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The Last Absolution of the Munster Fusiliers at Rue de Bois 1915-Fortunino Matania

€250.00

57cm x 70cm Co Tipperary
The most haunting and poignant image of Irish involvement in the first World War is at the centre of an unsolved art mystery.

The Last General Absolution of the Munsters at Rue du Bois – a painting long presumed lost – depicts soldiers of the Royal Munster Fusiliers regiment receiving “general absolution” from their chaplain on the eve of battle in May 1915. Most of them died within 24 hours.

The painting, by Italian-born war artist Fortunino Matania, became one of the most famous images of the war when prints of it were published in illustrated weekly newspapers.

Copies hung in houses & pubs throughout Ireland, and especially Munster, but, as Irish public opinion towards the war changed, the picture gradually disappeared from view.A copy still hangs in the famous pub Larkins of Garrykennedy Co Tipperary to this day.

Centenary commemorations of the first World War have prompted renewed interest in the whereabouts of the original painting among art and military historians.

A widely held theory that the painting was lost when archives were destroyed in a fire during the blitz of London in 1940 is “very much” doubted by English historian Lucinda Gosling, who is writing a book about the artist.

She told The Irish Times there was no definitive proof to confirm this theory and it was possible the original painting was still “out there”.

The painting could, conceivably, be in private hands or, more improbably, be lying forgotten or miscatalogued in a museum’s storage area. Matania’s work occasionally turns up at art auctions, but there has been no known or publicly-documented sighting of the original Munsters painting.

Ms Gosling described Matania as an artist “able to work at great speed, producing pictures that were unnervingly photographic in their realism”.

His pictures, she said, had “reached and influenced millions” and “he combined skill and artistry with a strong streak of journalistic tenacity”.

Wayside shrine
The painting is based on an event that took place on Saturday evening, May 8th, 1915.

Soldiers from the Second Battalion, Royal Munster Fusiliers, commanded by Lieut-Col Victor Rickard, paused beside a wayside shrine near the village of Rue du Bois in northwest France. The following day, they were due to go into battle, in what became known as the Battle of Aubers Ridge.

The painting is imbued with a sense of impending doom.

In Catholic canon law, a priest may grant general absolution of sin to a gathering of the faithful where there is imminent danger of death and no time for individual confessions.

The ritual was used on September 11th, 2001, in New York to grant general absolution to police officers and firefighters about to enter the Twin Towers of the World Trade Centre.

In the painting, the Irish chaplain Fr Francis Gleeson is shown blessing the men: “Misereatur vestri omnipotens Deus; et dimissis omnibus peccatis vestris, perducat vos Iesus Christus ad vitam aeternam” (May Almighty God have mercy on you, and having forgiven all your sins, may Jesus Christ bring you to life everlasting).

The men then sang the hymns Te Deum and Hail Glorious St Patrick.

The artist was not present at the scene but based his painting on a written account by Lieut- Col Rickard’s widow, Jessie, who is believed to have commissioned the painting in memory of her husband.

She had gathered eye-witness accounts from survivors and wrote: “There are many journeys and many stopping- places in the strange pilgrimage we call life, but there is no other such journey in the world as the journey up a road on the eve of battle, and no stopping- place more holy than a wayside shrine.”

She noted among the troops were “lads from Kerry and Cork, who, a year before, had never dreamed of marching in the ranks of the British army”.

After Fr Gleeson’s blessing, she wrote: “The regiment moved on, and darkness fell as the skirl of the Irish pipes broke out, playing a marching tune.

“The Munsters were wild with enthusiasm; they were strong with the invincible strength of faith and high hope, for they had with them the vital conviction of success, the inspiration that scorns danger – which is the lasting heritage of the Irish; theirs still and theirs to remain when great armaments and armies and empires shall be swept away, because it is immovable as the eternal stars.”

Mown down

The following morning, Sunday May 9th, most of the Irish soldiers were mown down by German gunfire and shelling.

On a catastrophic day for the British army – over 11,000 casualties – the Royal Munster Fusiliers suffered dreadful losses. Exact estimates vary, but one account records 800 Munsters went into battle and only 200 assembled that evening.

Mrs Rickard concluded : “So the Munsters came back after their day’s work; they formed up again in the Rue du Bois, numbering 200 men and three officers. It seems almost superfluous to make any further comment.”

The Last General Absolution of the Munsters at Rue du Bois

The Painting

The Last General Absolution of the Munsters at Rue du Bois shows some of the hundreds of soldiers from the second battalion of the Royal Munster Fusiliers who gathered at a shrine near the village of Rue du Bois on the western front on Saturday, May 8th, 1915.

The image was published in the London illustrated weekly newspaper The Sphere in November 1916, and in 1917 in the Weekly Freeman’s, an Irish publication. There are copies of the print in various museums and in private ownership in Ireland and Britain.

The Artist

Fortunino Matania, (1881- 1963) was born in Naples and was a well-known artist and illustrator in Italy before moving to London in 1902. He worked for The Sphere – an illustrated weekly newspaper – and became famous for depicting the sinking of the Titanic in 1912.

He was an official war artist in the first World War and his graphic illustrations of trench warfare were highly renowned.

The Location

Rue du Bois is located near the village of Neuve Chapelle in the Nord-Pas-de-Calais region of France close to the border with Belgium. According to the Royal Munster Fusiliers Association, the original shrine has long gone.

The Chaplain

Depicted on horseback, with hand raised granting general absolution, is Fr Francis Gleeson, a native of Templemore, Co Tipperary. He was ordained a priest in Maynooth in 1910 and volunteered to serve as a chaplain in the army at the outbreak of the war. He was assigned to the Royal Munster Fusiliers and served with distinction. He survived the war and returned to Ireland where he worked as priest in Dublin and died in 1959.

The Commanding Officer

Lieut-Col Victor Rickard, the other man on horseback, was born in Englandto an Irish father and English mother.

He was the commander of the battalion. He died in action the next day, aged 40.

The Patron

Lieut-Col Rickard’s widow Jessie, who is believed to have commissioned the painting, was the daughter of a Church of Ireland clergyman who spent her youth in Mitchelstown, Co Cork. She became a well-known novelist and published some 40 books.

After the war she converted to Catholicism under the guidance of another former chaplain in the British army in the first World War – Fr Joseph Leonard, who later befriended Jackie Kennedy.

Mrs Rickard died at Montenotte, Cork, in 1963, aged 86.

