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    Rare God Save Ireland Martyrs Print-Canon Magnier,Fr O’Callaghan & Fr Griffin

    €200.00
    62cm x 72cm   Scarriff Co Clare This extremely rare print commemorates three Catholic priests killed during the bloody  War of Independence between the IRA and British Crown Forces : Fr James O’Callaghan Clogheen,Canon Magnier Dunmanway and Fr Michael Griffin Galway .Indeed the 100 year anniversaries of three callous murders are all due in the next few months. Fr O Callaghan was shot in cold blood in Cork city by a group of drunken Black and Tans.Canon Magnier,an elderly priest in poor health, was shot along with a young parishioner outside the village of Dunmanway in Co Cork and Fr Griffin was taken from his home and assassinated in Galway .An estimated 20,000 people attended his funeral. This poignant and extremely rare print,dating from that period pays homage to these holy men who were all cruelly murdered in cold blood whilst unarmed by tyrannical British Military forces.Comment
    The notorious murder of a young West of Ireland priest who was lured from his home before being shot in the head and buried in a bog by British forces is to be commemorated with a series of events in Galway City next year. The disappearance and murder of Fr Michael Griffin (28) sent shock waves across Ireland in November 1920, prompting a front-page news story in the New York Times, a cable expressing outrage from the Bishop of Chicago, and tough questions about British atrocities in Ireland in the British Parliament.
    It was one of the most notorious killings of the War of Independence when reprisals were commonplace, and the hated Black and Tans – recruited from Britain to put the rebellious Irish in their place – roamed the land. The body of the popular young curate was discovered in an unmarked grave in bogland a few miles west of Galway City six days after his disappearance and, from the outset, locals in Galway blamed the Black and Tans for the shocking crime. An estimated crowd of 12,000 people gathered outside St Joseph’s Church in Galway City for his Requiem Mass, which was concelebrated by the Archbishop of Tuam, the bishops of Galway and Clonfert, and almost 150 priests from across the West of Ireland. A native of East Galway, Fr Griffin was suspected of having republican sympathies by British forces at the time, who were angered by the disappearance of a local primary school principal, Patrick Joyce, a week before the young priest went missing. Joyce was accused of feeding information to the crown forces by members of the Irish Republican Brotherhood (IRB), who had intercepted five of his letters at the mail sorting office in Galway. Collusion with the despised British crown forces was seen as treason at the time and Joyce was shot in the head by republicans after they presented him with evidence at a secret trial in an isolated house outside the city. November 1920 was a particularly violent time in Galway. A pregnant young woman had been shot by the Black and Tans outside her family home in rural Ardrahan, two Galway city men had been shot dead, and republican prisoners were on hunger strike in Galway gaol. Men from the area had been interned without trial, there was a curfew across the city, and British forces were highly suspicious of young priests like Fr Griffin, who were believed to have republican sympathies. Members of the St Joseph’s Parish Council formed a new committee this week to organize a series of events in Fr Griffin’s memory in Galway in November of next year. Although the city will be in “party mode” when Galway becomes the European Capital of Culture in 2020, committee chairman Cllr John Connolly believes people need to remember their history and the sacrifices made in Galway to secure Irish freedom.
    John Connolly and Fr Martin Downey, with a photo of Fr Griffin, courtesy of Ciaran Tierney Digital Storyteller.
    2Gallery

    John Connolly and Fr Martin Downey, with a photo of Fr Griffin, courtesy of Ciaran Tierney Digital Storyteller.

    “A lot of people don’t realise how tough life was in Galway during the War of Independence. Between the beginning of September and the end of November 1920, you had the death of Seamus Quirke, Sean Mulvoy, and Michael Walsh, who was a member of the Urban District Council,” Connolly told IrishCentral this week. “They were all known republicans and republican sympathisers. You also had the death of Patrick Joyce, who was the principal of Bearna National School, who was of a different political persuasion. He was considered an informer, who was informing the British forces in Galway of the activities of the Irish Republican Brotherhood (IRB).” The British believed Fr Griffin had given the last rites to Walsh and Quirke, two well-known republicans in Galway. They also believed he may have heard the last confession of Patrick Joyce and that he knew who had abducted him. Controversy surrounded Joyce’s case for decades, as his body was only found in a field to the west of Galway in the 1990s. His direct family – who emigrated to Australia – always maintained his innocence of collusion allegations.
    “The Black and Tans really went on the rampage in Galway when Joyce disappeared, throwing grenades into houses, killing livestock belonging to people, and burning the premises of the Galway Express newspaper,” recalled Connolly this week. “Fr Griffin went missing on November 14 and his body was found on the 20th. Locals believed that people in the area knew where the body was, but they were afraid of uncovering it in case of reprisals from British forces, who were searching for Patrick Joyce at that stage,” said Cllr Connolly. It is known that three men called to Fr Griffin’s house at Montpellier Terrace late on a Sunday night and that he agreed to accompany them. A neighbor heard him speak to the men, who were Irish, at the front door and he was never seen again. Historians believe the British shot him at their nearby base at Lenaboy Castle, Taylor’s Hill, that same night and then dumped him in an unmarked grave. Locals found the body on the following Saturday evening but were so afraid of the British that they waited until 7 am on Sunday morning before bringing his body to St Joseph’s Church in the city. Fr Griffin was found with a bullet in his head, indicating he had been shot at close range. “He was brought in on a horse and cart. They had to disguise the cart with large milk churns, in case the British forces stopped them. The British were still looking for Patrick Joyce and they were upset that he had been kidnapped. They saw his disappearance as a direct threat to their own intelligence operation,” explained Connolly.
    “The idea that a clergyman would be treated like this was a new low I think for the British forces in the city and, indeed in the country, that they had taken this action against a priest.” Fr Griffin from Gurteen, Co Galway, had a great love for the Irish language and was popular for his dealings with the old, the young, and the poor. He was moved by the injustice he witnessed around him every day due to the British occupation. As soon as he was reported missing, locals in Galway blamed the British crown forces. After his disappearance, Bishop O’Dea and the priests of Galway issued a statement to condemn his abduction from his home. “We cannot but hold the British Government responsible for this outrage upon the Catholic priesthood of Ireland,” they said. “He has been secretly forced from his house in the dead of night by undisciplined men. Without warrant, or charge, or proof of wrongdoing he has been deprived of his liberty and, for all we know, his life. Unhappily, the only uncommon feature in this case is that he is a priest; the crime in this respect being almost unique; in as much as every civilised country in the world recognises priests as men of peace, and treats them as such.” Connolly and Fr Martin Downey, Parish Priest of St Joseph’s, have formed a new committee to organize a series of events to remember the popular young priest next November. “Really and truly, Fr Griffin got no trial. It’s fitting that his centenary should be commemorated because it was a bleak time in Galway. That a highly respected member of the community was taken out and killed like this, we do need to remind ourselves that Galway was a dark place at the time and the sacrifice of those who lost their lives should not be forgotten,” said Connolly.
     
    Reprisal Killing of Cork Priest
    In the aftermath of the devestating attack on a police patrol at Blackpool in Cork City on May 14, 1921, in which three RIC members lost their life, large forces of military and police flooded the area and much of the Blackpool area was ransacked. Several arrests were made and throughout the city, rumours circulated of major military operations involving widespread savage reprisals. Just before 4am, on the following morning, the Sundays Well home of Alderman Liam De Roiste was raided by a group of masked men, all members of the Royal Irish Constabulary. He himself was not at home, but Father Seamus O'Callaghan, a curate based at Clogheen on the outskirts of the city, happened to be in the house at the time. Having been awakened by the hammer­ing at the door, Fr O'Callaghan went to the window and informed the men outside that De Roiste was not at home. The front door was then bro­ken in and at least one of the police ran up the stairs and fired a number of shots at the priest, who fell mortally wounded. The assailaints then made their escape. Fr O'Callaghan died a number of hours later. A native of Newcestown, West Cork, he was widely admired by the people of Cork having, as a young man, closely identified himself with the Nationalist cause. His funeral was attended by many thousands, despite widespread intimidation of the mourners by crown forces. He is buried in the grounds of the Church of the Most Precious Blood, Clogheen.
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  • John Gilroy Lost Guinness Archives-Vincent Van Gogh

    €180.00
    75cm x 65cm
    The biggest cliché in the collecting world is the “discovery” of a previously unknown cache of stuff that’s been hidden away for years until one day, much to everyone’s amazement, the treasure trove is unearthed and the collecting landscape is changed forever. As a corollary to this hoary trope, if you are in the right place at the right time, you can get in on the action before the word gets out.

    “Some of the canvases were 80 years old, dating from 1930.”

