• 63cm x 29cm A very popular Pipe Tobacco from the P.Carrolls Tobacco Company in Dundalk Co Louth was Mick McQuaids.But who was this legendary, smiling character the product was inspired by ??? The tales of Mick McQuaid  were first written by William Francis Lynam – a soldier, writer and editor who was born in Galway in 1833 and died in Dublin in 1894. Little is known about his background (or his military career), but by the 1860s he was living in Dublin and was – it appears – the owner and editor of the Shamrock story paper.   One of the earliest Irish story papers, it was established in 1866 as a penny weekly ‘companion’ paper to the Irishman newspaper. The Irishman, a very advanced nationalist paper, was established in 1859 by Richard Pigott – a very colourful character in Irish journalism who would acquire infamy as the forger of the damning letters supposedly written by Parnell in the 1880s. The exact editorial and proprietorial relationship between the Irishman and the Shamrock is rather murky – some sources imply Pigott owned them both, while others insist that Lynam owned the Shamrock, in which case the precise nature of their connection is unknown. Pigott and Lynam may have been actual business partners, or simply had an informal alliance. The 1860s was of course the era of the Fenian movement in Ireland and abroad, and under Pigott’s editorship the Irishmanwas a very popular voice for Fenianism. If the Irishman was aimed at an adult readership seeking radical political news and commentary, the Shamrock was its more entertaining younger sibling, intended to instil a sense of national pride and identity in its boy (and occasional girl) readers. To do this, it specialised in exciting Irish historical fiction serials, set at key moments of Irish nationalist history such as the 1798 Rebellion or the Jacobite Wars, and usually centred around an ordinary Irish boy who readers could identify with as he became swept into political and military excitements and encountered historical figures such as Wolfe Tone or Redmond O’Hanlon. But as well as historical fiction, the Shamrock also published romances and vernacular tales of Irish life. The most successful of these vernacular tales were, by a very long way, the Mick McQuaid stories. A series of comic tales (although to be quite honest the modern reader might take some convincing of that description) set in what was then contemporary Ireland, they all featured the adventures of central character Mick McQuaid – a quick-thinking, wise-cracking chancer who nevertheless usually managed to save the day and prevent the more straight-forward villainy of figures such as agents for absentee landlords, or local gombeen men. Each story saw Mick in a new role and setting, such as ‘Mick McQuaid, Money Lender’, ‘Mick McQuaid, Member of Parliament’, ‘Mick McQuaid, Detective’, and ‘Mick McQuaid, Evangelist’. Each story was long, with (overly) complex plots, many characters, comic tangents and multiple narrative threads to be resolved, so they were serialised in short instalments over several months of weekly issues. These kind of serial stories were crucial to story papers, designed to bring readers back week after week and build a loyal and regular readership, and the Mick McQuaid stories were a classic example of their type. It has to be admitted it would be difficult to that claim the stories deserve to be ‘rediscovered’ by modern readers. They are an interesting window into popular fiction of the era, especially in terms of their representations of Irish life and society – however their plots are unwieldy, their humour has not aged well and they are written in an almost impenetrable ‘Irish’ dialect which was obviously part of their appeal in the 1860s but which is extremely difficult to read now. Instead what is most interesting about the Mick McQuaid stories is their extraordinary popularity across many decades. Lynam reportedly became bored with the stories after just a few years, and indeed replaced them with tales of another very similar ‘charming Irish rogue’ anti-hero, the Darby Durkan series, which in their turn were also fairly popular. But popular demand for continued Mick McQuaid stories forced him to write more of them (a common experience for authors of popular fiction, most famously in the case of Conan Doyle’s reluctant resurrection of Sherlock Holmes). Indeed, the circulation of the Shamrock reportedly dropped sharply when he attempted to end the McQuaid stories, so they had to be revived and reprinted. It is difficult to be sure exactly how many stories there are in total (perhaps ten or so), each one lasting up to 6 months of weekly instalments – but for a youthful audience this was enough to keep printing and reprinting them over years and eventually decades. Rather like the endlessly circulating repeats of television sit-coms in our own era, which happily rewatched by fans and watched for the first time by successive generations (Faulty Towers being the obvious example, with just twelve episodes ever made in the 1970s, but which are still being screened 40 years later) these very popular serials played on an endless loop in the story papers. Lynam died in 1894, but his serials lived on without him. The Darby Durkan stories appeared in the Shamrock’s rival story paper the Emerald in the early 20thC, and after the two papers merged in 1912 the McQuaid stories also continued in the new paper until its demise in 1919 – and may well have continued to appear in other publications after that although I have yet to find them. Their popularity was such that in 1889 Carroll’s Tobacco company in Dundalk named a new brand of pipe tobacco after Mick McQuaid, who often smoked a pipe in the stories as he held forth with his distinctive folk wisdom. The brand was itself a great success (presumably the tobacco and the stories amplified each other’s standing among readers and smokers in ways that benefitted both), and by the 1920s Carroll’s had commissioned a cartoon version of Mick McQuaid for their packaging and advertising – the photograph accompanying this post is of a tobacco tin from the mid-20thC. So while the stories had not had significant illustrations during their 19thC hey-day, the Mick McQuaid character took visual form years after his author’s death, and in fact became one of mid-20thC Ireland’s most successful brands, only being discontinued in 2016 – a strange afterlife for a fictional character first invented in 1867.
  • 51cm x 63cm In 1929, Limerick city was the home to two large of tobacco factories Spillane’s and Clune’s who imported tobacco from the United States, Egypt and Turkey as well as locally grown tobacco to produce their famed products. Spillane’s Tobacco Factory on Sarsfield Street was started by John Spillane in 1829 and was known as ‘The House of Garryowen’. A hundred years later they were employing a hundred people. The famous Garryowen plug formed 80 per cent of the factories output while they had other products including Popular and Treaty bar plugs, Hazel Nut plug, Special Flake, Handy Cut Flake, snuffs, Cashel, High Toast, White Top and Craven A cigarettes. To meet a special demand from the North of Ireland the factory produced a type of plug known as Long Square. Spillane’s closed in 1958 with the loss of 150 jobs after the building was purchased by Murray Ltd, of Dublin the year previous. Their building is where the old Dunnes Stores building stands today.  William Spillane who was the Mayor of Limerick in 1885 built the Spillane Tower which today is better known as the ‘Snuff Box’ on the banks of the Shannon river at Corkanree.
    tobacco