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Michael Egan Limerick Finest Irish Whiskey Print

€250.00

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

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Classic Limerick Print -King Johns Castle & Thomondgate Bridge

€250.00

Stunning medieval era print depicting there majesty of King Johns Castle & St Marys Cathedral from the upriver aspect of the Thomondgate Bridge with the Shannon River flowing past all the famous landmarks. King John's Castle is a 13th-century castle located on King's Island in Limerick, Ireland, next to the River Shannon.Although the site dates back to 922 when the Vikings lived on the Island, the castle itself was built on the orders of King John in 1200. One of the best preserved Norman castles in Europe, the walls, towers and fortifications remain today and are visitor attractions. The remains of a Viking settlement were uncovered during archaeological excavations at the site in 1900. Thomondgate was part of the “Northern” Liberties granted to Limerick in 1216. This area was the border between Munster and Connacht until County Clare, which was created in 1565, was annexed by Munster in 1602. TheThomondgate bridge was originally built in 1185 on the orders of King John and is said to have cost the hefty sum of £30. As a result of poor workmanship the bridge collapsed in 1292 causing the deaths of 80 people. Soon after, the bridge was rebuilt with the addition of two gate towers, one at each end. It partially collapsed in 1833 as a result of bad weather and was replaced with a bridge designed by brothers James and George Pain at a cost of £10,000. 52cm x 60cm Coonagh Co Limerick

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Locke’s Old Irish Whiskey Ephemera & Memorabilia Print (Now Kilbeggan Whiskey)

€250.00
Fantastic display of Locke's Old Irish Whiskey Ephemera & Memorabilia including whiskey bottle labels, cheques,history of the distillery ,etc. Origins: Kilbeggan Co Westmeath Dimensions:70cm x 60cm Unglazed The Kilbeggan Distillery (formerly Brusna Distillery and Locke's Distillery) is an Irish whiskey distillery situated on the River Brosna in Kilbeggan, County Westmeath, Ireland. It is owned by Beam Suntory. A small pot still distillery, the licence to distil dates to 1757, a copy of which can be seen in the distillery. Similar to many Irish distilleries, Kilbeggan endured financial difficulties during the early 20th century, and ceased operations in 1957. However, the distillery was later refurbished, with distilling recommencing on-site in 2007. Noted devotees of the distillery's whiskeys include British Prime Minister Sir Winston Churchill, and Myles na gCopaleen, the Irish playwright.
Early years
The distillery was founded in 1757 by Matthew MacManus, who may have distilled elsewhere before founding Kilbeggan.Although information about the early years of the distillery is scarce, documentation suggests that in its early years the distillery operated with a 232 gallon still, and an annual output of 1,500 gallons. By the early 19th century, the distillery was being run by a John and William Codd. In 1841, the distillery was put up for sale following the dissolution of the partnership between its then owners, William Codd and William Cuffee.The distillery at the time consisted of a brew house, still house with three pot stills (wash still: 8,000 gallons; low wine still, no. 1; 2,000 gallons; low wine still, no. 2: 1,500 gallons), run-room with five receivers, malt house, corn stores capable of storing 5,000 barrels, and oat-meal mills. Also listed in the sale were 400 tonnes of coal, and 10,000 boxes of turf - the latter reflecting the immense quantities of turf consumed at the distillery, so much so, that it was reported to have kept hundreds of poor people profitably employed in cutting, rearing, and drawing it to the town throughout the year.
Locke's Distillery
In 1843, the distillery was taken over by John Locke, under whose stewardship the distillery flourished. Locke treated his staff well, and was held in high regard by both his workers and the people of the town. Informal records show that under Locke the distillery provided cottages for its employees, either for rent or purchase through a form of in-house mortgage scheme. In addition, all staff received a wagon load of coal at the start of each winter, the cost of which was deducted from salaries retrospectively on a weekly basis. Testimony of the respect with which he was held is offered by an incident in 1866. Following an accident on-site which had rendered a critical piece of equipment, the steam boiler, inoperable, the distillery had come to a standstill. With Locke unable to afford or obtain a loan to fund a replacement, the future of distillery lay in doubt.However, in a gesture of solidarity, the people of Kilbeggan came together and purchased a replacement boiler, which they presented to John Locke, along with the following public letter of appreciation, which was printed in several local newspapers at the time:
An Address from the People of Kilbeggan to John Locke, Esq. Dear Sir - Permit us, your fellow townsmen, to assure of our deep and cordial sympathy in your loss and disappointment from the accident which occurred recently in your Distillery. Sincerely as we regret the accident, happily unattended with loss of life, we cannot but rejoice at the long-wished-for opportunity it affords us of testifying to you the high appreciation in which we hold you for your public and private worth. We are well aware that the restrictions imposed by recent legislation on that particular branch of Irish industry, with which you have been so long identified, have been attended with disastrous results to the trade, as is manifest in the long list of Distilleries now almost in ruins, and which were a few years ago centres of busy industry, affording remunerative employment to thousands of hands; and we are convinced the Kilbeggan Distillery would have long since swelled the dismal catalogue had it fallen into less energetic and enterprising hands. In such an event we would be compelled to witness the disheartening scene of a large number of our working population without employment during that period of the year when employment Is scarcest, and at the same time most essential to the poor. Independent then of what we owe you, on purely personal grounds, we feel we owe you a deep debt of gratitude for maintaining in our midst a manufacture which affords such extensive employment to our poor, and exercises so favourable an influence on the prosperity of the town. In conclusion, dear Sir, we beg your acceptance of a new steam boiler to replace the injured one, as testimony, inadequate though it is, of our unfeigned respect and esteems for you ; and we beg to present it with the ardent wish and earnest hope that, for many long years to come, it may contribute to enhance still more the deservedly high and increasing reputation of the Kilbeggan Distillery.
In a public response to mark the gift, also published in several newspapers, Locke thanked the people of Kilbeggan for their generosity, stating "...I feel this to be the proudest day of my life...". A plaque commemorating the event hangs in the distillery's restaurant today. In 1878, a fire broke out in the "can dip" (sampling) room of the distillery, and spread rapidly. Although, the fire was extinguished within an hour, it destroying a considerable portion of the front of the distillery and caused £400 worth of damage. Hundreds of gallons of new whiskey were also consumed in the blaze - however, the distillery is said to have been saved from further physical and financial ruin through the quick reaction of townsfolk who broke down the doors of the warehouses, and helped roll thousands of casks of ageing spirit down the street to safety. In 1887, the distillery was visited by Alfred Barnard, a British writer, as research for his book, "the Whiskey Distilleries of the United Kingdom". By then, the much enlarged distillery was being managed by John's sons, John Edward and James Harvey, who told Barnard that the distillery's output had more than doubled during the preceding ten years, and that they intended to install electric lighting.Barnard noted that the distillery, which he referred to as the "Brusna Distillery", named for the nearby river, was said to be the oldest in Ireland. According to Barnard, the distillery covered 5 acres, and employed a staff of about 70 men, with the aged and sick pensioned-off or assisted. At the time of his visit, the distillery was producing 157,200 proof gallons per annum, though it had the capacity to produce 200,000. The whiskey, which was sold primarily in Dublin, England, and "the Colonies", was "old pot still", produced using four pot stills (two wash stills: 10,320 / 8,436 gallons; and two spirit stills: 6,170 / 6,080 gallons), which had been installed by Millar and Company, Dublin. Barnard remarked that at the time of his visit over 2,000 casks of spirit were ageing in the distillery's bonded warehouses. In 1893, the distillery ceased to be privately held, and was converted a limited stock company, trading as John Locke & Co., Ltd., with nominal capital of £40,000.
Decline and Closure
In the early part of the 20th century, Kilbeggan, like many Irish whiskey distilleries at the time, entered a period of decline. This was due to the combined effects of loss and hampering of market access - due to prohibition in the United States, the trade war with the British Empire, shipping difficulties during the world wars, and Irish Government export quotas; as well as competition from blended Scotch, and disruption to production during the Irish war of Independence. As a result, Kilbeggan was forced to cease production of new spirit for 7 years between 1924 and 1931, decimating the company's cash flow and finances.Most of the staff at the distillery were let go, and the distillery slowly sold off its stocks of aged whiskey. Distilling resumed in 1931, following the end of prohibition in the United States, and for a time the distillery's finances improved - with a loss of £83 in 1931, converted to a modest profit of £6,700 in 1939. In the 1920s, both of John sons passed away, John in 1920, and James in 1927, and ownership of the distillery passed to Locke's granddaughters, Mary Evelyn and Florence Emily.However, by then the distillery was in need to repair, with the turbulent economic conditions of the early 20th century having meant that no investment had been made in new plant since the 1890s. In 1947, the Lockes decided to put the distillery was put up for sale as a going concern. Although run down, the distillery had valuable stocks of mature whiskey, a valuable commodity in post-war Europe.An offer of £305,000 was received from a Swiss investor fronted by an Englishman, going by the name of Horace Smith.Their unstated interest, was not the business itself, but the 60,000 gallons of whiskey stocks, which they hoped to sell on the black market in England at £11 a gallon - thus, more than doubling their investment overnight. However, when they failed to come up with the deposit, the duo were arrested and promptly interrogated by Irish police. The Englishman, it turned out, was an impostor named Maximoe, who was wanted by Scotland Yard.^]The Irish authorities placed Maximoe on a ferry back to England for extradition, but he jumped overboard and escaped with the help of unknown accomplices. An Irish opposition politician, Oliver J. Flanagan, subsequently alleged under parliamentary privilege that members of the governing Fianna Fáil political party were linked to the deal, accusing then Irish Taoiseach Éamon de Valera and his son of having accepted gold watches from the Swiss businessman. A tribunal of inquiry discounted the allegations but the damage contributed to Fianna Fáil's defeat in the 1948 election. In addition, as the scandal remained headline news in Ireland for several months, it discouraged interest from other investors in the distillery. Thus with no buyer found, operations continued at the distillery, with production averaging between 120,000 - 150,000 proof gallons per annum, and consumption running at between 15,000 - 20,000 barrels of barrel.In addition, although heavily indebted, investments were made in new plant and equipment. However, the death knell for the distillery came in April 1952, when the Irish Government introduced a 28% hike in the excise duties on spirits, causing a drastic decline in domestic whiskey sales. By November 1953, the distillery could not afford to pay the duty to release whiskey ordered for Christmas from bond, and production was forced to come to a halt. Although distilling had stopped, the firm struggled on until 27 November 1958, when a debenture issued in 1953 fell due, which the distillery could not afford to pay, forcing the bank to call in the receivers. Thus, bringing to an end 201 years of distilling in the town. In 1962, the distillery was purchased for £10,000 by Karl Heinz Moller, a German businessman, who owned a motor distribution company in Hamburg.Moller made a substantial profit on the deal, by selling off the whiskey stocks (about 100,000 gallons - worth tens of thousands of pounds alone) and a rare Mercedes Benz owned by the distillery. Much to the dismay of locals, Moller proceeded to convert the distillery into a pigsty, smashing thousands of Locke earthenware crocks (which would be worth a substantial amount at auction today) to create a hard-core base for the concrete floor. In 1969, the distillery was sold to Powerscreen, a firm which sold Volvo loading shovels, and in the early 1970s, the stills and worms were removed and sold for scrap.
Distillery reopens
In 1982, almost thirty years after the distillery ceased operations, the Kilbeggan Preservation and Development Association was formed by locals in the town. Using funds raised locally, the Association restored the Distillery, and reopened it to the public as a whiskey distillery museum. Then, in 1987, the newly opened Cooley Distillery acquired the assets of Kilbeggan distillery, allowing Cooley to relaunch whiskeys under the Kilbeggan and Locke's Whiskey brands. Cooley later also took over the running of the museum, and began the process of re-establishing a working distillery on-site. Cooley were aided in the process by the fact that since the distillery's closure, each subsequent owner had faithfully paid the £5 annual fee to maintain the distilling licence. In 2007, the 250th anniversary of the distillery's founding, distillation recommenced at Kilbeggan. The official firing of the pot stills was witnessed by direct descendants of the three families, the McManuses, the Codds, and the Lockes, who had run the distillery during its 200 year distilling history. In a fitting nod to the long history of distilling at Kilbeggan, one of the two pot stills installed in the refurbished distillery was a 180-year old pot still, which had originally been installed at the Old Tullamore Distillery in the early 1800s.^] It is the oldest working pot still producing whiskey in the world today. In 2010, with the installation of a mash tun and fermentation vats, Kilbeggan became a fully operational distillery once again.
Present day

