• This painting of Clare piper Pádraig Ó Briain by the artist Joseph Haverty was hugely popular in 19th-century Ireland.

    82cm x 58cm.  Limerick

    An oil painting of a street musician who played regularly in Limerick city, was painted in oil on canvas. The subject, uileann piper Pádraig Ó Briain (there are several variant spellings of his name on record), occupied a space on the corner of the Crescent and Hartstonge Street in Limerick and presumably Haverty noticed him there. Pipers were esteemed in Ireland and were a popular subject. Haverty had a sound instinct for what would appeal to an audience. He transposed the piper from an urban to a woodland setting, which is theatrical but effective, and the painting seems to have been known under several different titles, including The Father and Daughter (O’Brien had two daughters but opinions differ as to whether the girl depicted was one of them), The Blind Piper and The Irish Piper.

    Reproduced as a print under the title The Limerick Piper, it sold widely throughout the country and became extremely well-known. Haverty made another quite different painting of the piper, now in the University of Limerick collection, but he also made copies of his own work.

    To complicate things slightly: The Blind Piper was exhibited by the RHA in 1845, when it was praised in the Nation. It was perhaps this version that Sir Josslyn Gore-Booth bought and exhibited at the Cork exhibition in 1852. But there were other versions in circulation. Young Irelander William Smith O’Brien reputedly commissioned a copy from Haverty, and bequeathed it to the National Gallery of Ireland in 1864.

    The Blind Piper is included in the exhibition Oidhreacht: Transforming Tradition at the Highlanes Gallery, Laurence Street, Drogheda, Co Louth (July 13th – September 14th), timed to coincide with Fleadh Cheoil na hÉireann which takes place July 10th-18th in Drogheda.

    The annual week-long festival, a lively mix of summer school, competition and a packed programme of traditional music concerts attracts up to 500,000 people from throughout Ireland North and South, the UK and internationally. The exhibition of art and artefacts is drawn from Drogheda’s Municipal Art Collection as well as those of major public museums, including the National Gallery of Ireland and Imma. It aims to explore “the rich social, political and aesthetic contexts in which the traditional arts have been expressed”.

  • Fantastic framed .large Dubliners drinking pints of Bass display with autographs of all the band members underneath. 75cm x 66cm  Dublin The Dubliners were quite simply one of the most famous Irish folk bands of all time.Founded in 1962,they enjoyed a 50 year career with the success of the band centred on their two lead singers,Luke Kelly and Ronnie Drew.They garnered massive international acclaim with their lively Irish folk songs,traditional street ballads and instrumentals eventually crossing over to mainstream culture by appearing on Top of the Pops in 1967 with "Seven Drunken Nights" which sold over 250000 singles in the UK alone.Later a number of collaborations with the Pogues saw them enter the UK singles charts again on another 2 occasions.Instrumental in popularising Irish folk music abroad ,they influenced many generations of Irish bands and covers of Irish ballads such as Raglan Road and the Auld Triangle by Luke Kelly and Ronnie Drew tend to be regarded as definitive versions.They also enjoyed a hard drinking and partying image and this advertising collaboration with Bass Ales must be seen as the perfect fit in terms of a target audience !  
  • Fantastic ,imposing Dublin Gold Matured for Seven Years Irish Whiskey Advert in magnificent, gold frame 60 cm x 95cm  Dublin
    "A whiskey is the creation of something harmonious, balanced and fundamentally social... It brings together the mastery of the distilling process with the mystery of its humble ingredients. It is this indefinable nature that makes a Premium Whiskey far more than the sum of its parts.” The Jameson Masters
     
    In order to be called an “Irish Whiskey”, distilled spirit must be;
    • -  aged in wood barrels for a minimum of 3 years.
    • -  a minimum of 40% ABV.
    • -  distilled and matured on the island of Ireland.There are several types of Irish Whiskey including; Pot still Irish Whiskey Pot still whiskey is whiskey made from a combination of malted barley and unmalted barley and is distilled in traditional copper pot stills. Pot Still Irish Whiskeys are characterised by full bodied flavours and a wonderful creamy mouth feel. Blended Irish Whiskey A blended whiskey is a combination of 2 or more styles of whiskey (grain, pot still or malt whiskey). Grain Irish Whiskey Grain whiskey is typically produced from a mash of maize and malted barley. Grain whiskey is lighter in character than pot still whiskey and generally the characteristics display delicate, fragrant and floral notes. Malt Irish WhIskey A single malt whiskey is made exclusively from malted barley and is distilled using a pot still.
    Add to cart Details
  • Original poster & lovely collectors item as supplied by the Lee Strand Co-Op after Kerry collected their 3 in a row.You would think though that the rest of his team mates should have moved over on the bench and given Denis "Ogie" Moran a seat after all his great years of service to the Kingdom!
     
