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John Courtneys was a well known pub and grocers in Castlegregory on the Dingle Peninsula.Now sadly closed ,this framed print captures the essence of the traditional Irish Pub/Grocer of which a few examples happily still remain . 23cm x 29cm Dingle Co Kerry -
Marvellous photograph taken from the 1970s in a bar in Ballylongford Co Kerry as the locals celebrate the return of the magnificent Sam Maguire trophy,presenred to the winners of the All Ireland Football Championship every year. 25cm x 25cm Ballylongford Co Kerry The Sam Maguire Cup, often referred to as Sam or The Sam (Irish: Corn Sam Mhic Uidhir), is a trophy awarded annually by the Gaelic Athletic Association (GAA) to the team that wins the All-Ireland Senior Football Championship, the main competition in the medieval sport of Gaelic football. The Sam Maguire Cup was first presented to the winners of the 1928 All-Ireland Senior Football Championship Final. The original 1920s trophy was retired in the 1980s, with a new identical trophy awarded annually since 1988. The GAA organises the series of games, which are played during the summer months. The All-Ireland Football Final was traditionally played on the third or fourth Sunday in September at Croke Park in Dublin. In 2018, the GAA rescheduled its calendar and since then the fixture has been played in early SeptemberOld trophy
The original Sam Maguire Cup commemorates the memory of Sam Maguire, an influential figure in the London GAA and a former footballer. A group of his friends formed a committee in Dublin under the chairmanship of Dr Pat McCartan from Carrickmore, County Tyrone, to raise funds for a permanent commemoration of his name. They decided on a cup to be presented to the GAA. The Association were proud to accept the Cup. At the time it cost £300. In today's terms that sum is equivalent to €25,392. The commission to make it was given to Hopkins and Hopkins, a jewellers and watchmakers of O'Connell Bridge, Dublin. The silver cup was crafted, on behalf of Hopkins and Hopkins, by the silversmith Matthew J. Staunton of D'Olier Street, Dublin. Maitiú Standun, Staunton's son, confirmed in a letter printed in the Alive! newspaper in October 2003 that his father had indeed made the original Sam Maguire Cup back in 1928. Matthew J. Staunton (1888–1966) came from a long line of silversmiths going back to the Huguenots, who brought their skills to Ireland in the 1600s. Matt, as he was known to his friends, served his time in the renowned Dublin silversmiths, Edmond Johnson Ltd, where the Liam MacCarthy Hurling Cup was made in 1921. The 1928 Sam Maguire Cup is a faithful model of the Ardagh Chalice. The bowl was not spun on a spinning lathe but hand-beaten from a single flat piece of silver. Even though it is highly polished, multiple hammer marks are still visible today, indicating the manufacturing process. It was first presented in 1928 - to the Kildare team that defeated Cavan by one point in that year's final. It was the only time Kildare won old trophy. They have yet to win the new trophy, coming closest in 1998, when Galway defeated them by four points in that year's final. Kerry won the trophy on the most occasions. They were also the only team to win it on four consecutive occasions, achieving the feat twice -first during the late-1920s and early-1930s (1929, 1930, 1931, 1932), and later during the late-1970s and early 1980s (1978, 1979, 1980, 1981). In addition, Kerry twice won the old trophy on three consecutive occasions, in the late 1930s and early-1940s (1939, 1940, 1941) and in the mid-1980s (1984, 1985, 1986). They also won it on two consecutive occasions in the late-1960s and early-1970s (1969, 1970). Galway won the old trophy on three consecutive occasions in the mid-1960s (1964, 1965, 1966). Roscommon won the old trophy on two consecutive occasions during the mid-1940s (1943, 1944), as did Cavan later that decade (1947, 1948). Mayo won the old trophy on two consecutive occasions during the early-1950s (1950, 1951), while Down did likewise in the early-1960s (1960, 1961). Offaly won the old trophy on two consecutive occasions during the early 1970s (1971, 1972), while Dublin did likewise later that decade (1976, 1977). Six men won the old trophy twice as captain: Joe Barrett of Kerry, Jimmy Murray of Roscommon, John Joe O'Reilly of Cavan, Seán Flanagan of Mayo, Enda Colleran of Galway and Tony Hanahoeof Dublin. The original trophy was retired in 1988 as it had received some damage over the years. It is permanently on display in the GAA Museum at Croke Park.