Bottle of "Kilbeggan Finest Irish whiskey"

Today the distillery is known as Kilbeggan Distillery, and includes a restaurant, The Pantry Restaurant, and a 19th-century waterwheel that has been restored to working condition. The distillery can also be powered by a steam engine, which is in working condition but rarely used. It was installed to allow the distillery to continue operating in times of low water on the river. Prior to the recommencement of operations of Kilbeggan, the three brands associated with the distillery—Kilbeggan, Locke's Blend and Locke's Malt were produced at the Cooley Distillery in County Louth, before being transported to Kilbeggan, where they were to stored in a 200 year old granite warehouse. However, following recommencement of operations at Kilbeggan, new whiskey produced on-site has been sufficiently mature for market since around 2014. Since reopening, the distillery has launched a Kilbeggan Small Batch Rye, the first whiskey to be 100% distilled and matured on-site since the restoration was completed. Double-distilled, the whiskey is produced from a mash of malt, barley, and about 30% rye, said to reflect the traditional practice of using rye, which was common at 19th century Irish distilleries, but has since virtually died out. In late 2009, the distillery released small '3-pack' samples of its still-developing "new make spirit" at 1 month, 1 year, and 2 years of age (in Ireland, the spirit must be aged a minimum of three years before it can legally be called "whiskey"). The distillery's visitor centre was among the nominations in Whisky Magazine's Icons of Whisky visitor attraction category in 2008.
Gallery

Machinery at the distillery

Historic view distillery buildings

Distillery buildings with roof sign

View of the distillery from the 1900s
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1978 Munster v All Blacks Special Edition 40th Anniversary Commemorative Print

