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Beautiful print of the original oil by the fascinating Irish artist Letitia Hamilton.This particular painting depicts the Meath Hunt. 30cm x 39cm Dunboyne Co Meath The last time the Olympic Games were held in London was in 1948, when they were known as the 'Austerity Games' because of the lean years after World War II. Ireland won one Olympic medal at those games, and amazingly it was not for a sporting feat, but for a discipline no longer regarded as an Olympic competition - art. The one Irish medal-winner was Dunboyne woman Letitia Hamilton, for her painting of a scene at the Meath Hunt Point-to-Point races. What was even more extraordinary was that the painting of horses was not regarded as Hamilton's forte - she was better known for her landscapes, many of which are today part of the Hugh Lane Gallery Collection in Dublin, with other appearing regularly at valuable art auctions. Recently, Ann Hamilton, widow of Letitia's nephew, Major Charles Hamilton of Dunboyne, attended a special celebratory dinner held at Farmleigh House for members of the 1948 Irish Olympic team, where she met many surviving members of their families. The 1948 Games was the last that featured the painting and art category. Letitia Hamilton's winning work was inspired by a country pursuit that was close to her heart. However, the whereabouts of that painting is unknown today. It is believed it may be in private ownership in the United States. Hamilton was one of a family of 10 of Charles Robert Hamilton and Louise Brooke and was known within the family as May. She was born in 1878 at Hamwood, which had been built a century earlier by another Charles Hamilton. Her family had an interesting artistic heritage. Her great-grandmother, Caroline Hamilton, was a professional artist and a distant cousin was the watercolour painter, Rose Barton. These examples may have encouraged her to regard art as a career and may also have inspired her sister, Eva, also an artist. Letitia was educated at Alexandra College, Dublin. Later, she studied at the Metropolitan School of Art where her teacher was Sir William Orpen, the famous Irish portrait painter. She then moved to London and studied with Anne St John Partridge. Afterwards, she went to study in Belgium under Frank Franywayn. In 1924, Letitia travelled to Italy to study with a master in Venice where she spent a year and painted some fine works. She returned to Ireland in 1925. In the years that followed, it was her custom to paint during the summer. During the winter, she worked on the paintings in her studio and in spring she exhibited her work. Her work was exhibited in a number of Dublin Galleries, such as The Dublin Painters' Gallery and the Royal Hibernian Academy. She also exhibited work in many London Galleries, including the Royal Academy and the French Gallery in Berkeley Square. During World War I, she nursed soldiers injured in the fighting. When her brother was appointed governor of St Patrick's Hospital in Dublin, and the associated Woodville in Lucan, now St Edmondsbury treatment centre, she lived at Woodville for a period. Ann Hamilton is in possession of a family scrapbook which includes the letter from AA Longden, art director of the XIVth Olympiad, informing Ms Hamilton that she had won third prize, a bronze medal with diploma, in Section II (a) of the Fine Arts Competition. He wrote: "I wish to congratulate you, on behalf of the committee, and to inform you that your medal and diploma have been handed to the chef to mission of your country for transmission to you. Please inform us when this has been received." The collection also includes a letter from JF Chisholm, the honorary secretary of the Irish Olympic Committee, and the card placed on the piece at the London show, announcing the win. Márin Allen, secretary of the arts section of the OCI , afterwards wrote that "in the painting section, where competition was stiffest and the standard high, Miss Letitia Hamilton, RHA, carried off the Bronze Medal, third place and diploma.....A few weeks ago, at a simple ceremony at the Royal Hibernian Academy in Dublin, Ireland's victors in the Fine Arts Competitions were presented with their awards by the National Olympic President, Col Eamonn Broy. In an atmosphere of homely friendliness, we talked and looked forward to Helsinki in 1952. On that occasion, Chef de Mission JF Chisholm made a suggestion which might, with advantage, be put into effect: the revival of the Tailteann Games in Ireland." The 1948 Olympic games in London were the first after a forced 12-year break because of World War II. The surviving members of the Irish team remember politics playing a major role in the Irish delegation as well. There were disagreements over whether the team should be a 26 or 32-county one. Part of the delegation was even sent home such was the level of disagreement. There was also an issue over the banner the Irish team was given to march under at the opening ceremony. The organisers gave the Irish team a banner with the word 'Eire' on it. The team manager refused to march under this banner, saying the country was called 'Ireland' and he wanted a banner to reflect this. With just minutes to go, the team capitulated and marched under the Eire banner because of the large number of Irish sports fans in Wembley stadium who had come to see them march in the opening parade. Also in London in 1948, in the literature section, Cavan-born Stanislaus Lynch's 'Echoes of the Hunting Horn' received a diploma. Mr Lynch lived at Tara in latter years and is buried in Skryne. Letitia Hamilton led a very active life until her passing in 1964, continuing to travel abroad. Her sister, Eva, died in 1960, and they are buried in the family burial plot at the Church of Ireland cemetery in Dunboyne.
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Cork City 33cm x 38cm The Infamous Handshake between Roy Keane and Mick McCarthy that said it all
"Footballers are pragmatists. You play for the manager you have."
This is a quote from Roy Keane's autobiography [Page 76]. He was referring specifically to the Irish soccer players when Jack Charlton was the Republic of Ireland team manager, and to footballers in general. It would appear however that Keane had limits to his own pragmatism when it came to playing for Mick McCarthy as Irish manager.
The dynamics of the relationship between Roy Keane and Mick McCarthy are central to the whole Saipan incident. Clearly the two did not get on with each other. The question is - why? Keane and McCarthy are the only ones who can give a definitive answer to this but based upon the available evidence it appears to be primarily due to an intense dislike of McCarthy by Keane.
Roy Keane and Mick McCarthy Have a Row in Boston in 1992
Roy Keane and Mick McCarthy only played together for Ireland on two occasions, in September 1991 and May 1992. There are no generally known reports of any issues arising between the two men as players on the football pitch. However it was while Mick McCarthy was the Republic of Ireland team captain that the first instance of some discord between the two has been documented. During the fateful squad meeting, that led to the expulsion of Keane from the Irish World Cup squad, the Irish captain brought up an incident that had occurred a full ten years earlier. The now infamous Boston 1992 row.
It now seems that this otherwise innocuous event appears to have coloured the Keane and McCarthy relationship
from that time onward. A drunken 20 year old Keane had turned up late for the team bus at the end of a soccer tournament in the US. When the team captain Mick McCarthy challenged Keane about being late a heated row ensued. Roy Keane seems to have taken extreme exception to this. It is difficult to believe that such an event would even register the next day with Keane who seems to have spent his entire life going from one scrape to another. Keane admits in his autobiography that he has had hundreds or thousands of rows throughout his soccer career. Why should this one have been so significant to him?One possible explanation is that when Keane is drunk his, already low, tolerance levels become even lower. Any perceived slight is magnified disproportionately. Keane's autobiography is littered with stories about him getting into angry and violent situations when he was drunk. By his own admission there were many situations when he knew he should have walked away but his own sense of offence prevented him doing just that. These events seem to have made an indelible mark on his brain as they are recounted with real clarity in his book. It seems that a run of the mill, for footballers, exchange between McCarthy and Keane in 1992, magnified in intensity by his drunken state, soured Keane's view of McCarthy from that point on.