    Cliché or not, that’s roughly what happened in 2008 when hundreds of artist John Gilroy’s oil-on-canvas paintings started to appear on the market. The canvases had been painted by Gilroy as final proofs for his iconic Guinness beer posters, the most recognized alcoholic-beverage advertisements of the mid-20th century. Before most collectors of advertising art and breweriana knew what had happened, most of the best pieces had been snapped up by a handful of savvy collectors. In fact, the distribution of the canvases into the hands of private collectors was so swift and stealthy that one prominent member of the Guinness family was forced to get their favorite Gilroys on the secondary market.
    One of those early collectors, who wishes to remain anonymous, recalls seeing several canvases for the first time at an antiques show. At first, he thought they were posters since that’s what Guinness collectors have come to expect. But after looking at them more closely, and realizing they were all original paintings, he purchased the lot on the spot. “It was quite exciting to stumble upon what appeared to be the unknown original advertising studies for one of the world’s great brands,” he says. But the casualness of that first encounter would not last, as competition for the newly found canvases ramped up among collectors. Today, the collector describes the scramble for these heretofore-unknown pieces as “a Gilroy art scrum.”
    Among those who were particularly interested in the news of the Gilroy cache was David Hughes, who was a brewer at Guinness for 15 years and has written three books on Guinness advertising art and collectibles, the most recent being “Gilroy Was Good for Guinness,” which reproduces more than 150 of the recently “discovered” paintings. Despite being an expert on the cheery ephemera that was created to sell the dark, bitter stout, Hughes, like a lot of people, only learned of the newly uncovered Gilroy canvases as tantalizing examples from the cache (created for markets as diverse as Russia, Israel, France, and the United States) started to surface in 2008.
    “Within the Guinness archives itself,” Hughes says of the materials kept at the company’s Dublin headquarters, “they’ve got lots of advertising art, watercolors, and sketches of workups towards the final version of the posters. But they never had a single oil painting. Until the paintings started turning up in the United States, where Guinness memorabilia is quite collectible, it wasn’t fully understood that the posters were based on oils. All of the canvases will be in collections within a year,” Hughes adds. For would-be Gilroy collectors, that means the clock is ticking.
    As it turns out, Gilroy’s entire artistic process was a prelude to the oils. “The first thing he’d usually do was a pencil sketch,” says Hughes. “Then he’d paint a watercolor over the top of the pencil sketch to get the color balance right. Once that was settled and all the approvals were in, he’d sit down and paint the oil. The proof version that went to Guinness for approval, it seems, was always an oil painting.”
    Based on what we know of John Gilroy’s work as an artist, that makes sense. For almost half a century, Gilroy was regarded not only as one of England’s premier commercial illustrators, but also as one of its best portraitists. “He painted the Queen three times,” says Hughes, “Lord Mountbatten about four times. In 1942, he did a pencil-and-crayon sketch of Churchill in a London bunker.” According to Hughes, Churchill gave that portrait to Russian leader Joseph Stalin at the Yalta Conference with Franklin Delano Roosevelt, which may mean that somewhere in the bowels of the Kremlin, there’s a portrait of Winnie by the same guy who made a living drawing cartoons of flying toucans balancing pints of Guinness on their beaks.
    For those who collect advertising art and breweriana, Gilroy is revered for the numerous campaigns he conceived as an illustrator for S.H. Benson, the venerable British ad agency, which was founded in 1893. Though most famous for the Guinness toucan, which has been the internationally recognized mascot of Guinness since 1935, Gilroy’s first campaign with S.H. Benson was for a yeast extract called Bovril. “Do you have Bovril in the U.S.?” Hughes asks. “It’s a rather dark, pungent, savory spread that goes on toast or bread. It’s full of vitamins, quite a traditional product. He also did a lot of work on campaigns for Colman’s mustard and Macleans toothpaste.”
    pparently Gilroy’s work caught the eye of Guinness, which wanted something distinctive for its stout. “A black beer is a unique product,” says Hughes. “There weren’t many on the market then, and there are even fewer now. So they wanted their advertising to be well thought of and agreeable to the public.” For example, in the early 1930s, Benson already had an ad featuring a glass of Guinness with a nice foamy head on top. “Gilroy put a smiling face in the foam,” says Hughes. Collectors often refer to this charming drawing as the “anthropomorphic glass.”
    That made the black beer friendly. To ensure that it would be appealing to the common man, Benson launched its “Guinness for Strength” campaign, whose most famous image is the 1934 Gilroy illustration of a muscular workman effortlessly balancing an enormous steel girder on one arm and his head.
    Another early campaign put Guinness beer in the world of Lewis Carroll’s “Alice’s Adventures in Wonderland.” “Guinness and oysters were a big thing,” says Hughes. In one ad, “Gilroy drew all the oysters from the poem ‘The Walrus and the Carpenter’ sipping glasses of Guinness.”
    nd then there were the animals, of which the toucan is only the most recognized, and not even the first (that honor goes to a seal). “He had the lion and the ostrich and the bear up the pole,” Hughes says. “There was a whole menagerie of them. The animals kept going for 30 years. It’s probably the longest running campaign in advertising history.”
    Most of Gilroy’s animals lived in a zoo, so a central character of the animal advertisements was a zookeeper, who was a caricature of the artist himself. “That’s what Gilroy looked like,” says Hughes. “Gilroy was a chubby, little man with a little moustache. As a younger man, he drew himself into the advert, and he became the zookeeper.”
    Gilroy’s animals good-naturedly tormented their zookeeper by stealing his precious Guinness: An ostrich swallows his glass pint whole, whose bulging outline can be seen in its slender throat; a seal balances a pint on its nose; a kangaroo swaps her “joey” for the zookeeper’s brown bottle. Often the zookeeper is so taken aback by these circumstances his hat has popped off his head.
    In fact, Gilroy spent a lot of time at the London Zoo to make sure he captured the essence of his animals accurately. “In the archives at Guinness,” says Hughes, “there are a lot of sketches of tortoises, emus, ostriches, and the rest. He perfected the drawing of the animals by going to the zoo, then he adapted them for the adverts.” As a result, a Gilroy bear really looked like a bear, albeit one with a smile on its face.
    During World War II, Gilroy’s Guinness ads managed to keep their sense of humor (eg: two sailors painting the hull of an aircraft carrier, each wishing the other was a Guinness), and in the 1950s and early ’60s, Gilroy’s famous pint-toting toucans flew all over the world for Guinness, in front of the Kremlin as well as Mt. Rushmore, the Leaning Tower of Pisa, and the Statue of Liberty, although some of these paintings never made it to the campaign stage.
    Gilroy’s work on the Guinness account ended in 1962, and in 1971, Benson was gobbled up by the Madison Avenue advertising firm of Ogilvy & Mather. By then, says Hughes, Gilroy’s work for Guinness was considered the pinnacle of poster design in the U.K., and quite collectible. “The posters were made by a lithographic process. In the 1930s, the canvases were re-created on stone by a print maker, but eventually the paintings were transferred via photolithography onto metal sheets. Some of the biggest posters were made for billboards. Those used 64 different sheets that you’d give to the guy with the bucket of wheat paste and a mop to put up in the right order to create the completed picture.”
    In terms of single-sheet posters, Hughes says the biggest ones were probably 4 by 3 feet. Benson’s had an archive of it all, but “when Benson’s shut down in ’71, when they were taken over, they cleaned out their stockroom of hundreds of posters and gave them to the British Museum and the Victoria and Albert Museum in London. Today, both have collections of the original posters, including the 64-sheets piled into these packets, which were wrapped in brown paper and tied up with string. They’re extremely difficult to handle; you can’t display them, really.”
    At least the paper got a good home. As for the canvases? Well, their history can only be pieced together based on conjecture, but here’s what Hughes thinks he knows.
    Sometime in the 1970s, a single collector whose name remains a mystery appears to have purchased as many as 700 to 900 Gilroy paintings that had been in the archives. “The guy who bought the whole archive was an American millionaire,” Hughes says. “He’s a secretive character who doesn’t want to be identified. I don’t blame him. He doesn’t want any publicity about how he bought the collection or its subsequent sale.”
    air enough. What we do know for sure is that the years were not kind to Gilroy’s canvases while in storage at Benson’s. In fact, it’s believed that more than half of the cache did not survive the decades and were probably destroyed by the mystery collector who bought them because of their extremely deteriorated condition (torn canvases, images blackened by mildew, etc.). After all, when Gilroy’s canvases were put away, no one at Benson’s thought they’d be regarded in the future as masterpieces.
    “A lot of the rolled-up canvases were stuck together,” says Hughes. “Oil takes a long while to dry. Gilroy diluted his oils with what’s called Japan drier, which is a sort of oil thinner that allows you to put the oil on the canvas in a much thinner texture, and then roll them up afterwards. The painted canvas becomes reasonably flexible. The problem is that even with a drier, they still took a long time to dry. And if someone had packed them tightly together and put weight on them, which is what must have happened while the Gilroy paintings were in storage at Benson’s, they’d just stick together. Some of the canvases were 80 years old, dating from 1930.”
    For diehard Guinness-advertising fans, though, it’s not all bad news. After all, almost half of the cache was saved, “and it’s beautiful,” says Hughes. “I’ve just come back from Boston to look at a lot of these canvases out there, and they are superb. The guy who’s selling the canvases I saw had about 40 or 50 with him. They’re absolutely fabulous.”
    Although he has no proof, Hughes believes the person who bought the cache in the 1970s also oversaw its preservation. Importantly to many collectors, all of the Gilroy canvases are in their found condition, stabilized but essentially unchanged. Even areas in the paint that show evidence of rubbing from adjacent canvases remain as they were found. “I think the preservation has been done by the owner,” Hughes says. “I don’t think the dealers did it. It’s my understanding that they were supplied with fully stabilized canvases from the original buyer. It appears that they were shipped from the U.K., so that’s interesting in itself.” Which suggests they never left the United Kingdom after being purchased by the mysterious American millionaire.
    collectors of the approval process at Benson. Gilroy painted his canvases on stretchers, and in the bottom corner of each canvas was a small tag identifying the artist, account code, and action to be taken (“Re-draw,” “Revise,” “Hold,” “Print,” and, during World War II, “Submit to censor”). “They would’ve been shown to Guinness on a wooden stretcher,” Hughes says. “Before they went into storage, somebody removed the stretchers and either laid them flat or rolled them up.”