    Spillane’s Two Flakes from Limerick Museum

    The other large factory was Clune’s Tobacco Factory on Denmark Street. It opened in the late 1872 and had about 60 employees in 1929. The firm specialised in Big Bar Plug, every two ounces of which is stamped Thomond. They also excelled in the Far-Famed Limerick Twist. They were also known for Kincora Plug, Sarsfield Plug, Home Rule, Hibernian, Target, Ireland’s Pride and Two Flake. A popular item associated with tobacco factories are the cigarette cards. Cigarette cards were originally produced as a small piece of card which was designed to protect the individual cigarettes from being squashed as the original packaging was paper and not the card boxes that we know today. We must not forget M.Cahill’s of Wickham Street which housed a snuff factory in 1870 in the basement of the building and operated for over sixty years. The business was founded by Michael Cahill (c.1846-1918) who was also the director of the Limerick Race Company.  Cahill’s became Ireland’s longest running tobacco store and is still in operation offering a selection of cigar, teas and “gentleman’s gifts” including Swiss army knives, hipflasks and pipes. Sharon Slater  
  •   Dimensions : 35cm x 48cm  Glazed
    20 Carrolls
    A packet of 20 Carrolls Number 1
    20 Major
    A package of 20 Major
    Sweet Afton
    20 Sweet Afton
    P. J. Carroll & Company Limited, often called Carroll's, is a tobacco company in Republic of Ireland. It is Ireland's oldest tobacco manufacturer and is now a subsidiary of British American Tobacco Plc.Its cigarette brands were among the best selling in Ireland in the twentieth century. Its factory was for decades the largest employer in Dundalk. Patrick James Carroll (b. 1803) completed his apprenticeship as a tobacconist in 1824 and opened a shop in Dundalk, later also manufacturing cigars.Patrick James moved to Liverpool in the 1850s. His son Vincent Stannus Carroll expanded the firm in the later 19th century.His son James Marmion Carroll moved to a house outside Dundalk.A second factory was opened, in Liverpool, in 1923. The company went public in 1934. A purpose-built factory opened in 1970. Designed by Ronnie Tallon of Michael Scott and Partners, it was described by Frank McDonald as "way ahead of anything else in Ireland at the time". In 1974 to mark the 150th anniversary of its founding, P.J. Carroll published an illustrated booklet by the writer James Plunkett: P. J. Carroll & Co. Ltd, Dublin & Dundalk - A Retrospect, outlining the development of the company in its historical context. Carroll's was acquired by Rothmans in 1990; Rothmans was acquired by British American Tobacco Plc in 1998. The company's share of the Irish tobacco market is around 17%. In 2002 the Dundalk site was sold for €16.4m to the Department of Education and repurposed for the campus of Dundalk Institute of Technology. Carroll's rented back a small section for its remaining factory operations, until finally ceasing its Dundalk operations in 2008. Carrolls remains an Irish company with deep connections to hundreds of retirees and nearly 40 staff based in their Dublin offices. PJ Carroll agrees that the Government should regulate on smoking and health issues; this regulation should be informed, evidence-based, and proportionate. PJ Carroll and BAT acknowledge that smoking is a cause of various serious and fatal diseases, including lung cancer, emphysema, chronic bronchitis and cardiovascular diseases. In 2013,some lawmakers suggested PJ Carroll should be prohibited from speaking with lawmakers on the basis of the WHO Framework Convention on Tobacco Control (FCTC). PJ Carroll comes under the definition of Tobacco Industry as set out by the FCTC, but the FCTC does not prohibit engagement between tobacco companies and public representatives, but puts in place strict rules relating to transparency.

    Brands

    • "Carrolls Number 1", its first filter cigarette, was launched in 1958.
    • "Carrolls Additive Free* Red" and "Carrolls Additive Free* Blue" was launched in 2013 as additive free* cigarettes started to gain popularity across Western Europe. (*No additives in the tobacco blend does NOT mean a less harmful cigarette)
    • "Pall Mall" is one of PJ Carroll's strongest growing brands.
    • Vogue is PJ Carroll's premium cigarette brand.
    • "Major",[4] a full flavor cigarette.
    Of international brands, Carroll's manufactured Rothmans and Dunhill and distributed Winfield, and Lucky Strike
    • "Sweet Afton", launched in 1919, was named after "'Afton Waters" by Robert Burns, whose sister Agnes was buried in a graveyard opposite the old Carrolls factory in Church Street, Dundalk.[2]Sweet Afton cigarettes were discontinued in the Autumn of 2011.

    Sponsorship[edit]

    Carroll's was a major sponsor of sport in Ireland until restrictions were imposed on tobacco advertising. The company had naming rights over the GAA All Stars Awards (1971–78);[8] and Irish showjumping horses of the 1970s and 80s, such as "Carroll's Boomerang".[9] In golf, Carroll's was the sponsor of several professional tournaments including the Carroll's International (1963 to 1974), the Carroll's Number 1 Tournament (1965 to 1968), the Carroll's Irish Match Play Championship (1969 to 1982),[10] and most notably the revived Irish Open from 1975 to 1993.
       
  • 47cm x 37cm  Limerick Navy cut were  a brand of cigarettes manufactured by Imperial Brands –formerly John Player & Sons– in Nottingham, England.The brand became "Player's Navy Cut". They were particularly popular in Britain,Ireland and Germany in the late 19th century and early part of the 20th century, but were later produced in the United States. The packet has the distinctive logo of a smoking sailor in a 'Navy Cut' cap. The phrase "Navy Cut" is according to Player's adverts to originate from the habit of sailors taking a mixture of tobacco leaves and binding them with string or twine. The tobacco would then mature under pressure and the sailor could then dispense the tobacco by slicing off a "cut".The product is also available in pipe tobacco form. The cigarettes were available in tins and the original cardboard container was a four sided tray of cigarettes that slid out from a covering like a classic matchbox. The next design had fold in ends so that the cigarettes could be seen or dispensed without sliding out the tray. In the 1950s the packaging moved to the flip top design like most brands.

