Player | Team | Appearances | |
---|---|---|---|
GK | ![]() |
Tipperary | 1 |
RCB | ![]() |
Cork | 1 |
FB | ![]() |
Cork | 3 |
LCB | ![]() |
Tipperary | 3 |
RWB | ![]() |
Cork | 1 |
CB | ![]() |
Kilkenny | 2 |
LWB | ![]() |
Galway | 3 |
MD | ![]() |
Galway | 2 |
MD | ![]() |
Kilkenny | 1 |
RWF | ![]() |
Clare | 1 |
CF | ![]() |
Galway | 2 |
LWF | ![]() |
Kilkenny | 4 |
RCF | ![]() |
Kilkenny | 3 |
FF | ![]() |
Limerick | 4 |
LCF | ![]() |
Wexford | 1 |
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85cm x 45cm. Dingle Co Kerry The Gaelic Athletic Association-Gaelic Players' Association All Stars Awards (often known simply as the All Stars) are awarded annually to the best player in each of the 15 playing positions in Gaelic football and hurling. Additionally, one player in each code is selected as Player of the Year. The awards have since 2011 been presented jointly by the Gaelic Athletic Association and the representative body for inter-county players, the Gaelic Players Association. Each player who receives a nomination is given a medallion marking the milestone.These are considered to be "the most coveted sporting award scheme in the country".Since the 1960s there had been a tradition of annually selecting the best player in each position, in football and hurling, to create a special team of the year. Between 1963 and 1967 these players received what was known as the Cú Chulainn award. In 1971 these awards were formalised into the annual GAA All Star Awards. In 2006 the Gaelic Players Association launched a parallel award scheme entitled the GPA Gaelic Team of the Year (often referred to as the GPA Awards). An annual award was also given by the GPA to the Footballer of the Year and the Hurler of the Year. In 2011 it was announced that the GAA All Stars Awards, which had been sponsored in recent years by Vodafone, and the GPA Awards would merge under the sponsorship of car manufacturer Opel. The move announced by Christy Cooney saw the achievements of players recognised jointly for the first time in October 2011. The All Stars team comprises the best player in each position, regardless of club or county affiliation. The composition of the All Star teams are decided on the basis of a shortlist compiled by a selection committee of sports journalists from the national media, while the overall winners are chosen by inter-county players themselves. The award is regarded by players as the highest accolade available to them, due to it being picked by their peers. The awards are presented at a gala banquet in November following the end of the Championship season. Both men's teams are honoured with a special holiday where they play an exhibition game. Since 1971 over 1,000 players have been honoured with All Stars Awards. Damien Martin of Offaly was the first ever recipient of the award, while in 2004 Paul Galvin of Kerry became the 1,000th winner of the award. Carlow and Longford are the only county in Ireland not to receive an award in either sport. In September 2017 PwC became the new sponsors of the All Star Awards on a four year deal, with the awards being re-named The PwC All-Stars.
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85cm x 45cm. Dingle Co Kerry The Gaelic Athletic Association-Gaelic Players' Association All Stars Awards (often known simply as the All Stars) are awarded annually to the best player in each of the 15 playing positions in Gaelic football and hurling. Additionally, one player in each code is selected as Player of the Year. The awards have since 2011 been presented jointly by the Gaelic Athletic Association and the representative body for inter-county players, the Gaelic Players Association. Each player who receives a nomination is given a medallion marking the milestone.These are considered to be "the most coveted sporting award scheme in the country".Since the 1960s there had been a tradition of annually selecting the best player in each position, in football and hurling, to create a special team of the year. Between 1963 and 1967 these players received what was known as the Cú Chulainn award. In 1971 these awards were formalised into the annual GAA All Star Awards. In 2006 the Gaelic Players Association launched a parallel award scheme entitled the GPA Gaelic Team of the Year (often referred to as the GPA Awards). An annual award was also given by the GPA to the Footballer of the Year and the Hurler of the Year. In 2011 it was announced that the GAA All Stars Awards, which had been sponsored in recent years by Vodafone, and the GPA Awards would merge under the sponsorship of car manufacturer Opel. The move announced by Christy Cooney saw the achievements of players recognised jointly for the first time in October 2011. The All Stars team comprises the best player in each position, regardless of club or county affiliation. The composition of the All Star teams are decided on the basis of a shortlist compiled by a selection committee of sports journalists from the national media, while the overall winners are chosen by inter-county players themselves. The award is regarded by players as the highest accolade available to them, due to it being picked by their peers. The awards are presented at a gala banquet in November following the end of the Championship season. Both men's teams are honoured with a special holiday where they play an exhibition game. Since 1971 over 1,000 players have been honoured with All Stars Awards. Damien Martin of Offaly was the first ever recipient of the award, while in 2004 Paul Galvin of Kerry became the 1,000th winner of the award. Carlow and Longford are the only county in Ireland not to receive an award in either sport. In September 2017 PwC became the new sponsors of the All Star Awards on a four year deal, with the awards being re-named The PwC All-Stars.
Player Team Appearances GK Ger Cunningham
Cork 1 RCB Paudie Fitzmaurice
Limerick 1 FB Eugene Coughlan
Offaly 1 LCB Pat Fleury
Offaly 2 RWB Joe Hennessy
Kilkenny 3 CB Johnny Crowley
Cork 1 LWB Dermot McCurtain
Cork 3 MD John Fenton
Cork 2 MD Joachim Kelly
Offaly 2 RWF Nicky English
Tipperary 2 CF Kieran Brennan
Kilkenny 1 LWF Paddy Kelly
Limerick 1 RCF Tomás Mulcahy
Cork 1 FF Noel Lane
Galway 2 LCF Seánie O'Leary
Cork 3 Team Appearances GK John O'Leary
Dublin 1 RCB Páidí Ó Sé
Kerry 4 FB Mick Lyons
Meath 1 LCB Séamus McHugh
Galway 1 RWB Tommy Doyle
Kerry 1 CB Tom Spillane
Kerry 1 LWB P. J. Buckley
Dublin 1 MD Jack O'Shea
Kerry 5 MD Eugene McKenna
Tyrone 1 RWF Barney Rock
Dublin 2 CF Eoin Liston
Kerry 4 LWF Pat Spillane
Kerry 7 RCF Mikey Sheehy
Kerry 6 FF Frank McGuigan
Tyrone 1 LCF Dermot McNicholl
Derry 1 -
88cm x 52cm In olden times the traditional Irish country pub also often functioned as a grocery,sweetshop,veterinary chemist,hardware store and haberdashery where patrons could partake in a soothing drink after shopping alongside displays of chocolate bars, tins of canned fruit, reels of hay bailer twine, and tubs of sheep dip.Sadly grocery bars are now few and far between but the ones that survive are a throwback to an old and innocent way of life.Dingle in Co Kerry is home to many of the best surviving examples of the pub-grocer.In the famous Currans on Main Street ,the pub always doubled as a general merchant.They sold everything and supplied the townspeople and farmers who would pile into the town on Fairday.The old ledgers still in existence are stuffed with billheads from all types of suppliers- everything was sold -ropes.twines,seeds,ales,buckets,hams,jams,fishing nets,flowers,ladies rubber heels and tights, cloth caps, shirts,boots- the list is endless.