    “As a younger man, he drew himself into the advert, and he became the zookeeper.”

    Without exception, the canvases Hughes has seen, which were photographed exclusively for his book, are in fine shape and retain their mounting holes for the stretchers and Benson agency tags. “The colors are good,” he says. “They haven’t been in sunlight. They’ll keep for years and years and years.” One collector notes that you can even see the ruby highlights in Gilroy’s paintings of glasses of the stout. “When a pint of Guinness is backlit by a very strong light, the liquid has a deep ruby color,” this collector says. “Gilroy was very careful to include this effect when he painted beer in clear pint glasses.”
    Finally, for Guinness, breweriana, and advertising-art collectors, the Gilroy canvases also offer a peek of what might have been. “I would say about half the images were never commercially used, so they are absolutely brand new, never been seen before,” says Hughes. “They’re going to blow people away.” Of particular interest to collectors in the United States are the Gilroy paintings of classic cars that were created for an aborted, early 1950s campaign to coincide with the brewing of Guinness on Long Island.
    Still, it’s the medium that continues to amaze Hughes. “The idea of the canvases, none of us expected that,” he says. “As a Guinness collector, I’ve always collected their adverts, but they’re prints. They never touched Gilroy, he was never anywhere near the printing process. I had acquired a pencil drawing, which I was delighted with. Then these oils started turning up,” he Naturally, Hughes the Guinness scholar has seen a few oils that Hughes the Guinness collector would very much like to own. “If I had a magic wand? Well, I saw one this weekend that I really liked. It’s one of the animal ones. But it’s an animal that was not used commercially. It’s of a rhinoceros sitting on the ground with the zookeeper’s Guinness between his legs. The rhinoceros is looking at the zookeeper, and the zookeeper’s looking around the corner holding his broom. It’s just a great image, and it’s probably the only one of that advert that exists. So if I could wave my magic wand, I think that’s what I’d get. But I’d need $10,000
    With those kinds of prices and that kind of buzz, you might think that whoever is handling the Guinness advertising account today might be tempted to just re-run the campaign. But Hughes is realistic about the likelihood of that. “Advertising moves on,” he says. “Gilroy’s jokey, humorous, cartoon-like poster design is quintessentially 1930s, ’40s, and ’50s. It is a bit quaint, maybe even a little juvenile for today’s audiences. But it’s still amusing. The other day I showed the draft of my book to my mother, who’s 84. She sat in the kitchen, just giggling at the pictures.”
    That sums up Gilroy to Hughes; not that it’s only appealing to people in their 80s, but that his work is ultimately about making people happy, which is why his advertising images connected so honestly with viewers. “Gilroy had a tremendous sense of humor,” Hughes says. “He always saw the funny side of things. He was apparently a chap who, if you were feeling a little down and out, you’d spend a couple of hours with him and he’d just lift your spirits.” You know, in much the same way as a lot of us feel after a nice pint of Guinness.
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  • Old Bushmills -The Spirit of the Age-Irish Whiskey Advert

    €180.00
    Old Bushmills Irish Whiskey advert- depicting the Cheshire Hunt .Officially the worlds oldest whiskey distillery- when in 1608 King James I granted Sir Thomas Phillips,landowner and Governor of Co Antrim,Ireland - a licence to distill.It was in 1784 when Mr Hugh Anderson registered the Old Bushmills Distillery and the Pot Still became its registered trademark, which is still a mark of genuine distinction to this day. 50cm x 65cm   Belfast The Bushmills area has a  long tradition with distillation. According to one story, as far back as 1276, an early settler called Sir Robert Savage of Ards, before defeating the Irish in battle, fortified his troops with "a mighty drop of acqua vitae". In 1608, a licence was granted to Sir Thomas Phillips (Irish adventurer) by King James I to distil whiskey. The Bushmills Old Distillery Company itself was not established until 1784 by Hugh Anderson. Bushmills suffered many lean years with numerous periods of closure with no record of the distillery being in operation in the official records both in 1802 and in 1822. In 1860 a Belfast spirit merchant named Jame McColgan and Patrick Corrigan bought the distillery; in 1880 they formed a limited company. In 1885, the original Bushmills buildings were destroyed by fire but the distillery was swiftly rebuilt. In 1890, a steamship owned and operated by the distillery, SS Bushmills, made its maiden voyage across the Atlantic to deliver Bushmills whiskey to America. It called at Philadelphiaand New York City before heading on to Singapore, Hong Kong, Shanghai and Yokohama.
    In the early 20th century, the U.S. was a very important market for Bushmills (and other Irish Whiskey producers). American Prohibition in 1920 came as a large blow to the Irish Whiskey industry, but Bushmills managed to survive. Wilson Boyd, Bushmills' director at the time, predicted the end of prohibition and had large stores of whiskey ready to export. After the Second World War, the distillery was bought by Isaac Wolfson, and, in 1972, it was taken over by Irish Distillers, meaning that Irish Distillers controlled the production of all Irish whiskey at the time. In June 1988, Irish Distillers was bought by French liquor group Pernod Ricard.In June 2005, the distillery was bought by Diageo for £200 million. Diageo have also announced a large advertising campaign in order to regain a market share for Bushmills.In May 2008, the Bank of Ireland issued a new series of sterling banknotes in Northern Ireland which all feature an illustration of the Old Bushmills Distillery on the obverse side, replacing the previous notes series which depicted Queen's University of Belfast. In November 2014 it was announced that Diageo had traded the Bushmills brand with Jose Cuervo in exchange for the 50% of the Don Julio brand of tequila that Diageo did not already own.

    Bushmills whiskey range on display at the distillery
    • Bushmills Original – Irish whiskey blend sometimes called White Bush or Bushmills White Label. The grain whiskey is matured in American oak casks.
    • Black Bush – A blend with a significantly greater proportion of malt whiskey than the white label. It features malt whiskey aged in casks previously used for Spanish Oloroso sherry.
    • Red Bush – Like the Black Bush, this is a blend with a higher proportion of malt whiskey than the standard bottling, but in contrast the malt whiskey has been matured in ex-bourbon casks.
    • Bushmills 10 year single malt – Combines malt whiskeys aged at least 10 years in American bourbon or Oloroso sherry casks.
    • Bushmills Distillery Reserve 12 year single malt – exclusively available at the Old Bushmills Distillery, this 12 year aged single malt is matured in oak casks for a rich, complex flavour with notes of sherry, dark chocolate and spices.
    • Bushmills 16 year single malt – Malt whiskeys aged at least 16 years in American bourbon barrels or Spanish Oloroso sherry butts are mixed together before finishing in Port pipes for a few months.
    • Bushmills 21 year single malt – A limited number of 21 year bottles are made each year. After 19 years, bourbon-barrel-aged and sherry-cask-aged malt whiskeys are combined, which is followed by two years of finishing in Madeira drums.
    • Bushmills 1608: Originally released as a special 400th Anniversary whiskey; since 2009 it will be available only in the Whiskey Shop at the distillery and at duty-free shops.
     