Original 1928 Sam Maguire Cup on display in the GAA Museum at Croke ParkNew trophy
The GAA commissioned a replica from Kilkenny-based silversmith Desmond A. Byrne and the replica is the trophy that has been used ever since. The silver for the new cup was donated by Johnson Matthey Ireland at the behest of Kieran D. Eustace Managing Director, a native of Newtowncashel Co. Longford . Meath's Joe Cassells was the first recipient of "Sam Óg". Meath have the distinction of being the last team to lift the old Sam Maguire and the first team to lift the new one following their back-to-back victories in 1987 and 1988. Cork won the new trophy on consecutive occasions in the late-1980s and early-1990s (1989, 1990), while Kerry did likewise during the mid-2000s (2006, 2007). Dublin are the only team to win the new trophy on more than two consecutive occasions, achieving a historic achievement of five-in-a-row during the second half of the 2010s (2015, 2016, 2017, 2018 and 2019). Stephen Cluxton of Dublin is the only captain to have won the new trophy six times as captain, doing so in 2013, 2015, 2016, 2017, 2018 and 2019. No other person as ever won either the old or new trophy as captain more than twice. Two other men have won the new trophy twice as captain: Declan O'Sullivan of Kerry and Brian Dooher of Tyrone. In 2010, the GAA asked the same silversmith to produce another replica of the trophy (the third Sam Maguire Cup) although this was to be used only for marketing purposes.Winners
Old Trophy- Kerry – 1929, 1930, 1931, 1932, 1937, 1939, 1940, 1941, 1946, 1953, 1955, 1959, 1962, 1969, 1970, 1975, 1978, 1979, 1980, 1981, 1984, 1985, 1986
- Dublin – 1942, 1958, 1963, 1974, 1976, 1977, 1983
- Galway – 1934, 1938, 1956, 1964, 1965, 1966
- Cavan – 1933, 1935, 1947, 1948, 1952
- Meath – 1949, 1954, 1967, 1987
- Mayo – 1936, 1950, 1951
- Down – 1960, 1961, 1968
- Offaly – 1971, 1972, 1982
- Roscommon – 1943, 1944
- Cork – 1945, 1973
- Kildare – 1928
- Louth – 1957
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Extremely rare 1950s Lucan Ice Cream Double sided Vinyl Advertising Banner . Castlegregory Co Kerry 65cm x 46cm(From the Irish Times 2003 )As our best-known ice- cream factory prepares to close, Kieran Fagan tells its story - and that of one of its staff, who provided a celebrated comedy moment of the 1950s
Horses once grazed in the field where the HB ice-cream factory stands, opposite Nutgrove Shopping Centre, in Dublin. But these were working horses. For a living they pulled milk drays, leaving Hughes Brothers dairy early in the morning, knowing where to stop on their routes in south Co Dublin. The roundsmen raced from house to house, arms laden with milk bottles, while the horses ambled steadily forwards. When they were replaced by electric vans, deliveries slowed down, as the vans could not keep up as the horses had done. Nor did they know which houses to stop at.
When Paul Mulhern started work at HB, as a holiday job in 1959, 40 horse-drawn drays still delivered milk in the Dublin area. His first real job was selling ice cream to shops. Not that it was a year-round business: some winters the refrigerated containers were lifted clean off the lorries, so the vehicles could be hired out for coal deliveries.
The ice-cream business had begun as an adjunct to the dairy, in 1926. Later the operations were split. HB Ice Cream eventually became part of Unilever - the multinational group whose brands include Persil washing powder, Birds Eye frozen food and CK One perfume - growing to hold 80 per cent of the domestic ice-cream market.