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Beautifully reproduced Woodford,Bourne & Co.Ltd Whiskey mirror. 50cm x 60cm Limerick Woodford Whiskies traded in Cork city for over 250 years. The warehouse was the hub of the companies bottling, storage and distribution operations supplying four shops in Cork and one in Limerick. The building was constructed between 1873 and 1875 at a cost of £4,500. When completed in 1875 the building was considered one of the finest in the city and today continues to be a listed building. The building with its cut limestone frontage has thick floor and roof beams made from imported Canadian white pine to support the weight of the full casks of wine and spirits stored in the warehouse. On the ground floor, you can still see the vaulted ceilings of the original cellars and throughout the building the thick stone walls built with master craftsmanship are on view everywhere. Over 10 years supply of whiskey, casks containing over a million bottles of wine, sherries and ports and more than 50,000 gallons of choice Cork and Dublin whiskies, Scotch whiskies and fine French brandies were all stored from seven to 10 years in wet and dry cellars.
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An eclectic Brandy Mirror but the association between the Irish and French in the production of the finest in spirits warrants this mirrors inclusion ! 42cm x 46cm Cork Already renowned in the art of brandy making, who better than the Master Distillers of Maison Daucourt to create an entirely new category of whisky. The roots of Maison Daucourt run deep through the world of spirits.The family owns a vineyard and a distillery in a prestigious appellation of Cognac. With a French father and an Irish mother, in order to discover the origins of the spirits, Jean-Marc Daucourt went to work in a famous Scottish distillery as a young man,There he learned how to perfect the art of making whisky.Born out of a rich heritage, BASTILLE 1789 has taken many years of work by Maison DAUCOURT to distill a singular whisky with a unique French “Savoir faire”, and a perfect balance. This passion has filtered down from generation to generation...Naturally, Jean-Marc taught his know-how and experience to his nephew Charles Daucourt. As the brand manager and master distiller too, Charles Daucourt brings a new feeling for the spirit business. The combination of both generations makes BASTILLE 1789 Whisky a unique experience.
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Out of stockLovely and rarely encountered John Gilroy farm scene advertising print in its original aged frame. John Gilroy was a polymath of the painting world, with a mind unlike those of his peers. Because of this, the Guinness® campaigns he brought to life from 1928 to the 1960s remain as distinctive now as they were back then. It was Gilroy's colourful artwork that moved our advertising forward. One of the most memorable was born of his creative interpretation of a performing sea lion that caught his eye at the zoo. That animal, Gilroy mused, would be smart enough to balance a glass of Guinness on its nose. This concept became one of the longest living advertising campaigns in history: "My Goodness, My Guinness."
“One of the most memorable was born of his creative interpretation of a performing sea lion that caught his eye at the zoo.”
The hapless zookeeper, a caricature of Gilroy himself, presented the family of unruly animals. From an ostrich swallowing a Guinness, glass and all, to a pelican with a beak full of bottles. A bounding lion, a thieving bear. A crocodile, kangaroo, and penguin. And, of course, most famous of all, the toucan. This evolved, via the toucan, into the "Guinness-a-day" campaign. That fans still adorn their walls with this poster today is a testament to the creative relationship between Gilroy and Guinness.Origins : Co GalwayDimensions : 46cm x 36cm 4kg -
Beautifully atmospheric lithograph of the pre match parade by the Cork and Dublin Hurlers in 1952.This lithograph was sponsored by the National Flour Mills Co.Ltd. 42cm x 46cm Douglas Cork
The 1952 All-Ireland Senior Hurling Championship Final was the 65th All-Ireland Final and the culmination of the 1952 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 7 September 1952, between Cork and Dublin. The Leinster champions lost to their Munster opponents on a score line of 2-14 to 0-7.1952 All-Ireland Senior Hurling Final Event 1952 All-Ireland Senior Hurling Championship Cork Dublin 2-14 0-7 Date 7 September 1952 Venue Croke Park, Dublin Referee W. O'Donoghue (Limerick) Attendance 71,195 Origins : Co CorkDimensions : 31cm x 36cm 1.5kg -
65cm x 52cm Naas Co Kildare RDS (Royal Dublin Society) Dublin Horse Show advertising print from August 1953 featuring a beautiful painting depicting horses at pasture by the artist Olive Whitmore.The advert was printed by Alex Thom & Co Ltd Dublin and also describes the various modes of transport available to prospective horseshow goers, namely the GNR or Great Northern Railway. This print is available as a high quality reproduction with an antique frame.For price details on the original ,please email us directly at irishpubemporium@gmail.com Founded in 1876,the GNR was a merger between the Irish North Western Railway,Northern Railway of Ireland and Ulster Railway.The company was nationalised later in 1953 before being finally liquidated 5 years later with its assets divided upon national lines between the Ulster Transport Authority & Ćoras Iompair Éireann (CIE). The first Dublin Horse Show took place in 1864 and was operated in conjunction with the Royal Agricultural Society of Ireland. The first solely Society-run Horse Show was held in 1868 and was one of the earliest "leaping" competitions ever held.Over time it has become a high-profile International show jumping competition, national showing competition and major entertainment event in Ireland. In 1982 the RDS hosted the Show Jumping World Championshipsand incorporated it into the Dublin Horse Show of that year. The Dublin Horse Show has an array of national & international show jumping competitions and world class equestrian entertainment, great shopping, delicious food, music & fantastic daily entertainment. There are over 130 classes at the Show and they can be generally categorised into the following types of equestrian competitions: showing classes, performance classes and showjumping classes.
- The first show was held in 1864 under the auspices of the Society, but organised by the Royal Agricultural Society of Ireland.
- There were 366 entries in the first Show with a total prize fund of £520.
- On the 28, 29 and 30 July 1868 the first show was held and organised by the Royal Dublin Society on the lawns of Leinster House. The Council granted £100 out of the Society's funds to be awarded in prizes. It started as a show of led-horses and featured ‘leaping' demonstrations.
- The first prize for the Stone Wall competition (6ft) in 1868 was won by Richard Flynn on hunter, Shane Rhue (who sold for £1,000 later that day).
- Ass and mule classes were listed at the first show!