€250.00

There are many chapters in Munster’s storied rugby journey but pride of place remains the game against the otherwise unbeaten New Zealanders on October 31, 1978. Limited edition photographic montage of the great moments of the now legendary 1978 clash between Munster and the All Blacks.It was specially commissioned for the 40th anniversary of the game in 2018. 50cm x 55cm Limerick There were some mighty matches between the Kiwis and Munster, most notably at the Mardyke in 1954 when the tourists edged home by 6-3 and again by the same margin at Thomond Park in 1963 while the teams also played a 3-3 draw at Musgrave Park in 1973. During that time, they resisted the best that Ireland, Ulster and Leinster (admittedly with fewer opportunities) could throw at them so this country was still waiting for any team to put one over on the All Blacks when Graham Mourie’s men arrived in Limerick on October 31st, 1978. There is always hope but in truth Munster supporters had little else to encourage them as the fateful day dawned. Whereas the New Zealanders had disposed of Cambridge University, Cardiff, West Wales and London Counties with comparative ease, Munster’s preparations had been confined to a couple of games in London where their level of performance, to put it mildly, was a long way short of what would be required to enjoy even a degree of respectability against the All Blacks. They were hammered by Middlesex County and scraped a draw with London Irish. Ever before those two games, things hadn’t been going according to plan. Tom Kiernan had coached Munster for three seasons in the mid-70s before being appointed Branch President, a role he duly completed at the end of the 1977/78 season. However, when coach Des Barry resigned for personal reasons, Munster turned once again to Kiernan. Being the great Munster man that he was and remains, Tom was happy to oblige although as an extremely shrewd observer of the game, one also suspected that he spotted something special in this group of players that had escaped most peoples’ attention. He refused to be dismayed by what he saw in the games in London, instead regarding them as crucial in the build-up to the All Blacks encounter. He was, in fact, ahead of his time, as he laid his hands on video footage of the All Blacks games, something unheard of back in those days, nor was he averse to the idea of making changes in key positions. A major case in point was the introduction of London Irish loose-head prop Les White of whom little was known in Munster rugby circles but who convinced the coaching team he was the ideal man to fill a troublesome position. Kiernan was also being confronted by many other difficult issues. The team he envisaged taking the field against the tourists was composed of six players (Larry Moloney, Seamus Dennison, Gerry McLoughlin, Pat Whelan, Brendan Foley and Colm Tucker) based in Limerick, four (Greg Barrett, Jimmy Bowen, Moss Finn and Christy Cantillon) in Cork, four more (Donal Canniffe, Tony Ward, Moss Keane and Donal Spring) in Dublin and Les White who, according to Keane, “hailed from somewhere in England, at that time nobody knew where”. Always bearing in mind that the game then was totally amateur and these guys worked for a living, for most people it would have been impossible to bring them all together on a regular basis for six weeks before the match. But the level of respect for Kiernan was so immense that the group would have walked on the proverbial bed of nails for him if he so requested. So they turned up every Wednesday in Fermoy — a kind of halfway house for the guys travelling from three different locations and over appreciable distances. Those sessions helped to forge a wonderful team spirit. After all, guys who had been slogging away at work only a short few hours previously would hardly make that kind of sacrifice unless they meant business. October 31, 1978 dawned wet and windy, prompting hope among the faithful that the conditions would suit Munster who could indulge in their traditional approach sometimes described rather vulgarly as “boot, bite and bollock” and, who knows, with the fanatical Thomond Park crowd cheering them on, anything could happen. Ironically, though, the wind and rain had given way to a clear, blue sky and altogether perfect conditions in good time for the kick-off. Surely, now, that was Munster’s last hope gone — but that didn’t deter more than 12,000 fans from making their way to Thomond Park and somehow finding a spot to view the action. The vantage points included hundreds seated on the 20-foot high boundary wall, others perched on the towering trees immediately outside the ground and some even watched from the windows of houses at the Ballynanty end that have since been demolished. The atmosphere was absolutely electric as the teams took the field, the All Blacks performed the Haka and the Welsh referee Corris Thomas got things under way. The first few skirmishes saw the teams sizing each other up before an incident that was to be recorded in song and story occurred, described here — with just the slightest touch of hyperbole! — by Terry McLean in his book ‘Mourie’s All Blacks’. “In only the fifth minute, Seamus Dennison, him the fellow that bore the number 13 jersey in the centre, was knocked down in a tackle. He came from the Garryowen club which might explain his subsequent actions — to join that club, so it has been said, one must walk barefooted over broken glass, charge naked through searing fires, run the severest gauntlets and, as a final test of manhood, prepare with unfaltering gaze to make a catch of the highest ball ever kicked while aware that at least eight thundering members of your own team are about to knock you down, trample all over you and into the bargain hiss nasty words at you because you forgot to cry out ‘Mark’. Moss Keane recalled the incident: “It was the hardest tackle I have ever seen and lifted the whole team. That was the moment we knew we could win the game.” Kiernan also acknowledged the importance of “The Tackle”.

He said: “Tackling is as integral a part of rugby as is a majestic centre three-quarter break. There were two noteworthy tackles during the match by Seamus Dennison. He was injured in the first and I thought he might have to come off. But he repeated the tackle some minutes later.”

Many years on, Stuart Wilson vividly recalled the Dennison tackles and spoke about them in remarkable detail and with commendable honesty: “The move involved me coming in from the blind side wing and it had been working very well on tour. It was a workable move and it was paying off so we just kept rolling it out. Against Munster, the gap opened up brilliantly as it was supposed to except that there was this little guy called Seamus Dennison sitting there in front of me. “He just basically smacked the living daylights out of me. I dusted myself off and thought, I don’t want to have to do that again. Ten minutes later, we called the same move again thinking we’d change it slightly but, no, it didn’t work and I got hammered again.” The game was 11 minutes old when the most famous try in the history of Munster rugby was scored. Tom Kiernan recalled: “It came from a great piece of anticipation by Bowen who in the first place had to run around his man to get to Ward’s kick ahead. He then beat two men and when finally tackled, managed to keep his balance and deliver the ball to Cantillon who went on to score. All of this was evidence of sharpness on Bowen’s part.” Very soon it would be 9-0. In the first five minutes, a towering garryowen by skipper Canniffe had exposed the vulnerability of the New Zealand rearguard under the high ball. They were to be examined once or twice more but it was from a long range but badly struck penalty attempt by Ward that full-back Brian McKechnie knocked on some 15 yards from his line and close to where Cantillon had touched down a few minutes earlier. You could sense White, Whelan, McLoughlin and co in the front five of the Munster scrum smacking their lips as they settled for the scrum. A quick, straight put-in by Canniffe, a well controlled heel, a smart pass by the scrum-half to Ward and the inevitability of a drop goal. And that’s exactly what happened. The All Blacks enjoyed the majority of forward possession but the harder they tried, the more they fell into the trap set by the wily Kiernan and so brilliantly carried out by every member of the Munster team. The tourists might have edged the line-out contest through Andy Haden and Frank Oliver but scrum-half Mark Donaldson endured a miserable afternoon as the Munster forwards poured through and buried him in the Thomond Park turf. As the minutes passed and the All Blacks became more and more unsure as to what to try next, the Thomond Park hordes chanted “Munster-Munster–Munster” to an ever increasing crescendo until with 12 minutes to go, the noise levels reached deafening proportions. And then ... a deep, probing kick by Ward put Wilson under further pressure. Eventually, he stumbled over the ball as it crossed the line and nervously conceded a five-metre scrum. The Munster heel was disrupted but the ruck was won, Tucker gained possession and slipped a lovely little pass to Ward whose gifted feet and speed of thought enabled him in a twinkle to drop a goal although surrounded by a swarm of black jerseys. So the game entered its final 10 minutes with the All Blacks needing three scores to win and, of course, that was never going to happen. Munster knew this, so, too, did the All Blacks. Stu Wilson admitted as much as he explained his part in Wardy’s second drop goal: “Tony Ward banged it down, it bounced a little bit, jigged here, jigged there, and I stumbled, fell over, and all of a sudden the heat was on me. They were good chasers. A kick is a kick — but if you have lots of good chasers on it, they make bad kicks look good. I looked up and realised — I’m not going to run out of here so I just dotted it down. I wasn’t going to run that ball back out at them because five of those mad guys were coming down the track at me and I’m thinking, I’m being hit by these guys all day and I’m looking after my body, thank you. Of course it was a five-yard scrum and Ward banged over another drop goal. That was it, there was the game”. The final whistle duly sounded with Munster 12 points ahead but the heroes of the hour still had to get off the field and reach the safety of the dressing room. Bodies were embraced, faces were kissed, backs were pummelled, you name it, the gauntlet had to be walked. Even the All Blacks seemed impressed with the sense of joy being released all about them. Andy Haden recalled “the sea of red supporters all over the pitch after the game, you could hardly get off for the wave of celebration that was going on. The whole of Thomond Park glowed in the warmth that someone had put one over on the Blacks.” Controversially, the All Blacks coach, Jack Gleeson (usually a man capable of accepting the good with the bad and who passed away of cancer within 12 months of the tour), in an unguarded (although possibly misunderstood) moment on the following day, let slip his innermost thoughts on the game. “We were up against a team of kamikaze tacklers,” he lamented. “We set out on this tour to play 15-man rugby but if teams were to adopt the Munster approach and do all they could to stop the All Blacks from playing an attacking game, then the tour and the game would suffer.” It was interpreted by the majority of observers as a rare piece of sour grapes from a group who had accepted the defeat in good spirit and it certainly did nothing to diminish Munster respect for the All Blacks and their proud rugby tradition.