In the yard of the factory now closing down, Paul Mulhern shows me an outhouse that clearly started life as a stable. It reminds him of the time in the early 1950s, eight years before he joined HB, when he was on a panel of schoolchildren on Radio Éireann's most popular programme. The School Around The Corner had come to nearby Milltown, where Paul was a pupil at the local national school. The presenter Paddy Crosbie interviewed the children, who had to sing a song, give a recitation or tell a funny story, usually of the my-granny-fell-down-the-stairs-and-we-all-laughed variety.
When Paul's turn came he started to tell a tale his father had told him on the way to the programme. "I didn't really understand it, but he said it would be OK. I think he'd had a pint or two." The story was hardly funny. The nine-year-old told how he had seen a horse bolt and fall into a hole in the road, where it had to be destroyed. Crosbie's attention was momentarily distracted by some offstage crisis. "Where they did shoot the horse?" he asked. "In the hole, sir," Paul piped up helpfully. The nation erupted. Nothing quite like it had ever been heard on Radio Éireann. "I remember my mother blushing over it," says Mulhern. "She' s still embarrassed half a century later."
HB stands for Hughes Brothers and for Hazelbrook, the name of the farmhouse that William Hughes and his wife, Margaret, built in 1896. (It has since been reconstructed in Bunratty folk park, in Co Clare.) A stream called the Hazelbrook runs through the school grounds opposite the dairy. People locally still call it the dairy, although the liquid-milk business is long gone. But it was more than just a dairy or an ice-cream factory. It was a local industry, providing jobs for up to 800 staff, mostly locals from Rathfarnham, Dundrum and Churchtown.
"When I joined, if we needed something we did it ourselves. We built our own horse-drawn drays, the bodies for the electric vans which replaced the horses, and we serviced our own vehicles," says Mulhern. He points to what remains of a motor body building workshop on the old dairy site. "And we were very early into the telesales business. In the 1960s we took orders by phone - sometimes up to 40 a day - for ice-cream cakes for birthdays and sometimes for weddings, and we delivered them."
Most travellers have noticed that familiar brands such as Cornetto and Magnum are sold in the UK as Wall's, in France as Miko and in Greece as Algida. They are international Unilever brands. But there are HB brands that are ours alone: the Golly Bar, who lost his cheeky black face to the politically correct winds of change, the Brunch and, of course, the pint brick (all of which will continue to be made here, in a venture with Lakeland Dairies).
The brick, the block of ice cream, was the mainstay of Sunday dinner - we didn't mess about with lunch then - served with a tin of fruit cocktail in good times. "Bring home a brick after Mass," the advertising slogan said, and we did. We remain faithful to the block of HB after the rest of the world has moved on.
Mulhern, who rose through the ranks to become a regional sales manager for Unilever Bestfoods Ireland, had another life outside HB. He ran for the Labour Party in two local elections and one general election, in 1979. All he will say about that is: "I didn't lose my deposit the last time."
He was more successful managing other people's campaigns. He was one of Mary Robinson's directors of elections when she won the presidency in 1990, and he is proud of that. Proud too of getting his man, Mervyn Taylor, elected in Dublin South-West in 1981 and every election thereafter until his retirement, of getting two Labour seats in 1992, and of Taylor's role in the Cabinet as a reforming minister for equality and law reform. And the subsequent success of the divorce referendum.
Taylor recalls one long and gruelling but ultimately successful count. "A group of us [Labour party workers\] sought refuge in a pub near the RDS count centre. Outside, in the hot June sunshine, I expressed a mournful longing for a Feast" - an HB ice cream - "to which I was, and still am, partial. Miraculously, at that moment, a huge HB van drove by. Paul raised his hand commandingly; the driver opened the refrigerated door and presented us with a box of Feasts. Never had ice cream tasted so good . . . . In that same election, Paul proved as adept at garnering votes as garnering ice cream."
Mulhern's retirement from the day job coincides with the plant's closure at the end of August. "There are hundreds of other lives intertwined with the life and death of HB in Rathfarnham, families raised, like mine, sometimes two and three generations from the same family who worked for the dairy," he says. "I'm proud of being part of it. Other industries will come along, other skills will develop and prosper, and in time be replaced. Few will be so closely rooted in the produce of the land and the ingenuity of its workers and be so missed."
