the vessel. A small area of the 6 mm. thick shell of the cyclone where each support was attached was colder than the vapour temperature within the cyclone. Rapid corrosion-erosion of this area showed itself by distortion of the sheeting, and settling of the cyclone. Covering of each small area with 2 mm. stainless steel eliminated further trouble. Other equipment which required protection against aggressive attack by peat vapour comprised the heat exchanger units and associated vessels and ducting, fan impellors, screw conveyor spirals and troughs etc. Erosion of the peat inlet ends of the tubes of the dryers was stopped by the insertion of 100 mm. lengths of Yorcoron CuNiFeMn alloy tubing.
Boiler Plant
The boilers in all three factories are pulverised peat fired type with steam outlet conditions of 37 atmospheres pressure and 425°C. temperature. Derrinlough and Croghan boilers are of 20 tons/hr. and Lullymore is 10 tons/hr. output. Each is operated for 7,200 hours per annum and is shut for maintenance every 2,000 hours. Steady and continuous running help to reduce wear and tear and the blended peat supply helps greatly to this end.
Turbine Alternator
A 2,400 kW. 3000 r.p.m. Stal radial flow back pressure set is installed at both Derrinlough and Croghan factories. Inlet steam pressure is 35 atmospheres and back pressure is 0.2-3 atmospheres. Generation is at 220/380 volts, 50 cycles. The turbo alternator at Lullymore is a Metropolitan Vickers 1,000 kW. B.P. set with similar inlet and outlet conditions to the other sets. Condensers are used to return unwanted steam to the hot well.
Pressing, Baling and Storage
The briquette presses are 7″ twin type supplied by Buckau Wolf and without the tongue adjustment which is a usual fixture on brown coal presses. Each press flywheel is of 7 tons weight and the short centred drive is by flat extramultus type belt. There are 5 such presses in each of the larger factories. The crankshaft is 180 degree two throw and press speed is variable in the range 40-80 r.p.m. normal operation being about 70 r.p.m. The motor is commutator type 3 phase, size 160/80 kW. 540/270 r.p.m. and designed to give P.F. improvement on the system. Press operation is continuous for periods up to 3 weeks or longer, between stops for forme, ram, or other routine maintenance.
Baling
Customer preference has increased steadily over the years for briquettes in bales of 28 lbs. weight (12.6 kg.) and these are made up at the end of the cooling runners – a distance of 70 metres from the press, and are strapped on automatic wire baling machines. Storage of bales takes place on flat pallets. Each pallet takes up to 2½ tons and is fork lifted into covered storage to a height of up to 7 metres. Prior to the onset of winter sales this storage of bales can run to 15,000 to 20,000 tons at the larger factories, with perhaps 5,000-10,000 tons of loose briquettes and brickeen stocks. Out loading of these latter from the storage bunkers into lorries is effected by remote control of the special pusher type outloader and the associated underground conveyor belt system. The operator is positioned above the lorry being loaded and can call up the precise amount of briquettes required by the lorryman.
General
Almost all equipment in each of the larger factories is controlled, started or stopped from a central control desk and the necessary safety devices have been incorporated to protect personnel when remote starting is in progress. The factory operators number six per shift and a 4 shift system is used. Supporting maintenance, loading and supervisory personnel bring the total factory staff to 120 people.
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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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Vintage Donovans of Tralee Pig Meal Advert

€80.00

45cm x 35cm I got this piece of interesting information from ‘The Unquiet Grave‘, The Development of Kerry’s Burial Grounds through the Ages – that very interesting book edited by Michael Connolly for Kerry County Council. The chapter on A Tale of Two Tombs tells the fascinating story of the rise and fall of the Donovan family of Tralee, who were wealthy merchants in the town through three generations in 1800’s. Some of you will remember that the Donovans also owned the Jeanie Johnston, which was the Donovan’s most important ship carrying emigrants on the outward journey to Quebec and bringing cargoes of timber back on the return voyage. John Donovan was the founding father and set up a hardware business initially in the Square, Tralee and then branched out leasing and owning shipping bringing iron, coal and slate to Tralee. His sons Nicholas and Henry followed him, they also became the leading political as well as the leading merchants in the town. There is a brilliant description of John’s funeral . He died in 1864 when he was 82 and we are told ‘All the stops were pulled out for the full pageantry of Victorian obsequies’. The Kerry Evening Post reported ‘an unusual grief had fallen upon the town’. According to the same newspaper there were 174 carriages, and there was an important extra little detail -‘the majority were drawn by two horses’ – a two-horse carriage indicated greater social standing than a one-horse carriage’ Try and get hold of this very interesting book from the County Council or log on here for the digital version.