    Event 1986 All-Ireland Senior Football Championship
    Date 21 September 1986
    Venue Croke Park, Dublin
    Man of the Match Pat Spillane
    Referee Jim Dennigan (Cork)
    Attendance 68,628
    The 1986 All-Ireland Senior Football Championship Final was the 99th All-Ireland Final and the deciding match of the 1986 All-Ireland Senior Football Championship.Tyrone were seven points clear at one point, but went on to lose by eight, Pat Spillane and Mikey Sheehy scoring goals.It was the fifth of five All-Ireland football titles won by Kerry in the 1980s.But amazingly after over a decade of dominance  Kerry would not even contest or win another All-Ireland football Final until 1997, Annascaul  Co Kerry   64cm x 83cm
  • 32cm x 24cm  Caherciveen Co Kerry Framed print of one of there greatest Gaelic Footballers of all time - the legendary Mick O'Connell. Michael "Mick" O'Connell (born 4 January 1937) is an Irish retired Gaelic footballer. His league and championship career with the Kerry senior team spanned nineteen seasons from 1956 to 1974. O'Connell is widely regarded as one of the greatest players in the history of the game. Born on Valentia Island, County Kerry, O'Connell was raised in a family that had no real link to Gaelic football. In spite of this he excelled at the game in his youth and also at Cahersiveen CBS. By his late teens O'Connell had joined the Young Islanders, and won seven South Kerry divisional championship medals in a club career that spanned four decades. He also lined out with South Kerry, winning three county senior championshipmedals between 1955 and 1958. O'Connell made his debut on the inter-county scene at the age of eighteen when he was selected for the Kerry minor team. He enjoyed one championship season with the minors, however, he was a Munster runner-up on that occasion. O'Connell subsequently joined the Kerry senior team, making his debut during the 1956 championship. Over the course of the next nineteen seasons, he won eight All-Ireland medals, beginning with lone triumphs in 1959 and 1962, and culminating in back-to-back championships in 1969 and 1970. O'Connell also won twelve Munster medals, six National Football League medals and was named Footballer of the Year in 1962. He played his last game for Kerry in July 1974. Recollecting his early years on RTÉ Raidió na Gaeltachta and Radio Kerry, O’Connell spoke of how he was introduced to Gaelic football.He also revealed he had regularly played soccer with Spanish fishermen on his native Valentia Island. “Well, I remember I was 11 or 12, my father bought them (boots) in the shop in Cahirsiveen. I remember playing beside the house at home and I remember the first day I got those from the shop I was delighted. But after that there wasn’t a lot of people with football boots. “We would play barefoot often during the summer — and we were happy to play barefoot — that’s the way it was back then. “My father bought us a ball, a size 4. It wasn’t too big but it was fine. We would play at home and coming home from school a lot of people would come in playing with us, schoolboys, and often, very often, the Spanish would come in taking shelter from the weather, they would come in and play soccer with us. “If there was bad weather, they’d take shelter here in the harbour. They wouldn’t have a penny but a drop of wine in bags but they had no money and they’d come in and play. It was nice to watch them. I was practicing left and right but we had no trainers or coaches at the time. It was just a case of practicing between ourselves, nice and gently. There were no matches but games between ourselves and that’s all we had at the time.” It was O’Connell’s father Jeremiah who helped begin his son’s love of Gaelic football although he himself had no background in the game. “My own mother (Mary), she was never at a match and my uncle who was born in 1880 or that, he was living with us on Valentia Island, he was never at a match.
  • 35cm x 45cm  Caherciveen Co Kerry Framed print of one of there greatest Gaelic Footballers of all time - the legendary Mick O'Connell. Michael "Mick" O'Connell (born 4 January 1937) is an Irish retired Gaelic footballer. His league and championship career with the Kerry senior team spanned nineteen seasons from 1956 to 1974. O'Connell is widely regarded as one of the greatest players in the history of the game. Born on Valentia Island, County Kerry, O'Connell was raised in a family that had no real link to Gaelic football. In spite of this he excelled at the game in his youth and also at Cahersiveen CBS. By his late teens O'Connell had joined the Young Islanders, and won seven South Kerry divisional championship medals in a club career that spanned four decades. He also lined out with South Kerry, winning three county senior championshipmedals between 1955 and 1958. O'Connell made his debut on the inter-county scene at the age of eighteen when he was selected for the Kerry minor team. He enjoyed one championship season with the minors, however, he was a Munster runner-up on that occasion. O'Connell subsequently joined the Kerry senior team, making his debut during the 1956 championship. Over the course of the next nineteen seasons, he won eight All-Ireland medals, beginning with lone triumphs in 1959 and 1962, and culminating in back-to-back championships in 1969 and 1970. O'Connell also won twelve Munster medals, six National Football League medals and was named Footballer of the Year in 1962. He played his last game for Kerry in July 1974. Recollecting his early years on RTÉ Raidió na Gaeltachta and Radio Kerry, O’Connell spoke of how he was introduced to Gaelic football.He also revealed he had regularly played soccer with Spanish fishermen on his native Valentia Island. “Well, I remember I was 11 or 12, my father bought them (boots) in the shop in Cahirsiveen. I remember playing beside the house at home and I remember the first day I got those from the shop I was delighted. But after that there wasn’t a lot of people with football boots. “We would play barefoot often during the summer — and we were happy to play barefoot — that’s the way it was back then. “My father bought us a ball, a size 4. It wasn’t too big but it was fine. We would play at home and coming home from school a lot of people would come in playing with us, schoolboys, and often, very often, the Spanish would come in taking shelter from the weather, they would come in and play soccer with us. “If there was bad weather, they’d take shelter here in the harbour. They wouldn’t have a penny but a drop of wine in bags but they had no money and they’d come in and play. It was nice to watch them. I was practicing left and right but we had no trainers or coaches at the time. It was just a case of practicing between ourselves, nice and gently. There were no matches but games between ourselves and that’s all we had at the time.” It was O’Connell’s father Jeremiah who helped begin his son’s love of Gaelic football although he himself had no background in the game. “My own mother (Mary), she was never at a match and my uncle who was born in 1880 or that, he was living with us on Valentia Island, he was never at a match.
  • Original,commemorative team photo of the 3 in a row winning Kerry Footballers as sponsored by the Kerry Eye Newspaper.As can be seen, some Kerry children had a bit of fun with it one the years in their classroom near Sneem Co Kerry Origins ; Sneem Co Kerry  Dimensions :52cm x 65cm.  Glazed  