- In 1869 the first Challenge Cup was presented for the best exhibit in the classes for hunters and young horses likely to make hunters.
- In 1870 the Show was named ‘The National Horse Show', taking place on the 16-19 August. It was combined with the Annual Sheep Show organised by the Society.
- 1869 was the year ‘horse leaping' came to prominence. There was the high leap over hurdles trimmed with gorse; the wall jump over a loose stone wall of progressive height not exceeding 6 feet; and the wide leap over 2 ½ ft gorse-filled hurdle with 12 ft of water on the far side.
- The original rules for the leaping competitions were simply ‘the obstacles had to be cleared to the satisfaction of the judges'.
- The prizes for the high and wide leaps were £5 for first and £2 for second with £10 and a cup to the winner of the championship and a riding crop and a fiver to the runner up.
- In 1881 the Show moved to ‘Ball's Bridge', a greenfield site. The first continuous ‘leaping' course was introduced at the Show.
- In 1881 the first viewing stand was erected on the site of the present Grand Stand. It held 800 people.
- With over 800 entries in the Show in 1895, it was necessary to run the jumping competitors off in pairs - causing difficulties for the judges at the time!
- Women first took part in jumping competitions from 1919.
- A class for women was introduced that year on the second day of the Show (Wednesday was the second day of the Show in 1919. Ladies' Day moved to Thursday, the second day, when the Show went from six to five days). Quickly after that, from the 1920s onwards, women were able to compete freely in many competitions at the Show.
- Women competed in international competitions representing their country shortly after WWII.
- As the first "Ladies' Jumping Competition" was held on the second day of the Show this day become known as Ladies' Day. A name that has stuck ever since.
- In 1925 Colonel Zeigler of the Swiss Army first suggested holding an international jumping event. The Aga Khan of the time heard of this proposal and offered a challenge trophy to the winner of the competition.
- In 1926 International Competitions were introduced to the show and was the first time the Nations' Cup for the Aga Khan Challenge trophy was held.
- Six countries competed in the first international teams competition for the Aga Khan Challenge trophy - Great Britain, Holland, Belgium, France, Switzerland and Ireland. The Swiss team won the title on Irish bred horses.
- The Swiss team won out the original trophy in 1930. Ireland won the first replacement in 1937 and another in 1979, Britain in 1953 and 1975. The present trophy is the sixth in the series and was presented by His Highness the Aga Khan in 1980.
- Up until 1949 the Nations' Cup teams had to consist of military officers.
- The first Grand Prix (Irish Trophy) held in 1934 was won by Comdt.J.D.(Jed) O'Dwyer, of the Army Equitation school. The Irish Trophy becomes the possession of the rider if it is won three times in succession or four times in all.
- The first timed jumping competition was held in 1938. In 1951 an electric clock was installed and the time factor entered most competitions.
- In 1976, after 50 years of international competition, the two grass banks in the Arena were removed so the Arena could be used for other events. The continental band at the western end of the Main Arena was added later.
- Shows have been held annually except from 1914-1919 due to WW1 and from 1940-1946 due to WW2.
- In 2003 the Nations Cup Competition for the Aga Khan Trophy became part of the Samsung Super League under the auspices of the Federation Equestre Internationale.
- The Nations Cup Competition for the Aga Khan Trophy is part of the Longines FEI Jumping Nations Cup™ Series.
- The Dublin Horse Show is Ireland's largest equestrian event, and one of the largest events held on the island.
- The Show has one of the largest annual prize pools for international show jumping in the world.
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Quaint framed photograph of the pre parade of the 1971 All Ireland final between Offaly and Galway.Galway were appearing in their first final since the three-in-a-row side of the 1960s. Dimensions: 27cm x 25cm G Offaly, who had never won an All-Ireland title, had last contested a final in 1969.Galway were favourites. Instead a shock occurred.A Murt Connor goal gave Offaly their first title.However, with the duration of certain championship matches increasing from 60 to 80 minutes during the 1970s before being settled at 70 minutes after five seasons of this in 1975, this is the only All-Ireland final whose outcome would have changed if the time had remained the same; had it done so, the 1971 final would have ended in a draw. This was the first All-Ireland final attended by Martin Breheny. The weather on the day was later described by Breheny as consisting of a "steady drizzle" in the first half, followed by a "deluge of monsoon proportions" during the second half.
1971 All-Ireland Senior Football Championship Offaly Galway 1–14 2–8 Date 26 September 1971 Venue Croke Park, Dublin Attendance 70,789 Weather Rain -
Fantastic Cowan's Old Irish Whisky Advertising print. 66cm x 75cm Ballymena Co AntrimFeaturing what appears to be smugglers offloading some of William Cowan's finest Irish Whisky ashore.Cowan's was a major distilling firm with operations on both sides of the North Channel,operating out of both Loch Lomond and Belfast.