Woman Keening

And were there any women there at all? Yes, but they were there with a purpose – to provide the all important keening that was then the expected norm at all funerals of all classes. At this funeral we are told ‘The poor of the town, beneficiaries of John Donovan’s generosity, congregated outside the house in The Square, and when the coffin was removed to the hearse, they set up an immense keening, which they continued as they followed the funeral all the way to Ballyseedy’. Another interesting fact relating to women and their own funerals at this time was that ‘while men were buried in the middle of the day, the women, on the other hand were buried early in the morning, regardless of the time of year’. John Donovan’s own wife Catherine was buried in the dark at 6am on a February morning and Nicholas’ wife was buried at the same time in December 1878. ‘Only Henry’s wife was buried in daylight and that was because the burial was at 8am on an August morning in 1885. The higher status of men was constantly affirmed. We have come a long way!

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Vintage Guinness is Good For You Advert

€90.00

35cm x 45cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

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Vintage O’Mara’s Bacon Advert-The Bacon That Makes Limerick famous

€120.00

47cm x 37cm Limerick
Much of the last century, and indeed for well over half of the present one, Limerick's importance was directly attributed to her three well-known bacon factories, namely, J. Matterson & Sons, Roches Street, established in 1816 by Mr. John Russell, a Cumberland man in con-junction with Mr. Matterson, using the method of curing then current in Berwick-on-Tweed. W.J. Shaw & Sons, founded in the year 1831 at Mulgrave Street by William John Shaw, a descendant of a County Down family, and O'Mara's bacon factory, Roches Street, which had its origin in Mungret Street some few years before 1839, when James O'Mara from Toomevara started curing bacon in the basement of his house there. Apparently, this basement business flourished, for in 1839 he moved to Roches Street to the premises it last occupied .

About the middle of the last century, for some reason now difficult to fathom, Limerick bacon and especially Limerick hams, became well-known for their excellent flavour throughout the English-speaking world. It is on record that Glasgow curers in an effort to produce hams equal in excellence to those of Limerick, imported Limerick workmen who were supposed to know all about the way in which the meat was turned out at home. Apparently, they did not bring secrets with them for their efforts were unsuccessful. There were also much larger bacon factories in parts of the British Isles; for instance, Belfast is reputed to have exported four times the number of hams produced in Limerick, and places like Glasgow and Liverpool had several factories producing very large quantities of bacon as well. None of them, however, quite matched' those produced in the three local factories for flavour and quality.

O’MARA’S, MATTERSON’S, SHAW’S and Denny’s were the names that made Limerick famous for its bacon produce for 180 years – earning it the nickname ‘Pigstown’. The reputation of Limerick ham, the food culture that arose from a plentiful supply of cheap products, the story of the pork butchers, the pig buyers, the sounds of the city with factory horns signalling the call to work – all of these still resonate in Limerick in the memories of its citizens and former workers. A definitive account of this industry that operated at the centre of the city, supplied by the farms of rural county Limerick for over 180 years will be documented in a new book called Pigtown – A History of Limerick’s Bacon Industry. Ruth Guiry was commissioned to undertake the research under the guidance of Dr Maura Cronin from Mary Immaculate College and one of the 27 people she interviewed to understand the role the bacon factories had in Limerick was Joe Hayes. O'Mara's bacon factory, Roches Street, Limerick.Source: Courtesy of Tony Punch Joe Hayes started working in a bacon factory in 1962, aged 16 years old. He worked with his dad, and later on with his two sons until the factory closed in 1986. “When the factory closed, a group of us got our own little unit, we rented it, and produced our own sausages, puddings and things.” It was a huge part of Limerick’s social scene: four generations of Joe’s family worked in bacon factories, with uncles, sisters, brothers, sons and cousins all working in the factory at one time or another: “If one factory was caic, you wouldn’t have a problem getting a job in the other one. Leaving Mattersons at dinner hour.Source: Limerick Diocesan Archives And he doesn’t mince his word when talking about the work they did. “They brought the pigs in, we killed the pigs, and prepared the bacon: that’s the way it was in the bacon factories.” When asked about if there were ever animal cruelty protests, he laughs at the idea.