    The 80s was a time when Ulster football was considered a distant cousin to the majesty of Kerry, even when the Kingdom's golden age was ending.

    But such was Tyrone's initial dominance of the 1986 All-Ireland final against Kerry by half-time their fans began to panic about not having accommodation in Dublin that night. They needn't have worried as a seven-point lead turned into an eight-point pounding in the final 20 minutes.

    The crucial moment was a Tyrone penalty, which was sent over the bar by Kevin McCabe. From the kick-out, Kerry whizzed downfield and Pat Spillane finished the move with a goal that reduced the arrears to four points. A Mikey Sheehy goal completed a nightmarish capitulation.

    It was the last hurrah from a great Kerry team who had taken Sam Maguire home eight times in 12 years. An 11-year drought followed.

    Moy's Plunkett Donaghy was Tyrone's class act back then but the loss of Eugene McKenna and John Lynch through injury coincided with the late collapse.

    Moy send another marauding midfielder out against Kerry on Sunday in Seán Cavanagh along with clubmates Philip Jordan and Ryan Mellon.

    KERRY: C Nelligan; P Ó Sé, S Walsh, M Spillane; T Doyle (captain), T Spillane, G Lynch; J O'Shea, A O'Donovan; W Maher, D Moran (0-2), P Spillane (1-4); M Sheehy (1-4, three points from frees), E Liston (0-2), G Power (0-1). Sub: T O'Dowd (0-2) for O'Donovan.

    TYRONE: A Skelton; J Mallon, K McGarvey, J Lynch; K McCabe (0-1, from a penalty), N McGinn, P Ball; P Donaghy, H McClure; M McClure (0-1), E McKenna, S McNally (0-2); M Mallon (0-4, three frees), D O'Hagan (0-1), P Quinn (1-1). Subs: S Conway for Lynch, S Rice for McKenna, A O'Hagan for M Mallon.