And Tom Kiernan and Andy Haden, rugby standard bearers of which their respective countries were justifiably proud, saw things in a similar light.

“Jack’s comment was made in the context of the game and meant as a compliment,” Haden maintained. “Indeed, it was probably a little suggestion to his own side that perhaps we should imitate their efforts and emulate them in that department.” Tom Kiernan went along with this line of thought: “I thought he was actually paying a compliment to the Munster spirit. Kamikaze pilots were very brave men. That’s what I took out of that. I didn’t think it was a criticism of Munster.” And Stuart Wilson? “It was meant purely as a compliment. We had been travelling through the UK and winning all our games. We were playing a nice, open style. But we had never met a team that could get up in our faces and tackle us off the field. Every time you got the ball, you didn’t get one player tackling you, you got four. Kamikaze means people are willing to die for the cause and that was the way with every Munster man that day. Their strengths were that they were playing for Munster, that they had a home Thomond Park crowd and they took strength from the fact they were playing one of the best teams in the world.” You could rely on Terry McLean (famed New Zealand journalist) to be fair and sporting in his reaction to the Thomond Park defeat. Unlike Kiernan and Haden, he scorned Jack Gleeson’s “kamikaze” comment, stating that “it was a stern, severe criticism which wanted in fairness on two grounds. It did not sufficiently praise the spirit of Munster or the presence within the one team of 15 men who each emerged from the match much larger than life-size. Secondly, it was disingenuous or, more accurately, naive.” “Gleeson thought it sinful that Ward had not once passed the ball. It was worse, he said, that Munster had made aggressive defence the only arm of their attack. Now, what on earth, it could be asked, was Kiernan to do with his team? He held a fine hand with top trumps in Spring, Cantillon, Foley and Whelan in the forwards and Canniffe, Ward, Dennison, Bowen and Moloney in the backs. Tommy Kiernan wasn’t born yesterday. He played to the strength of his team and upon the suspected weaknesses of the All Blacks.” You could hardly be fairer than that – even if Graham Mourie himself in his 1983 autobiography wasn’t far behind when observing: “Munster were just too good. From the first time Stu Wilson was crashed to the ground as he entered the back line to the last time Mark Donaldson was thrown backwards as he ducked around the side of a maul. They were too good.” One of the nicest tributes of all came from a famous New Zealand photographer, Peter Bush. He covered numerous All Black tours, was close friends with most of their players and a canny one when it came to finding the ideal position from which to snap his pictures. He was the guy perched precariously on the pillars at the entrance to the pitch as the celebrations went on and which he described 20 years later in his book ‘Who Said It’s Only a Game?’

“I climbed up on a gate at the end of the game to get this photo and in the middle of it all is Moss Keane, one of the great characters of Irish rugby, with an expression of absolute elation. The All Blacks lost 12-0 to a side that played with as much passion as I have ever seen on a rugby field. The great New Zealand prop Gary Knight said to me later: ‘We could have played them for a fortnight and we still wouldn’t have won’. I was doing a little radio piece after the game and got hold of Moss Keane and said ‘Moss, I wonder if ...’ and he said, ‘ho, ho, we beat you bastards’.

“With that, he flung his arms around me and dragged me with him into the shower. I finally managed to disentangle myself and killed the tape. I didn’t mind really because it had been a wonderful day.” Dimensions :50cm x 55cm

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Original (10th) 1980 GAA Allstars Poster

€250.00

85cm x 45cm Dingle Co Kerry The Gaelic Athletic Association-Gaelic Players' Association All Stars Awards (often known simply as the All Stars) are awarded annually to the best player in each of the 15 playing positions in Gaelic football and hurling. Additionally, one player in each code is selected as Player of the Year. The awards have since 2011 been presented jointly by the Gaelic Athletic Association and the representative body for inter-county players, the Gaelic Players Association. Each player who receives a nomination is given a medallion marking the milestone.These are considered to be "the most coveted sporting award scheme in the country".Since the 1960s there had been a tradition of annually selecting the best player in each position, in football and hurling, to create a special team of the year. Between 1963 and 1967 these players received what was known as the Cú Chulainn award. In 1971 these awards were formalised into the annual GAA All Star Awards. In 2006 the Gaelic Players Association launched a parallel award scheme entitled the GPA Gaelic Team of the Year (often referred to as the GPA Awards). An annual award was also given by the GPA to the Footballer of the Year and the Hurler of the Year. In 2011 it was announced that the GAA All Stars Awards, which had been sponsored in recent years by Vodafone, and the GPA Awards would merge under the sponsorship of car manufacturer Opel. The move announced by Christy Cooney saw the achievements of players recognised jointly for the first time in October 2011. The All Stars team comprises the best player in each position, regardless of club or county affiliation. The composition of the All Star teams are decided on the basis of a shortlist compiled by a selection committee of sports journalists from the national media, while the overall winners are chosen by inter-county players themselves. The award is regarded by players as the highest accolade available to them, due to it being picked by their peers. The awards are presented at a gala banquet in November following the end of the Championship season. Both men's teams are honoured with a special holiday where they play an exhibition game. Since 1971 over 1,000 players have been honoured with All Stars Awards. Damien Martin of Offaly was the first ever recipient of the award, while in 2004 Paul Galvin of Kerry became the 1,000th winner of the award. Carlow and Longford are the only county in Ireland not to receive an award in either sport. In September 2017 PwC became the new sponsors of the All Star Awards on a four year deal, with the awards being re-named The PwC All-Stars.