    Enamelled metal box for 1 ounce of tobacco
    The image of the sailor was known as "Hero" because of the name on his hat band. It was first used in 1883 and the lifebuoy was added five years later. The sailor images were an 1891 artists concept registered for Chester-based William Parkins and Co for their "Jack Glory" brand.Behind the sailor are two ships. The one on the left is thought to be HMS Britannia and the one on the right HMS Dreadnought or HMS Hero. As time went by the image of the sailor changed as it sometimes had a beard and other times he was clean shaven. In 1927 "Hero" was standardised on a 1905 version. As part of the 1927 marketing campaign John Player and Sons commissioned an oil painting Head of a Sailor by Arthur David McCormick.The Player's Hero logo was thought to contribute to the cigarettes popularity in the 20s and 30s when competitor W.D. & H.O. Wills tried to create a similar image. Unlike Craven A, Navy Cut was intended to have a unisex appeal. Advertisements referred to "the appeal to Eve's fair daughters" and lines like "Men may come and Men may go".
    WWII cigarette packets exhibited at Monmouth Regimental Museumin 2012
    Hero is thought to have originally meant to indicate traditional British values, but his masculinity appealed directly to men and as a potential uncle figure for younger women. One slogan written inside the packet was "It's the tobacco that counts" and another was "Player's Please" which was said to appeal to the perceived desire of the population to be included in the mass market. The slogan was so well known that it was sufficient in a shop to get a packet of this brand. Player's Medium Navy Cut was the most popular by far of the three Navy Cut brands (there was also Mild and Gold Leaf). Two thirds of all the cigarettes sold in Britain were Players and two thirds of these was branded as Players Medium Navy Cut. In January 1937, Players sold nearly 3.5 million cigarettes (which included 1.34 million in London. The popularity of the brand was mostly amongst the middle class and in the South of England. While it was smoked in the north, other brands were locally more popular. The brand was discontinued in the UK in 2016.  
     
  • Original 1940s letter from W & A Gilbeys Dublin. 23cm x 19cm .These unique artefacts of old Irish commercial life will make superb decorative item for any discerning Irish pub or home bar with a  distinctive Irish theme.What makes these items of even more historical value and interest is the fact that the majority of them date from the World War 2 Era or what was known as the Emergency in Ireland as its remained somewhat controversially neutral under DeValera's leadership.We can see vividly through these unique items  how ordinary people and both small and large businesses alike were presented with an unprecedented set of challenges -rationing,increaseed regulation  and of decreased supply and increased demand created by a world in turmoil. Presented in antique frames, these are the real deal after a number were found in an old suitcase bought at auction. If interested in buying a number of these charming pieces of Irish commercial ephemera, please contact us directly at irishpubemporiu@gmail.com for a special deal !   Dingle Co Kerry  27 cm x 23cm

    A short history of Ireland during the Second World War, by John Dorney.

    The Second World War was the defining event of the twentieth century. It saw, as well as the deaths of tens of millions and devastation of two continents, the defeat of Hitler and Nazism, the decline of the once dominant European empires and the rise to superpower status of the United State and the Soviet Union. In the Irish state, popularly known throughout the war years as ‘Eire’ it was also a crucial event, though more for what did not happen than what did. Ireland did not join the war, but declared neutrality. Indeed the world war, in Ireland, was not referred to as a war at all, but as ‘The Emergency’. In staying neutral, despite British and latterly American pleas to join the war, Ireland, under Eamon de Valera, successfully asserted the independence of the new state. However, Irish neutrality was a fraught affair – a delicate balancing act between neutrality and secretly aiding the Allied powers.  

    Background, incomplete independence

     
    Eamon de Valera.
    The independence struggle of 1916-1921 had not resulted, as Irish Republicans had dreamed, in a fully independent all-Ireland Republic. Instead, the Treaty settlement of 1921 left two states in Ireland. One, the Irish Free State, in 26 of Ireland’s 32 counties was a self-governing dominion of the British Empire. The other 6 counties, Northern Ireland, was a unionist dominated autonomous region of the United Kingdom. While the Free State was much more independent than Northern Ireland, it was not completely so. As well as symbolic ties to Britain – an oath of fidelity members of parliament had to take to the British monarch and Governor General who represented the King as head of state in Ireland, the British retained three naval bases around the Irish coast, at Cobh, Bearhaven and Lough Swilly. The acceptance of this settlement tore the unity of the Irish nationalist movement apart, in a bitter Civil War in 1922-23, won by the pro-Treaty faction.  
    The Irish state stayed neutral during the War to assert its independence from Britain.
      The anti-Treaty Republicans never fully accepted their defeat however. What was left of the guerrilla army that had fought British and the Civil War, the IRA, never accepted the Free State. In 1932, the major political party that emerged from the anti-Treaty movement, Fianna Fail, came to power by election. Under Eamon de Valera, they set about dismantling the Treaty, abolishing the oath to the British monarchy, the Governor General and the Senate and introducing a new constitution in 1937. They also initiated a tariff war with Britain by refusing to pay back the Land Annuities that Britain had granted to subsidise land reform in Ireland in the early twentieth century. While this satisfied many of de Valera’s supporters, the IRA continued to oppose anything short of a fully independent Irish Republic. De Valera had legalised the organisation in 1933, but he banned them again in 1936, as they would not give up their arms or illegal methods. De Valera’s new constitution removed the name Irish Free State and stated that the country’s name was ‘Eire, or in the English language Ireland’. The name ‘Eire’ stuck abroad to distinguish the former Free State from Northern Ireland. By 1938, however, both de Valera and the British government of Neville Chamberlain, were eager to normalise relations with each other. De Valera agreed to pay a lump sum towards the land annuities and in return, Chamberlain lift the onerous tariffs on Irish agricultural imports. Most importantly though, the British agreed to return to Ireland the three ‘Treaty ports’ on the Atlantic Coast. The British analysis was that the ports had not been well-maintained, required investment and would be difficult to defend in wartime should the Irish ever try to take them back. But the British thought they were being returned to Ireland on the implicit understanding that British naval forces would be allowed to use them in the event of a European war. De Valera, on the other hand, had insisted that the return of the ports be unconditional and when war broke out, refused the British request to use the ports as anti-submarine bases.  