People still eat sausages and bacon – where do they think they come from?
They started at 8am and finished at 5.30 working a 40 hour week when the factory closed in 1986, but despite their work, the people who worked in factories often couldn’t afford to buy the expensive cuts of meat. Matterson's advertisement for cuts of meat.Source: Limerick Archives After the expensive cuts were prepared, the offal, the spare ribs, the pigs’ heads would go to the poorer people. “The blood was used to make the pudding, the packet, the tripe was made off the belly. Everything was used off the pig, and it fed Limerick city.” It was a way of life down in Limerick, so when the factories closed, thousands of people working in a bacon factories were out of jobs, and thousands of families were affected. But it wasn’t the competition from big supermarkets that did it – it was free trade. The Danes, the French, the Dutch all started exporting their products here, and Limerick factories didn’t have the money to export to compete. Source: National Library of Ireland “Michael O’Mara’s funeral was this week – he was the last of the bacon factory managers.” says Joe. “After the Limerick factory closed, he tried doing different bits and pieces, but nothing worked out for him, so he worked in a factory for a couple of years before retiring.” Joe Hayes himself is retired now, and when he buys his meat he gets it in a supermarket. “Meat is meat,” he says.”But if I see the tricolour flag, I’ll still buy it even if it’s dearer.” Pigtown - A History of Limerick’s Bacon Industry by Ruth Guiry is co-edited by Dr Maura Cronin and Jacqui Hayes.

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Vintage Photo of the Milk Collection

€70.00

Beautifully mounted & framed 30cm x 30cm Dublin

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Vintage Shaw’s Limerick Bacon Advert

€100.00

47cm x 37cm Limerick

For much of the last century, and indeed for well over half of the present one, Limerick's importance was directly attributed to her three well-known bacon factories, namely, J. Matterson & Sons, Roches Street, established in 1816 by Mr. John Russell, a Cumberland man in conjunction with Mr. Matterson, using the method of curing then current in Berwick-on-Tweed. W.J. Shaw & Sons, founded in the year 1831 at Mulgrave Street by William John Shaw, a descendant of a County Down family, and O'Mara's bacon factory, Roches Street, which had its origin in Mungret Street some few years before 1839, when James O'Mara from Toomevara started curing bacon in the basement of his house there. Apparently, this basement business flourished, for in 1839 he moved to Roches Street to the premises it occupies today.