The end of an era Frozen out by market forces
Even though HB is Ireland's leading ice-cream brand, the company says it no longer makes sense to produce ice cream at its Rathfarnham plant. Ice-cream consumption generally is falling, as consumer tastes move towards eating fewer but more expensive ice-cream products.
In one sense the HB plant is both too big and too small. It is too big for the "local products" - blocks of HB ice cream, Golly Bars, Brunches and other brands made just for Ireland - and too small to produce economically international lines such as Magnum and Cornetto for export.
It was not always so. Between 1924, when ice-cream production began, and 1964, when the founding Hughes family sold the company to W. R. Grace & Co, a US multinational, it was protected by tariffs.
In 1968, the two major dairies in Dublin, Hughes Brothers and Premier, did a historic swap. Premier took over Hughes Brothers' milk business and HB got Premier's ice-cream trade, ending up with 80 per cent of the local market. A virtually new factory, on the old Rathfarnham site, became one of Europe's most efficient ice-cream plants, with capacity far in excess of local demand. The answer was exports, particularly to Britain.
The Dutch-English Unilever, which needed to protect its position in the UK ice-cream market, bought HB in 1973. Unilever had good reason to fear Grace on its doorstep.
HB, with a brand new Irish plant, could cause it difficulties in the European market.
Tariff barriers were melting. In 1973 Ireland and Britain joined the EEC, now the EU, and HB had new opportunities on its doorstep. The agriculture subsidies for milk would keep costs down.
The HB ice-cream plant has been winding down since late last year, and the last of its 175 workers will leave next month. The local favourites will be manufactured under licence by Lakeland Dairies, the Co Cavan-based co-op, and the full range of HB products will continue to be marketed throughout Ireland.
Announcing the closure, Paul Murphy, managing director of Unilever Bestfoods Ireland, said: "The unfortunate reality is that it is no longer possible for an ice-cream manufacturing plant such as ours to compete successfully with larger-scale and more specialist Unilever plants located elsewhere on the continent."
Thus ends almost 80 years of ice-cream making in south Co Dublin.
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23cm x 28cm Drimoleague Co Cork Patrick J. O’Flaherty, better known as Paddy, sold what became his namesake whiskey in pubs across Ireland for an incredible four decades, spanning the turn of the 20th century. Magnetic, outgoing and generous, Paddy bought rounds and made friends everywhere he went, always making sure everyone had a great time. Kind and wise, with a good natured, rapier wit, Paddy was always welcomed and was by all accounts universally beloved. After 40 years of service, the whiskey he sold took on his name. Traversing the beautiful southern tip of Ireland from East to West and back for 40 years on foot, with horse and buggy or by train, Paddy was always on the move. From coast to coast, he was the life of the party—one filled with music, laughter, good times and great whiskey. Paddy’s good humour and revelry proved a winning combination, and before long, the brand name was forgotten. Everyone simply ordered more Paddy whiskey. Word got around, and not just in Ireland. Today, from continent to continent, the tradition Paddy started is alive and well.NEARLY A QUARTER-MILLENNIUM OF ENDURING QUALITY
Paddy Irish Whiskey traces its roots all the way back to 1779, but it started simple, and the recipe remained consistent. As its popularity grew across Ireland, Paddy eventually made it overseas. A century later, it won first-prize medals in Philadelphia (1876), Sydney (1879) and Cork (1883), along with a gold medal at the World’s Fair in Paris (1878). By 1930, Paddy could be found in cosmopolitan cities like Milan, Shanghai and Bangkok, and in 80+ countries worldwide.
ADDY IRISH WHISKEY
Light, well-balanced and pure.
An approachable Irish whiskey comprised of a triple-distilled blend of grain, malt and pot-still, Paddy is mild and yet crisp, with a hint of honey. Paddy is the perfect session spirit for gathering ‘round for good times with friends. Triple-distilled from the finest barley and water from County Cork’s Irish countryside, Paddy matures for years in three types of oaken casks, acquiring its distinctively rich and golden color in dark, aromatic warehouses before being bottled and shipped directly from Ireland.Theres a reason Paddy has been triple distilled the same way in County Cork Ireland for nearly a quarter-millennium. Some good things don’t come to an end.