"Let Bygones be Bygones" - Roy Keane
There do not appear to have been any further meaningful interactions between the two until McCarthy was appointed as manager of the Republic of Ireland football team in 1996. In his autobiography [Page 246] Keane reveals an antipathy towards McCarthy that seems, to some extent, to be born out of Roy Keane's relationship with Jack Charlton. In his book Keane makes it clear that he had no time for Charlton "...I found it impossible to relate to him as a man or as a coach." [Page 54]. When commenting on McCarthy's appointment as Irish manager he said "McCarthy was part of the Charlton legend. Captain Fantastic...he didn't convince me. Still, when he got the job, I thought: let bygones be bygones." What bygones? Presumably the exchange between the pair in Boston six years earlier?
In his World Cup Diary McCarthy makes a case that he had gone to some lengths as manager of Ireland to accommodate Keane and his sensitivities. He had made Keane the captain of Ireland at the first opportunity. He allowed Keane to turn up later than the other players for international matches. Keane was the only player in the Irish squad that roomed alone. He also says that he put up "...with the odd tantrum from Keane here and there...". McCarthy contends that if he was holding a grudge towards Keane from 1992 he would not have gone to these lengths.
Roy Keane's first match for Ireland with Mick McCarthy as manager was an inauspicious occasion for the Manchester United player. Earning his 30th cap and wearing the captain's armband in place of the substituted Andy Townsend, Keane was sent off late in the match for kicking a Russian player.
Lack of Direct Communication Between Roy Keane & Mick McCarthy
The next notable point of conflict between Keane and McCarthy was on the occasion of a Republic of Ireland trip to the USA for an end of season international tournament in 1996. Keane decided that he didn't want to go as he was too tired after the season just ended. [Page 246]. Rather than contact McCarthy or anyone else in the Irish set up, Keane left it to someone at Old Trafford to inform the FAI. "As a result I got off to a bad start with McCarthy. He felt I should have spoken to him personally. He expressed this opinion, casting me in a bad light. What he didn't tell the media that if we had that sort of conversation on this occasion, it would have been our first." [Page 247]. This begs the question, why couldn't Keane contact McCarthy directly? Why would this have been the first such discussion between the two men as manager and team captain? It certainly doesn't suggest that Keane had, in reality, let bygones be bygones.
In his World Cup Diary McCarthy refers to the the 1996 USA trip. "I was never that bothered if he (Keane) went to America or not...it became a big media story...We have had a few chats to sort things out but it has all dragged on since then in the press." [Page 33].
In his autobiography Keane complains bitterly about the poor Republic of Ireland set up especially when compared to that of Manchester United. After the draw for the 2002 World Cup qualifiers was made Keane says that he met with McCarthy"...to level with him, to make the case for a reformed approach...We discussed the problems. He agreed with me...It was not and easy conversation - we're not not buddy-buddy...I thought we had a deal."[Page 250]. Interestingly this meeting took place at Keane's house in Manchester.
What is clear is that there was an unusual relationship between the Irish manager and his captain. Direct communication between McCarthy and Keane was kept to an absolute minimum. All of the available evidence is that was the way Keane wanted it. Keane admitted this in his interview with Tom Humphries in Saipan "I spoke to Mick Byrne, who's the middle man for me, really." For a man who has very admirable communication skills this is somewhat strange. Why would he need a middle man? The only possible explanation is that Roy Keane did not like Mick McCarthy and couldn't bear to be anywhere near him or have anything to do with him. During McCarthy's tenure as Irish manager Roy Keane took every opportunity to minimise his time with the Irish squad. "I dreaded the prospect of international weeks."[Page 250].
Conclusion
With the benefit of hindsight and with the insights afforded by Keane's autobiography it is clear that there was no way possible that Roy Keane could maintain an even keel while being away with Ireland for the duration of the World Cup campaign. All of his complaints about the crowded airport, the missing training gear, the poor training facilities, the goalkeeper row, were just symptoms. Clearly McCarthy and the FAI could have done better but the inescapable conclusion to be drawn is that even if conditions and facilities had been perfect Keane simply could not endure being in such close proximity to Mick McCarthy for such a protracted period of time. A Saipan incidentwas inevitable even before Roy Keane set foot on the plane to that Pacific island.
NOTE: Unless stated otherwise all quotations are from: Keane: The Autobiography; Roy Keane with Eamon Dunphy (2002); Michael Joseph Ltd
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26cm x 33cm Ferns Co Wexford An anxious looking Wexford defence prepare as Christy Ring takes a in the 1956 All Ireland Hurling Final.The result would be forever known simply as " The Save ". Art Foley, who died on Monday last in New York, will be remembered for a save he made in the closing stages of the 1956 All-Ireland hurling final that had seismic and far-reaching consequences. It formed an instrumental part of a metamorphic sequence of play in a terrific contest with Cork, leading to one of the game's most epic finales. With three minutes left the ever-threatening Christy Ring gained possession and made for the Wexford goal. The finer points of what happened next are still in dispute. The main thread of the narrative is not. Ring let fly and the diminutive Foley in Wexford's goal was equal to it. He needed to be. His side led by two points, and a goal, especially one by Ring, would surely have inspired a Cork victory. Ring would have had his ninth medal. Wexford hurling might not be the beguiling and romanticised entity it is today.In the game's pivotal moment, the ball quickly travelled down the other end where Tom Ryan sent a raking handpass to Nickey Rackard. In a piece of perfect casting, the greatest name in Wexford hurling landed the deathblow, netting with a low shot to the corner. Wexford were already champions, having defeated Galway in the final a year before to end a 45-year wait. But to beat Cork gave them a status they'd never attained before and wrote them into everlasting legend. The death of Foley at 90 ended a significant chapter for that storied era, he being the last surviving member of the team that won the final in '56 and which started the '55 decider, giving hope to all counties outside the traditional fold. In a decade often depicted as repressive and severe, with heavy emigration, Wexford brought an abundance of novelty and glamour and dauntless expression which made them huge crowd-pullers and popular all over the country. A jazzy addition to the traditional acts. The previous six All-Irelands before Wexford's breakthrough in '55 were shared between Cork and Tipperary. "Why are all these massive crowds following Wexford?" asks Liam Griffin. "The Wexford support base for hurling grew with the rise of the Wexford teams of the 1950s. There was a romantic connection between them and all hurling people. Why? Because they came up to challenge the dominant counties." At the time Wexford looked more likely to prosper in football than hurling. The 1950s, led by the Rackards, changed all that. Only a few survivors remain from the '56 panel: Ted Morrissey, Oliver Gough and Pat Nolan. Morrissey played in the Leinster final before losing his place and had also been on the squad in '51 when Wexford reached the All-Ireland final. Nolan was Art Foley's goalkeeping deputy in '56, later winning All-Ireland medals over a long career in '60 and '68. Gough came on in the '55 final. In a way the loop that began the most famous end-to-end move in Wexford hurling history, starting with Foley's save and concluding with Rackard's goal, was replicated in life itself. The first of that celebrated '56 team to die was Rackard, in April, 1976, at the age of 54 after succumbing to cancer. When the team was celebrating its silver jubilee in 1981, Foley came home from the US for the occasion, having emigrated with his wife Anne and their three young children at 27 in the late 1950s. By the time of the silver jubilee of the '56 win, only Rackard was missing. Gradually over the years the numbers diminished. Ned Wheeler went this year. Billy Rackard was the last of that famous band of brothers to die ten years ago. Now, Foley, literally the last one standing, has gone too. The deeds, though, remain timeless and immortal. The save which made Foley famous followed him around all his days. "The big story of Art Foley is that save because it is the seminal moment of that time," as Liam Griffin puts it. It is also probably the most enigmatic save in the history of the game - the Mona Lisa of hurling saves, such has been the variety of interpretations. Even Ring seems to have offered contradictory accounts. Raymond Smith has an account from John Keane, the former Waterford great, who was umpiring that day. He recalled Ring shooting from 25 yards and the ball moving "so fast that the thought flashed through my mind, this must be a goal . . . and I couldn't believe my eyes when I saw that he'd saved it." One newspaper referred to "a powerful close-in shot" and another to a "piledriver" which was one of "several miracle saves" made by Foley on the day. Val Dorgan, Ring's biographer, reported a "vicious strike" that was saved just under the cross bar and he also used the word "miraculous".Later, Ring claimed in conversations with Dorgan that he was off balance after being impeded by Paddy Barry and didn't get sufficient power in the shot. Yet Ring himself is quoted in The Irish Press after the match as follows: "It was one of the best saves I ever saw. I thought it was all over when I went through."