    The Treaty ports and Irish unity

     
    The location of the Treaty Ports. 
    Nazi Germany invaded Poland in September 1939, causing Britain and France to declare war on Germany. Ireland immediately declared neutrality. By the summer of 1940, however the situation had changed dramatically and to the peril of neutral Ireland. German forces had rolled over most of western Europe, occupying Denmark, Norway the Netherlands, Belgium and most importantly, France. The British Army had only barely escaped annihilation at Dunkirk. Britain now faced a fight for its life, with the Atlantic Ocean and trade with America as it last lifeline. Now it again desperately needed the use of Atlantic Ports that it had returned to Ireland in 1938, to safeguard the convoys of merchant ships that crossed the Atlantic with food and arms.  
    Winston Churchill had to be persuaded not to invade Ireland to take Ireland’s Atlantic ports.
      At this point Neville Chamberlain was replaced as British Prime Minister by Winston Churchill, who took a far less conciliatory position on Irish neutrality than his predecessor. Churchill was one of the architects of the Anglo-Irish Treaty back in 1921 and considered that the Irish state only existed as agreed under the Treaty, ‘under the [British] Crown’. He therefore considered Irish neutrality as a breach of the Treaty and that Britain would be within its rights to re-occupy the territory of the Irish Free State. On numerous occasions he had to be talked out of unilaterally taking back the ‘Treaty Ports’ in Ireland by military action by his cabinet Churchill however also attempted to lure de Valera into the war by offering him the prospect of Irish unity in return for an end to the policy of neutrality. In popular consciousness this is often held to have been confined to a late night note Churchill fired off to de Valera in which he wrote ‘now or never, a nation once again’. In reality however, the British offer of a united Ireland was far more concrete than is widely understood. Irish and British teams negotiated for months, and the British under Neville Chamberlian offered de Valera of formal offer of unity on June 28 1940, in return for British troops, planes and ships being allowed to garrison the Treaty Ports. What decided de Valera against accepting the offer, apart from the innate fears of entering the war, was that a prospective united Ireland would have to be approved in the Northern Ireland Parliament. As long as this was dominated by unionists, this meant that no British offer of unity was likely to come to pass. Ireland and her ports stayed out of the war. Northern unionists, meanwhile, were outraged at the prospect of a united Ireland negotiated behind their backs between London and Dublin.

    Neutral?

     
    The Irish Army in 1930s German style helmets. They were re-kitted with British pattern gear during the War.
    Because of Ireland’s stance, many in Britain claimed that Ireland was secretly pro-Axis and rumours, mostly unfounded, abounded of German u-boats docking on Ireland’s west coast. Pressure increased on Ireland to join the war after the entry of the United State in 1941. The American consul in Dublin David Gray, was extremely hostile to Irish neutrality and consistently reported, erroneously, that Irish neutrality was pro-Axis. This meant that Ireland had to aid the Allies in order placate Britain, avoid a possible British invasion and to avoid American hostility. At the start of the war, De Valera secretly agreed with the British to share naval and marine intelligence with them. Dan Bryan, the head of Irish military intelligence, developed particularly close relations with his British counterparts during the war. The standard practice for neutral countries was to intern any belligerent personnel who landed there. At the start of the war, Ireland followed this practice and detained both Allied and German airmen who crash landed in Ireland.  
    Despite its neutrality, in practice Ireland aided the Allies in many ways.
      However, in 1943, Ireland quietly released all its 33 Allied internees while keeping the Germans incarcerated. About 260 German military, air force and naval personnel, who had mostly crashed landed in Ireland, were interned in Ireland during the war From this point onwards, when allied airplanes crashed in Irish territory, their surviving crews were secretly escorted across the border, back into British territory. And where possible, their machines were also repaired and returned. The official justification for this was that all allied planes over Ireland were on training missions, whereas the Germans were on combat missions. From 1941 onwards, Ireland also permitted allied planes to fly over Irish air space in an ‘air corridor’ over County Donegal into Northern Ireland. In 1944, in the run up to the Normandy Landings in France, Irish weather stations provided the allies with secret weather reports that helped the invasion of Europe to go ahead Northern Ireland, meanwhile, became a major staging post for the United State military, with a naval and Marine Corps base in Derry and thousands of American military personal, including five Army divisions, garrisoned there ahead of the invasion of Europe.  

    The role of the IRA

     
    The aftermath of an IRA bomb in Coventry in August 1939 that killed 5 civilians.
    One of the major headaches for those trying to safeguard Irish neutrality was the IRA, which was determined to get German military aid to overthrow both states in Ireland, north and south. As well as defying Irish law, the IRA’s actions threatened to undermine Ireland’s neutrality in the war and bring about a confrontation with Britain. IRA Chief of Staff Sean Russell tried to make contact with the Germans as early as 1936 and IRA leader Tom Barry was brought to Germany as a guest of German intelligence in 1937 and asked about the possibility of the IRA carrying out sabotage against Britain in the event of war.  
    The IRA sought German aid during the War but was harshly repressed on both sides of the border.
      In 1939, starting before war broke out between Britain and Germany, Russell launched a bombing campaign in England, targeting power stations and factories but also cinemas and post offices. The logic of Russell’s campaign was that while Britain was engaged in a world war it might be forced to leave Northern Ireland in order to stop the bombing campaign at home. Seven English civilians were killed in the bombing campaign. The most dramatic event was a bomb in attack in Coventry that killed five people, for which two IRA members were later hanged. In Ireland the IRA was also involved in intermittent anti-state activities. In December 1939 they stole one million rounds of ammunition from the Irish Army’s depot at the Magazine Fort in Dublin’s Phoenix Park. They also bombed Garda (police) headquarters at Dublin Castle and shot a number of Garda detectives in various incidents, killing five detectives over the course of the war In response, the de Valera government interned over 500 IRA members at the Curragh and jailed another 100 for the duration of the war. The Irish government also executed six IRA members between 1940 and 1944 for shooting Gardai or soldiers. In Northern Ireland, the IRA carried out some attacks from 1942 onwards, killing over the course of the war, six RUC policemen. There too, internment was introduced, 300 IRA men were imprisoned and one IRA man, Tom Williams, was hanged by the Northern government for the killing of an RUC constable in 1942.  