Pos.	Player	Team	Appearances
GK	Pat McLoughney	Tipperary	2
RCB	Niall McInerney	Galway	2
FB	Leonard Enright	Limerick	1
LCB	Jimmy Cooney	Galway	1
RWB	Dermot McCurtain	Cork	2
CB	Sean Silke	Galway	2
LWB	Iggy Clarke	Galway	4
MD	Joachim Kelly	Offaly	1
MD	Mossie Walsh	Waterford	1
RWF	Joe Connolly	Galway	1
CF	Pat Horgan	Cork	1
LWF	Pat Carroll	Offaly	1
RCF	Bernie Forde	Galway	1
FF	Joe McKenna	Limerick	5
LCF	Éamonn Cregan	Limerick	3

F00tball : Charlie Nelligan (Kerry), Harry Keegan (Roscommon), Kevin Kehilly (Cork), Gerry Connellan (Roscommon), Kevin McCabe (Tyrone), Tim Kennelly (Kerry), Danny Murray (Roscommon), Jack O'Shea (Kerry), Colm McKinstry (Armagh), Ger Power (Kerry), Dinny Allen (Cork), Pat Spillane (Kerry), Matt Connor (Offaly), Eoin Liston (Kerry), John Egan (Kerry

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Original (11th)1981 GAA Allstars Poster

€250.00

Seamus Durack	Clare	3
RCB	Brian Murphy	Cork	2
FB	Leonard Enright	Limerick	2
LCB	Jimmy Cooney	Galway	2
RWB	Liam O'Donoghue	Limerick	1
CB	Seán Stack	Clare	1
LWB	Ger Coughlan	Offaly	1
MD	Steve Mahon	Galway	1
MD	Liam Currams	Offaly	1
RWF	John Callinan	Clare	2
CF	George O'Connor	Wexford	1
LWF	Mark Corrigan	Offaly	1
RCF	Pat Carroll	Offaly	2
FF	Joe McKenna	Limerick	6
LCF	Johnny Flaherty	Offaly	1

Martin Furlong (Offaly), Jimmy Deenihan (Kerry), Paddy Kennedy (Down), Paudie Lynch (Kerry), Páidí Ó Sé (Kerry), Richie Connor (Offaly), Seamus McHugh (Galway), Jack O'Shea (Kerry), Seán Walsh (Kerry), Barry Brennan (Galway), Ogie Moran (Kerry), Pat Spillane (Kerry), Mikey Sheehy (Kerry), Eoin Liston (Kerry), Brendan Lowry (Offaly)

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Original (9th)1979 GAA Allstars Poster

€250.00

85cm x 45cm. Dingle Co Kerry The Gaelic Athletic Association-Gaelic Players' Association All Stars Awards (often known simply as the All Stars) are awarded annually to the best player in each of the 15 playing positions in Gaelic football and hurling. Additionally, one player in each code is selected as Player of the Year. The awards have since 2011 been presented jointly by the Gaelic Athletic Association and the representative body for inter-county players, the Gaelic Players Association. Each player who receives a nomination is given a medallion marking the milestone.These are considered to be "the most coveted sporting award scheme in the country".Since the 1960s there had been a tradition of annually selecting the best player in each position, in football and hurling, to create a special team of the year. Between 1963 and 1967 these players received what was known as the Cú Chulainn award. In 1971 these awards were formalised into the annual GAA All Star Awards. In 2006 the Gaelic Players Association launched a parallel award scheme entitled the GPA Gaelic Team of the Year (often referred to as the GPA Awards). An annual award was also given by the GPA to the Footballer of the Year and the Hurler of the Year. In 2011 it was announced that the GAA All Stars Awards, which had been sponsored in recent years by Vodafone, and the GPA Awards would merge under the sponsorship of car manufacturer Opel. The move announced by Christy Cooney saw the achievements of players recognised jointly for the first time in October 2011. The All Stars team comprises the best player in each position, regardless of club or county affiliation. The composition of the All Star teams are decided on the basis of a shortlist compiled by a selection committee of sports journalists from the national media, while the overall winners are chosen by inter-county players themselves. The award is regarded by players as the highest accolade available to them, due to it being picked by their peers. The awards are presented at a gala banquet in November following the end of the Championship season. Both men's teams are honoured with a special holiday where they play an exhibition game. Since 1971 over 1,000 players have been honoured with All Stars Awards. Damien Martin of Offaly was the first ever recipient of the award, while in 2004 Paul Galvin of Kerry became the 1,000th winner of the award. Carlow and Longford are the only county in Ireland not to receive an award in either sport. In September 2017 PwC became the new sponsors of the All Star Awards on a four year deal, with the awards being re-named The PwC All-Stars.

Player	Team	Appearances
GK	Pat McLoughney	Tipperary	1
RCB	Brian Murphy	Cork	1
FB	Martin O'Doherty	Cork	3
LCB	Tadhg O'Connor	Tipperary	3
RWB	Dermot McCurtain	Cork	1
CB	Ger Henderson	Kilkenny	2
LWB	Iggy Clarke	Galway	3
MD	John Connolly	Galway	2
MD	Joe Hennessey	Kilkenny	1
RWF	John Callinan	Clare	1
CF	Frank Burke	Galway	2
LWF	Liam 'Chunky' O'Brien	Kilkenny	4
RCF	Mick Brennan	Kilkenny	3
FF	Joe McKenna	Limerick	4
LCF	Ned Buggy	Wexford	1

John O Leary (Dublin), Eugene Hughes (Monaghan), John O'Keeffe (Kerry), Tom Heneghan (Roscommon), Tommy Drumm (Dublin), Tim Kennelly (Kerry), Danny Murray (Roscommon), Dermot Earley (Roscommon), Bernard Brogan (Dublin), Ger Power (Kerry), Seán Walsh (Kerry), Pat Spillane (Kerry), Mikey Sheehy (Kerry), Seán Lowry (Offaly), Joe McGrath (Mayo)

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Original (14th)1984 GAA Allstars Poster

€250.00

Player	Team	Appearances
GK	Ger Cunningham	Cork	1
RCB	Paudie Fitzmaurice	Limerick	1
FB	Eugene Coughlan	Offaly	1
LCB	Pat Fleury	Offaly	2
RWB	Joe Hennessy	Kilkenny	3
CB	Johnny Crowley	Cork	1
LWB	Dermot McCurtain	Cork	3
MD	John Fenton	Cork	2
MD	Joachim Kelly	Offaly	2
RWF	Nicky English	Tipperary	2
CF	Kieran Brennan	Kilkenny	1
LWF	Paddy Kelly	Limerick	1
RCF	Tomás Mulcahy	Cork	1
FF	Noel Lane	Galway	2
LCF	Seánie O'Leary	Cork	3