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29cm x 34cm. New York The enormous prize that is Sam Maguire proudly paraded across a Manhattan street by Kerry Captain Liam Hassett during a post All Ireland visit to the city that never sleeps in 1997.A semi nterested New Yorker looks on whilst the 'big yellow taxis' add to the atmosphere in this superb photograph that links the countries of Ireland and its big cousin in the United States. The Sam Maguire Cup, often referred to as Sam or The Sam (Irish: Corn Sam Mhic Uidhir), is a trophy awarded annually by the Gaelic Athletic Association (GAA) to the team that wins the All-Ireland Senior Football Championship, the main competition in the medieval sport of Gaelic football. The Sam Maguire Cup was first presented to the winners of the 1928 All-Ireland Senior Football Championship Final. The original 1920s trophy was retired in the 1980s, with a new identical trophy awarded annually since 1988. The GAA organises the series of games, which are played during the summer months. The All-Ireland Football Final was traditionally played on the third or fourth Sunday in September at Croke Park in Dublin. In 2018, the GAA rescheduled its calendar and since then the fixture has been played in early September
Old trophy
The original Sam Maguire Cup commemorates the memory of Sam Maguire, an influential figure in the London GAA and a former footballer. A group of his friends formed a committee in Dublin under the chairmanship of Dr Pat McCartan from Carrickmore, County Tyrone, to raise funds for a permanent commemoration of his name. They decided on a cup to be presented to the GAA. The Association were proud to accept the Cup. At the time it cost £300. In today's terms that sum is equivalent to €25,392. The commission to make it was given to Hopkins and Hopkins, a jewellers and watchmakers of O'Connell Bridge, Dublin. The silver cup was crafted, on behalf of Hopkins and Hopkins, by the silversmith Matthew J. Staunton of D'Olier Street, Dublin. Maitiú Standun, Staunton's son, confirmed in a letter printed in the Alive! newspaper in October 2003 that his father had indeed made the original Sam Maguire Cup back in 1928. Matthew J. Staunton (1888–1966) came from a long line of silversmiths going back to the Huguenots, who brought their skills to Ireland in the 1600s. Matt, as he was known to his friends, served his time in the renowned Dublin silversmiths, Edmond Johnson Ltd, where the Liam MacCarthy Hurling Cup was made in 1921. The 1928 Sam Maguire Cup is a faithful model of the Ardagh Chalice. The bowl was not spun on a spinning lathe but hand-beaten from a single flat piece of silver. Even though it is highly polished, multiple hammer marks are still visible today, indicating the manufacturing process. It was first presented in 1928 - to the Kildare team that defeated Cavan by one point in that year's final. It was the only time Kildare won old trophy. They have yet to win the new trophy, coming closest in 1998, when Galway defeated them by four points in that year's final. Kerry won the trophy on the most occasions. They were also the only team to win it on four consecutive occasions, achieving the feat twice -first during the late-1920s and early-1930s (1929, 1930, 1931, 1932), and later during the late-1970s and early 1980s (1978, 1979, 1980, 1981). In addition, Kerry twice won the old trophy on three consecutive occasions, in the late 1930s and early-1940s (1939, 1940, 1941) and in the mid-1980s (1984, 1985, 1986). They also won it on two consecutive occasions in the late-1960s and early-1970s (1969, 1970). Galway won the old trophy on three consecutive occasions in the mid-1960s (1964, 1965, 1966). Roscommon won the old trophy on two consecutive occasions during the mid-1940s (1943, 1944), as did Cavan later that decade (1947, 1948). Mayo won the old trophy on two consecutive occasions during the early-1950s (1950, 1951), while Down did likewise in the early-1960s (1960, 1961). Offaly won the old trophy on two consecutive occasions during the early 1970s (1971, 1972), while Dublin did likewise later that decade (1976, 1977). Six men won the old trophy twice as captain: Joe Barrett of Kerry, Jimmy Murray of Roscommon, John Joe O'Reilly of Cavan, Seán Flanagan of Mayo, Enda Colleran of Galway and Tony Hanahoeof Dublin. The original trophy was retired in 1988 as it had received some damage over the years. It is permanently on display in the GAA Museum at Croke Park.New trophy
The GAA commissioned a replica from Kilkenny-based silversmith Desmond A. Byrne and the replica is the trophy that has been used ever since. The silver for the new cup was donated by Johnson Matthey Ireland at the behest of Kieran D. Eustace Managing Director, a native of Newtowncashel Co. Longford . Meath's Joe Cassells was the first recipient of "Sam Óg". Meath have the distinction of being the last team to lift the old Sam Maguire and the first team to lift the new one following their back-to-back victories in 1987 and 1988. Cork won the new trophy on consecutive occasions in the late-1980s and early-1990s (1989, 1990), while Kerry did likewise during the mid-2000s (2006, 2007). Dublin are the only team to win the new trophy on more than two consecutive occasions, achieving a historic achievement of five-in-a-row during the second half of the 2010s (2015, 2016, 2017, 2018 and 2019). Stephen Cluxton of Dublin is the only captain to have won the new trophy six times as captain, doing so in 2013, 2015, 2016, 2017, 2018 and 2019. No other person as ever won either the old or new trophy as captain more than twice. Two other men have won the new trophy twice as captain: Declan O'Sullivan of Kerry and Brian Dooher of Tyrone. In 2010, the GAA asked the same silversmith to produce another replica of the trophy (the third Sam Maguire Cup) although this was to be used only for marketing purposes.Winners
Old Trophy- Kerry – 1929, 1930, 1931, 1932, 1937, 1939, 1940, 1941, 1946, 1953, 1955, 1959, 1962, 1969, 1970, 1975, 1978, 1979, 1980, 1981, 1984, 1985, 1986
- Dublin – 1942, 1958, 1963, 1974, 1976, 1977, 1983
- Galway – 1934, 1938, 1956, 1964, 1965, 1966
- Cavan – 1933, 1935, 1947, 1948, 1952
- Meath – 1949, 1954, 1967, 1987
- Mayo – 1936, 1950, 1951
- Down – 1960, 1961, 1968
- Offaly – 1971, 1972, 1982
- Roscommon – 1943, 1944
- Cork – 1945, 1973
- Kildare – 1928
- Louth – 1957