Nose Malty, fresh, woody. Hints of spice, honey, vanilla. Taste Light and crisp. Hints of nuts, malt, charred wood. Finish A gently fading sweetness. A lingering of mild, woody malt. -
Out of stock
Ferns Co Wexford. 30cm x 26cm Bishop's Water Distillery 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.History
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 daughter, 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.
An 1830 newspaper article reporting on the accidental death at the distillery -
Very rare Limerick print depicting the well known Establishment of Michael Egans,9 ,10 & 11 Patrick Street - a well known business which existed from 1860 to 1960.The going concern import teas, wines and brandies and also held Whiskies in bond from John Jameson's,George Roe's and other distillers.Egans was replaced by J Ormstons General Grocery afterwards .Now the building is simply known as Ormston House,a cultural resource centre in the heart of Limerick City. An example of this print previously realised £700 at public auction in 2018. 50cm x 60cm. Limerick City
Iconic GAA photograph of a Hurley holding Michael Collins with Harry Boland in Croke Park in 1921 with an unknown gentleman. 30cm x 35cm Bantry Co Cork Michael Collins was a revolutionary, soldier and politician who was a leading figure in the early-20th-century Irish struggle for independence. He was Chairman of the Provisional Government of the Irish Free State from January 1922 until his assassination in August 1922. Collins was born in Woodfield, County Cork, the youngest of eight children, and his family had republican connections reaching back to the 1798 rebellion. He moved to London in 1906, to become a clerk in the Post Office Savings Bank at Blythe House. He was a member of the London GAA, through which he became associated with the Irish Republican Brotherhood and the Gaelic League. He returned to Ireland in 1916 and fought in the Easter Rising. He was subsequently imprisoned in the Frongoch internment camp as a prisoner of war, but was released in December 1916. Collins rose through the ranks of the Irish Volunteers and Sinn Féin after his release from Frongoch. He became a Teachta Dála for South Cork in 1918, and was appointed Minister for Finance in the First Dáil. He was present when the Dáil convened on 21 January 1919 and declared the independence of the Irish Republic. In the ensuing War of Independence, he was Director of Organisation and Adjutant General for the Irish Volunteers, and Director of Intelligence of the Irish Republican Army. He gained fame as a guerrilla warfare strategist, planning and directing many successful attacks on British forces, such as the assassination of key British intelligence agents in November 1920. After the July 1921 ceasefire, Collins and Arthur Griffith were sent to London by Éamon de Valera to negotiate peace terms. The resulting Anglo-Irish Treaty established the Irish Free State but depended on an Oath of Allegiance to the Crown, a condition that de Valera and other republican leaders could not reconcile with. Collins viewed the Treaty as offering "the freedom to achieve freedom", and persuaded a majority in the Dáil to ratify the Treaty. A provisional government was formed under his chairmanship in early 1922 but was soon disrupted by the Irish Civil War, in which Collins was commander-in-chief of the National Army. He was shot and killed in an ambush by anti-Treaty on 22nd August 1922.