    German and IRA collaboration

     
    Hermann Goertz, the German agent sent to Ireland to liaise with the IRA.
    There was an on-off partnership between the IRA and German military intelligence during the war. Essentially the Germans wanted two things from Ireland during the Second World War. The first and most important was that Eire would remain neutral and deny the British use of the Treaty Ports on Ireland’s western coast. Because of this they discouraged the IRA from attacks south of the border. Their secondary objective and reason for cooperating with the IRA, was to foment a rebellion by nationalists in Northern Ireland to divert British resources from war fronts elsewhere. In 1940 the Germans also considered invading the south coast of Ireland, in plan known as Operation Green. This would have been intended as a diversionary attack during an invasion of Britain itself. However this never got beyond the planning stage. Alternatively if the British invaded Eire in order to take the Atlantic ports, Hitler thought that de Valera might ask for German assistance, in which case Germany would invade in support of Irish forces. In fact, while de Valera rebuffed the offers of military aid from the German ambassador Hempel, he did make a working agreement to invite British troops into Ireland in the event of a German invasion.  
    The Germans wanted to use the IRA to launch an insurrection in Northern Ireland.
      Sean Russell, the IRA leader who had pioneered cooperation with Nazi Germany, died of a burst ulcer aboard a u-boat on his way back to Ireland in August 1940. However this was far from the end of the IRA‘s contacts with German intelligence. The Germans landed over dozen agents in Ireland during the war, the most important of whom was Hermann Goertz, a military intelligence officer, whose job it was to liaise with the IRA. Stephen Hayes, the IRA Chief of Staff, had a plan drawn up ‘Plan Kathleen’ for a German invasion of Northern Ireland, involving a landing in Derry, which the IRA would have supported through an attack over the border from County Leitrim. Goertz discussed the plan with Stephen Hayes but was not impressed either with Hayes, the IRA’s capabilities or with the details of the plan. In fact, the German agent concluded that the IRA was all but useless to German war aims and instead began trying to create a network of informants based on far-right wing sympathisers such as Niall MacNeill, an Irish Army intelligence officer and former Blueshirt leader Eoin O’Duffy After 18 months in Ireland, Goertz was arrested in November 1941, more or less ending the overt collaboration of the IRA with Nazi Germany. Despite the Germans’ on-off dealings with the IRA, the Eamon de Valera and the Irish government generally had a cordial relationship with the German ambassador, Eduard Hempel, who was regarded as dealing more respectfully with neutral Ireland than did the British or American representatives in Dublin. For this reason de Valera consistently refused Allied demands that the German ambassador be expelled.

    Bombing

     
    The aftermath of the North Strand bombing.
    One of the main reasons for Irish neutrality, apart from the demonstration of independence from Britain it allowed, was that the country would be defenceless against aerial bombing. And certainly the southern state was spared the fate of Northern Ireland during the war. Belfast in particular was systematically targeted by German bombers in April and May 1941 due to its possession of shipyards and war industries. During the ‘Belfast Blitz’ – consisting of three large air raids – over 1,000 people were killed and thousands more injured and made homeless.  
    Dublin was bombed accidentally but Belfast was systematically bombed and over 1,000 civilians were killed.
      Southern fire engines were sent north to aid the Northern authorities in the aftermath of the bombings. While it did not see concerted bombing of that kind, on a number of occasions, the 26 county Irish state was indeed bombed by the Germans, most notably the North Strand area of Dublin in May 1941, in which 28 people were killed. The Germans later apologised for the bombing and paid compensation While it has been speculated that such bombings were a veiled threat from the Germans as to what would happen if Ireland abandoned neutrality, historian Michael Kennedy judges that they were in fact the result of German bombers dumping their bombs on return flights from unsuccessful mission in Northern Ireland