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  • Arkle drinking Guinness with the Managing Director of Kempton Henry Hyde

    €180.00
    Great picture of a recuperating Arkle getting his lunch washed down by one of his two daily bottles of Guinness by the managing director of Kempton Park Racecourse Henry Hyde. Ratoath Co Meath.    45cm x 75cm Arkle (19 April 1957 – 31 May 1970) was an Irish Thoroughbred racehorse. A bay gelding by Archive out of Bright Cherry, he was the grandson of the unbeaten (in 14 races) flat racehorse and prepotent sire Nearco. Arkle was born at Ballymacoll Stud, County Meath, by Mrs Mary Alison Baker of Malahow House, near Naul, County Dublin. He was named after the mountain Arkle in Sutherland, Scotland that bordered the Duchess of Westminster’s Sutherland estate. Owned by Anne Grosvenor, Duchess of Westminster, he was trained by Tom Dreaper at Greenogue, Kilsallaghan in County Meath, Ireland, and ridden during his steeplechasing career by Pat Taaffe. At 212, his Timeform rating is the highest ever awarded to a steeplechaser. Only Flyingbolt, also trained by Dreaper, had a rating anywhere near his at 210. Next on their ratings are Sprinter Sacre on 192 and then Kauto Star and Mill House on 191. Despite his career being cut short by injury, Arkle won three Cheltenham Gold Cups, the Blue Riband of steeplechasing, and a host of other top prizes. On 19th April, 2014 a magnificent  1.1 scale bronze statue was unveiled in Ashbourne, County Meath in commemoration of Arkle.In the 1964 Cheltenham Gold Cup, Arkle beat  Mill House (who had won the race the previous year) by five lengths to claim his first Gold Cup at odds of 7/4. It was the last time he did not start as the favourite for a race. Only two other horses entered the Gold Cup that year. The racing authorities in Ireland took the unprecedented step in the Irish Grand National of devising two weight systems — one to be used when Arkle was running and one when he was not. Arkle won the 1964 race by only one length, but he carried two and half stones more than his rivals. The following year's Gold Cup saw Arkle beat Mill House by twenty lengths at odds of 3/10. In the 1966 renewal, he was the shortest-priced favourite in history to win the Gold Cup, starting at odds of 1/10. He won the race by thirty lengths despite a mistake early in the race where he ploughed through a fence. However, it did not stop his momentum, nor did he ever look like falling. Arkle had a strange quirk in that he crossed his forelegs when jumping a fence. He went through the season 1965/66 unbeaten in five races. Arkle won 27 of his 35 starts and won at distances from 1m 6f up to 3m 5f. Legendary Racing commentator Peter O'Sullevan has called Arkle a freak of nature — something unlikely to be seen again. Besides winning three consecutive Cheltenham Gold Cups (1964, 1965, 1966) and the 1965 King George VI Chase, Arkle triumphed in a number of other important handicap chases, including the 1964 Irish Grand National (under 12-0), the 1964 and 1965 Hennessy Gold Cups (both times under 12-7), the 1965 Gallagher Gold Cup (conceding 16 lb to Mill House while breaking the course record by 17 seconds), and the 1965 Whitbread Gold Cup(under 12-7). In the 1966 Hennessy, he failed by only half a length to give Stalbridge Colonist 35 lb. The scale of the task Arkle faced is shown by the winner coming second and third in the two following Cheltenham Gold Cups, while in third place was the future 1969 Gold Cup winner, What A Myth. In December 1966, Arkle raced in the King George VI Chase at Kempton Park but struck the guard rail with a hoof when jumping the open ditch, which resulted in a fractured pedal bone; despite this injury, he completed the race and finished second. He was in plaster for four months and, though he made a good enough recovery to go back into training, he never ran again. He was retired and ridden as a hack by his owner and then succumbed to what has been variously described as advanced arthritis or possibly brucellosis and was put down at the early age of 13. Arkle became a national legend in Ireland. His strength was jokingly claimed to come from drinking 2 pints of Guinness  a day. At one point, the slogan Arkle for President was written on a wall in Dublin. The horse was often referred to simply as "Himself", and he supposedly received items of fan mail addressed to 'Himself, Ireland'. The Irish government-owned Irish National Stud, at Tully, Kildare, Co. Kildare, Ireland, has the skeleton of Arkle on display in its museum. A statue in his memory was erected in Ashbourne Co Meath in 2004.     Dimensions : 55cm x 60cm
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  • Original Wm Clarke & Son Dublin Cork Limerick Calendar Showcard

    €180.00
    49cm x 38cm William Clarke & Son was a tobacco company that was founded in 1830 at South Main Street, Cork, Ireland. In January 1924, following the formation of the Irish Free State, the United Kingdom trade of William Clarke & Son was transferred to Dublin and taken over by Ogden's.

    William Clarke & Son, Dublin

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

    €180.00
    Framed 1990s Guinness pure Genius advert . Dimensions : 44cm x 80cm  Dublin Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
    Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.” Origins : Dublin Dimensions : 43cm x 35cm
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  • Steve Collins v Chris Eubank 1995 World Middle Weight Championship Fight Poster

    €180.00
    Framed Fight poster of Collins v Eubank at Millstreet 1995. 90cm x 68cm  Co Cork Stephen Collins (born 21 July 1964) is an Irish former professional boxer who competed from 1986 to 1997. Known as the Celtic Warrior, Collins is the most successful Irish boxer in recent professional boxing history, having held the WBOmiddleweight and super-middleweight titles simultaneously and never losing a fight as champion. Collins' first nineteen professional fights all took place in the United States. In 1988 he won the Irish middleweight title, and the regional American USBA middleweight title the following year, defending the latter successfully in Atlantic City and Las Vegas. In his first two world championship challenges, both for the WBA middleweight title, Collins lost a unanimous decision to Mike McCallum in 1990 and a majority decision to Reggie Johnson in 1992. He also challenged unsuccessfully for the European middleweight title later in 1992, losing a split decision to Sumbu Kalambay in Italy. It was not until Collins reached his early 30s that he fulfilled his potential, becoming WBO middleweight champion in his third world title attempt with a fifth-round TKO victory over Chris Pyatt in 1994, before then moving up in weight to defeat the undefeated Chris Eubank and claim the WBO super-middleweight title in 1995. More success followed, as Collins successfully defended his title by winning the rematch against Eubank later in the year. Collins successfully defended his title another six times before pulling out of a proposed fight in October 1997 against rising Welsh star, Joe Calzaghe, and retiring from the sport, with Collins frustrated by his inability to get a fight against the pound for pound number one boxer of the time, Roy Jones Jr., who was then fighting in the light-heavyweight division. Having competed against some of the best boxers on both sides of the Atlantic during his career, Collins tends to be linked more to an era in the UK during which there was a notable rivalry between British boxers Chris Eubank and Nigel Benn, both of whom Collins fought and defeated twice.

    Early years in Boston

    Steve Collins won 26 Irish titles as an amateur before turning professional in Massachusetts, US in October 1986. Collins worked out of the Petronelli Brothers gym in Brockton, Massachusetts alongside Marvin Hagler. His debut fight was against Julio Mercado on the undercard of a bill that featured Irish Americans; his future trainer Freddie Roach and the future Fight of the Year winner Micky Ward. Collins beat Mercado by way of knockout in the third round. In Boston, Massachusetts in 1988, he defeated former Olympian and British Super Middleweight champion Sam Storey to win the Irish middleweight title, then defeated world No. 5, Kevin Watts to win the USBA middleweight title. After reaching 16–0, Collins stepped in as a substitute in a WBA middleweight title fight after Michael Watson was injured in training, and fought 12 rounds against Mike McCallum in Boston in 1990. Collins was supported by a large crowd of Irish Americans as he battled the champion McCallum, with the fight being close early on before McCallum started to tire as Collins gained momentum in the later stages to bring a close finish at the end of 12 exciting rounds. McCallum got the win by unanimous decision. In 1992, Collins lost a majority decision to Reggie Johnson in a closely contested slugfest for the vacant WBA middleweight title (which had been stripped from McCallum because he signed to fight IBF champion James Toney). Collins then lost by split decision to Sumbu Kalambay for the European title in Italy, before beating Gerhard Botes of South Africa to win the WBA Penta-Continental middleweight title in 1993.

    WBO middleweight champion

    Collins then moved to Belfast under the management of Barney Eastwood before basing himself in England where he joined Barry Hearn's Matchroom Boxing. Alongside him was Paul "Silky" Jones, his sparring partner and good friend who later went on to become WBO light-middleweight title holder. Collins was trained by Freddie King in the Romford training camp. In May 1994, Collins finally won a world title by defeating Chris Pyatt by stoppage in five rounds to become the WBO middleweight champion. Early in 1995, Collins relinquished this title without a defence as he was having difficulty making the 160lbs middleweight limit. In March 1995, Chris Eubank (41-0-2) had been scheduled to have a third WBO super-middleweight title fight against Ray Close. Eubank and Close had two fights over the previous two years (their first fight a draw, and their second fight a narrow split decision win for Eubank), but Close was forced to withdraw from their scheduled third fight after failing an MRI brain scan. Collins then stepped into Close's place, moving up to super-middleweight to take on Eubank.