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Origins : Co AntrimDimensions : 56cm x 66cm 5kg -
We at the Irishpubemporium just love this unique and unusual watercolour of a pipe smoking Guinness drinker .With his eyes closed, the tobacco smoke wafting from his lit pipe and a freshly poured pint of the black stuff waiting for him, the scene is one of peace and tranquility as one man enjoys his own company.The six sided frame also adds another unusual and eclectic aspect to this beautiful piece by the artist Tomkins or Tomkus ? Roscarberry Co Cor k26cm x 24cm
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Atmospheric photo from 1946 of two of the greatest hurlers in the history of the GAA in its original vintage frame -a veteran Mick Mackey of Limerick and a fresh faced Christy Ring of Cork.The only shame was they never met on the playing field while at the peak of their powers,Mackey being older and in decline when Ring was lording it on the pitch.Although they had their controversial moments together ,there was a massive mutual respect between the two men.this photo was taken after a challenge match between their respective clubs,Mackey's Ahane of Limerick and Ring's Glen Rovers of Cork - it proved to be the last time the two legends met on the field of play. Origins : Co Limerick Dimensions : 31cm x 25cm 1kg
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Quaint green ceramic clock with Irish theme,manufactured by Knock Pottery,Co Mayo. 23cm x 22cm x8cm Knock (Irish Cnoc Mhuire, 'Hill of the Virgin Mary') is a major international Catholic pilgrimage and prayer site. On August 21st, 1879, the Virgin Mary, St Joseph and St John the Evangelist, appeared on the south gable of Knock Parish Church. This Apparition was witnessed by fifteen local people, young and old. As a result, Knock became a major Irish pilgrimage site of prayer and worship. In the latter part of the 20th century Knock's popularity increased steadily, making it one of Europe's major Catholic Marian shrines, together with Lourdes and Fatima. Today this shrine is visited by one and a half million pilgrims annually. In 1979, Knock was visited by Pope John Paul II, to commemorate the centenary of the apparition. Mother Teresa of Calcutta visited the Shrine in June 1993 Monsignor James Horan was parish priest of Knock from 1967, until his death in 1986. In that period of his service to the parish of Knock, he accomplished some landmark achievements, amongst them the building of a new basilica in 1976, which can accommodate 10,000 people, and also the construction of Ireland West Airport Knock, which he saw completed in 1985. Monsignor Horan was also instrumental in organising the visit of Pope John Paul II to the shrine in 1979Knock Shrine is open all year round. The main pilgrimage season extends from the last Sunday in April until the second Sunday in October. The clock mechanism in good working order. Origins : Co Mayo Dimensions : 22cm x 21cm 4kg
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Rare,humorous 1940 Guinness advert depicting an opened bottle of Guinness with accompanying note-"opened & passed by censor" 47cm x 34cm Ardee Co Louth Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain. Arthur Guinness started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
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Interesting old display print on a wooden background depicting the historical,cultural and sporting highlights of the Emerald Isle.Although the frame is showing signs of age related wear,this piece will make a wonderful addition to your collection or decorative item for your wall . Kilkee Co Clare 60cm x 55cm
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Beautifully and ornately framed small Tullamore Dew Mirror. 45cm x 35cm x 7cm Tullamore Co Offaly Tullamore D.E.W. is a brand of Irish whiskey produced by William Grant & Sons. It is the second largest selling brand of Irish whiskey globally, with sales of over 950,000 cases per annum as of 2015.The whiskey was originally produced in the Tullamore, County Offaly, Ireland, at the old Tullamore Distillery which was established in 1829. Its name is derived from the initials of Daniel E. Williams (D.E.W.), a general manager and later owner of the original distillery. In 1954, the original distillery closed down, and with stocks of whiskey running low, the brand was sold to John Powers & Son, another Irish distiller in the 1960s, with production transferred to the Midleton Distillery, County Cork in the 1970s following a merger of three major Irish distillers.In 2010, the brand was purchased by William Grant & Sons, who constructed a new distillery on the outskirts of Tullamore. The new distillery opened in 2014, bringing production of the whiskey back to the town after a break of sixty years.
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Very distinctive 1960s Advertising mirror depicting the legendary Native American chief in ceremonial head dress and extolling its wonderful "nutty flavour". 65cm x 50cm annacotty Co Limerick St Bruno Flake is a beacon among legendary pipe tobaccos and throughout decades many pipe smokers’ true and loyal companion. A pipe tobacco born under the English Purity Law and ever since then made in the same way following the same demands for the best quality tobacco.The selected Kentucky leaf contributes with the smoky and bold character in this blend. The bright Virginia leaf makes the smoking experience smooth and pleasant.St. Bruno is a steam pressed flake tobacco known and loved by pipe smokers around the world. Origins : Co Limerick Dimensions: 65cm x 50cm 6kg
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Very interesting map of Co Limerick from the 1825 surveys by the well known cartographer James Coffey.From the Latest Surveys. By James Coffey. 1825. Engraved by Sidney Hall, Bury Street, Bloomsbury. Published and sold by George McKern, 106, George Street, Limerick. Scale in Irish and English Miles. Framed and glazed. Bruree Co Limerick 45cm x 60cm
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Large,colourful,beautifully illustrated and wonderfully eclectic poster depicting Irish Traditional Music instruments,scenes and imagery which have been such an integral part of Irish culture and heritage, featuring such luminaries as Sean O'Riada,The Chieftains etc. 85cm x 55cm Irish Traditional music (also known as Irish trad, Irish folk music, and other variants) is a genre of folk music that developed in Ireland. In A History of Irish Music (1905), W. H. Grattan Flood wrote that, in Gaelic Ireland, there were at least ten instruments in general use. These were the cruit (a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn (hornpipes), the cuislenna (bagpipes – see Great Irish warpipes), the stoc and sturgan (clarions or trumpets), and the cnamha (bones). There is also evidence of the fiddle being used in the 8th century. There are several collections of Irish folk music from the 18th century, but it was not until the 19th century that ballad printers became established in Dublin. Important collectors include Colm Ó Lochlainn, George Petrie, Edward Bunting, Francis O'Neill, James Goodman and many others. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists. Irish traditional music has endured more strongly against the forces of cinema, radio and the mass media than the indigenous folk music of most European countries. This was possibly because the country was not a geographical battleground in either of the two World Wars. Another potential factor was that the economy was largely agricultural, where oral tradition usually thrives. From the end of the Second World War until the late fifties folk music was held in low regard. Comhaltas Ceoltóirí Éireann (an Irish traditional music association) and the popularity of the Fleadh Cheoil(music festival) helped lead the revival of the music. The English Folk music scene also encouraged and gave self-confidence to many Irish musicians. Following the success of The Clancy Brothers and Tommy Makem in the US in 1959, Irish folk music became fashionable again. The lush sentimental style of singers such as Delia Murphy was replaced by guitar-driven male groups such as The Dubliners. Irish showbands presented a mixture of pop music and folk dance tunes, though these died out during the seventies. The international success of The Chieftains and subsequent musicians and groups has made Irish folk music a global brand. Historically