    End of the War

     
    Destruction in Belfast after the Blitz there in 1941.
    Germany surrendered to the Allies on May 8 1945 after Adolf Hitler’s suicide. Very controversially, Eamon de Valera paid a courtesy visit  to the German ambassador Hempel’s residence to offer his condolences on the death of the Nazi leader. De Valera maintained that he was merely observing the standard diplomatic protocols on the death of a foreign head of state. Ireland survived the war more or less unscathed. Strict rationing had to be applied and there were severe shortages of items such as coal and petrol during the war years. Still, this was insignificant compared to the devastation that had been wrought in much of the rest of Europe. However its neutral stance during the war left it somewhat isolated in the immediate postwar years. For instance, while other western European countries received free American aid under the Marshall Plan in the 1940s, the Americans queried why neutral Ireland either deserved or needed such aid. In the end Ireland got a loan of £36 million The sharp contrast between the experience of the war north and south of the border also tended to reinforce the partition of Ireland in the coming decades.  
  • 47cm x 35cm During its 180 year history, the Grand National has seen only five horses win consecutive runnings, with this year's victor Tiger Roll joining that exclusive list of dual winners. Until the legendary Red Rum, the last horse to win on his immediate return to Aintree was Reynoldstown, who won the 1935 Grand National in the hands of Mr Frank Furlong - a subaltern in the 9th Lancers - and again the following year ridden by Furlong's great friend and fellow Army officer Mr Fulke Walwyn, later to become a multi-time champion National Hunt trainer. Although two totally different kinds of horses, the long, lean, black Reynoldstown and the diminutive Tiger Roll share a parallel in that both had Flat-bred sires. Reynoldstown was by the good-class My Prince who won among other races the Union Jack Stakes at Aintree but went on to become more famous as an outstanding sire of National Hunt horses including Grand National winners Gregalach (1929) and Royal Mail (1937), while Tiger Roll's father Authorized won the 2007 Epsom Derby under Frankie Dettori. Reynoldstown's dam Fromage was the product of a modest mating to the nearest sire who was within walking distance. Reynoldstown, named after the local townland of the small village of Naul near Dublin, was foaled there in 1927 by cattle farmer Dick Ball - who also bred the great Ballymoss. Dick's father had raised Fromage by hand himself after her mother died foaling. As a five-year-old, Reynoldstown was bought for £1,500 by Major Noel Furlong for his son Frank to ride in steeplechases. A leading Irish point-to-point rider himself, Major Furlong had had his interest in the Grand National sparked one year when, still in the Army, he'd travelled to Liverpool to watch the big race. In the train carriage, he overheard people talking about the chances of their horse winning and, when he saw this come to pass later that day, declared "That's it! I'm going to win the National myself." Major Furlong trained just two or three horses of his own in Skeffington, Leicestershire. Reynoldstown proved to be very hot and excitable throughout his career and was never ridden by anyone - at home or in races - apart from Major Furlong, Frank or Fulke. Reynoldstown won four hurdle races and eight 'chases before his first Grand National success in 1935, which saw him score by three lengths and break Golden Miller's record for the race - his time of 9 minutes 20.20 seconds standing until Red Rum beat it in 1973. The newspaper headlines ran: "Grand National won by two Furlongs!" Reynoldstown suffered leg problems afterwards which forced a long lay-off. Major Furlong followed the old adage "time, tar and tarmac", coating his legs with tar and giving him lots of roadwork to get him sound again. The horse duly came back to win the 1936 Grand National by twelve lengths, this time in the hands of Walwyn, since Frank Furlong was unable to make the weight. There was drama at the final fence after the reins broke on challenger Davy Jones, leaving rider Anthony Mildmay (after whom the Mildmay Course at Aintree is named) powerless to prevent the horse running out into the crowds. Reynoldstown did not attempt the hat trick. He was retired immediately after his Grand National success, the Furlongs considering - not unlike the connections of Tiger Roll -  that he had done enough to prove himself and owing them nothing. He spent his retirement with Major Furlong at Marston St Lawrence near Banbury, where he was put down at the age of 24 after contracting tetanus. He is buried there, alongside the 1972 Grand National winner Well To Do. Curiously, he was never turned out in the field but was exercised instead on a lungeing rein by his devoted lifelong groom McCarthy, who brushed him and took him for a pick of grass and a welcome roll every day. Sadly, for Major Furlong, the aftermath was not so happy. His son Frank, who had left the Army and set up training himself near Lambourn, enlisted in the Fleet Air Arm at the outbreak of World War II and, though flying successfully on many combat missions, was killed when the Spitfire prototype Spiteful he was testing developed a fault and crashed on Salisbury Plain in 1944. He left a widow and a baby daughter, Grizelda, who today, as an octogenarian, recalls with affection being brought up by her grandparents and sitting on Reynoldstown's back as a pony-mad youngster. She clearly remembers stories Major Furlong would tell, including that of the 1934 Grand National in which both Frank and Fulke rode. Both their horses came down at the 26th fence when going well and the two riders were left thumping the turf in frustration. Major Furlong confronted the disgruntled friends in the Weighing Room afterwards with the prophetic words: "Don't worry, I shall have a Grand National winner for both of you." Another tale he told her concerned Frank and Fulke, in a hurry to reach the traditional party at the Adelphi Hotel, joyfully overtaking the traffic jams outside Aintree after one of their National wins. A policeman pulled the singing and shouting pair over with the words "What do you think you're doing? Anyone would think you'd just won the Grand National!" Grizelda smiles when she recounts her grandfather telling her how Reynoldstown's horsebox was held up by a funeral on the way to the 1935 Grand National. Major Furlong considered it lucky to see a funeral so the following year waited around in the hope of another before they reached the course. None appeared - but they did manage to spot a black cat - which obviously had the same desired effect. Quote: Attempting to compare Reynoldstown and Tiger Roll, Grizelda says: "The Grand National today is a totally different race and the fences are so much smaller. You cannot compare the two, but Tiger Roll is obviously a wonderful horse and thoroughly deserved both his wins and the adulation he received. We always gathered round as a family to watch the National on TV and this year was no exception. I really did think Tiger Roll would win." William Clarke & Son was a tobacco company that was founded in 1830 at South Main Street, Cork, Ireland. In January 1924, following the formation of the Irish Free State, the United Kingdom trade of William Clarke & Son was transferred to Dublin and taken over by Ogden's.

    William Clarke & Son, Dublin

    William Clarke was founded in 1830 at South Main Street in Cork, however by 1870 the manufacturing side of the business had all been transferred to Hare Place, Scotland Road, Liverpool, with only depots remaining in Ireland. Following the formation of the Irish Free State in 1926, the Liverpool based operation was taken over by Ogden’s, while a new factory was set up at South Circular Road in Dublin to produce tobacco and snuff under the William Clarke & Son brand. In 1929 William Clarke was amalgamated with Wills’s Irish branch, which resulted in Wills’s Irish production being integrated into the new South Circular Road factory in Dublin, though senior management were based in Wills’s Bristol operations and the Irish entity ultimately reported back into Bristol.
  • 49cm x 38cm William Clarke & Son was a tobacco company that was founded in 1830 at South Main Street, Cork, Ireland. In January 1924, following the formation of the Irish Free State, the United Kingdom trade of William Clarke & Son was transferred to Dublin and taken over by Ogden's.