  • Commemorative team photo of the 3 in a row winning Kerry Footballers 1978,1979 & 1§980 Sneem Co Kerry  Dimensions :63cm x 45cm  

    T

  • Charming 1940s advert from the merchant bottler Wm Kearney & Sons Limerick City.These bottling merchants would bottle for the major brands such as Jamesons and Bushmills and very often would distill their own single malt whiskey as well, usually for the local market.The "real Irish beauty " featured smoking a cigarette certainly added to the allure of the Wm Kearney brand ! Doon Co Limerick  56cm x 50cm
  • 30cm x 30cm If ever a time symbolised flag-waving, delirious, green white and orange national pride, Italia '90 was that time. It all came down to one single glorious moment on a steamy June night in the Stadio Luigi Ferraris in Genoa when Packie Bonner saved that penalty and a deafening Une Voce roar erupted, ricocheting through every home and bar across Ireland. Seconds later when David O'Leary's winning penalty unleashed tears of unbridled joy Irish tricolours billowed like crazy in the breezeless stands and cascaded from the terraces to seemingly endless choruses of 'Olé, Olé, Olé, Olé'. We had made it through to the quarter-finals of the World Cup but we might as well have won and no-one wanted to let that moment go. Back home, cars catapulted onto the streets of every town and village with horns honking and flags wavering precariously from rolled-down windows. In Donegal an impromptu motorcade, suddenly, impulsively headed for Packie's home place in the Rosses, where fans danced in the front garden and waved the tricolour. It was an epic display of patriotic fervour and a defining moment, not just for Irish football but for our sense of identity. Historian and author, John Dorney describes it as the moment when Irish identity and international football collided. In his analysis of the era, he concludes that the Irish team's English manager, Jack Charlton neither knew nor cared about the multiple divisions in Irish society. Likewise, many of the team had been born in England of Irish ancestry and were "a clean slate" without baggage.
    "The 11 men on the football fields of Italy in the 1990 tournament represented a joyous shedding of much that had gone on before," he points out.
    In the previous decades leading up to Italia '90, the Irish flag had been politicised and people in the Republic felt disengaged from the so-called Troubles

    "I think Italia '90 was about letting go of the past. The eighties had been a very difficult decade and there was a sense of something very cathartic happening. There was a real sense of letting go of the baggage of the past. In essence people were saying that they wanted Ireland to be successful, to be respected and not to always be associated with negative things.

    "They were saying we can be proud of our flag and we can carry it with us and it doesn't have to mean x, y or z. It can just be our flag and that's it." At the end of Ireland's final game in Stadio Olimpico in Rome, a tearful-looking Charlton brandishing a large tricolour as he led the players in a lap of honour in moving tribute to the fans, instantly became one of the abiding memories of an unforgettable tournament. It had all begun low key with the odd flag-waving fan among the stay-at-home supporters but by the time Ireland had reached Genoa for the game against Romania, excitement levels had rocketed to fever pitch. Flags were suddenly everywhere. Children beamed out from tricolour-painted faces and funny hats in the colours of the national flag had even made their way into the usually more solemn sports studios of the National Broadcaster. Bill O'Herlihy, who remained at home to anchor the RTE coverage, recalls Italia '90 as a defining moment, not just for the team and for soccer coverage but for the fans who rallied behind the team. "You have to remember that the World Cup is the biggest sporting event in the world so the fact that we qualified for the first time, meant there was a great sense of national pride. "In my judgment it was the best time I ever remember in Dublin. We all walked a little taller. There was much less crime. There was an awful lot of happiness and joy and a huge number of celebrations. It was more than a soccer event. It was a national event. "Everywhere you went there were flags flying. It was later calculated that everybody over the age of 4 was watching RTE to see that the penalty shoot out in Genoa which was an astounding thing," he said. The veteran sports' broadcaster pointed out that Italia '90 was also a defining time for Irish fans abroad. "I think we are very proud of our sports people and we have a great sporting tradition. The Irish flag is central to that in my estimation and we respect the flag because of the way we behave when we are away. "Everyone was talking about the Irish fans." He has no regrets about being in Dublin for the tournament and for the return of the team when half a million people turned out on the streets of the capital to welcome them home. "It was a very special time and I don't think it will ever be replicated. When we got to the next World Cup finals in 1994, I got a sense that the celebration was a bit forced. In 1990 it came from the heart."
  • Power's Pure Pot Still Whiskey display depicting scenes  after the 1961 Fire at Johns Lane distillery, when the burned whiskey barrels were literally overflowing down the street and thirsty onlookers were drinking it off the ground as you can see in these iconic photographs 44cm x 34cm  Thomas St Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.
    The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
      During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square.   Origins : Dublin City Dimensions : 100cm x 70cm   20kg (specially constructed damage proof shipping container)
  • Power's Pure Pot Still Whiskey display including photograph of delivery lorry ,original labels & other ephemera. 40cm x 34cm  Thomas St Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.
    The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
      During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square.   Origins : Dublin City Dimensions : 100cm x 70cm   20kg (specially constructed damage proof shipping container)
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