    WBO super-middleweight champion

    Collins defeated the then unbeaten long-reigning champion Chris Eubank in Millstreet, County Cork, Ireland, in March 1995, by unanimous decision (115–111, 116–114, 114–113), to win the WBO super-middleweight title. Collins had enlisted the help of a guru, and they led the press to believe that Collins would be hypnotised for the fight, which noticeably unsettled Eubank. True to form, Collins sat in his corner and did not move, listening to headphones during Eubank's ring entrance. Collins knocked Eubank down in the eighth round, and was well ahead on the scorecards at the end of Round 9, but Eubank finished the fight strongly as he tried to save his unbeaten record and knocked Collins down in the tenth round, coming close to a stoppage. Eubank was unable to finish the job, and Collins held on for victory. In their September 1995 rematch in Cork, Collins performed brilliantly, changing his usual fighting style by adopting wild, brawling tactics throughout which Eubank really struggled to deal with. Despite most TV pundits and commentators giving Collins a wide points victory with scorecards in the region of 117–111 and 118–110, the three judges saw the fight very differently with Collins only winning by a close split decision, 115–113, 115–113 and 114–115. Collins successfully defended his WBO super-middleweight title seven times, including two fights against Nigel Benn in 1996. In the summer of 1997, Collins reportedly stated in the press that he had no motivation left, as he had spent the best part of his career chasing Roy Jones Jr. for a fight that had been promised to him many times. Collins is reported to have stated in Boxing World that he had spent so long chasing Roy Jones Jr. that money was no longer important; that he would "fight him in a phone box in front of two men and a dog". but the bout never materialised. A WBO super-middleweight title fight against Joe Calzaghe was agreed for October 1997, but Collins got injured 10 days before the scheduled fight, got stripped of his title by the WBO, with Collins then making a statement saying that fighting Calzaghe would do nothing to satisfy the desire he had for fighting Jones. Collins then added he wanted to retire on a high note with a good pay day, "Joe is a good up-and-coming kid, but he wouldn't fill a parish church". As Collins couldn't get the fight with Jones, Collins decided to retire. In 1999, Collins announced his decision to come out of retirement to fight Roy Jones Jr. Controversy surrounded the proposed fight, as WBC and WBA light heavyweight champion Jones decided to fight the IBF light heavyweight champion and old Collins foe Reggie Johnson (which Jones won by a shutout 120–106 on all three judges' scorecards), and it was revealed that Collins would have to fight Calzaghe before a showdown with Jones. Collins had accepted this and started to prepare to fight Calzaghe. In training, Collins collapsed during a sparring session with Howard Eastman. Although tests and a brain scan could not find any problems, Collins decided that it was a warning to make him stop boxing, and he retired for a second time. Collins retired in 1997, with a record of 39 fights, 36 wins (21 knockouts) and 3 losses. Collins has not entirely faded from the spotlight since his retirement. In 1998 he appeared in the film Lock, Stock and Two Smoking Barrels as a boxing gym bouncer. In 1999 he made a cameo appearance in "Sweetest Thing", a music video by U2. On 15 January 2013, at the age of 48, Collins announced plans to fight Roy Jones Jr.He went on to appear in a number of exhibition bouts in preparation for the proposed Jones fight. In 2017 Collins joined the Army Reserve's 253 Provost Company of the 4th Regiment Royal Military Police in London where he had been living for the previous 20 years. He gained promotion to Lance Corporal and qualified as an army boxing coach. His brother Roddy Collins is a former professional footballer and manager. His brother Paschal was a professional boxer and now a leading professional boxing coach plus manager. His eldest son Stevie Jnr is a retired rugby player and a retired professional boxer who now coaches and manages boxers His youngest son Luke is an active amateur boxer and qualified amateur boxing coach
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  • Original Charles Dick Edinburgh Ales Advert

    €180.00
    60cm x 46cm  Belfast Although this is most certainly an original advertisement ,we can find absolutely no information about Charles Dick & Son's Edinburgh Ale ! Can anyone help us ??????!
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  • Beautiful Tribute to the all time great Arkle

    €180.00
    Beautiful tribute print to the great Arkle with list of major career victories undeneath.The Legendary gelding is pictured successfully negotiating a fence at Cheltenham with regular jockey Pat Taafe on board wearing the distinctive yellow and black silks of Arkle's owner Anne,Duchess of Westminster. 70cm x 50cm   Kilcock Co Kildare Arkle (19 April 1957 – 31 May 1970) was an Irish Thoroughbred racehorse. A bay gelding by Archive out of Bright Cherry, he was the grandson of the unbeaten (in 14 races) flat racehorse and prepotent sire Nearco. Arkle was born at Ballymacoll Stud, County Meath, by Mrs Mary Alison Baker of Malahow House, near Naul, County Dublin. He was named after the mountain Arkle in Sutherland, Scotland that bordered the Duchess of Westminster’s Sutherland estate. Owned by Anne Grosvenor, Duchess of Westminster, he was trained by Tom Dreaper at Greenogue, Kilsallaghan in County Meath, Ireland, and ridden during his steeplechasing career by Pat Taaffe. At 212, his Timeform rating is the highest ever awarded to a steeplechaser. Only Flyingbolt, also trained by Dreaper, had a rating anywhere near his at 210. Next on their ratings are Sprinter Sacre on 192 and then Kauto Star and Mill House on 191. Despite his career being cut short by injury, Arkle won three Cheltenham Gold Cups, the Blue Riband of steeplechasing, and a host of other top prizes. On 19th April, 2014 a magnificent  1.1 scale bronze statue was unveiled in Ashbourne, County Meath in commemoration of Arkle.   In the 1964 Cheltenham Gold Cup, Arkle beat  Mill House (who had won the race the previous year) by five lengths to claim his first Gold Cup at odds of 7/4. It was the last time he did not start as the favourite for a race. Only two other horses entered the Gold Cup that year. The racing authorities in Ireland took the unprecedented step in the Irish Grand National of devising two weight systems — one to be used when Arkle was running and one when he was not. Arkle won the 1964 race by only one length, but he carried two and half stones more than his rivals. The following year's Gold Cup saw Arkle beat Mill House by twenty lengths at odds of 3/10. In the 1966 renewal, he was the shortest-priced favourite in history to win the Gold Cup, starting at odds of 1/10. He won the race by thirty lengths despite a mistake early in the race where he ploughed through a fence. However, it did not stop his momentum, nor did he ever look like falling. Arkle had a strange quirk in that he crossed his forelegs when jumping a fence. He went through the season 1965/66 unbeaten in five races. Arkle won 27 of his 35 starts and won at distances from 1m 6f up to 3m 5f. Legendary Racing commentator Peter O'Sullevan has called Arkle a freak of nature — something unlikely to be seen again. Besides winning three consecutive Cheltenham Gold Cups (1964, 1965, 1966) and the 1965 King George VI Chase, Arkle triumphed in a number of other important handicap chases, including the 1964 Irish Grand National (under 12-0), the 1964 and 1965 Hennessy Gold Cups (both times under 12-7), the 1965 Gallagher Gold Cup (conceding 16 lb to Mill House while breaking the course record by 17 seconds), and the 1965 Whitbread Gold Cup(under 12-7). In the 1966 Hennessy, he failed by only half a length to give Stalbridge Colonist 35 lb. The scale of the task Arkle faced is shown by the winner coming second and third in the two following Cheltenham Gold Cups, while in third place was the future 1969 Gold Cup winner, What A Myth. In December 1966, Arkle raced in the King George VI Chase at Kempton Park but struck the guard rail with a hoof when jumping the open ditch, which resulted in a fractured pedal bone; despite this injury, he completed the race and finished second. He was in plaster for four months and, though he made a good enough recovery to go back into training, he never ran again. He was retired and ridden as a hack by his owner and then succumbed to what has been variously described as advanced arthritis or possibly brucellosis and was put down at the early age of 13. Arkle became a national legend in Ireland. His strength was jokingly claimed to come from drinking 2 pints of Guinness  a day. At one point, the slogan Arkle for President was written on a wall in Dublin. The horse was often referred to simply as "Himself", and he supposedly received items of fan mail addressed to 'Himself, Ireland'. The Irish government-owned Irish National Stud, at Tully, Kildare, Co. Kildare, Ireland, has the skeleton of Arkle on display in its museum. A statue in his memory was erected in Ashbourne Co. Meath in April 2014.
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  • Old Ordnance Survey Map of Killala Bay Co Mayo

    €180.00
    Original ordnance survey map from 19 of Killala Bay Co Mayo in superb frame. Westport Co Mayo   65cm x 65cm Killala is a quiet seaside resort but the harbour warehouses show that it was once a busy port. This remote little town enjoys a place of disproportionate importance in the history of Ireland, as it was here that the French first halted when they invaded in 1798. The 1798 French invasion of Ireland   On August 6, 1798, General Humbert’s “Army of Ireland” set sail from La Rochelle destined for Killala, Co. Mayo …  
    La Rochelle's harbour.