Team	Appearances
GK	John O'Leary	Dublin	1
RCB	Páidí Ó Sé	Kerry	4
FB	Mick Lyons	Meath	1
LCB	Séamus McHugh	Galway	1
RWB	Tommy Doyle	Kerry	1
CB	Tom Spillane	Kerry	1
LWB	P. J. Buckley	Dublin	1
MD	Jack O'Shea	Kerry	5
MD	Eugene McKenna	Tyrone	1
RWF	Barney Rock	Dublin	2
CF	Eoin Liston	Kerry	4
LWF	Pat Spillane	Kerry	7
RCF	Mikey Sheehy	Kerry	6
FF	Frank McGuigan	Tyrone	1
LCF	Dermot McNicholl	Derry	1

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Mitchell’s & Co of Belfast Old Irish Whiskey Advert

€250.00

44cm x 54cm Belfast Rare Mitchell's of Belfast Old Irish Whiskey Print .Once a giant of the distilling business along with Dunvilles,Mitchell's fall from grace, like so many other superb Irish distilleries was symptomatic of the economic climate and circumstances of the time. Charles William Mitchell originated from Scotland and took over his fathers distillery in the Campletown area .In the 1860s he moved to Belfast and became manager of Dunvilles Whiskey before establishing his own brand Mitchell & Co tomb St in the late 1860s.A newspaper report in 1895 hailed the virtues of Mitchells Cruiskeen Lawn Whisky,which secured prizes around the world including first place at the New Orleans Exposition.It was a rare Mitchells Cruiskeen Lawn Whiskey mirror that recently commanded £11500 at auction in 2018 following the sale of the contents of an old Donegal public house.

Indeed Mitchell's were renowned for advertising their products on mirrors, trade cards, minature atlas books and pottery to name just a few. Below is the original mirror that was commissioned for their Tomb Street premises on the launch of their Cruiskeen Lawn Old Irish Whisky, late 1800’s. Two were made for the entrance of their Tomb Street premises. Inscribed is the Cruiskeen Lawn poem, with gold leaf barley with green and red in the Mitchell Crest. Definately the holy grail of all mirrors, a true treasure and still survives today in the heart of Belfast and worth the above mentioned princely sum and now probably more ! Some original and rare Mitchell mirrors are still surviving today and can be found in some pubs in and around Belfast today Some other examples of Mitchell Mirrors which were mass produced for advertising their products

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1916 Proclamation of Independence.

€250.00
This hard to find 1916 proclamation of Independence as signed by the 12 is an authentic example of the ones that used to hang in every national or primary school in Ireland and would date to the 1950s.There is some age related wear to one side of the board but it still will make an outstanding display piece due to its obvious authenticity and recognisability. Cloverfield Co Limerick 80cm x 60cm The Proclamation of the Republic (Irish: Forógra na Poblachta), also known as the 1916 Proclamation or the Easter Proclamation, was a document issued by the Irish Volunteers and the Irish Citizen Army during the Easter Rising in Ireland, which began on 24 April 1916. In it, the Military Council of the Irish Republican Brotherhood, styling itself the "Provisional Government of the Irish Republic", proclaimed Ireland's independence from the United Kingdom. The reading of the proclamation by Patrick Pearse outside the General Post Office (GPO) on Sackville Street (now called O'Connell Street), Dublin's main thoroughfare, marked the beginning of the Rising. The proclamation was modelled on a similar independence proclamation issued during the 1803 rebellion by Robert Emmet.
Though the Rising failed in military terms, the principles of the Proclamation to varying degrees influenced the thinking of later generations of Irish politicians. The document consisted of a number of assertions:

that the Rising's leaders spoke for Ireland (a claim historically made by Irish insurrectionary movements);

that the Rising marked another wave of attempts to achieve independence through force of arms;

that the Irish Republican Brotherhood, the Irish Volunteers and the Irish Citizen Army were central to the Rising;

"the right of the people of Ireland to the ownership of Ireland"

that the form of government was to be a republic;

a guarantee of "religious and civil liberty, equal rights and equal opportunities to all its citizens", the first mention of gender equality, given that Irish women under British law were not allowed to vote;

a commitment to universal suffrage, a phenomenon limited at the time to only a handful of countries, not including the UK;

a promise of "cherishing all the children of the nation equally". Although these words have been quoted since the 1990s by children's rights advocates, "children of the nation" refers to all Irish people;

disputes between nationalists and unionists are attributed to "differences carefully fostered by an alien government", a rejection of what was later dubbed two-nations theory.

The proclamation had been printed secretly prior to the Rising on a Summit Wharfedale Stop Cylinder Press, located in Liberty Hall, Eden Quay (HQ of the Irish Citizen Army). Because of its secret printing, problems arose which affected the layout and design. In particular, because of a shortage of type, the document was printed in two halves, printing first the top then the bottom on the same pieces of paper. The typesetters were Willie O'Brien, Michael Molloy and Christopher Brady.They lacked a sufficient supply of type in the same size and font, and as a result the some parts of the document use es from a different font, which are smaller and do not quite match. The language suggested that the original copy of the proclamation had actually been signed by the Rising's leaders. However no evidence has ever been found, nor do any contemporary records mention, the existence of an actually signed copy, though had such a copy existed, it could easily have been destroyed in the aftermath of the Rising by someone (in the British military, a member of the public or a Rising participant trying to destroy potentially incriminating evidence) who did not appreciate its historic importance. Molloy claimed in later life to have set the document from a handwritten copy, with signatures on a separate piece of paper which he destroyed by chewing while in prison, but this was disputed by other participants. Molloy also recalled that Connolly had asked for the document to resemble an auctioneer's notice in general design. There are about 30 original copies still remaining, one of which can be viewed in the National Print Museum. Reproductions were later made, which have sometimes been misattributed as originals. When the British soldiers recaptured Liberty Hall, they found the press with the type of the bottom of the proclamation still fully set up, and reportedly ran off some copies as souvenirs, leading to a proliferation of these 'half-copies'.James Mosley notes that complete originals rapidly became rare in the chaos, and that over a month later the Dublin police had failed to find one for their files. The signatories (as their names appeared on the Proclamation):