Vintage distressed John Jameson Whiskey Advert featuring the iconic Barrel Man logo. 27cm x 54cm Bray Co Wicklow John Jameson was originally a lawyer from Alloa in Scotland before he founded his eponymous distillery in Dublin in 1780.Prevoius to this he had made the wise move of marrying Margaret Haig (1753–1815) in 1768,one of the simple reasons being Margaret was the eldest daughter of John Haig, the famous whisky distiller in Scotland. John and Margaret had eight sons and eight daughters, a family of 16 children. Portraits of the couple by Sir Henry Raeburn are on display in the National Gallery of Ireland. John Jameson joined the Convivial Lodge No. 202, of the Dublin Freemasons on the 24th June 1774 and in 1780, Irish whiskey distillation began at Bow Street. In 1805, he was joined by his son John Jameson II who took over the family business that year and for the next 41 years, John Jameson II built up the business before handing over to his son John Jameson the 3rd in 1851. In 1901, the Company was formally incorporated as John Jameson and Son Ltd. Four of John Jameson’s sons followed his footsteps in distilling in Ireland, John Jameson II (1773 – 1851) at Bow Street, William and James Jameson at Marrowbone Lane in Dublin (where they partnered their Stein relations, calling their business Jameson and Stein, before settling on William Jameson & Co.). The fourth of Jameson's sons, Andrew, who had a small distillery at Enniscorthy, Co. Wexford, was the grandfather of Guglielmo Marconi, inventor of wireless telegraphy. Marconi’s mother was Annie Jameson, Andrew’s daughter. John Jameson’s eldest son, Robert took over his father’s legal business in Alloa. The Jamesons became the most important distilling family in Ireland, despite rivalry between the Bow Street and Marrowbone Lane distilleries. By the turn of the 19th century, it was the second largest producer in Ireland and one of the largest in the world, producing 1,000,000 gallons annually. Dublin at the time was the centre of world whiskey production. It was the second most popular spirit in the world after rum and internationally Jameson had by 1805 become the world's number one whiskey. Today, Jameson is the world's third largest single-distillery whiskey. Historical events, for a time, set the company back. The temperance movement in Ireland had an enormous impact domestically but the two key events that affected Jameson were the Irish War of Independence and subsequent trade war with the British which denied Jameson the export markets of the Commonwealth, and shortly thereafter, the introduction of prohibition in the United States. While Scottish brands could easily slip across the Canada–US border, Jameson was excluded from its biggest market for many years.The introduction of column stills by the Scottish blenders in the mid-19th-century enabled increased production that the Irish, still making labour-intensive single pot still whiskey, could not compete with. There was a legal enquiry somewhere in 1908 to deal with the trade definition of whiskey. The Scottish producers won within some jurisdictions, and blends became recognised in the law of that jurisdiction as whiskey. The Irish in general, and Jameson in particular, continued with the traditional pot still production process for many years.In 1966 John Jameson merged with Cork Distillers and John Powers to form the Irish Distillers Group. In 1976, the Dublin whiskey distilleries of Jameson in Bow Street and in John's Lane were closed following the opening of a New Midleton Distillery by Irish Distillers outside Cork. The Midleton Distillery now produces much of the Irish whiskey sold in Ireland under the Jameson, Midleton, Powers, Redbreast, Spot and Paddy labels. The new facility adjoins the Old Midleton Distillery, the original home of the Paddy label, which is now home to the Jameson Experience Visitor Centre and the Irish Whiskey Academy. The Jameson brand was acquired by the French drinks conglomerate Pernod Ricard in 1988, when it bought Irish Distillers. The old Jameson Distillery in Bow Street near Smithfield in Dublin now serves as a museum which offers tours and tastings. The distillery, which is historical in nature and no longer produces whiskey on site, went through a $12.6 million renovation that was concluded in March 2016, and is now a focal part of Ireland's strategy to raise the number of whiskey tourists, which stood at 600,000 in 2017.Bow Street also now has a fully functioning Maturation Warehouse within its walls since the 2016 renovation. It is here that Jameson 18 Bow Street is finished before being bottled at Cask Strength. In 2008, The Local, an Irish pub in Minneapolis, sold 671 cases of Jameson (22 bottles a day),making it the largest server of Jameson's in the world – a title it maintained for four consecutive years.