About the middle of the last century, for some reason now difficult to fathom, Limerick bacon and especially Limerick hams, became well known for their excellent flavour throughout the English-speaking world. It is on record that Glasgow curers in an effort to produce hams equal in excellence to those of Limerick, imported Limerick workmen who were supposed to know all about the way in which the meat was turned out at home. Apparently, they did not bring secrets with them for their efforts were unsuccessful, There were also much larger bacon factories in parts of the British Isles; for instance, Belfast is reputed to have exported four times the number of hams produced in Limerick, and places like Glasgow and Liverpool had several factories producing very large quantities of bacon as well. None of them, however, quite matched' those produced in the three local factories for flavour and taste. O’MARA’S, MATTERSON’S, SHAW’S and Denny’s were the names that made Limerick famous for its bacon produce for 180 years – earning it the nickname ‘Pigstown’. The reputation of Limerick ham, the food culture that arose from a plentiful supply of cheap products, the story of the pork butchers, the pig buyers, the sounds of the city with factory horns signalling the call to work – all of these still resonate in Limerick in the memories of its citizens and former workers. A definitive account of this industry that operated at the centre of the city, supplied by the farms of rural county Limerick for over 180 years will be documented in a new book called Pigtown – A History of Limerick’s Bacon Industry. Ruth Guiry was commissioned to undertake the research under the guidance of Dr Maura Cronin from Mary Immaculate College and one of the 27 people she interviewed to understand the role the bacon factories had in Limerick was Joe Hayes. O'Mara's bacon factory, Roches Street, Limerick.Source: Courtesy of Tony Punch Joe Hayes started working in a bacon factory in 1962, aged 16 years old. He worked with his dad, and later on with his two sons until the factory closed in 1986. “When the factory closed, a group of us got our own little unit, we rented it, and produced our own sausages, puddings and things.” It was a huge part of Limerick’s social scene: four generations of Joe’s family worked in bacon factories, with uncles, sisters, brothers, sons and cousins all working in the factory at one time or another: “If one factory was caic, you wouldn’t have a problem getting a job in the other one. Leaving Mattersons at dinner hour.Source: Limerick Diocesan Archives And he doesn’t mince his word when talking about the work they did. “They brought the pigs in, we killed the pigs, and prepared the bacon: that’s the way it was in the bacon factories.” When asked about if there were ever animal cruelty protests, he laughs at the idea.

People still eat sausages and bacon – where do they think they come from?
They started at 8am and finished at 5.30 working a 40 hour week when the factory closed in 1986, but despite their work, the people who worked in factories often couldn’t afford to buy the expensive cuts of meat. Matterson's advertisement for cuts of meat.Source: Limerick Archives After the expensive cuts were prepared, the offal, the spare ribs, the pigs’ heads would go to the poorer people. “The blood was used to make the pudding, the packet, the tripe was made off the belly. Everything was used off the pig, and it fed Limerick city.” It was a way of life down in Limerick, so when the factories closed, thousands of people working in a bacon factories were out of jobs, and thousands of families were affected. But it wasn’t the competition from big supermarkets that did it – it was free trade. The Danes, the French, the Dutch all started exporting their products here, and Limerick factories didn’t have the money to export to compete. Source: National Library of Ireland “Michael O’Mara’s funeral was this week – he was the last of the bacon factory managers.” says Joe. “After the Limerick factory closed, he tried doing different bits and pieces, but nothing worked out for him, so he worked in a factory for a couple of years before retiring.” Joe Hayes himself is retired now, and when he buys his meat he gets it in a supermarket. “Meat is meat,” he says.”But if I see the tricolour flag, I’ll still buy it even if it’s dearer.” Pigtown - A History of Limerick’s Bacon Industry by Ruth Guiry is co-edited by Dr Maura Cronin and Jacqui Hayes.

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Vintage Shaws of Limerick Traditional Ham Advert

€140.00

40cm x 34cm Limerick

Much of the last century, and indeed for well over half of the present one, Limerick's importance was directly attributed to her three well-known bacon factories, namely, J. Matterson & Sons, Roches Street, established in 1816 by Mr. John Russell, a Cumberland man in con-junction with Mr. Matterson, using the method of curing then current in Berwick-on-Tweed. W.J. Shaw & Sons, founded in the year 1831 at Mulgrave Street by William John Shaw, a descendant of a County Down family, and O'Mara's bacon factory, Roches Street, which had its origin in Mungret Street some few years before 1839, when James O'Mara from Toomevara started curing bacon in the basement of his house there. Apparently, this basement business flourished, for in 1839 he moved to Roches Street to the premises it last occupied .

About the middle of the last century, for some reason now difficult to fathom, Limerick bacon and especially Limerick hams, became well-known for their excellent flavour throughout the English-speaking world. It is on record that Glasgow curers in an effort to produce hams equal in excellence to those of Limerick, imported Limerick workmen who were supposed to know all about the way in which the meat was turned out at home. Apparently, they did not bring secrets with them for their efforts were unsuccessful. There were also much larger bacon factories in parts of the British Isles; for instance, Belfast is reputed to have exported four times the number of hams produced in Limerick, and places like Glasgow and Liverpool had several factories producing very large quantities of bacon as well. None of them, however, quite matched' those produced in the three local factories for flavour and quality.

