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  • Classic Carlsberg advert depicting an old man .Mounted on  Hardboard. 80cm x 60cm Carlsberg was founded by J. C. Jacobsen, a philanthropist and avid art collector. With his fortune he amassed an art collection which is housed in the Ny Carlsberg Glyptotek in central Copenhagen. The first brew was finished on 10 November 1847, and the export of Carlsberg beer began in 1868 with the export of one barrel to Edinburgh, Scotland.Some of the company's original logos include an elephant, after which some of its lagers are named, and the swastika, the use of which was discontinued in the 1930s because of its association with political parties in neighboring Germany. Jacobsen's son Carl opened a brewery in 1882 named Ny (New) Carlsberg forcing him to rename his brewery Gamle (Old) Carlsberg. The companies were merged and run under Carl's direction in 1906 and remained so until his death in 1914 Jacobsen set up the Carlsberg Laboratory in 1875, which worked on scientific problems related to brewing. It featured a Department of Chemistry and a Department of Physiology. The species of yeast used to make pale lager,Saccharomycecarlsbergensis, was isolated by Emil Christian Hansen at the laboratory in 1883 and bears its name; this was shared freely by Carlsberg.The Carlsberg Laboratory also developed the concept of pH and made advances in protein chemistry. In 1972, the Carlsberg Research Centre was established and the Carlsberg Laboratory is an independent unit of the Centre. In 1876, J.C. Jacobsen established the Carlsberg Foundation, run by trustees from the Royal Danish Academy of Sciences and Letters, which managed the Carlsberg Laboratory as well as supporting scientific research within the fields of natural sciences, mathematics, philosophy, the humanities and social sciences in Denmark. Because of a conflict with his son Carl, Jacobsen's brewery was left to the Foundation upon his death in 1887. The first overseas license for brewing was given to the Photos Photiades Breweries, and in 1966 Carlsberg beer was brewed for the first time outside Denmark at the Photiades breweries in Cyprus.The first brewery to be built outside Denmark was in Blantyre, Malawi in 1968. Carlsberg merged with Tuborg breweries in 1970 forming the United Breweries AS, and merged with Tetley in 1992. Carlsberg became the sole owner of Carlsberg-Tetley in 1997. In 2008 Carlsberg Group, together with Heineken, bought Scottish & Newcastle, the largest brewer in the UK, for £7.8bn ($15.3bn). Origins : Co Offaly Dimensions :80cm x 60cm
  • There are many chapters in Munster’s storied rugby journey but pride of place remains the game against the otherwise unbeaten New Zealanders on October 31, 1978. Limited edition photographic montage of the great moments of the now legendary 1978 clash between Munster and the All Blacks.It was specially commissioned for the 40th anniversary of the game in 2018. 50cm x 55cm   Limerick There were some mighty matches between the Kiwis and Munster, most notably at the Mardyke in 1954 when the tourists edged home by 6-3 and again by the same margin at Thomond Park in 1963 while the teams also played a 3-3 draw at Musgrave Park in 1973. During that time, they resisted the best that Ireland, Ulster and Leinster (admittedly with fewer opportunities) could throw at them so this country was still waiting for any team to put one over on the All Blacks when Graham Mourie’s men arrived in Limerick on October 31st, 1978. There is always hope but in truth Munster supporters had little else to encourage them as the fateful day dawned. Whereas the New Zealanders had disposed of Cambridge University, Cardiff, West Wales and London Counties with comparative ease, Munster’s preparations had been confined to a couple of games in London where their level of performance, to put it mildly, was a long way short of what would be required to enjoy even a degree of respectability against the All Blacks. They were hammered by Middlesex County and scraped a draw with London Irish. Ever before those two games, things hadn’t been going according to plan. Tom Kiernan had coached Munster for three seasons in the mid-70s before being appointed Branch President, a role he duly completed at the end of the 1977/78 season. However, when coach Des Barry resigned for personal reasons, Munster turned once again to Kiernan. Being the great Munster man that he was and remains, Tom was happy to oblige although as an extremely shrewd observer of the game, one also suspected that he spotted something special in this group of players that had escaped most peoples’ attention. He refused to be dismayed by what he saw in the games in London, instead regarding them as crucial in the build-up to the All Blacks encounter. He was, in fact, ahead of his time, as he laid his hands on video footage of the All Blacks games, something unheard of back in those days, nor was he averse to the idea of making changes in key positions. A major case in point was the introduction of London Irish loose-head prop Les White of whom little was known in Munster rugby circles but who convinced the coaching team he was the ideal man to fill a troublesome position. Kiernan was also being confronted by many other difficult issues. The team he envisaged taking the field against the tourists was composed of six players (Larry Moloney, Seamus Dennison, Gerry McLoughlin, Pat Whelan, Brendan Foley and Colm Tucker) based in Limerick, four (Greg Barrett, Jimmy Bowen, Moss Finn and Christy Cantillon) in Cork, four more (Donal Canniffe, Tony Ward, Moss Keane and Donal Spring) in Dublin and Les White who, according to Keane, “hailed from somewhere in England, at that time nobody knew where”.   