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Enlarged ,framed ticket stub for the 1949 Irish Hospital Sweepstake for the Epsom Derby. Dublin 23cm x 31cm The Irish Hospital Sweepstake was a lottery established in the Irish Free State in 1930 as the Irish Free State Hospitals' Sweepstake to finance hospitals. It is generally referred to as the Irish Sweepstake, frequently abbreviated to Irish Sweeps or Irish Sweep. The Public Charitable Hospitals (Temporary Provisions) Act, 1930 was the act that established the lottery; as this act expired in 1934, in accordance with its terms, the Public Hospitals Acts were the legislative basis for the scheme thereafter. The main organisers were Richard Duggan, Captain Spencer Freeman and Joe McGrath. Duggan was a well known Dublin bookmaker who had organised a number of sweepstakes in the decade prior to setting up the Hospitals' Sweepstake. Captain Freeman was a Welsh-born engineer and former captain in the British Army. After the Constitution of Ireland was enacted in 1937, the name Irish Hospitals' Sweepstake was adopted. The sweepstake was established because there was a need for investment in hospitals and medical services and the public finances were unable to meet this expense at the time. As the people of Ireland were unable to raise sufficient funds, because of the low population, a significant amount of the funds were raised in the United Kingdom and United States, often among the emigrant Irish. Potentially winning tickets were drawn from rotating drums, usually by nurses in uniform. Each such ticket was assigned to a horse expected to run in one of several horse races, including the Cambridgeshire Handicap, Derby and Grand National. Tickets that drew the favourite horses thus stood a higher likelihood of winning and a series of winning horses had to be chosen on the accumulator system, allowing for enormous prizes. The original sweepstake draws were held at The Mansion House, Dublin on 19 May 1939 under the supervision of the Chief Commissioner of Police, and were moved to the more permanent fixture at the Royal Dublin Society (RDS) in Ballsbridge later in 1940. The Adelaide Hospital in Dublin was the only hospital at the time not to accept money from the Hospitals Trust, as the governors disapproved of sweepstakes. From the 1960s onwards, revenues declined. The offices were moved to Lotamore House in Cork. Although giving the appearance of a public charitable lottery, with nurses featured prominently in the advertising and drawings, the Sweepstake was in fact a private for-profit lottery company, and the owners were paid substantial dividends from the profits. Fortune Magazine described it as "a private company run for profit and its handful of stockholders have used their earnings from the sweepstakes to build a group of industrial enterprises that loom quite large in the modest Irish economy. Waterford Glass, Irish Glass Bottle Company and many other new Irish companies were financed by money from this enterprise and up to 5,000 people were given jobs."[3] By his death in 1966, Joe McGrath had interests in the racing industry, and held the Renault dealership for Ireland besides large financial and property assets. He was known throughout Ireland for his tough business attitude but also by his generous spirit.At that time, Ireland was still one of the poorer countries in Europe; he believed in investment in Ireland. His home, Cabinteely House, was donated to the state in 1986. The house and the surrounding park are now in the ownership of Dún Laoghaire–Rathdown County Council who have invested in restoring and maintaining the house and grounds as a public park. In 1986, the Irish government created a new public lottery, and the company failed to secure the new contract to manage it. The final sweepstake was held in January 1986 and the company was unsuccessful for a licence bid for the Irish National Lottery, which was won by An Post later that year. The company went into voluntary liquidation in March 1987. The majority of workers did not have a pension scheme but the sweepstake had fed many families during lean times and was regarded as a safe job.The Public Hospitals (Amendment) Act, 1990 was enacted for the orderly winding up of the scheme which had by then almost £500,000 in unclaimed prizes and accrued interest. A collection of advertising material relating to the Irish Hospitals' Sweepstakes is among the Special Collections of National Irish Visual Arts Library. At the time of the Sweepstake's inception, lotteries were generally illegal in the United Kingdom, the United States and Canada. In the absence of other readily available lotteries, the Irish Sweeps became popular. Even though tickets were illegal outside Ireland, millions were sold in the US and Great Britain. How many of these tickets failed to make it back for the drawing is unknown. The United States Customs Service alone confiscated and destroyed several million counterfoils from shipments being returned to Ireland. In the UK, the sweepstakes caused some strain in Anglo-Irish relations, and the Betting and Lotteries Act 1934 was passed by the parliament of the UK to prevent export and import of lottery related materials. The United States Congress had outlawed the use of the US Postal Service for lottery purposes in 1890. A thriving black market sprang up for tickets in both jurisdictions. From the 1950s onwards, as the American, British and Canadian governments relaxed their attitudes towards this form of gambling, and went into the lottery business themselves, the Irish Sweeps, never legal in the United States,declined in popularity. Origins: Co Galway Dimensions :39cm x 31cm
The Irish Hospitals Sweepstake was established because there was a need for investment in hospitals and medical services and the public finances were unable to meet this expense at the time. As the people of Ireland were unable to raise sufficient funds, because of the low population, a significant amount of the funds were raised in the United Kingdom and United States, often among the emigrant Irish. Potentially winning tickets were drawn from rotating drums, usually by nurses in uniform. Each such ticket was assigned to a horse expected to run in one of several horse races, including the Cambridgeshire Handicap, Derby and Grand National. Tickets that drew the favourite horses thus stood a higher likelihood of winning and a series of winning horses had to be chosen on the accumulator system, allowing for enormous prizes.