    La Rochelle’s harbour.

    On July 19, 1798, the French Directory authorises the sending of three expeditions to Ireland and gives command of the first one to General Humbert.

    On August 6, 1798, General Humbert’s Army of Ireland sailed from La Rochelle in three frigates La Concorde, La Franchise, La Médée, carrying 1,025 French troops, 3 light field cannons, 3,000 muskets, and 400 sabres.

    There were also a number of Irish among Humbert’s command. These included Bartholomew Teeling and Fr. Henry O Kane. This tiny force, together with its Irish allies, was to conduct an extraordinary campaign that shook the British Empire.

    During 16 days they sailed taking a circuitous route to avoid detection by the British navy. The mission of this little French expeditionary force was to provide military assistance to the Irish rebels of the “Rising of ’98” – sometimes referred to as “Bliadhan na bhFrancach” or “The Year of the French” – in their attempt to free Ireland from English domination.

    The fleet had originally planned to land in Co. Donegal, but due to storm and no doubt influenced by the presence of Fr. O Kane who was a native of Killala the fleet sailed into Killala Bay.

    Kilcumminn head, Co. Mayo

    Kilcumminn head, Co. Mayo

    On the 22nd of August, 1798, the three frigates landed at Kilcummin flying the English colours.

    Edwin and Arthur Stock, sons of the Protestant Bishop of Killala, who had sailed out to meet them, greeted them. The two were captured, the English flag taken down and the French flag hoisted.

    One of the first to disembark was Fr. O Kane who spoke to the locals in Irish which was the native tongue of most of the Irish at that time. Word soon filtered to native Irish throughout Mayo and Sligo.
    Kilcumminn strand,landing-place of the French

    Kilcumminn strand,landing-place of the French

    Bishop Stock also heard of the arrival and he sent messages to the local gentry among them the Jacksons, the Knoxs, Binghams, Palmers and Kirkwoods. Into the relative quiescence of northwest Ireland, the French expeditionary force fell like a thunderbolt. By about 7pm the landing was complete.

    General Humbert

    General Humbert

    Young Général Jean-Joseph-Amable Humbert (the landing occurred on his 31st birthday), a canny veteran of irregular warfare against the insurgents of the Vendée, was well aware of the odds against him in a conventional military showdown, but also of the multiplying effects of surprise and speed.

    He was also keenly aware of the importance of early victory for exciting the morale of the Irish insurgents and dismaying the ill-trained loyalist militia.

    The first military confrontation occurred on the afternoon of 22 August, when Colonel Jean Sarrazin led a group of French Grenadiers south to the nearby village of Killala.

    Killala, viewed from the north.

    Killala, viewed from the north.

    The garrison of 200 men included a handful of regulars of the 17th Foot (Leicestershire Regiment), but was mostly composed of the Yeomanry, an ill-trained part-time paramilitary constabulary.

    With a portion of Sarrazin’s force circling around the British left flank and the remainder pressing a frontal attack with the bayonet, the unnerved Loyalists fired one ragged volley and then fled in terror towards Ballina.

    Three Frenchmen were slightly wounded, bishop Stock’s palace was taken over as Humbert’s H.Q. and several of the yeomen were taken prisoner.

    Ireland forever - l'Irlande pour toujours

    Ireland forever – l’Irlande pour toujours

    A French soldier then climbed to the top of the palace and removed the British flag, which was replaced by a green and gold flag bearing the inscription ‘Erin Go Bragh’ (Ireland forever).

    General Humbert statue in Killala.

    General Humbert statue in Killala.

    LIBERTY, EQUALITY, FRATERNITY, UNION “After several unsuccessful attempts behold at last Frenchmen arrived amongst you . . . “Brave Irishmen, our cause is common. Like you we hold as indefeasible the right of all nations to liberty. Like you we are persuaded that the peace of the world shall ever be troubled as long as the British ministry is suffered to make with impunity a traffic of the industry and blood of the people . . . “Union, Liberty, the Irish Republic! Such is our shout. Let us march. Our hearts are devoted to you; our glory is in your happiness.”

    From General Humbert’s Proclamation of 22nd August, 1798. (This last sentence of Humbert’s Proclamation became our pub’s motto!)

    Mémorial de Ballina

    Mémorial de Ballina

    This initial humbling of their oppressors had the desired effect on the local population, bringing forward thousands of eager, though ignorant and ill-disciplined Irish volunteers who were hastily equipped and formed into companies. Muskets were issued to some, but as in the uprisings elsewhere in Ireland that year, most of the insurgents were armed with crude pikes, scythes, and hay-forks.

    On the 24th of August, having captured Killala, Humbert sent two groups under Sarrazin (provisionally promoted to Général de Brigade by Humbert on 23 August) and Adjudant-General Fontaine to capture Ballina.

    That night a fight took place between Sarrazin’s troops and the British at Rosserk. The English eventually retreated in confusion. The next morning the French/Irish troops captured Ballina under cover of darkness. The Irish peasants lit bundles of straw to show them their way. This approach road to Ballina has since been known as Bothair na Sop. They took Ballina without much resistance. The English for the most part fled towards Foxford where they would have their forces waiting for the French advance on Castlebar.

    Humbert - Windy Gap Pass

    Humbert – Windy Gap Pass

    The British commander in County Mayo, General Hutchinson, expected Humbert to continue south along the only decent road out of Ballina toward Castlebar, the commercial and strategic center of the region.

    Where the road crosses the River Moy at Foxford, Hutchinson placed a strong blocking force with ample artillery. Clashes of French and British patrols along the Ballina-Foxford road appeared to confirm British expectations.

    Humbert, closely questioning the locals, learned that there was an alternative route to Castlebar, a barely-practicable goat-trail that ran west of Lough Conn, over the Windy Gap pass, and then south to the town. He resolved to take this route.

    "Tour D'Humbert" signposts in Lahardane

    “Tour D’Humbert” signposts in Lahardane

      To further the deception, the Franco-Irish forces marched out of Ballina along the Foxford road at sunset on August 26 with ostentatious noise and shouted boasts of expected victory at Foxford, then doubled back in silence and darkness to the west of Loch Conn. At midnight, Humbert’s army was in Lahardane.

    The local priest, Father Andrew Conroy, was fluent in French from his time at seminary in Nantes.

    He gave precious directions to the French officers and marshalled the people to provide food and assistance to the troops. In the aftermath of the campaign, Father Conroy was arrested, tried, and executed by the vengeful British.
    Sion Hill (now built-up)

    Sion Hill (now built-up)

      After a rigorous night-march of 40 km (25 miles), Humbert’s 800 French, 600 Irish, and 1 laboriously manhandled gun reached Castlebar on 27 August.

    A yeoman farmer who had been tending to his cattle had spotted the French/Irish advance party. He immediately fled to Castlebar to warn the British commander of the eminent arrival of the French/Irish forces.

    The English forces took up position at Sion Hill just outside the town. Humbert approached and took account of the English position.
    Batlle of Castlebar known as "Races of Castlebar".

    Batlle of Castlebar known as “Races of Castlebar”.

    Following a number of attacks in which they were hit by British cannon, Humbert decided to regroup and divided his troops, splitting them to the left and right so as to attack the English flanks. The Irish drove a herd of cattle ahead of them causing confusion in the English rank. The French/Irish made an effective bayonet charge through the centre.

    Castlebar Memorial

    Castlebar Memorial

    The English retreated down Staball Hill. Another attack occurred at Main St. Bridge. The English defended the bridge for some time using forces from the Longford and Kilkenny militias and Fraser Fencibles (a Scottish regiment).

    There was confused fighting in the town as knots of the more stalwart British, notably the Fraser Fencibles and Roden’s Dragoons, attempted to make a stand.

    The bulk of the redcoat forces, abandoning all guns, standards, and baggage, ran in headlong flight down the road to Tuam, 54 km (34 miles) to the southeast; some apparently did not stop until reaching Athlone, a further 68 km (42 miles) away. General Lake’s army being dissolved.