Always bearing in mind that the game then was totally amateur and these guys worked for a living, for most people it would have been impossible to bring them all together on a regular basis for six weeks before the match. But the level of respect for Kiernan was so immense that the group would have walked on the proverbial bed of nails for him if he so requested. So they turned up every Wednesday in Fermoy — a kind of halfway house for the guys travelling from three different locations and over appreciable distances. Those sessions helped to forge a wonderful team spirit. After all, guys who had been slogging away at work only a short few hours previously would hardly make that kind of sacrifice unless they meant business. October 31, 1978 dawned wet and windy, prompting hope among the faithful that the conditions would suit Munster who could indulge in their traditional approach sometimes described rather vulgarly as “boot, bite and bollock” and, who knows, with the fanatical Thomond Park crowd cheering them on, anything could happen. Ironically, though, the wind and rain had given way to a clear, blue sky and altogether perfect conditions in good time for the kick-off. Surely, now, that was Munster’s last hope gone — but that didn’t deter more than 12,000 fans from making their way to Thomond Park and somehow finding a spot to view the action. The vantage points included hundreds seated on the 20-foot high boundary wall, others perched on the towering trees immediately outside the ground and some even watched from the windows of houses at the Ballynanty end that have since been demolished. The atmosphere was absolutely electric as the teams took the field, the All Blacks performed the Haka and the Welsh referee Corris Thomas got things under way. The first few skirmishes saw the teams sizing each other up before an incident that was to be recorded in song and story occurred, described here — with just the slightest touch of hyperbole! — by Terry McLean in his book ‘Mourie’s All Blacks’. “In only the fifth minute, Seamus Dennison, him the fellow that bore the number 13 jersey in the centre, was knocked down in a tackle. He came from the Garryowen club which might explain his subsequent actions — to join that club, so it has been said, one must walk barefooted over broken glass, charge naked through searing fires, run the severest gauntlets and, as a final test of manhood, prepare with unfaltering gaze to make a catch of the highest ball ever kicked while aware that at least eight thundering members of your own team are about to knock you down, trample all over you and into the bargain hiss nasty words at you because you forgot to cry out ‘Mark’. Moss Keane recalled the incident: “It was the hardest tackle I have ever seen and lifted the whole team. That was the moment we knew we could win the game.” Kiernan also acknowledged the importance of “The Tackle”.
    He said: “Tackling is as integral a part of rugby as is a majestic centre three-quarter break. There were two noteworthy tackles during the match by Seamus Dennison. He was injured in the first and I thought he might have to come off. But he repeated the tackle some minutes later.”
      Many years on, Stuart Wilson vividly recalled the Dennison tackles and spoke about them in remarkable detail and with commendable honesty: “The move involved me coming in from the blind side wing and it had been working very well on tour. It was a workable move and it was paying off so we just kept rolling it out. Against Munster, the gap opened up brilliantly as it was supposed to except that there was this little guy called Seamus Dennison sitting there in front of me. “He just basically smacked the living daylights out of me. I dusted myself off and thought, I don’t want to have to do that again. Ten minutes later, we called the same move again thinking we’d change it slightly but, no, it didn’t work and I got hammered again.” The game was 11 minutes old when the most famous try in the history of Munster rugby was scored. Tom Kiernan recalled: “It came from a great piece of anticipation by Bowen who in the first place had to run around his man to get to Ward’s kick ahead. He then beat two men and when finally tackled, managed to keep his balance and deliver the ball to Cantillon who went on to score. All of this was evidence of sharpness on Bowen’s part.” Very soon it would be 9-0. In the first five minutes, a towering garryowen by skipper Canniffe had exposed the vulnerability of the New Zealand rearguard under the high ball. They were to be examined once or twice more but it was from a long range but badly struck penalty attempt by Ward that full-back Brian McKechnie knocked on some 15 yards from his line and close to where Cantillon had touched down a few minutes earlier. You could sense White, Whelan, McLoughlin and co in the front five of the Munster scrum smacking their lips as they settled for the scrum. A quick, straight put-in by Canniffe, a well controlled heel, a smart pass by the scrum-half to Ward and the inevitability of a drop goal. And that’s exactly what happened. The All Blacks enjoyed the majority of forward possession but the harder they tried, the more they fell into the trap set by the wily Kiernan and so brilliantly carried out by every member of the Munster team. The tourists might have edged the line-out contest through Andy Haden and Frank Oliver but scrum-half Mark Donaldson endured a miserable afternoon as the Munster forwards poured through and buried him in the Thomond Park turf. As the minutes passed and the All Blacks became more and more unsure as to what to try next, the Thomond Park hordes chanted “Munster-Munster–Munster” to an ever increasing crescendo until with 12 minutes to go, the noise levels reached deafening proportions. And then ... a deep, probing kick by Ward put Wilson