The original sweepstake draws were held at The Mansion House, Dublin on 19 May 1939 under the supervision of the Chief Commissioner of Police, and were moved to the more permanent fixture at the Royal Dublin Society (RDS) in Ballsbridge later in 1940. The Adelaide Hospital in Dublin was the only hospital at the time not to accept money from the Hospitals Trust, as the governors disapproved of sweepstakes. From the 1960s onwards, revenues declined. The offices were moved to Lotamore House in Cork. Although giving the appearance of a public charitable lottery, with nurses featured prominently in the advertising and drawings, the Sweepstake was in fact a private for-profit lottery company, and the owners were paid substantial dividends from the profits. Fortune Magazine described it as "a private company run for profit and its handful of stockholders have used their earnings from the sweepstakes to build a group of industrial enterprises that loom quite large in the modest Irish economy. Waterford Glass, Irish Glass Bottle Company and many other new Irish companies were financed by money from this enterprise and up to 5,000 people were given jobs."By his death in 1966, Joe McGrath had interests in the racing industry, and held the Renault dealership for Ireland besides large financial and property assets. He was known throughout Ireland for his tough business attitude but also by his generous spirit. At that time, Ireland was still one of the poorer countries in Europe; he believed in investment in Ireland. His home, Cabinteely House, was donated to the state in 1986. The house and the surrounding park are now in the ownership of Dún Laoghaire–Rathdown County Council who have invested in restoring and maintaining the house and grounds as a public park. In 1986, the Irish government created a new public lottery, and the company failed to secure the new contract to manage it. The final sweepstake was held in January 1986 and the company was unsuccessful for a licence bid for the Irish National Lottery, which was won by An Post later that year. The company went into voluntary liquidation in March 1987. The majority of workers did not have a pension scheme but the sweepstake had fed many families during lean times and was regarded as a safe job.The Public Hospitals (Amendment) Act, 1990 was enacted for the orderly winding up of the scheme,which had by then almost £500,000 in unclaimed prizes and accrued interest. A collection of advertising material relating to the Irish Hospitals' Sweepstakes is among the Special Collections of National Irish Visual Arts Library.In the United Kingdom and North America[edit]
At the time of the Sweepstake's inception, lotteries were generally illegal in the United Kingdom, the United States and Canada. In the absence of other readily available lotteries, the Irish Sweeps became popular. Even though tickets were illegal outside Ireland, millions were sold in the US and Great Britain. How many of these tickets failed to make it back for the drawing is unknown. The United States Customs Service alone confiscated and destroyed several million counterfoils from shipments being returned to Ireland. In the UK, the sweepstakes caused some strain in Anglo-Irish relations, and the Betting and Lotteries Act 1934 was passed by the parliament of the UK to prevent export and import of lottery related materials.[6][7] The United States Congress had outlawed the use of the US Postal Service for lottery purposes in 1890. A thriving black market sprang up for tickets in both jurisdictions. From the 1950s onwards, as the American, British and Canadian governments relaxed their attitudes towards this form of gambling, and went into the lottery business themselves, the Irish Sweeps, never legal in the United States,[8]:227 declined in popularity. -
63cm x 125cm Limerick Large iconic poster from the glory years of Munster rugby ,when they were at the top of the tree in European Club Rugby.This particular promotional poster dates from the 2000 Final,Munster's first final appearance. Northampton 9-8 Munster Despite thunder, lightning, and torrential rain earlier in the morning, the sun rightly appeared to shine on the capacity crowd at Twickenham for what proved to be a magnificent occasion. It was the fifth European Cup final, and the first time a French side had not featured, but the lack of Gallic flair took nothing away from a thrilling match. Munster scored the only try of the match - but in a tale of two boots, Northampton secured a historic victory thanks to the ever-prolific Paul Grayson.This has been a big season for the players and to have come this close and not won a trophy would have been a major disappointmentNorthampton rugby director John Steele
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The Hurley Playerby Jack B Yeats in nice, offset frame. 33cm x 24cm Jack Butler Yeats RHA (29 August 1871 – 28 March 1957) was an Irish artist and Olympic medalist. W. B. Yeats was his brother. Butler's early style was that of an illustrator; he only began to work regularly in oils in 1906. His early pictures are simple lyrical depictions of landscapes and figures, predominantly from the west of Ireland—especially of his boyhood home of Sligo. Yeats's work contains elements of Romanticism. He later would adopt the style of Expressionism
Biography
Yeats was born in London, England. He was the youngest son of Irish portraitist John Butler Yeats and the brother of W. B. Yeats, who received the 1923 Nobel Prize in Literature. He grew up in Sligo with his maternal grandparents, before returning to his parents' home in London in 1887. Early in his career he worked as an illustrator for magazines like the Boy's Own Paper and Judy, drew comic strips, including the Sherlock Holmes parody "Chubb-Lock Homes" for Comic Cuts, and wrote articles for Punch under the pseudonym "W. Bird".In 1894 he married Mary Cottenham, also a native of England and two years his senior, and resided in Wicklow according to the Census of Ireland, 1911. From around 1920, he developed into an intensely Expressionist artist, moving from illustration to Symbolism. He was sympathetic to the Irish Republican cause, but not politically active. However, he believed that 'a painter must be part of the land and of the life he paints', and his own artistic development, as a Modernist and Expressionist, helped articulate a modern Dublin of the 20th century, partly by depicting specifically Irish subjects, but also by doing so in the light of universal themes such as the loneliness of the individual, and the universality of the plight of man. Samuel Beckett wrote that "Yeats is with the great of our time... because he brings light, as only the great dare to bring light, to the issueless predicament of existence."The Marxist art critic and author John Berger also paid tribute to Yeats from a very different perspective, praising the artist as a "great painter" with a "sense of the future, an awareness of the possibility of a world other than the one we know". His favourite subjects included the Irish landscape, horses, circus and travelling players. His early paintings and drawings are distinguished by an energetic simplicity of line and colour, his later paintings by an extremely vigorous and experimental treatment of often thickly applied paint. He frequently abandoned the brush altogether, applying paint in a variety of different ways, and was deeply interested in the expressive power of colour. Despite his position as the most important Irish artist of the 20th century (and the first to sell for over £1m), he took no pupils and allowed no one to watch him work, so he remains a unique figure. The artist closest to him in style is his friend, the Austrian painter, Oskar Kokoschka. Besides painting, Yeats had a significant interest in theatre and in literature. He was a close friend of Samuel Beckett. He designed sets for the Abbey Theatre, and three of his own plays were also produced there. He wrote novels in a stream of consciousness style that Joyce acknowledged, and also many essays. His literary works include The Careless Flower, The Amaranthers (much admired by Beckett), Ah Well, A Romance in Perpetuity, And To You Also, and The Charmed Life. Yeats's paintings usually bear poetic and evocative titles. Indeed, his father recognized that Jack was a far better painter than he, and also believed that 'some day I will be remembered as the father of a great poet, and the poet is Jack'.He was elected a member of the Royal Hibernian Academy in 1916.He died in Dublin in 1957, and was buried in Mount Jerome Cemetery. Yeats holds the distinction of being Ireland's first medalist at the Olympic Games in the wake of creation of the Irish Free State. At the 1924 Summer Olympics in Paris, Yeats' painting The Liffey Swim won a silver medal in the arts and culture segment of the Games. In the competition records the painting is simply entitled Swimming.Works