    The event has since become mockingly known among the Irish as “The Castlebar Races.” In all the attack only lasted six hours from 6a.m. to 12 noon and has been described by Thomas Pakenham in The Year of Liberty as one of the most ignominious defeats in British military history. Following this brilliant victory, Humbert spent the next few days resting and reorganizing his army, absorbing many hundreds of new Irish volunteers including some 250 deserters from the Longford and Kilkenny Militias.
    The “Republic of Connaught” was proclaimed and a makeshift revolutionary government installed.

    Army of Ireland – Liberty, Equality

    Head quarters at Castlebar, 14th Fructidor, sixth Year of the French Republic, One and Indivisible. General Humbert, Commander in Chief of the Army of Ireland, desirous of organizing with the least possible delay, an administrative power for the Province of Connaught, decrees as follows:

    1. The Government of the Province of Connaught shall reside at Castlebar till further orders. 2. The Government shall be composed of twelve members, who shall be named by the General-in-chief of the French Army. 3. Citizen JOHN MOORE is named President of the Government of the Province of Connaught, he is specially entrusted with the nomination and reunion of the members of the Government. 4. The Government shall occupy itself immediately in organizing the Military power of the Province of Connaught, and with providing subsistence for the French and Irish Armies. 5. There shall be organized eight regiments of infantry, each of twelve hundred men, and four regiments of cavalry, each of six hundred men. 6. The Government shall declare rebels and traitors to the country all those who having received clothing and arms, shall not join the army within four and twenty hours. 7. Every individual from sixteen years of age to forty, inclusive, is REQUIRED in the name of the Irish Republic, to betake himself instantly to the French Camp, to march in a mass against the common enemy. The General Commanding-in-Chief HUMBERT.
    Lord Cornwallis

    Lord Cornwallis

      It was obvious that after the fiasco of Castlebar, the Crown forces in Ireland would marshal every possible resource to crush Humbert.
    Lord Cornwallis (the same who had surrendered to Washington at Yorktown), now the Viceroy and Commander-in-Chief in Ireland, moved west from Dublin to take personal command of the campaign.

    By the 2nd of September, Cornwallis had 7,800 men, including two reliable Scottish regiments (the Sutherland and Rehy Fencibles) concentrated at Tuam, organized into four brigades under Generals Hunter, Campbell, Hutchinson, and Moore (later the hero of Corunna), and a further 2,800 at Boyle.

    Cornwallis advanced from Tuam on the 4th of September, but on arriving at Castlebar on the 5th found only a small Franco-Irish rearguard. Aware of the impossibility of defeating the well-equipped and far more numerous Crown forces, and with no sign of reinforcements from France, Humbert had marched off to the east on 4 September, under cover of darkness, taking his army, now totalling 3,000 men, towards Sligo, covering 58 miles in 36 hours. The long march had begun. Some Irish troops under French officers remained to protect Killala and receive the expected reinforcements.
    Collooney, Co. Sligo

    Collooney, Co. Sligo

    On the morning of the 5th of September, an English army from Sligo under Col Vereker attacks the Franco-Irish army at Collooney with its left protected by the Ballysadare River and its right anchored on a steep, wooded hill. Humbert again outmanoeuvres them.

    In what may be one of the greatest feats of individual bravery in the long history of the Revolutionary and Napoleonic Wars, Colonel Bartholomew Teeling, a United Irishman holding a French commission, galloped forward alone to the British line, pistolled the enemy gunner at point-blank range, and rode back unscathed under a hail of musket-fire. Inspired by his example, the Irish and French surged forward and routed the Loyalists. The English retreated with heavy losses as far as Ballyshannon, County Donegal.
    Ballinamuck pikeman

    Ballinamuck pikeman

      Cornwallis has now divided his army in two, one half under General Lake to pursue the enemy and the other half, under his own personal command, to protect the line of the river Shannon.
    The French and Irish “must not cross”. Meanwhile, the United Irishmen of Longford and Westmeath have assembled. They capture Wilson’s Hospital near Mullingar but fail to take the town of Granard. Humbert, on hearing of the midlands rising decides to link up with the insurgents there.
    He is now near Manorhamilton but changes and goes straight for Granard. He abandons some of the heavier guns so as to make more speed. So far he has eluded the cordon closing in around him. With some luck he hopes to slip past the net, reach Granard and then strike for Dublin which is virtually unprotected as most of the garrison have been moved to Connacht. The Franco-Irish army reaches Drumkeerin in the evening of September 6. An envoy from Lord Cornwallis offers terms for surrender but they are rejected.

    On September 7, shortly before noon Humbert’s army crosses the Shannon at Ballintra Bridge just south of Loch Allen, but they fail in an attempt to demolish the bridge behind them.

    His army shows signs of fatigue and skirmishes with the English advance guard become more frequent. The race for Granard quickens.

    The Franco-Irish army reaches Cloone, in South Leitrim, while Cornwallis, with 15,000 men is at Mohill, five miles away. Humbert gets news that he is surrounded and outnumbered but decides to push on even if the best he can now do is to make a token resistance before surrender.

    On September 8, 1798, near the small village of Ballinamuck, County Longford, Humbert drew up his 859 French troops in line of battle. There could be little doubt of the outcome.

    Behind Humbert was Cornwallis blocking Humbert’s way to Dublin. In front was Lake’s 6000 men. The battle which lasted but half an hour commenced with Colonel Crawford’s dragoons cutting through the Irish rebels. When the British grand assault poured up the hill from three sides, in overwhelming numbers, Humbert gave the order to surrender.
    Humbert surrenders in Ballinamuck

    Humbert surrenders in Ballinamuck

    The French officers followed their general’s signal and ordered their men to lay down their muskets. A second body of British cavalry had reined in seeing the signs of surrender, but Colonel Teeling, an Irish officer in the French army, had not signaled surrender so British infantry advanced on them. Crawford attacked a large contingent of Irishmen with his dragoons, their sabres sparing only those with officers insignia, hanging to be their fate.

    Later testimonies reveal that on arresting Humbert, General Lake could not conceal his astonishment: “Where is your army?” Lake demanded “This is it all” Humbert replied, indicating his soldiers. “And what were you planning to do with this lot?” Lake asked. “We were going to Dublin to break the irons of a nation that suffers under your yoke” Humbert said. “That is an idea that could only be born in a Frenchman’s brains!” Lake declared.
    Humbert surrenders in Ballinamuck

    Humbert surrenders in Ballinamuck

    Humbert and the French prisoners were conducted to Dublin and treated with all the consideration that could be given to gallant prisoners after an honorable defeat.

    Not so the Irish. Accounts vary, but it appears that many of the Irish were cut down where they stood, or driven into the bog south of the hill where they were hunted down and slaughtered. Captured Irish officers, even those bearing legitimate commissions in the French army, were seized and hanged as traitors. Such was Bartholomew Teeling, Matthew Tone and Gunner James Magee’s fate.

    “After having obtained the greatest successes and made the arms of the French Republic triumph during my stay in Ireland, I have at length been obliged to submit to a superior force of 30,000 troops.” General Humbert’s Report to the French Directory after Ballinamuck.

    ‘A SHORT BUT VERY FATIGUING CAMPAIGN’

    English historians have always treated General Humbert’s expedition to Ireland with ridicule, but Brian O hUiginn was fond of quoting Plowden the military correspondent of the London Times who held a different view. This expert wrote some years ago:

    “In these operations described by Cornwallis to the Duke of Portland as a short but very fatiguing campaign, a raiding party of 1000 French landed in Ireland without opposition, after sixteen days of navigation, unobserved by the British Navy; defeated and drove back the British troops opposing them on four separate occasions; routed a force of second line troops of at least double its strength; captured eleven British guns; held the field for seventeen days; entirely occupied the attention of all the available troops of a garrison of Ireland 150,000 strong; penetrated almost to the centre of the island, and compelled the Lord Lieutenant to send an urgent requisition to London for ‘as great a reinforcement as possible.’ “

    This was a fine tribute to General Humbert and his troops.

    The Charentais of the expedition.

    Many Charentais took part in the expedition. Among them: Daniel Savary, who was born in Salles sur Mer (17), was in command of the naval division charged with transporting the expedition from La Rochelle to Killala. François Babin, born in Péré (17), became Commander of the Castlebar battalion. Jean Jobit, born in Chateauneuf en Charente (16), was a Commander on the Castlebar battlefield in Castlebar. Jean-Paul Leugerat, born in Barbezières (16), died during the battle of Castlebar.