much old-time music of the USA grew out of the music of Ireland, England and Scotland, as a result of cultural diffusion. By the 1970s Irish traditional music was again influencing music in the US and further afield in Australia and Europe. It has occasionally been fused with rock and roll, punk rock and other genres. Irish dance music is isometric and is built around patterns of bar-long melodic phrases akin to call and response. A common pattern is A Phrase, B Phrase, A Phrase, Partial Resolution, A Phrase, B Phrase, A Phrase, Final Resolution, though this is not universal; mazurkas, for example, tend to feature a C Phrase instead of a repeated A Phrase before the Partial and Final Resolutions, for example. Many tunes have pickup notes which lead in to the beginning of the A or B parts. Mazurkas and hornpipes have a swing feel, while other tunes have straight feels. Tunes are typically binary in form, divided into two (or sometimes more) parts, each with four to eight bars. The parts are referred to as the A-part, B-part, and so on. Each part is played twice, and the entire tune is played three times; AABB, AABB, AABB. Many tunes have similar ending phrases for both A and B parts; it is common for hornpipes to have the second half of each part be identical. Additionally, hornpipes often have three quavers or quarternotes at the end of each part, followed by pickup notes to lead back to the beginning of the A part of onto the B part. Many airshave an AABA form.While airs are usually played singly, dance tunes are usually played in medleys of 2-4 tunes called sets. Irish music generally is modal, using ionian, aeolian, dorian, and mixolydian modes, as well as hexatonic and pentatonic versions of those scales. Some tunes do feature accidentals.Singers and instrumentalists often embellish melodies through ornamentation, using grace notes, rolls, cuts, crans, or slides. While uilleann pipes may use their drones and chanters to provide harmonic backup, and fiddlers often use double stops in their playing, due to the importance placed on the melody in Irish music, harmony is typically kept simple or absent.Usually, instruments are played in strict unison, always following the leading player. True counterpoint is mostly unknown to traditional music, although a form of improvised "countermelody" is often used in the accompaniments of bouzouki and guitar players. In contrast to many kinds of western folk music, there are no set chord progressions to tunes; many accompanyists use power chords to let the melody define the tonality or use partial chords in combination with ringing drone strings to emphasize the tonal center. Many guitarists use DADGAD tuning because it offers flexibility in using these approaches, as does the GDAD tuning for bouzouki. Like all traditional music, Irish folk music has changed slowly. Most folk songs are less than 200 years old. One measure of its age is the language used. Modern Irish songs are written in English and Irish. Most of the oldest songs and tunes are rural in origin and come from the older Irish language tradition. Modern songs and tunes often come from cities and towns, Irish songs went from the Irish language to the English language. Unaccompanied vocals are called sean nós ("in the old style") and are considered the ultimate expression of traditional singing. This is usually performed solo (very occasionally as a duet). Sean-nós singing is highly ornamented and the voice is placed towards the top of the range. A true sean-nós singer will vary the melody of every verse, but not to the point of interfering with the words, which are considered to have as much importance as the melody. Sean-nós can include non-lexical vocables, called lilting, also referred to by the sounds, such as "diddly die-dely". Non-sean-nós traditional singing, even when accompaniment is used, uses patterns of ornamentation and melodic freedom derived from sean-nós singing, and, generally, a similar voice placement. Caoineadh is Irish for a lament, a song which is typified by lyrics which stress sorrow and pain. Traditionally, the Caoineadh song contained lyrics in which the singer lamented for Ireland after having been forced to emigrate due to political or financial reasons. The song may also lament the loss of a loved one (particularly a fair woman). Many Caoineadh songs have their roots/basis in The Troubles of Northern Ireland with particular reference to the presence of the British military during this period. Examples of Caoineadh songs include: Far Away in Australia, The Town I Loved So Well and Four Green Fields. Caoineadh singers were originally paid to lament for the departed at funerals, according to a number of Irish sources. Irish traditional music and dance has seen a variety of settings, from house parties, country dances, ceili dances, stage performances and competitions, weddings, saint's days or other observances. The most common setting for Irish dance music is the seisiun, which very often features no dancing at all. The concept of "style" is of large importance to Irish traditional musicians. At the start of the last century (1900), distinct variation in regional styles of performance existed. With the release of American recordings of Irish traditional musicians (e.g. Michael Coleman 1927) and increased communications and travel opportunities, regional styles have become more standardised. Regional playing styles remain nonetheless, as evidenced by the very different playing styles of musicians from Donegal (e.g. Tommy Peoples), Clare (e.g. brothers John & James Kelly) and Sliabh Luachra (e.g. Jacky Daly). Donegal fiddle playing is characterised by fast, energetic bowing, with the bow generating the majority of the ornamentation; Clare fiddle playing is characterised by slower bowing, with the fingering generating most of the ornamentation. While bowed triplets (three individual notes with the bow reversed between each) are more common in Donegal, fingered triplets and fingered rolls (five individual notes fingered with a single bow stroke) are very common in Clare. Stage performers from the 1970s and 1980s (groups such as The Bothy Band, or soloists such as Kevin Burke) have used the repertoire of traditional music to create their own groups of tunes, without regard to the conventional 'sets' or the constraint of playing for dancers. Burke's playing is an example of an individual, unique, distinctive style, a hybrid of his classical training, the traditional Sligo fiddle style and various other influences. The most common instruments used in Irish traditional dance music, whose history goes back several hundred years, are the fiddle, tin whistle, flute and Uilleann pipes. Instruments such as button accordion and concertina made their appearances in Irish traditional music late in the 19th century. The 4-string tenor banjo, first used by Irish musicians in the US in the 1920s, is now fully accepted. The guitar was used as far back as the 1930s first appearing on some of the recordings of Michael Coleman and his contemporaries. The bouzouki only entered the traditional Irish music world in the late 1960s. The word bodhrán, indicating a drum, is first mentioned in a translated English document in the 17th century. The saxophone featured in recordings from the early 20th century most notably in Paddy Killoran's Pride of Erin Orchestra. Céilidh bands of the 1940s often included a drum set and stand-up bass as well as saxophones. Traditional harp-playing died out in the late 18th century, and was revived by the McPeake Family of Belfast, Derek Bell, Mary O'Hara and others in the mid-20th century. Although often encountered, it plays a fringe role in Irish Traditional dance music. The piano is commonly used for accompaniment. In the early 20th century piano accompaniment was prevalent on the 78rpm records featuring Michael Coleman, James Morrison, John McKenna, PJ Conlon and many more. On many of these recordings the piano accompaniment was woeful because the backers were unfamiliar with Irish music. However, Morrison avoided using the studio piano players and hand-picked his own. The vamping style used by these piano backers has largely remained. There has been a few recent innovators such as Mícheál Ó Súilleabháin, Brian McGrath, Liam Bradley, Josephine Keegan, Ryan Molloy and others. One of the most important instruments in the traditional repertoire, the fiddle (or violin – there is no physical difference) is played differently in widely varying