In November 2010, one of Yeats's works, A Horseman Enters a Town at Night, painted in 1948 and previously owned by novelist Graham Greene, sold for nearly £350,000 at a Christie's auction in London. A smaller work, Man in a Room Thinking, painted in 1947, sold for £66,000 at the same auction. In 1999 the painting, The Wild Ones, had sold at Sotheby's in London for over £1.2m, the highest price yet paid for a Yeats painting. Adam's Auctioneers hold the Irish record sale price for a Yeats painting, A Fair Day, Mayo (1925), which sold for €1,000,000 in September 2011.Hosting museums
- The Hunt Museum, Limerick
- The National Gallery of Ireland, Dublin
- The Hugh Lane Gallery, Dublin
- Crawford Art Gallery, Cork
- Irish Museum of Modern Art, Dublin
- The National Gallery of Canada, Ottawa
- Walters Art Museum, Baltimore
- Model Arts and Niland Gallery, Sligo
- The Municipal Art Collection, Waterford
- Ulster Museum, Belfast
- The Snite Museum of Art, University of Notre Dame
The Geography of Hurling
Kevin Whelan Why is hurling currently popular in a compact region centred on east Munster and south Leinster, and in isolated pockets in the Glens of Antrim and in the Ards peninsula of County Down? The answer lies in an exploration of the interplay between culture, politics and environment over a long period of time. TWO VERSIONS By the eighteenth century it is quite clear that there were two principal, and regionally distinct,versions of the game. One was akin to modern field hockey, or shinty, in that it did not allow handling of the ball; it was played with a narrow, crooked stick; it used a hard wooden ball (the ‘crag’); it was mainly a winter game. This game, called camán (anglicised to ‘commons’), was confined to the northern half of the country; its southern limits were set sharply where the small farms of the drumlin belt petered out into the pastoral central lowlands. (Fig 1) The second version of the game (iomán or báire) was of southern provenance. The ball could be handled or carried on the hurl, which was flat and round-headed; the ball (the sliothar) was soft and made of animal hair; the game was played in summer. Unlike commons, this form of hurling was patronised by the gentry, as a spectator and gambling sport, associated with fairs and other public gatherings, and involved a much greater degree of organisation (including advertising) than the more demotic ‘commons’. A 1742 advertisement for Ballyspellan Spa in Kilkenny noted that ‘horse racing, dancing and hurling will be provided for the pleasure of the quality at the spa’. LANDLORD PATRONAGE A number of factors determined the distribution of the southern game. (Fig. 2) The most important was the patronage of local gentry families, particularly those most closely embedded in the life of the local people. (Table 1) They picked the teams, arranged the hurling greens and supervised the matches, which were frequently organised as gambling events. The southern hurling zone coincides with the area where, in the late medieval period, the Norman and Gaelic worlds fused to produce a vigorous culture, reflected, for example, in the towerhouse as an architectural innovation. It coincides with well-drained, level terrain, seldom moving too far off the dry sod of limestone areas, which also happen to produce the best material for hurls – ash. It is closely linked to the distribution of big farms, where the relatively comfortable lifestyle afforded the leisure to pursue the sport. Landlord patronage was essential to the well-being of the southern game; once it was removed, the structures it supported crumbled and the game collapsed into shapeless anarchy. The progressive separation of the manners and language of the élite from the common people was a pan-European phenomenon in the modern period. The gentry’s disengagement from immersion in the shared intimacies of daily life can be seen not just in hurling, but in other areas of language, music, sport and behaviour, as the gradual reception of metropolitan ideas eroded the older loyalties. As one hostile observer put it: A hurling match is a scene of drunkenness, blasphemy and all kinds and manner of debauchery and faith, for my part, I would liken it to nothing else but to the idea I form of the Stygian regions where the daemonic inhabitants delight in torturing and afflicting each other. DECLINE By the mid nineteenth century, hurling had declined so steeply that it survived only in three pockets, around Cork city, in south-east Galway and in the area north of Wexford town. Amongst the reasons for decline were the withdrawal of gentry patronage in an age of political turbulence, sabbitudinarianism, modernisation and the dislocating impact of the Famine. Landlord, priest and magistrate all turned against the game. The older ‘moral economy’, which had linked landlord and tenant in bonds of patronage and deference, gave way to a sharper, adversarial relationship, especially in the 1790s, as the impact of the French Revolution in Ireland created a greater class-consciousness. Politicisation led to a growing anti-landlord feeling, which had been far more subdued in the heyday of gentry-sponsored hurling between the 1740s and 1760s. MICHAEL CUSACK & THE GAA The model of élite participation in popular culture is a threefold process: first immersion, then withdrawal, and, finally rediscovery, invariably by an educated élite, and often with a nationalist agenda. ‘Rediscovery’ usually involves an invention of tradition, creating a packaged, homogenised and often false version of an idealised popular culture – as, for example, in the cult of the Highland kilt. The relationship of hurling and the newly established Gaelic Athletic Association in the 1880s shows this third phase with textbook clarity. Thus, when Michael Cusack set about reviving the game, he codified a synthetic version, principally modelled on the southern ‘iomán’ version that he had known as a child in Clare. Not surprisingly, this new game never caught on in the old ‘commons’ area, with the Glens of Antrim being the only major exception. Cusack and his GAA backers also wished to use the game as a nationalising idiom, a symbolic language of identity filling the void created by the speed of anglicisation. It had therefore to be sharply fenced off in organisational terms from competing ‘anglicised’ sports like cricket, soccer and rugby. Thus, from the beginning, the revived game had a nationalist veneer, its rules of association bristling like a porcupine with protective nationalist quills on which its perceived opponents would have to impale themselves. Its principal backers were those already active in the nationalist political culture of the time, classically the I.R.B. Its spread depended on the active support of an increasingly nationalist Catholic middle class – and as in every country concerned with the invention of tradition, its social constituency included especially journalists, publicans, schoolteachers, clerks, artisans and clerics. Thus, hurling’s early success was in south Leinster and east Munster, the very region which pioneered popular Irish nationalist politics – from the O’Connell campaign, to the devotional revolution in Irish Catholicism, from Fr. Matthews’ temperance campaign, to the Fenians, to the take-over of local government. The GAA was a classic example of the radical conservatism of this region – conservative in its ethos and ideology, radical in its techniques of organisation and mobilisation. The spread of hurling can be very closely matched to the spread of other radical conservative movements of this period – the diffusion of the indigenous Catholic teaching orders and the spread of co-operative dairying. It would, however, be a mistake to see the spread of hurling under the aegis of the GAA solely in nationalist terms. The codification and success of gaelic games should be compared to the almost contemporaneous success in Britain of codified versions of soccer and rugby. All these were linked to rising spending power, a shortened working week (and the associated development of the ‘weekend’), improved and cheaper mass transport facilities which made spectator sports viable, expanded leisure time, the desire for organised sport among the working classes, and the commercialisation of leisure itself. The really distinctive feature of the GAA’s success was that it occurred in what was still a predominantly agrarian society. That success rested on the shrewd application of the principle of territoriality. TERRITORIAL ALLEGIANCE Irish rural life was essentially