Historical pot still at the Jameson distillery in Cork
Vintage print of the legendary Jameson Bow St distillery in the heart of Dublin. 27cm x 34cm Bray Co Wicklow John Jameson was originally a lawyer from Alloa in Scotland before he founded his eponymous distillery in Dublin in 1780.Prevoius to this he had made the wise move of marrying Margaret Haig (1753–1815) in 1768,one of the simple reasons being Margaret was the eldest daughter of John Haig, the famous whisky distiller in Scotland. John and Margaret had eight sons and eight daughters, a family of 16 children. Portraits of the couple by Sir Henry Raeburn are on display in the National Gallery of Ireland. John Jameson joined the Convivial Lodge No. 202, of the Dublin Freemasons on the 24th June 1774 and in 1780, Irish whiskey distillation began at Bow Street. In 1805, he was joined by his son John Jameson II who took over the family business that year and for the next 41 years, John Jameson II built up the business before handing over to his son John Jameson the 3rd in 1851. In 1901, the Company was formally incorporated as John Jameson and Son Ltd. Four of John Jameson’s sons followed his footsteps in distilling in Ireland, John Jameson II (1773 – 1851) at Bow Street, William and James Jameson at Marrowbone Lane in Dublin (where they partnered their Stein relations, calling their business Jameson and Stein, before settling on William Jameson & Co.). The fourth of Jameson's sons, Andrew, who had a small distillery at Enniscorthy, Co. Wexford, was the grandfather of Guglielmo Marconi, inventor of wireless telegraphy. Marconi’s mother was Annie Jameson, Andrew’s daughter. John Jameson’s eldest son, Robert took over his father’s legal business in Alloa. The Jamesons became the most important distilling family in Ireland, despite rivalry between the Bow Street and Marrowbone Lane distilleries. By the turn of the 19th century, it was the second largest producer in Ireland and one of the largest in the world, producing 1,000,000 gallons annually. Dublin at the time was the centre of world whiskey production. It was the second most popular spirit in the world after rum and internationally Jameson had by 1805 become the world's number one whiskey. Today, Jameson is the world's third largest single-distillery whiskey. Historical events, for a time, set the company back. The temperance movement in Ireland had an enormous impact domestically but the two key events that affected Jameson were the Irish War of Independence and subsequent trade war with the British which denied Jameson the export markets of the Commonwealth, and shortly thereafter, the introduction of prohibition in the United States. While Scottish brands could easily slip across the Canada–US border, Jameson was excluded from its biggest market for many years.The introduction of column stills by the Scottish blenders in the mid-19th-century enabled increased production that the Irish, still making labour-intensive single pot still whiskey, could not compete with. There was a legal enquiry somewhere in 1908 to deal with the trade definition of whiskey. The Scottish producers won within some jurisdictions, and blends became recognised in the law of that jurisdiction as whiskey. The Irish in general, and Jameson in particular, continued with the traditional pot still production process for many years.In 1966 John Jameson merged with Cork Distillers and John Powers to form the Irish Distillers Group. In 1976, the Dublin whiskey distilleries of Jameson in Bow Street and in John's Lane were closed following the opening of a New Midleton Distillery by Irish Distillers outside Cork. The Midleton Distillery now produces much of the Irish whiskey sold in Ireland under the Jameson, Midleton, Powers, Redbreast, Spot and Paddy labels. The new facility adjoins the Old Midleton Distillery, the original home of the Paddy label, which is now home to the Jameson Experience Visitor Centre and the Irish Whiskey Academy. The Jameson brand was acquired by the French drinks conglomerate Pernod Ricard in 1988, when it bought Irish Distillers. The old Jameson Distillery in Bow Street near Smithfield in Dublin now serves as a museum which offers tours and tastings. The distillery, which is historical in nature and no longer produces whiskey on site, went through a $12.6 million renovation that was concluded in March 2016, and is now a focal part of Ireland's strategy to raise the number of whiskey tourists, which stood at 600,000 in 2017.Bow Street also now has a fully functioning Maturation Warehouse within its walls since the 2016 renovation. It is here that Jameson 18 Bow Street is finished before being bottled at Cask Strength. In 2008, The Local, an Irish pub in Minneapolis, sold 671 cases of Jameson (22 bottles a day),making it the largest server of Jameson's in the world – a title it maintained for four consecutive years.
Historical pot still at the Jameson distillery in Cork
15cm x 20cm Charming framed postcard depicting the Irish alphabet, which has only 18 characters.