Thomas J. Clarke

Seán Mac Diarmada

Thomas MacDonagh

P. H. Pearse

Éamonn Ceannt

James Connolly

Joseph Plunkett

One question sometimes raised is why the first name among the 'signatories' was not Pearse but Tom Clarke, a veteran republican. Had the arrangement of names been alphabetical, Éamonn Ceannt would have appeared on top. Clarke's widow maintained that it was because the plan had been for Clarke, as a famed veteran, to become the President of the Provisional Republic. Such an explanation would certainly explain his premier position. However others associated with the Rising dismissed her claims, which she made in her memoirs. Later documents issued by the rebels gave Pearse pride of place, though as 'Commanding in Chief the Forces of the Irish Republic, and President of the Provisional Government,^[7] not 'President of the Republic'. Whether the plan had ever been to have Clarke as a symbolic head of state and Pearse as head of government, or was simply that Pearse was always to be central but with statements ambiguously describing his title, remains a mystery about which historians still speculate. All seven signatories of the proclamation were executed by the British military (James Connolly who had been wounded in the fighting was executed sitting down in a chair) in the aftermath of the Rising, being viewed as having committed treason in wartime (i.e. the First World War).British political leaders regarded the executions initially as unwise, later as a catastrophe, with the British Prime Minister H. H. Asquith and later prime minister David Lloyd George stating that they regretted allowing the British military to treat the matter as a matter of military law in wartime, rather than insisting that the leaders were treated under civilian criminal law. Though initially deeply unsympathetic to the Rising (the leading Irish nationalist newspaper, the Irish Independent called for their execution), Irish public opinion switched and became more sympathetic due to manner of their treatment and executions. Eventually Asquith's government ordered a halt to the executions and insisted that those not already executed be dealt with through civilian, not military, law. By that stage all the signatories and a number of others had been executed. Full copies of the Easter Proclamation are now treated as a revered Irish national icon, and a copy was sold at auction for €390,000 in December, 2004. A copy owned (and later signed as a memento) by Rising participant Seán T. O'Kelly was presented by him to the Irish parliament buildings, Leinster House, during his tenure as President of Ireland. It is currently on permanent display in the main foyer. Other copies are on display in the GPO (headquarters of the Rising and the place where the Proclamation was first read), the National Museum of Ireland, the Trinity College Library's Long Room and other museums worldwide. Facsimile copies are sold as souvenirs in Ireland, and copies of the text are often displayed in Irish schools and in Irish pubs throughout the world. The proclamation is read aloud by an Officer of the Irish Defence Forces outside the GPO during the Easter Rising commemorations on Easter Sunday of each year.
POBLACHT NA hÉIREANN THE PROVISIONAL GOVERNMENT OF THE IRISH REPUBLIC TO THE PEOPLE OF IRELAND IRISHMEN AND IRISHWOMEN: In the name of God and of the dead generations from which she receives her old tradition of nationhood, Ireland, through us, summons her children to her flag and strikes for her freedom. Having organised and trained her manhood through her secret revolutionary organisation, the Irish Republican Brotherhood, and through her open military organisations, the Irish Volunteers and the Irish Citizen Army, having patiently perfected her discipline, having resolutely waited for the right moment to reveal itself, she now seizes that moment, and supported by her exiled children in America and by gallant allies in Europe, but relying in the first on her own strength, she strikes in full confidence of victory. We declare the right of the people of Ireland to the ownership of Ireland and to the unfettered control of Irish destinies, to be sovereign and indefeasible. The long usurpation of that right by a foreign people and government has not extinguished the right, nor can it ever be extinguished except by the destruction of the Irish people. In every generation the Irish people have asserted their right to national freedom and sovereignty; six times during the past three hundred years they have asserted it in arms. Standing on that fundamental right and again asserting it in arms in the face of the world, we hereby proclaim the Irish Republic as a Sovereign Independent State, and we pledge our lives and the lives of our comrades in arms to the cause of its freedom, of its welfare, and of its exaltation among the nations. The Irish Republic is entitled to, and hereby claims, the allegiance of every Irishman and Irishwoman. The Republic guarantees religious and civil liberty, equal rights and equal opportunities to all its citizens, and declares its resolve to pursue the happiness and prosperity of the whole nation and of all its parts, cherishing all the children of the nation equally, and oblivious of the differences carefully fostered by an alien Government, which have divided a minority from the majority in the past. Until our arms have brought the opportune moment for the establishment of a permanent National Government, representative of the whole people of Ireland and elected by the suffrages of all her men and women, the Provisional Government, hereby constituted, will administer the civil and military affairs of the Republic in trust for the people. We place the cause of the Irish Republic under the protection of the Most High God, Whose blessing we invoke upon our arms, and we pray that no one who serves that cause will dishonour it by cowardice, inhumanity, or rapine. In this supreme hour the Irish nation must, by its valour and discipline, and by the readiness of its children to sacrifice themselves for the common good, prove itself worthy of the august destiny to which it is called.

Signed on behalf of the Provisional Government:

THOMAS J. CLARKE

SEAN Mac DIARMADA

P. H. PEARSE

JAMES CONNOLLY

THOMAS MacDONAGH

EAMONN CEANNT

JOSEPH PLUNKETT
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1985 Wooden Smithwicks Ale 275th Anniversary Commemoration Display

€250.00

This beautiful and colourful display constructed from wood was commissioned in 1985 to celebrate the 275th anniversary of the founding of the brewery by John Smithwick in 1710. The brewery is on the site of a Franciscan abbey, where monks had brewed ale since the 14th century, and ruins of the original abbey still remain on its grounds. The old brewery has since been renovated and now hosts "The Smithwick's Experience Kilkenny" visitor attraction and centre.At the time of its closure, it was Ireland's oldest operating brewery. 60cm x 85cm Kilkenny City John Smithwick was an orphan who had settled in Kilkenny. Shortly after his arrival, Smithwick went into the brewing business with Richard Cole on a piece of land that Cole had leased from the Duke of Ormond in 1705. Five years later, John Smithwick became the owner of the land. The brewery stayed small, servicing a loyal local following while John Smithwick diversified. Following John Smithwick's death, the brewery temporarily fell out of family hands. John Smithwick's great grandson, Edmond bought the brewery land back freehold and worked to reshape its future. Edmond concentrated on discovering new markets and successfully building export trade. Drinkers in England, Scotland and Wales developed a taste for Smithwick's brews and output increased fivefold. As a result of substantial contributions made to St Mary's Cathedral, Edmond became great friends with Irish liberal Daniel O'Connell, who later became godfather to one of his sons. Edmond Smithwick became well known and respected by the people of Kilkenny who elected him town mayor four times. In 1800, export sales began to fall and the brewing industry encountered difficulty. To combat this, the Smithwick family increased production in their maltings, began selling mineral water and delivered butter with the ale from the back of their drays.By 1900, output was at an all-time low and the then owner James Smithwick was advised by auditors to shut the doors of the brewery. Instead, James reduced the range of beers they produced and set out to find new markets. He secured military contracts and soon after saw output increase again. James' son, Walter, took control in 1930 and steered the brewery to success through the hardships of both World War II and increasingly challenging weather conditions.By January 1950, Smithwick's was exporting ale to Boston.Smithwick's was purchased from Walter Smithwick in 1965 by Guinness and is now, along with Guinness, part of Diageo. Together, Guinness & Co. and Smithwick's developed and launched Smithwick's Draught Ale in 1966. By 1979, half a million barrels were sold each year.In 1980, Smithwick's began exporting to France. In 1993, Smithwick's Draught became Canada's leading imported ale.By 2010, Smithwick's continued to be brewed in Dundalk and Kilkenny with tankers sent to Dublin to be kegged for the on trade market. Cans and bottles were packaged by IBC in Belfast.Production in the Kilkenny brewery finished on 31 December 2013 and Smithwicks brands are now produced in the Diageo St.James' Gate brewery in Dublin.The original Kilkenny site was sold to Kilkenny County Council, with a small portion of the site dedicated to the opening of a visitor's centre, the "Smithwick's Experience Kilkenny".

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