O’MARA’S, MATTERSON’S, SHAW’S and Denny’s were the names that made Limerick famous for its bacon produce for 180 years – earning it the nickname ‘Pigstown’. The reputation of Limerick ham, the food culture that arose from a plentiful supply of cheap products, the story of the pork butchers, the pig buyers, the sounds of the city with factory horns signalling the call to work – all of these still resonate in Limerick in the memories of its citizens and former workers. A definitive account of this industry that operated at the centre of the city, supplied by the farms of rural county Limerick for over 180 years will be documented in a new book called Pigtown – A History of Limerick’s Bacon Industry. Ruth Guiry was commissioned to undertake the research under the guidance of Dr Maura Cronin from Mary Immaculate College and one of the 27 people she interviewed to understand the role the bacon factories had in Limerick was Joe Hayes. O'Mara's bacon factory, Roches Street, Limerick.Source: Courtesy of Tony Punch Joe Hayes started working in a bacon factory in 1962, aged 16 years old. He worked with his dad, and later on with his two sons until the factory closed in 1986. “When the factory closed, a group of us got our own little unit, we rented it, and produced our own sausages, puddings and things.” It was a huge part of Limerick’s social scene: four generations of Joe’s family worked in bacon factories, with uncles, sisters, brothers, sons and cousins all working in the factory at one time or another: “If one factory was caic, you wouldn’t have a problem getting a job in the other one. Leaving Mattersons at dinner hour.Source: Limerick Diocesan Archives And he doesn’t mince his word when talking about the work they did. “They brought the pigs in, we killed the pigs, and prepared the bacon: that’s the way it was in the bacon factories.” When asked about if there were ever animal cruelty protests, he laughs at the idea.

People still eat sausages and bacon – where do they think they come from?
They started at 8am and finished at 5.30 working a 40 hour week when the factory closed in 1986, but despite their work, the people who worked in factories often couldn’t afford to buy the expensive cuts of meat. Matterson's advertisement for cuts of meat.Source: Limerick Archives After the expensive cuts were prepared, the offal, the spare ribs, the pigs’ heads would go to the poorer people. “The blood was used to make the pudding, the packet, the tripe was made off the belly. Everything was used off the pig, and it fed Limerick city.” It was a way of life down in Limerick, so when the factories closed, thousands of people working in a bacon factories were out of jobs, and thousands of families were affected. But it wasn’t the competition from big supermarkets that did it – it was free trade. The Danes, the French, the Dutch all started exporting their products here, and Limerick factories didn’t have the money to export to compete. Source: National Library of Ireland “Michael O’Mara’s funeral was this week – he was the last of the bacon factory managers.” says Joe. “After the Limerick factory closed, he tried doing different bits and pieces, but nothing worked out for him, so he worked in a factory for a couple of years before retiring.” Joe Hayes himself is retired now, and when he buys his meat he gets it in a supermarket. “Meat is meat,” he says.”But if I see the tricolour flag, I’ll still buy it even if it’s dearer.” Pigtown - A History of Limerick’s Bacon Industry by Ruth Guiry is co-edited by Dr Maura Cronin and Jacqui Hayes.

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We’ve poured throughout the reign 1952-1977 Guinness Retro Advert

€120.00

55cm x 70cm Imagination is something Guinness Advertising has never been short of… From John Gilroy’s hapless zookeeper and his menagerie of creatures to a Polynesian surfer and a herd of white horses; from messages in bottles setting sail across the ocean to a single, heart-stoppingly enormous wave. Guinness have been carving out their own creative path for almost a century with decades of extraordinary and enduring print, TV and digital campaigns to their name, and hopefully they will continue to push boundaries to tell stories to the world. Here’s to original thinking !

Add to cart Details