under further pressure. Eventually, he stumbled over the ball as it crossed the line and nervously conceded a five-metre scrum. The Munster heel was disrupted but the ruck was won, Tucker gained possession and slipped a lovely little pass to Ward whose gifted feet and speed of thought enabled him in a twinkle to drop a goal although surrounded by a swarm of black jerseys. So the game entered its final 10 minutes with the All Blacks needing three scores to win and, of course, that was never going to happen. Munster knew this, so, too, did the All Blacks. Stu Wilson admitted as much as he explained his part in Wardy’s second drop goal: “Tony Ward banged it down, it bounced a little bit, jigged here, jigged there, and I stumbled, fell over, and all of a sudden the heat was on me. They were good chasers. A kick is a kick — but if you have lots of good chasers on it, they make bad kicks look good. I looked up and realised — I’m not going to run out of here so I just dotted it down. I wasn’t going to run that ball back out at them because five of those mad guys were coming down the track at me and I’m thinking, I’m being hit by these guys all day and I’m looking after my body, thank you. Of course it was a five-yard scrum and Ward banged over another drop goal. That was it, there was the game”. The final whistle duly sounded with Munster 12 points ahead but the heroes of the hour still had to get off the field and reach the safety of the dressing room. Bodies were embraced, faces were kissed, backs were pummelled, you name it, the gauntlet had to be walked. Even the All Blacks seemed impressed with the sense of joy being released all about them. Andy Haden recalled “the sea of red supporters all over the pitch after the game, you could hardly get off for the wave of celebration that was going on. The whole of Thomond Park glowed in the warmth that someone had put one over on the Blacks.” Controversially, the All Blacks coach, Jack Gleeson (usually a man capable of accepting the good with the bad and who passed away of cancer within 12 months of the tour), in an unguarded (although possibly misunderstood) moment on the following day, let slip his innermost thoughts on the game. “We were up against a team of kamikaze tacklers,” he lamented. “We set out on this tour to play 15-man rugby but if teams were to adopt the Munster approach and do all they could to stop the All Blacks from playing an attacking game, then the tour and the game would suffer.” It was interpreted by the majority of observers as a rare piece of sour grapes from a group who had accepted the defeat in good spirit and it certainly did nothing to diminish Munster respect for the All Blacks and their proud rugby tradition.
    And Tom Kiernan and Andy Haden, rugby standard bearers of which their respective countries were justifiably proud, saw things in a similar light.
    “Jack’s comment was made in the context of the game and meant as a compliment,” Haden maintained. “Indeed, it was probably a little suggestion to his own side that perhaps we should imitate their efforts and emulate them in that department.” Tom Kiernan went along with this line of thought: “I thought he was actually paying a compliment to the Munster spirit. Kamikaze pilots were very brave men. That’s what I took out of that. I didn’t think it was a criticism of Munster.” And Stuart Wilson? “It was meant purely as a compliment. We had been travelling through the UK and winning all our games. We were playing a nice, open style. But we had never met a team that could get up in our faces and tackle us off the field. Every time you got the ball, you didn’t get one player tackling you, you got four. Kamikaze means people are willing to die for the cause and that was the way with every Munster man that day. Their strengths were that they were playing for Munster, that they had a home Thomond Park crowd and they took strength from the fact they were playing one of the best teams in the world.” You could rely on Terry McLean (famed New Zealand journalist) to be fair and sporting in his reaction to the Thomond Park defeat. Unlike Kiernan and Haden, he scorned Jack Gleeson’s “kamikaze” comment, stating that “it was a stern, severe criticism which wanted in fairness on two grounds. It did not sufficiently praise the spirit of Munster or the presence within the one team of 15 men who each emerged from the match much larger than life-size. Secondly, it was disingenuous or, more accurately, naive.” “Gleeson thought it sinful that Ward had not once passed the ball. It was worse, he said, that Munster had made aggressive defence the only arm of their attack. Now, what on earth, it could be asked, was Kiernan to do with his team? He held a fine hand with top trumps in Spring, Cantillon, Foley and Whelan in the forwards and Canniffe, Ward, Dennison, Bowen and Moloney in the backs. Tommy Kiernan wasn’t born yesterday. He played to the strength of his team and upon the suspected weaknesses of the All Blacks.” You could hardly be fairer than that – even if Graham Mourie himself in his 1983 autobiography wasn’t far behind when observing: “Munster were just too good. From the first time Stu Wilson was crashed to the ground as he entered the back line to the last time Mark Donaldson was thrown backwards as he ducked around the side of a maul. They were too good.” One of the nicest tributes of all came from a famous New Zealand photographer, Peter Bush. He covered numerous All Black tours, was close friends with most of their players and a canny one when it came to finding the ideal position from which to snap his pictures. He was the guy perched precariously on the pillars at the entrance to the pitch as the celebrations went on and which he described 20 years later in his book ‘Who Said It’s Only a Game?’