Charming framed postcard of the famous John Keating R.H.A painting The Aran Fisherman and his wife . 20cm x 15cmhe Paintings of Sean Keating
He sustained a belief in the dream world that could be created out of ordinary life as it surrounded him, writes Bruce Arnold in an evaluation of the work of the late Sean Keating. SEAN KEATING'S place in Irish art was, to a large extent, defined for him. As a traditional realist he responded to events; he painted historyo individual people, 'types', and the small worlds with" which they care associated. It was fortunate for him that his early life coincided with moomentous events, and it was natural, given his direct and forceful personnality, that he should attempt to grapple with such events and turn them into art.. His equipment for doing so was simple, traditional, and more or less unchanging throughout his long life. And it was acquired virtually from one source., William Orpen. Keating met Orpen in 1907 when he came from Limerick to Dublin as a student at the Metropolitan School of Art. He was Orpens favourite pupil, his friend, and then his studio assistant. The association lasted until the introduction of conscription in the second year of the first world war. At that point, having failed to persuade Orpen to leave England' and return to Ireland for the sake of Irish painting, Keating came home on his own and em barked on a career as a painter thatwas governned by intense nationalism, love of the language, a belief in the purity of the simple peasant life - which, for Keatting, was epitomised by the Aran Islands - and a repudiation of modernism in all its forms. He may be said to have learnt only the last of these from Orpen. What he had learnt, however, was a simplicity of line, a perfected co-ordination of hand and eye, and an understanding of paint, all of which provided a firm foundation for the increasingly hard task of sustaining realism through a very long life. Who shall judge his work finally? At times mawkish, at times sentimental, there is at the same time alway, ..I thread of truth and innocence III Keating's vision, a devastating cornbin ation when one is thinking of possterity. In his turn, Sean Keating inspu ,.: fresh generations of Irish artists. VIrrtually alone in the genera non of pam ters taught by Orpen , he sustained a belief not only in the principle, of sound draughtmanship , good technique, well primed canvasses. and an ancient and traditional use of paint. but also in the dream world that could he created out of the stuff of or dinar y life as it surrounded him. Like John Synge, Keating recognised .m the Irish character that propensity towards self-dramatisation that rescues humanity from the fearful boredom that surrrounds so much of life. And it Cd me to form a central part of his art Wheether he is painting a flying column resting during the War of Independence, a fisherman facing the western seas, or simply a farmer facing the eternal and unending struggle with the land, Keating was able to see forms of herooism and to paint them into the eyes and gestures. It is this that distinguishes his art, at its best, from what is loosely called the academic tradition in Irish art. In a rough and ready way, directly, instinctively, sometimes with inexcussable gaucheness, but rarely if ever with any loss of the essentials of line and colour, Sean Keating painted a record of his own time. He repudiated modernism because, for him, it departted from truth, and truth was something for which he had unqualified admiration. ' He admired beauty in women, characcter in men. He knew that, for both men and women, the best was often made out of threadbare essentials: yet he also knew that the beauty . and the character were often that much more exciting and dramatic because of the simplicity in achieving them. This is very often the message of his work. It is love that strikes fire in the heart of Christy Mahon, in 'The Playboy of the Western World', and makes him into a hero. And there is something of the same instinct, an instinct towards self-preservation, in the faces of Sean Keating's men and women. There was something of it in Keating himself. It made him a more forceful and dynamic artist that contemporaries like Leo Whelan and Patrick Tuohy, and pushed hini into an undisputed leadership of traditional realism in the period between the wars. For Irish art itself this was probably unfortunate. Keating's uncompromising lack of. sympathy with alternative traditions in art, when throughout Europe diversity and fragmentation was greater than at any other period in history, meant that divisions and antagonisms weakened still further the tread bare texture of Irish art. Organisations like the RHA and Living Art were set against each other; so were people; and 'all this at a time of public indifference, when few works by anyone were being bought.
Carrolls Number 1 Virginia Cigarettes Retro advert fashioned from the blood, sweat,tears and spillage of a well used Irish Bar Trays & enamel signs.Using high quality reprographics we have brought every scratch,dent and mark back to life in the shape of this unique series of prints. Dimensions : 35cm x 48cm Glazed
A packet of 20 Carrolls Number 1
A package of 20 MajorP. 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.
20 Sweet AftonBrands
- "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.
- "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.