regional styles. It uses the standard GDAE tuning. The best-known regional fiddling traditions are from Donegal, Sligo, Sliabh Luachra and Clare. The fiddling tradition of Sligo is perhaps most recognisable to outsiders, due to the popularity of American-based performers like Lad O'Beirne, Michael Coleman, John McGrath, James Morrison and Paddy Killoran. These fiddlers did much to popularise Irish music in the States in the 1920s and 1930s. Other Sligo fiddlers included Martin Wynne and Fred Finn. Notable fiddlers from Clare include Mary Custy, Yvonne Casey, Paddy Canny, Bobby Casey, John Kelly, Patrick Kelly, Peadar O'Loughlin, Pat O'Connor, Martin Hayes and P. Joe Hayes. Donegal has produced James Byrne, Vincent Campbell, John Doherty, Tommy Peoples, and Con Cassidy. Sliabh Luachra, a small area between Kerry and Cork, is known for Julia Clifford, her brother Denis Murphy, Sean McGuire, Paddy Cronin and Padraig O'Keeffe. Contemporary fiddlers from Sliabh Luachra include Matt Cranitch, Gerry Harrington and Connie O'Connell, while Dubliner Séamus Creagh, actually from Westmeath, is imbued in the local style. Modern performers include Kevin Burke, Máire Breatnach, Matt Cranitch, Paddy Cronin, Frankie Gavin, Paddy Glackin, Cathal Hayden, Martin Hayes, Peter Horan, Sean Keane, James Kelly, Mairéad Ní Mhaonaigh, Brendan Mulvihill, Máiréad Nesbitt, Gerry O'Connor, Caoimhín Ó Raghallaigh, and Paul O'Shaughnessy. There have been many notable fiddlers from United States in recent years such as Winifred Horan, Brian Conway, Liz Carroll, and Eileen Ivers. The flute has been an integral part of Irish traditional music since roughly the middle of the 19th century, when art musicians largely abandoned the wooden simple-system flute (having a conical bore, and fewer keys) for the metal Boehm system flutes of present-day classical music. Although the choice of the Albert-system, wooden flute over the metal was initially driven by the fact that, being "outdated" castoffs, the old flutes were available cheaply second-hand, the wooden instrument has a distinct sound and continues to be commonly preferred by traditional musicians to this day. A number of excellent players—Joanie Madden being perhaps the best known—use the Western concert flute, but many others find that the simple system flute best suits traditional fluting. Original flutes from the pre-Boehm era continue in use, but since the 1960s a number of craftsmen have revived the art of wooden flute making. Some flutes are even made of PVC; these are especially popular with new learners and as travelling instruments, being both less expensive than wooden instruments and far more resistant to changes in humidity. The tin whistle or metal whistle, which with its nearly identical fingering might be called a cousin of the simple-system flute, is also popular. It was mass-produced in 19th century Manchester England, as an inexpensive instrument. Clarke whistles almost identical to the first ones made by that company are still available, although the original version, pitched in C, has mostly been replaced for traditional music by that pitched in D, the "basic key" of traditional music. The other common design consists of a barrel made of seamless tubing fitted into a plastic or wooden mouthpiece. Skilled craftsmen make fine custom whistles from a range of materials including not only aluminium, brass, and steel tubing but synthetic materials and tropical hardwoods; despite this, more than a few longtime professionals stick with ordinary factory made whistles. Irish schoolchildren are generally taught the rudiments of playing on the tin whistle, just as school children in many other countries are taught the soprano recorder. At one time the whistle was thought of by many traditional musicians as merely a sort of "beginner's flute", but that attitude has disappeared in the face of talented whistlers such as Mary Bergin, whose classic early seventies recording Feadóga Stáin (with bouzouki accompaniment by Alec Finn) is often credited with revolutionising the whistle's place in the tradition. The low whistle, a derivative of the common tin whistle, is also popular, although some musicians find it less agile for session playing than the flute or the ordinary D whistle. Notable present-day flute-players (sometimes called 'flautists' or 'fluters') include Matt Molloy, Kevin Crawford, Peter Horan, Michael McGoldrick, Desi Wilkinson, Conal O'Grada, James Carty, Emer Mayock, Joanie Madden, Michael Tubridy and Catherine McEvoy, while whistlers include Paddy Moloney, Carmel Gunning, Paddy Keenan, Seán Ryan, Andrea Corr, Mary Bergin, Packie Byrne and Cormac Breatnach.Liam O'Flynn playing uilleann pipesA girl playing an accordion on Saint Patrick's Day in Dublin, 2010
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Beautiful,nicely proportioned Baileys Irish Cream Pub Mirror. 45cm x 55 cm Baileys Irish cream is an Irish whiskey and cream-based liqueur, made by Diageo at Nangor Road, in Dublin, Republic of Ireland and in Mallusk, Northern Ireland owned by Gilbeys of Ireland, the trademark is currently owned by Diageo. It has a declared alcohol content of 17% by volume. Baileys Irish Cream was created by Tom Jago of Gilbeys of Ireland, a division of International Distillers & Vintners, as it searched for something to introduce to the international market. The process of finding a product began in 1971 and it was introduced in 1974 as the first Irish cream on the market. The Baileys name was granted permission by John Chesterman after Gilbeys asked to use the name from a restaurant that John Chesterman owned. The fictional R.A. Bailey signature was inspired by the Bailey's Hotel in London, though the registered trademark omits the apostrophe. Cream and Irish whiskey from various distilleries are homogenized to form an emulsion with the aid of an emulsifier containing refined vegetable oil. The process prevents the separation of alcohol and cream during storage. Baileys contains a proprietary cocoa extract recipe giving Baileys its chocolate character and essence. The quantity of other ingredients is not known but they include herbs and sugar. According to the manufacturer, no preservatives are required as the alcohol content preserves the cream. The cream used in the drink comes from Glanbia, an Irish dairy company. Glanbia's Virginia facility in County Cavan produces a range of fat-filled milk powders and fresh cream. It has been the principal cream supplier to Baileys Irish Cream Liqueurs for more than thirty years. At busier times of the year, Glanbia will also supply cream from its Ballyragget facility in Kilkenny. The manufacturer claims Baileys Irish Cream has a shelf life of 24 months and guarantees its taste for two years from the day it was made—opened or unopened, stored in a refrigerator or not—when stored away from direct sunlight at temperatures between 0 and 25 °C (32 and 77 °F). As is the case with milk, cream will curdle whenever it comes into contact with a weak acid. Milk and cream contain casein, which coagulates, when mixed with weak acids such as lemon, tonic water, or traces of wine. While this outcome is undesirable in most situations, some cocktails (such as the cement mixer, which consists of a shot of Bailey's mixed with the squeezed juice from a slice of lime) specifically encourage coagulation. In 2003, Bailey & Co. launched Baileys Glide, aimed at the alcopop market. It was discontinued in 2006. In 2005, Baileys launched mint chocolate and crème caramel variants at 17% ABV. They were originally released in UK airports and were subsequently released in the mass markets of the UK, US, Australia and Canada in 2006. In 2008, Baileys, after the success of previous flavour variants, released a coffee variant, followed by a hazelnut flavoured variant in 2010.The company trialled a new premium variety, Baileys Gold, at several European airports in 2009. The Gold version also was marketed towards the Japanese consumer.The latest additions to the Baileys flavour family are Biscotti, launched in 2011, and a sub-brand premium product Baileys Chocolat Luxe, which combined Belgian chocolate with Baileys, in 2013. The company released a Vanilla-Cinnamon variety in the US market in 2013 with further flavours, Pumpkin Spice, Espresso and Salted Caramel launching the following year.In 2017, Baileys launched their Pumpkin Spice flavoured liqueur, also their Vegan-Friendly Baileys Almande, and in 2018 Baileys Strawberries & Cream was made available.