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  • Large ,illustrated Map of Ireland

    €180.00
    80cm x 65cm.    Ballysimon Co Limerick Detailed and illustrated large Map of Ireland outlining the numerous antiquities & places of historical interest to be visited .
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  • Guinness Toucan (Castiron replica)

    €180.00
    Very well manufactured Castiron Toucan replica. Dimensions :20cm x 10cm x 8cm  1.5kg The legendary Guinness Toucan goes back to 1935 and the advertising firm S.H. Benson. Artist John Gilroy had been recently hired, and Dorothy Sayers, a famous crime writer and playwright, wrote advertising copy for the company. For nearly two centuries of existence, the brewery had almost no need to formally advertise, allowing word-of-mouth to sell the beer, and sell it did. By the late 19th century, Guinness was one of the top three breweries between Britain and Ireland. In 1862, the company adopted an Irish harp as their logo and trademarked it in 1875. However, by the late 1920s, sales were declining, and in 1929, Rupert Guinness, then chair of the company, ran the first-ever Guinness print ad with the slogan “Guinness is good for you.” The very next year, the brewery hired advertising firm S.H. Benson. It was then, in 1930, that the story of the Guinness toucan began. The man responsible for the iconic bird and his animal companions is the English illustrator and draftsman John Gilroy. He was born in 1898 in Newcastle upon Tyne into a family of eight children, and his father, William, was a landscape painter. From a young age, Gilroy began copying the drawings in magazines, and it was quickly evident he would follow in his father’s professional footsteps. By 15, he was a cartoonist for the local newspaper. He won a scholarship to art school, and although World War I interrupted his studies, he entered London’s Royal College of Art in 1919. While he was still a student, he received his first commission for commercial art—a promotional pamphlet for the Hydraulic Engineering Co. Not long after graduating, Gilroy began working for S.H. Benson, where he would eventually work on Guiness.  
    John Gilroy, illustrator of some of Guinness's most well-known advertisements. (Northeast History Tour)

    John Gilroy, illustrator of some of Guinness’s most well-known advertisements.

    His first work with the firm was on campaigns for Skipper Sardines and Virol (a brand of malt extract). In his early years at Benson, he and his colleagues created clever characters to make their designs memorable: Baron de Beef, Signor Spaghetti, Miss Di Gester. All these playful characters likely primed Gilroy for the fun and whimsical designs he would eventually draw for Guinness in his 35 years working with the company. In the early 1930s S.H. Benson boasted an impressive staff of creatives beyond John Gilroy; the aforementioned Dorothy Sayers, now famous as a crime writer and poet, wrote copy for the agency. When Guinness approached the firm, they had an interesting request: the final advertising campaign should not be too much to do with beer, despite the fact that it was advertising—well—beer. They thought it would be vulgar. Instead, they preferred something that appealed to families and that highlighted the purported health benefits of the brew. They asked Gilroy to draft an ad showing a family drinking Guinness, but no one could seem to agree on what the family should look like, nor how they should be presented. Luckily, it was precisely family that led Gilroy to the particular idea that eventually spawned Guinness’s most famous ad campaigns. The artist had recently taken his son to the circus, recounts Guinness archive manager Fergus Brady, and had watched a sea lion balancing a ball on its nose. He realized how fun it would be to draw a sea lion balancing a pint of Guinness on its nose, and pitched the idea to Guinness. From there the series expanded to an entire menagerie. Gilroy drew ostriches, bears, pelicans, kangaroos, and of course, the toucan. Paired with Sayers’s inventive copy, the ads took off. In her most clever ad, she plays on the toucan / two-can homophone and on the idea that drinking Guinness offers a range of health benefits: “If he can say as you can / Guinness is good for you / How grand to be a Toucan — / Just think what Toucan do.” The illustration features a smiling toucan perched next to two shining pint glasses full of Guinness stout.  
    With John Gilroy's illustrations and Dorothy Sayers's copy, the Guinness toucan ads were an immediate hit. (Guinness)

    With John Gilroy’s illustrations and Dorothy Sayers’s copy, the Guinness toucan ads were an immediate hit. (Guinness)

      Gilroy even created toucan ads specifically for the American market with the birds flying over landmarks like the Statue of Liberty, Mount Rushmore, and the Golden Gate Bridge—always carrying two pints on their beaks. Sadly, Guinness never approved and ran the ads. Over the years, Gilroy created nearly 100 advertisements and 50 poster designs for Guinness. Though he left S.H. Benson as an in-house artist in the 1940s, he continued to freelance for them and continued to create the beloved Guinness zoo ads, crafting new scenarios for his Guinness-loving animals and their beleaguered zookeeper. Other vintage Guinness ads from the time feature simpler jingles and catchphrases. “My goodness—my Guinness” often features an animal stealing a man’s pint in comical fashions—an ostrich swallows it, a kangaroo hides the bottle in its pouch, a crocodile holds the pint between his massive jaws, and so on. In another, a smirking tortoise carries a pint on its back under the text, “Have a Guinness when you’re tired.” A man pulls a cart while his horse relaxes and goes for a ride—“Guinness for strength.” There is a playfulness to all of them. Even the ad in which a man is being chased by a lion feels funny—of course, the lion is chasing the man not to eat him, but to steal his beer. The lion is smiling, his tongue lolling out of his mouth as he runs, and we’re in on the joke: he’ll get the Guinness in the end, and the man is panicking not to save his skin, but to save his beer.  
    Guinness coasters featuring the menagerie of John Gilroy's advertisements. (Guinness)

    Guinness coasters featuring the menagerie of John Gilroy’s advertisements. (Guinness)

      The ads ran primarily in the U.K. and in the 1930s and 1940s were immensely popular—likely the cheerful, cheeky animals and bright colors provided a small antidote to the horrors going on in Europe at the time. In 1939, all troops in the British Expeditionary Force in France received a bottle of Guinness with their Christmas dinner. The company remained committed to adding a touch of whimsy to their generally solid and forward-thinking business practices. To celebrate Guinness’s bicentennial in 1959, the company dropped 150,000 embossed bottles containing Guinness-related information and paraphernalia into the Atlantic Ocean. It is the same year, as well, that Guinness employed scientists to create the Guinness Draft we know today by pairing nitrogen gas and carbon dioxide—it is that combination that gives the beer its prized silky texture. In in 1963 and 1965, Guinness opened breweries in Nigeria and Malaysia, respectively, cementing the company’s global reach and impact. As the company modernized, so too did their advertising strategies. In 1982, the Guinness brewery switched ad firms and stopped running the zoo-themed ads—the toucan and its friends were no longer considered effective advertising techniques. However, nostalgia for the Guinness toucan remained, and the company has released limited-edition cans and merchandise featuring the original Gilroy drawings. In 2017, the 200th anniversary of Guinness in America, they released a number of decorative itemsimprinted with the image of the two-pint-touting toucans flying over Mount Rushmore. The image of Gilroy’s toucan still immediately brings Guinness to mind, and it remains an immensely memorable mascot of the world’s premier dark beer.  
    Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer porter in 1778. The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export. “Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.Porter was also referred to as “plain”, as mentioned in the famous refrain of Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.” Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000 barrels in 1868 to 779,000 barrels in 1876.In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount. Even though Guinness owned no public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading. The breweries pioneered several quality control efforts. The brewery hired the statistician William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly Student’s t-distribution and the even more commonly known Student’s t-test. By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees. By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill. The improvements were suggested and supervised by Sir John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor Bass, and was supplying more than 10 per cent of the total UK beer market. In the 1930s, Guinness became the seventh largest company in the world. Before 1939, if a Guinness brewer wished to marry a Catholic, his resignation was requested. According to Thomas Molloy, writing in the Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.” Guinness thought they brewed their last porter in 1973. In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981. Pale malt was used for the first time, and isomerized hop extract began to be used. In 2014, two new porters were introduced: West Indies Porter and Dublin Porter. Guinness acquired the Distillers Company in 1986.This led to a scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid. In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo. The company merged with Grand Metropolitan in 1997 to form Diageo. Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
    The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
    The Guinness brewery in Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to St. James’s Gate Brewery, Dublin. Guinness has also been referred to as “that black stuff”. Guinness had a fleet of ships, barges and yachts. The Irish Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.This news caused some controversy when it was announced.The following day, the Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant. On 23 November 2007, an article appeared in the Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development. On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.Two days later, the Sunday Independent again reported that Diageo chiefs had met with Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate. Diageo released a statement to the London stock exchange denying the report.Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997. In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing Guinness Brewery that avoids the need to use isinglass from fish bladders to filter out yeast particles.This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now. Guinness stout is made from water, barley, roast malt extract, hops, and brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is pasteurisedand filtered. Until the late 1950s Guinness was still racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.Until 2016 the production of Guinness, as with many beers, involved the use of isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer. Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians. Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO2 taste. This step was taken after Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible. Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste. Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.Although Guinness may appear to be black, it is officially a very dark shade of ruby. The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
    Studies claim that Guinness can be beneficial to the heart. Researchers found that “‘antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful cholesterol on the artery walls.”Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.”
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Irish Pub at Home & Abroad

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