local life. Hurling was quintessentially a territorially based game – teams based on communities, parishes, counties, pitted one against the other. The painter Tony O’Malley has contrasted this tribal-territorial element in Irish sport to English attitudes: If neighbours were playing like New Ross and Tullogher, there would be a real needle in it. When Carrickshock were playing, I once heard an old man shouting ‘come on the men that bate the tithe proctors’ and there was a tremor and real fervour in his voice. It was a battle cry, with hurleys as the swords, but with the same intensity. Similar forces of territoriality have been identified behind the success of cricket in the West Indies and rugby in the Welsh valleys. The GAA tapped this deep-seated territorial loyalty, of the type which is beautifully captured in the rhetorical climax of the great underground classic of rural Ireland, Knocknagow or the Homes of Tipperary by Charles J. Kickham. Matt Donovan (Matt the Thrasher), the village hero, is competing against the outsider Captain French in a sledge-throwing contest. In the absence of steroids, Matt is pumping himself up before his throw: Someone struck the big drum a single blow, as if by accident and, turning round quickly, the thatched roofs of the hamlet caught his eye. And, strange to say, those old mud walls and thatched roofs roused him as nothing else could. His breast heaved, as with glistening eyes, and that soft plaintive smile of his, he uttered the words, ‘For the credit of the little village!’ in a tone of the deepest tenderness. Then, grasping the sledge in his right hand, and drawing himself up to his full height, he measured the captain’s cast with his eye. The muscles of his arms seemed to start out like cords of steel as he wheeled slowly round and shot the ponderous hammer through the air. His eyes dilated as, with quivering nostrils, he watched its flight, till it fell so far beyond the best mark that even he himself started with astonishment. Then a shout of exultation burst from the excited throng; hands were convulsively grasped, and hats sent flying in the air; and in their wild joy they crushed around him and tried to lift him upon their shoulders. The territorial allegiance and communal spirit celebrated and idealised by Kickham have died hard in Ireland. GAA club colours, for example were often drawn from old faction favours and, even now, an occasional faction slogan can still be heard. ‘If any man can, an Alley man can’. ‘Squeeze ‘em up Moycarkey and hang ‘em out to dry!’ Lingering animosities can sometimes surface in surprising ways: it is not unknown, for example, for an irate and disappointed Wexford hurling supporter (and what other kind of Wexford supporter is there?) to hurl abuse at Kilkenny, recalling an incident that occurred in Castlecomer to indignant Wexford United Irishmen: ‘Sure what good are they anyway? Didn’t they piss on the powder in ‘98?’ A possibly apocryphal incident occurred after a fiercely contested Cork-Tipperary match. Cork won but in Tipperary eyes that was solely due to a biased Limerick referee. When the disgruntled Tipperary supporters poured off the train at Thurles, they vented their frustrations on the only Limerick man they could find in the town – by tarring and feathering the statue of Archbishop Croke in the Square (presumably the only time in Irish history that a Catholic bishop has been tarred and feathered). With the notable exception of Cork, the game has not been successfully transplanted into the cities. In Cork, close-knit working-class neighbourhoods like Blackrock and Gouldings Glen (home of Glen Rovers), and the strong antagonism between the hilly northside and the flat southside of the city, nourished the territoriality and community spirit so important to the game’s health. In Dublin, however, the modern suburbs, based on diversity, newness and mobility, have not proved hospitable receptacles of the game. Brendan Behan, brought up in the shadow of Croke Park, commented: At home we played soccer in the street and sometimes a version of hurling, fast and sometimes savage, adapted from the long-pucking grace of Kilkenny and Tipperary to the crookeder, foreshortened, snappier brutality of the confines of a slum thoroughfare. THE PRESENT HURLING REGION If one looks at the present hurling core region, it is remarkably compact. It also exhibits striking continuity with the earlier ‘iomán’ region. (Fig. 3) The hurling heartland is focused on the three counties of Cork, Tipperary and Kilkenny, with a supporting cast of adjacent counties – Limerick, Clare, Galway, Offaly, Laois, Waterford and Wexford. In the hurling core, the game is king, and very closely stitched into the fabric of the community. Describing the situation in Rathnure, Billy Rackard claimed that in the absence of hurling, ‘the parish would commit suicide, if a parish could commit suicide!’ The boundaries of the hurling region are surprisingly well-defined. To the north, the midland bogs act, as in a way they have done throughout history, as a buffer zone, resolutely impervious to the spread of cultural influences from further south. The western edge of the hurling zone can be traced over a long distance. In County Galway, for example, its boundaries run along a line from Ballinasloe to the city; north of this line is the Tuam-Dunmore area, and west of it is Connemara, both footballing territories. In County Clare, the boundary runs from Tubber on the Galway border through Corofin and Kilmaley to Labasheeda on the Shannon estuary. Last summer, the tremendous achievement of Clare in winning a Munster football championship was most thoroughly relished in the footballing bastion of west Clare, from Kilkee and Doonbeg to Milltown Malbay. One could easily establish this pattern by looking at the thickening density of the forest of flags as one drove from east to west in August. Across the Shannon in Limerick, the football-hurling divide runs clearly along the scarp dividing hilly west Limerick from the lush limestone lowlands of east Limerick. West of this is an enclave of hurling parishes in the footballing kingdom of Kerry in the area north of Tralee, in Ardfert, Bally heigue, Causeway and Ballyduff. From Limerick, the hurling boundary loops through County Cork from Mallow to the city and then to the coast at Cloyne – home to the maestro Christy Ring, who famously expressed his strategy for promoting the game in Cork – by stabbing a knife through every football found east of that line. Outside this core region, there are only the hurling enclaves in the Glens of Antrim and on the tip of the Ards peninsula, where the clubs of Ballycran, Ballygalget and Portaferry backbone Down’s hurling revival. The interesting question then is how these boundaries formed. In almost every case, that boundary divides big farm and small farm areas and marks the transition from fertile, drift-covered limestone lowland to hillier, hungrier, wetter shales, flagstones, grits and granites. In County Galway, for example, hurling has not put down roots in the bony granite outcrops of Connemara, and in Clare the poorly drained flagstone deposits are equally inhospitable. If ash is emblematic of hurling areas, the rush is the distinctive symbol of football territory. CONCLUSION This brief case study illustrates the interplay of what the French call la longue durée – the long evolution of history – and les évenements – the specific, precise incidents and personalities which intervene and alter that evolution. Hurling offers a classic Irish example, and the current game demonstrates that, beneath the superficial breaks, fractures and discontinuities, there are sometimes surprisingly stable, deep structures. If the idiom of the game has changed, its grammar stays the same. -
45cm x 35cm. Thurles Co Tipperary Very interesting action shot of Denis Walsh of Cork getting very up close and personal with Nicky English of Tipperary during the 1990 Munster Final,in the era before the wearing of protective helmets became mandatory.Canon Michael O’Brien had taken the managerial reigns while Cork’s 1966 All-Ireland winning captain Gerald McCarthy had taken over the coaching duties.In the pre-match build-up Tipperary’s coach Babs Keating had riled Cork supporters with his infamous quote, ‘You don’t win derbies with donkeys’. It was a statement that to this day he has lived to regret although it must be said that nobody has more respect for Cork hurling than Babs Keating has.Cork's Mark Foley scores on the stroke of half time against Tipperary in the 1990 Munster final at Semple Stadium. He banged in a brace of goals, rifled over seven points, all from play, he was simply unstoppable on that July afternoon in Semple Stadium.