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Very rare Nicholas Devereux of Wexford Finest Irish Whiskey advert. 68cm x 55cm Clonroche Co Wexford Bishops Water Distillery(subsequently known as Nicholas Devereux Finest Irish Whisky) was an Irish whiskey distillery which operated in Wexford, Ireland between 1827 and 1914. The distillery was named for a stream which ran along the back of the distillery, the Bishop's Water, said to possess "various occult properties derived from the blessings of the sainted Bishop of Ferns". Constructed at a cost of £30,000, the distillery was reported to be “reckoned the most perfect and complete of the kind in Ireland”.In 1833, just a few years after it opened, the distillery recorded an output of about 200,000 gallons per annum .However, output had fallen to just 110,000 gallons per annum in 1886, when the distillery was visited by Alfred Barnard, as recorded in his seminal 1887 publication "The Whisky Distilleries of the United Kingdom". This was amongst the lowest output of any distillery operating in Ireland at the time, and far below the potential output of 250,000 gallons per annum reported when the distillery was offered for sale as a going concern in 1909. The distillery's whiskey, Barnard noted, was highly appreciated locally, and in the British cities where it was exported. In the early 20th century, with the Irish whiskey industry in decline, Bishop's Water distillery, like the majority of distilleries in Ireland at the time, suffered serious financial difficulties, and entered bankruptcy. Following its closure, the distillery was initially converted into an iron works (Pierce Ironworks). However, much of the site was later demolished, and little evidence of the distillery still remains. Some mementos can still be found in locals pubs, while a stone archway known to have been extant in 1903 and now bearing the inscription "Casa Rio", possibly in reference to the location of a Pierce ironworks office in Buenos Aires, marks the entrance to the site where the distillery once stood, on Distillery Road. In 1827, a whiskey distillery was established on what is now Distillery Road, Wexford by a consortium of businessmen. The consortium which traded under "Devereux, Harvey, and Co., Distillers", comprised a number of local businessmen, including Nicholas Devereux, his father John Devereux, and Maurice Crosbie Harvey. John Devereux had previously operated a small distillery in the area in the late 1700s, but will little success. In 1830, one of the partners, Maurice Harvey, was accidentally killed at the distillery by an excise man who was taking aim at some birds flying overhead. A few years later, in 1836, the partnership was dissolved at the mutual consent of the remaining partners, with Nicholas Devereux taking sole ownership of the distillery, after which the distillery traded under the name Nicholas Devereux & Son.On his death in 1840, operation of the distillery was taken over by his son Richard. Nichloas Devereux's granddaughter, Mary Anne Therese was also deeply involving in the distilling industry. She married John Locke, founder of the larger Kilbeggan distillery, and successfully took over the business operations of the distillery on his death in 1868. According to Alfred Barnard, the British journalist who visited Bishop's Water in the 1880s, the distillery produced triple-distilled "old pot still whiskey", which was sold locally in Ireland, and also exported to London, Liverpool, and Bristol. At the time of his visit, the Malt Warehouses on-site contained over 16,000 barrels of pure malt. In addition, upwards of 3,000 casks of whiskey were undergoing maturation at the distillery. Whiskey from the distillery is also noted to have been used in the production of blended whiskeys in later years. In the early 20th century, the distillery suffered financial difficulties. In 1907, an attempt was made to appoint a receiver, and in 1909, the distillery was put up for sale, but no takers could be found.In 1914, distilling eventually ceased at the site, and the remaining stocks were sold off.
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Beautiful depiction of Youghal Co Cork. These beautiful quaint scenes from six individual towns were originally table and have been superbly mounted and framed to create a memorable souvenir collection.Originally painted by talented local artist Roisin O Shea,the prints depict everyday scenes of streetlife in Killarney,Kilkenny,Blarney,Galway,Kinsale and Youghal. Lahinch Co Clare 33cm x 39cm
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Pair of tastefully framed portraits (after the paintings by R.M Hodgetts) of one of the greatest statesmen, orators and wits in Irish history -Daniel O'Connell 28cm x 25cm Daniel O'Connell (18th August 1775 – 15 May 1847), often referred to as The Liberator or The Emancipator,was an Irish political leader in the first half of the 19th century. He campaigned for Catholic emancipation—including the right for Catholics to sit in the Westminster Parliament, denied for over 100 years—and repeal of the Acts of Union which combined Great Britain and Ireland. Throughout his career in Irish politics, O'Connell was able to gain a large following among the Irish masses in support of him and his Catholic Association. O'Connell's main strategy was one of political reformism, working within the parliamentary structures of the British state in Ireland and forming an alliance of convenience with the Whigs. More radical elements broke with O'Connell to found the Young Ireland movement. O'Connell was born at Carhan near Cahersiveen, County Kerry, to the O'Connells of Derrynane, a once-wealthy Roman Catholic family that had been dispossessed of its lands. His parents were Morgan O'Connell and Catherine O'Mullane. Among his uncles was Daniel Charles, Count O'Connell, an officer in the Irish Brigades of the French Army. A famous aunt was Eibhlín Dubh Ní Chonaill, while Sir James O'Connell, 1st Baronet, was his younger brother. Under the patronage of his wealthy bachelor uncle Maurice "Hunting Cap" O'Connell. O'Connell was first sent with his brother Maurice to Reddington Academy at Long Island, near Queenstown (Cobh) They both studied at Douai in France from 1790 and O'Connell was admitted as a barrister to Lincoln's Inn in 1794, transferring to Dublin's King's Inns two years later. In his early years, he became acquainted with the pro-democracy radicals of the time and committed himself to bringing equal rights and religious tolerance to his own country.O'Connell's home at Derrynane Co KerryStatue of Daniel O'Connell outside St Patrick's Cathedral, MelbourneThe Monster Meeting at Clifden in 1843 by Joseph Patrick Haverty. O'Connell is depicted in the center addressing the gathered masses.
Daniel O'Connell is honoured on the first commemorative stamps of Ireland, issued in 1929. Mausoleum of Daniel O'Connell in Glasnevin Cemetery1834 portrait of Daniel O'Connell by George HayterO'Connell is on the left edge in this painting which is of the 1840 World Anti-Slavery Convention."Daniel O'Connell: The Champion of Liberty" poster published in Pennsylvania, 1847O'Connell's grave in Glasnevin Cemetery, Dublin. In accordance with his final words – "My body to Ireland, my heart to Rome, and my soul to heaven" – his embalmed heart was interred in a silver casket and sent to Rome, though it is now lost.- "The altar of liberty totters when it is cemented only with blood." (Written in his Journal, December 1796, and one of O'Connell's most well-known quotes. Quoted by O'Ferrall, F., Daniel O'Connell, Dublin, 1981, p. 12)
- "Gentlemen, you may soon have the alternative to live as slaves or die as free men." (speaking in Mallow, County Cork)
- "Good God, what a brute man becomes when ignorant and oppressed. Oh Liberty! What horrors are committed in thy name! May every virtuous revolutionist remember the horrors of Wexford!" (Written in his journal, 2 January 1799, referring to the recent 1798 Rebellion. Quoted from Vol I, p. 205, of O'Neill Daunt, W. J., Personal Recollections of the Late Daniel O'Connell, M.P., 2 Vols, London, 1848.)