    William Clarke & Son, Dublin

    William Clarke was founded in 1830 at South Main Street in Cork, however by 1870 the manufacturing side of the business had all been transferred to Hare Place, Scotland Road, Liverpool, with only depots remaining in Ireland. Following the formation of the Irish Free State in 1926, the Liverpool based operation was taken over by Ogden’s, while a new factory was set up at South Circular Road in Dublin to produce tobacco and snuff under the William Clarke & Son brand. In 1929 William Clarke was amalgamated with Wills’s Irish branch, which resulted in Wills’s Irish production being integrated into the new South Circular Road factory in Dublin, though senior management were based in Wills’s Bristol operations and the Irish entity ultimately reported back into Bristol.
  • 47cm x 37cm  Limerick Ireland has always been known for their hard tobaccos, often very stout and topped or cased with an exotic flavour. The plug form is hands down my fave, and I've tried to research its origins and evolution, but there ain't much out there documenting the historical arc. This is sorta like a supplemental edition of Antiquarian Nicotiana Brittanica - in hopes of giving people an idea of this glorious old baccy. This is primarily a visual gallery as mentioned earlier, textual traces are difficult to track, but at least I've been able to scavenge enough sufficient imagery off the vast cultural detritus known as the world wide web to at least give the viewer/reader a generalized approximation of what was what and how was how. Back then, you usually knew what you were getting if you knew the country of origin of your tobacco, it was fairly easy to know what to expect, unlike today's over-homogenized market where the lines are very blurry. We'll start this off with an American newspaper article from 1940, and it deftly illustrates the renowned, legendary, far-famed, and celebrated characteristics of what is Irish plug tobacco. : Another thing I've been highly interested in, but unable to find any concrete info about, are the steam-jacketed presses which were unique to Great Britain and Ireland. I do think that a SJPress is a crucial instrument in creating their ultra-compressed and raven black distinctive properties.
    For many years past the Meadow Foundry Company has devoted considerable attention to perfecting the various appliances in use by tobacco manufacturers, and in this direction have made their speciality, the "Mansfield" Steam Stoving Press, known as "The Mansfield Stove." This system is now applied by tobacco manufacturers throughout the world, and is acknowledged by the leading houses and the representative journal of the trade to be the only stove which meets every requirement for stoving, pressing and curing every kind of hard tobacco, ensuring solidity without loss in weight, a jet-black colour without blister, and perfect keeping quality. These stove presses are equally well adapted to large and small manufacturers, giving a greater heat, uniformly distributed, than any other stoving plan, and perform the work at less cost and in shorter time than any other system.
    There were quite a good number of different Tobacco Houses, in differing regions, that made the plugs. Here's a short rundown of what was available at one time: P. J. Carroll & Co. Ltd. Dundalk ______________________________ Mick McQuaid Plug Anti-Combine Plug (A.C.P.) Bog Oak Plug Tug-o-War Plug Donegal Plug Carroll's Golden Bar Dundalk Bar Striker brown Long Squares Spearman brown Long Squares : Wm. Clarke & Son Cork ______________________________ Galtee More Plug (Flavoured and Full) Nugget Plug Nugget Plug Special Perfect Plug Walnut Plug Cherokee Circular Plug Square Tack Onyx Bar :   Gallaher Ltd. Dublin ______________________________ War Horse Bar Army & Navy Plug Wrestler Plug HammerHead Plug Condor Bar A.1. Plug Sixpenny Plug : John Clune Ltd. Limerick ______________________________ Kincora Plug Sarsfield Plug Thomond Plug Honeybee Long square : Murray Ltd. Belfast ______________________________ Warrior Plug Erinmore Plug Yachtsman Plug Luckmore Plug Maple Plug Crowbar Long Square : Wm. Ruddell Ltd. Dublin ______________________________ Velvan Plug Curragh Plug Derby Plug Potomac Plug Best Virginia Plug Holdfast Bar Ruddell's Golden Virginia Bar : G. Spillane & Co. Ltd. Limerick ______________________________ Garryowen Plug Hazelnut Plug Poplar Plug Treaty Plug Warship Long Square : W. & M. Taylor Ltd. Dublin ______________________________ Bendigo Plug Patland Plug Taylor's Navy PLug Farrier Bar Handy Plug Sixpenny Plug : M. & P. O'Sullivan Ltd. Cork ______________________________ Erin's Pride Plug Coupon Plug Take-me Plug : Lambkin Bros. Ltd. Cork ______________________________ Cordangan Plug Exhibition Plug Kentucky Plug Shandon Plug Oaknut Plug : Grant Bros. Ltd. Buncrana, Co.Donegal ______________________________ Crana Plug Ploughman Plug : Fairweather & Sons, Ltd. Dundee _____________________________ Rose Plug Kara Bar : T.P. & R. Goodbody Ltd. Dublin ____________________________ Patriotic Plug Cora Plug
     
  • 47cm x 37cm  Limerick Navy cut were  a brand of cigarettes manufactured by Imperial Brands –formerly John Player & Sons– in Nottingham, England.The brand became "Player's Navy Cut". They were particularly popular in Britain,Ireland and Germany in the late 19th century and early part of the 20th century, but were later produced in the United States. The packet has the distinctive logo of a smoking sailor in a 'Navy Cut' cap. The phrase "Navy Cut" is according to Player's adverts to originate from the habit of sailors taking a mixture of tobacco leaves and binding them with string or twine. The tobacco would then mature under pressure and the sailor could then dispense the tobacco by slicing off a "cut".The product is also available in pipe tobacco form. The cigarettes were available in tins and the original cardboard container was a four sided tray of cigarettes that slid out from a covering like a classic matchbox. The next design had fold in ends so that the cigarettes could be seen or dispensed without sliding out the tray. In the 1950s the packaging moved to the flip top design like most brands.

    Enamelled metal box for 1 ounce of tobacco
    The image of the sailor was known as "Hero" because of the name on his hat band. It was first used in 1883 and the lifebuoy was added five years later. The sailor images were an 1891 artists concept registered for Chester-based William Parkins and Co for their "Jack Glory" brand.Behind the sailor are two ships. The one on the left is thought to be HMS Britannia and the one on the right HMS Dreadnought or HMS Hero. As time went by the image of the sailor changed as it sometimes had a beard and other times he was clean shaven. In 1927 "Hero" was standardised on a 1905 version. As part of the 1927 marketing campaign John Player and Sons commissioned an oil painting Head of a Sailor by Arthur David McCormick.The Player's Hero logo was thought to contribute to the cigarettes popularity in the 20s and 30s when competitor W.D. & H.O. Wills tried to create a similar image. Unlike Craven A, Navy Cut was intended to have a unisex appeal. Advertisements referred to "the appeal to Eve's fair daughters" and lines like "Men may come and Men may go".
    WWII cigarette packets exhibited at Monmouth Regimental Museumin 2012
    Hero is thought to have originally meant to indicate traditional British values, but his masculinity appealed directly to men and as a potential uncle figure for younger women. One slogan written inside the packet was "It's the tobacco that counts" and another was "Player's Please" which was said to appeal to the perceived desire of the population to be included in the mass market. The slogan was so well known that it was sufficient in a shop to get a packet of this brand. Player's Medium Navy Cut was the most popular by far of the three Navy Cut brands (there was also Mild and Gold Leaf). Two thirds of all the cigarettes sold in Britain were Players and two thirds of these was branded as Players Medium Navy Cut. In January 1937, Players sold nearly 3.5 million cigarettes (which included 1.34 million in London. The popularity of the brand was mostly amongst the middle class and in the South of England. While it was smoked in the north, other brands were locally more popular. The brand was discontinued in the UK in 2016.  
     