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45cm x 35cm Thurles Co Tipperary The 1913 All-Ireland Senior Hurling Championship Final was the 26th All-Ireland Final and the culmination of the 1913 All-Ireland Senior Hurling Championship, an inter-county hurling tournament for the top teams in Ireland. The match was held at Croke Park, Dublin, on 2 November 1913, between Kilkenny, represented by a club side from Mooncoin, and Tipperary, represented by club side Toomevara. The Munster champions lost to their Leinster opponents on a score line of 2–4 to 1–2.
Summary
J. Murphy opened the scoring with a goal for Tipperary and Matt Gargan replied with a Kilkenny goal. Kilkenny's vital second goal was scored by Sim Walton. It was Kilkenny's third All-Ireland title in-a-row and a remarkable seventh All-Ireland title in ten championship seasons. It was also the first all-Ireland final in which teams of 15 took part. A matchday programme from the game sold at auction in Kilkenny for more than €2,000 in 2018.Details
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Out of stock45cm x 35cm Tipperary and Kilkenny met for the fourth successive year in the Minor final, with Kilkenny completing their third victory in a row. For the Senior match, Tipperary (captained by legend Jimmy Doyle) were looking to avenge their shock defeat when they last met Wexford (led in 1962 by Billy Rackard) in the 1960 All-Ireland. Dignitaries present to witness the final included: President of Ireland, Éamon de Valera, Former President Seán T O Kelly, An Taoiseach Seán Lemass, Minister of Industry and Commerce, former Cork hurling star Jack Lynch, and renowned actor Noel Purcell. Tipperary started explosively with two goals from Tom Moloughney and Theo English. Padge Keogh scored Wexford’s first point and they eventually clawed back into contention with Ned Wheeler drawing them level with a goal and a point. However, Tipperary went in at half time three points ahead with scores from Jimmy Doyle and Seán McLoughlin and it could have been more only due to the great goalkeeping display by Wexford’s Pat Nolan. The second half was tense and tough with Wexford drawing level again with Jimmy O Brien scoring a goal and Billy Rackard drawing them level. The sides were level three more times in a keenly fought encounter. Jimmy Doyle was a big loss to Tipperary having to go off injured, however a goal from the substitute Liam Connolly and points from Donie Nealon and Seán McLoughlin meant that Tipperary just pulled ahead and took the title by a two-point margin. Tony Wall deputised for the injured Tipperary captain and accepted the Liam McCarthy Cup.
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Fantastic piece of Tipperary Hurling Nostalgia here as we see a very young Jimmy Doyle being presented with a Thurles Schoolboys Streel League Trophy. 45cm x 35cm. Thurles Co Tipperary "Jimmy Doyle would have seen many things, and watched a lot of hurling, in his 76 years. But the Tipperary legend, who died last Monday, was possibly most pleased to watch the sumptuous performance of his native county, against Limerick, just the day before. Simply put, the way Tipp hurl at the moment is pure Jimmy Doyle - and no finer compliment can be paid in the Premier County. Eamon O'Shea's current group are all about skill, vision, élan, creativity, elegance: the very things which defined Doyle's playing style as he terrorised defences for close on two decades. Indeed, it's a funny irony that the Thurles Sarsfields icon, were he young today, would easily slip into the modern game, such was his impeccable technique, flair and positional sense. There may have been "better" hurlers in history (Cork's Christy Ring surely still stands as the greatest of all). There may even have been better Tipp hurlers - John Doyle, for example, who won more All-Irelands than his namesake. But there was hardly a more naturally gifted man to play in 125 years. The hurling of Doyle's heyday, by contrast with today, was rough, tough, sometimes brutal. His own Tipp team featured a full-back line so feared for taking no prisoners, they were christened (not entirely unaffectionately) "Hell's Kitchen". While not quite unique, Doyle was one of a select group back then who relied less on brute force, and more on quick wrists, "sixth sense" spatial awareness, and uncanny eye-hand co-ordination to overcome. During the 1950s and '60s, when he was in his pomp, forwards were battered, bruised and banjaxed, with little protection from rules or referees. It speaks even more highly, then, of this small, slim man ("no bigger in stature than a jockey", as put by Irish Independent sportswriter Vincent Hogan) that he should achieve such greatness. What, you'd wonder, might have been his limitations - if any - had he played in the modern game? Regardless, his place in hurling's pantheon is assured; one of a handful of players to transcend even greatness and enter some almost supernatural realm of brilliance. This week his former teammate, and fellow Tipp legend, Michael "Babs" Keating recalled how Christy Ring had once told him, "If Jimmy Doyle was as strong as you and I, nobody would ever ask who was the best." Like Ring, Jimmy made both the 1984 hurling Team of the Century, compiled in honour of the GAA's Centenary, and the later Team of the Millennium. We can also throw in a slot on both Tipperary and Munster Teams of the Millennium, and being named Hurler of the Year in 1965 - and that's just the start of one of the most glittering collections of honours in hurling history.
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20cm x 35cm. Thurles Co Tipperary "Jimmy Doyle would have seen many things, and watched a lot of hurling, in his 76 years. But the Tipperary legend, who died last Monday, was possibly most pleased to watch the sumptuous performance of his native county, against Limerick, just the day before. Simply put, the way Tipp hurl at the moment is pure Jimmy Doyle - and no finer compliment can be paid in the Premier County. Eamon O'Shea's current group are all about skill, vision, élan, creativity, elegance: the very things which defined Doyle's playing style as he terrorised defences for close on two decades. Indeed, it's a funny irony that the Thurles Sarsfields icon, were he young today, would easily slip into the modern game, such was his impeccable technique, flair and positional sense. There may have been "better" hurlers in history (Cork's Christy Ring surely still stands as the greatest of all). There may even have been better Tipp hurlers - John Doyle, for example, who won more All-Irelands than his namesake. But there was hardly a more naturally gifted man to play in 125 years. The hurling of Doyle's heyday, by contrast with today, was rough, tough, sometimes brutal. His own Tipp team featured a full-back line so feared for taking no prisoners, they were christened (not entirely unaffectionately) "Hell's Kitchen". While not quite unique, Doyle was one of a select group back then who relied less on brute force, and more on quick wrists, "sixth sense" spatial awareness, and uncanny eye-hand co-ordination to overcome. During the 1950s and '60s, when he was in his pomp, forwards were battered, bruised and banjaxed, with little protection from rules or referees. It speaks even more highly, then, of this small, slim man ("no bigger in stature than a jockey", as put by Irish Independent sportswriter Vincent Hogan) that he should achieve such greatness. What, you'd wonder, might have been his limitations - if any - had he played in the modern game? Regardless, his place in hurling's pantheon is assured; one of a handful of players to transcend even greatness and enter some almost supernatural realm of brilliance. This week his former teammate, and fellow Tipp legend, Michael "Babs" Keating recalled how Christy Ring had once told him, "If Jimmy Doyle was as strong as you and I, nobody would ever ask who was the best." Like Ring, Jimmy made both the 1984 hurling Team of the Century, compiled in honour of the GAA's Centenary, and the later Team of the Millennium. We can also throw in a slot on both Tipperary and Munster Teams of the Millennium, and being named Hurler of the Year in 1965 - and that's just the start of one of the most glittering collections of honours in hurling history.