- "My days—the blossom of my youth and the flower of my manhood—have been darkened by the dreariness of servitude. In this my native land—in the land of my sires—I am degraded without fault as an alien and an outcast." (July 1812, aged 37, reflecting on the failure to secure equal rights or Catholic Emancipation for Catholics in Ireland. Quoted from Vol I, p. 185, of O'Connell, J. (ed.) The Life and Speeches of Daniel O'Connell, 2 Vols, Dublin, 1846)
- "How cruel the Penal Laws are which exclude me from a fair trial with men whom I look upon as so much my inferiors ...'. (O'Connell's Correspondence, Letter No 700, Vol II)
- "I want to make all Europe and America know it—I want to make England feel her weakness if she refuses to give the justice we [the Irish] require—the restoration of our domestic parliament ..." (Speech given at a 'monster' meeting held at Drogheda, June 1843)
- "There is an utter ignorance of, and indifference to, our sufferings and privations ... What care they for us, provided we be submissive, pay the taxes, furnish recruits for the Army and Navy and bless the masters who either despise or oppress or combine both? The apathy that exists respecting Ireland is worse than the national antipathy they bear us." (Letter to T. M. Ray, 1839, on English attitudes to Ireland (O'Connell, Correspondence, Vol VI, Letter No. 2588))
- "No person knows better than you do that the domination of England is the sole and blighting curse of this country. It is the incubus that sits on our energies, stops the pulsation of the nation's heart and leaves to Ireland not gay vitality but horrid the convulsions of a troubled dream." (Letter to Bishop Doyle, 1831 (O'Connell Correspondence, Vol IV, Letter No. 1860))
- "The principle of my political life ... is, that all ameliorations and improvements in political institutions can be obtained by persevering in a perfectly peaceable and legal course, and cannot be obtained by forcible means, or if they could be got by forcible means, such means create more evils than they cure, and leave the country worse than they found it.' (Writing in The Nationnewspaper, 18 November 1843)
- "No man was ever a good soldier but the man who goes into the battle determined to conquer, or not to come back from the battle field (cheers). No other principle makes a good soldier." (O'Connell recalling the spirited conduct of the Irish soldiers in Wellington's army, at the Monster meeting held at Mullaghmast.)
- "The poor old Duke [of Wellington]! What shall I say of him? To be sure he was born in Ireland, but being born in a stable does not make a man a horse." (Shaw's Authenticated Report of the Irish State Trials (1844), p. 93)
- "Every religion is good—every religion is true to him who in his good caution and conscience believes it." (As defence counsel in R. v Magee (1813), pleading for religious tolerance.)
- "Ireland is too poor for a poor law." (In response to the Poor Relief Act of 1839 that set up the workhouses.
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Brilliant photograph from 1960 as proud owner/trainer Denis Hyland lovingly buys a second pint of Guinness for his undefeated 3 time Heavyweight Cockfighting Champion of Ireland -Ginger.For more information on the ancient sport of cockfighting please read on . 50cm x40cm Stradbally Co Laois Nowadays Gaelic Games, soccer and rugby lead the way. But there used to be a time when cockfighting was the most popular spectator "sport" in Ireland.Naturally the gruesome nature of the activity means it is illegal today in most parts of the world.UCD professor Paul Rouse has shared the history of many Irish sports, and this week cockfighting was under the microscope. "From the Middle Ages onwards, from 1200 to 1300 onwards, there is evidence of cockfighting taking place [in Ireland] and actually not just evidence of it taking place but the simple fact that it was central to Irish life," he said. Indeed it was so central to life that for example, shortly after 1798 in the market of Kildare Town, a cockpit was build to stage fights. "And that is a unique thing. We know that there were cockfighting pits all across Ireland," Rouse adds. "All across the place you have evidence of cockfighting. And they're only the ones that were dedicated purpose-built cockpits. We know that there was cockfighting in pubs, theatres, on streets, in sheds, in back lanes, out in fields. It was everywhere."Rouse also explained that cockfighting transcended class and social divisions, also adding that bull-baiting and bear-baiting were also popular in the United Kingdom in previous centuries with only a few detractors. An RTE report from 1967 further investigated this clandestine sport, roughly around the same era that Ginger was ruling the roost (so to speak!)
Cockfighting is an illegal sport, it is still practised in Ireland, and shows no signs of dying out.
A cockfight is a blood sport where two cockerels are placed in a ring, called a ‘pit’, and fight one another, often until the death, for the entertainment of onlookers. Gambling also takes place at these events. Cathal O’Shannon talks to a man identified as Charlie, who trains cockerels, attends cockfights and also acts as an adjudicator at cockfighting matches. Charlie explains what happens at a cockfight, or ‘main’. The birds are placed in the pit and advance on one another. Men pick the birds up, or ‘haunt the cocks’, when one of the cockerels is injured, or when he goes outside the pit, and go back to their station again. The adjudicator then starts counting to 30. This gives the birds a brief rest before the next bout commences. When asked if he thinks that the metal spurs tied to the cockerels’ feet are cruel, he says "A cock can run if he likes...he can quit fighting." Contrary to popular opinion, Charlie does not believe the sport is a cruel one, as he loves the birds, and looks after them in the best way possible prior to a fight, "Get him cleaned up, and give him the sweet milk and the porridge, and get him dosed up again, a wee taste of rice, you get him closed...you put him on the bread then...give him three feeds...bread, and the whites of eggs, and spiced port wine or sherry." When there is a ‘main’ on, the news is spread by word of mouth, often less than 24 hours in advance. Cathal O’Shannon notes that the best place to find a cockfight is, ironically, often where there is a large police presence, such as a football match, a parade, or a Fleadh Cheoil. Any place where the police are too busy to notice. This report for Newsbeat was broadcast on 19 May 1967. The reporter was Cathal O’Shannon. ‘Newsbeat’ was a half-hour feature programme presented by Frank Hall and ran for 7 years from September 1964 to June 1971. ‘Newsbeat’ went out from Monday to Friday on RTE television and reported on current affairs and issues of local interest from around Ireland. The final programme was broadcast on the 11 June 1971. Origins : Co Laois Dimensions :60cm x 50cm 6kg