  • 40cm x 24cm A very popular Pipe Tobacco from the P.Carrolls Tobacco Company in Dundalk Co Louth was Mick McQuaids.But who was this legendary, smiling character the product was inspired by ??? The tales of Mick McQuaid  were first written by William Francis Lynam – a soldier, writer and editor who was born in Galway in 1833 and died in Dublin in 1894. Little is known about his background (or his military career), but by the 1860s he was living in Dublin and was – it appears – the owner and editor of the Shamrock story paper.   One of the earliest Irish story papers, it was established in 1866 as a penny weekly ‘companion’ paper to the Irishman newspaper. The Irishman, a very advanced nationalist paper, was established in 1859 by Richard Pigott – a very colourful character in Irish journalism who would acquire infamy as the forger of the damning letters supposedly written by Parnell in the 1880s. The exact editorial and proprietorial relationship between the Irishman and the Shamrock is rather murky – some sources imply Pigott owned them both, while others insist that Lynam owned the Shamrock, in which case the precise nature of their connection is unknown. Pigott and Lynam may have been actual business partners, or simply had an informal alliance. The 1860s was of course the era of the Fenian movement in Ireland and abroad, and under Pigott’s editorship the Irishmanwas a very popular voice for Fenianism. If the Irishman was aimed at an adult readership seeking radical political news and commentary, the Shamrock was its more entertaining younger sibling, intended to instil a sense of national pride and identity in its boy (and occasional girl) readers. To do this, it specialised in exciting Irish historical fiction serials, set at key moments of Irish nationalist history such as the 1798 Rebellion or the Jacobite Wars, and usually centred around an ordinary Irish boy who readers could identify with as he became swept into political and military excitements and encountered historical figures such as Wolfe Tone or Redmond O’Hanlon. But as well as historical fiction, the Shamrock also published romances and vernacular tales of Irish life. The most successful of these vernacular tales were, by a very long way, the Mick McQuaid stories. A series of comic tales (although to be quite honest the modern reader might take some convincing of that description) set in what was then contemporary Ireland, they all featured the adventures of central character Mick McQuaid – a quick-thinking, wise-cracking chancer who nevertheless usually managed to save the day and prevent the more straight-forward villainy of figures such as agents for absentee landlords, or local gombeen men. Each story saw Mick in a new role and setting, such as ‘Mick McQuaid, Money Lender’, ‘Mick McQuaid, Member of Parliament’, ‘Mick McQuaid, Detective’, and ‘Mick McQuaid, Evangelist’. Each story was long, with (overly) complex plots, many characters, comic tangents and multiple narrative threads to be resolved, so they were serialised in short instalments over several months of weekly issues. These kind of serial stories were crucial to story papers, designed to bring readers back week after week and build a loyal and regular readership, and the Mick McQuaid stories were a classic example of their type. It has to be admitted it would be difficult to that claim the stories deserve to be ‘rediscovered’ by modern readers. They are an interesting window into popular fiction of the era, especially in terms of their representations of Irish life and society – however their plots are unwieldy, their humour has not aged well and they are written in an almost impenetrable ‘Irish’ dialect which was obviously part of their appeal in the 1860s but which is extremely difficult to read now. Instead what is most interesting about the Mick McQuaid stories is their extraordinary popularity across many decades. Lynam reportedly became bored with the stories after just a few years, and indeed replaced them with tales of another very similar ‘charming Irish rogue’ anti-hero, the Darby Durkan series, which in their turn were also fairly popular. But popular demand for continued Mick McQuaid stories forced him to write more of them (a common experience for authors of popular fiction, most famously in the case of Conan Doyle’s reluctant resurrection of Sherlock Holmes). Indeed, the circulation of the Shamrock reportedly dropped sharply when he attempted to end the McQuaid stories, so they had to be revived and reprinted. It is difficult to be sure exactly how many stories there are in total (perhaps ten or so), each one lasting up to 6 months of weekly instalments – but for a youthful audience this was enough to keep printing and reprinting them over years and eventually decades. Rather like the endlessly circulating repeats of television sit-coms in our own era, which happily rewatched by fans and watched for the first time by successive generations (Faulty Towers being the obvious example, with just twelve episodes ever made in the 1970s, but which are still being screened 40 years later) these very popular serials played on an endless loop in the story papers. Lynam died in 1894, but his serials lived on without him. The Darby Durkan stories appeared in the Shamrock’s rival story paper the Emerald in the early 20thC, and after the two papers merged in 1912 the McQuaid stories also continued in the new paper until its demise in 1919 – and may well have continued to appear in other publications after that although I have yet to find them. Their popularity was such that in 1889 Carroll’s Tobacco company in Dundalk named a new brand of pipe tobacco after Mick McQuaid, who often smoked a pipe in the stories as he held forth with his distinctive folk wisdom. The brand was itself a great success (presumably the tobacco and the stories amplified each other’s standing among readers and smokers in ways that benefitted both), and by the 1920s Carroll’s had commissioned a cartoon version of Mick McQuaid for their packaging and advertising – the photograph accompanying this post is of a tobacco tin from the mid-20thC. So while the stories had not had significant illustrations during their 19thC hey-day, the Mick McQuaid character took visual form years after his author’s death, and in fact became one of mid-20thC Ireland’s most successful brands, only being discontinued in 2016 – a strange afterlife for a fictional character first invented in 1867.
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