    “I climbed up on a gate at the end of the game to get this photo and in the middle of it all is Moss Keane, one of the great characters of Irish rugby, with an expression of absolute elation. The All Blacks lost 12-0 to a side that played with as much passion as I have ever seen on a rugby field. The great New Zealand prop Gary Knight said to me later: ‘We could have played them for a fortnight and we still wouldn’t have won’. I was doing a little radio piece after the game and got hold of Moss Keane and said ‘Moss, I wonder if ...’ and he said, ‘ho, ho, we beat you bastards’.
    “With that, he flung his arms around me and dragged me with him into the shower. I finally managed to disentangle myself and killed the tape. I didn’t mind really because it had been a wonderful day.” Dimensions :50cm x 55cm 
  • Great picture of a fit looking Arkle being paraded in front of an adoring crowd at a soccer grounds in 1966. His longtime partner Pat Taafe is looking slightly apprehensive while a rather keen"Himself" seems to be inn a hurry to get home.In front of them a Guinness advertising person carries a 'large' bottle of the black stuff for the ubiquitous photo opportunity. 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
  •   Beautiful B&W image of legendary Tipperary captain Tony Wall lifting the Liam McCarthy after winning the 1958 All Ireland Hurling Final. Thurles Co Tipperary 45cm x 35cm Tony Wall was in charge of the last Tipperary championship team that took on Clare in Ennis. Thirty-three years later, he looks back on a famous career, considering all that could have gone wrong as well as all that went so well. A holder of five All-Ireland medals, Wall was one of the game’s finest ever centre-backs and the author of a still fresh book, Hurling (1965). If he wrote a sequel today, he’d advise a couple of small tweaks to the modern game. “We have no electricity,” Tony Wall says, greeting me at the door.
  • Beautiful bronze statuette of an unmuzzled coursing greyhound.The sometimes controversial pursuit of coursing is  still a hugely popular one in Ireland along with greyhound racing. 30cm x 15cm x 10cm   Patrickswell Co Limerick
    Ireland has been associated with the coursing of greyhounds for generations, although the Irish Coursing Club was not formally established until 1916. Before then, the sport of coursing and its rules were already highly developed in England for several hundred years, and it was the Duke of Norfolk who fully described them as the Laws of the Leash in the late 1500s. Many standards we still see in coursing today can be found in Laws of the Leash, and this includes only two greyhounds released at a time, and allowing the hare a significant head start before the greyhounds are slipped. These practices and others were already well in use and we know this from the work of a Greek historian writing extensively about the proper raising and training of the swift Celtic sighthounds. In his work, Cynegeticus, also simply called,On Coursing, Arrian’s comment about the purpose of coursing still holds true today, almost two thousand years later: “true sportsmen do not take their dogs out for the sake of catching a hare but for the contest and sport of coursing and are glad if the hare meets with an escape” Coursing is managed and regulated by the Irish Coursing Club (ICC), and consists of 89 affiliated clubs from Ireland and Northern Ireland, all of whom must abide by the ICC’s rules and regulations. Club Representatives are nominated and voted on to the Executive Committee to manage the affairs of the club, together with the President, Treasurer and Secretary. With many thousands of active members, people from all walks of life and of all ages participate in the sport – men, women, boys and girls, and in many cases it has been enjoyed within the same family for generations. The two main highlights of the year are the National Meeting in Clonmel, held in February, and followed a few weeks later by the Irish Cup, hosted by the County Limerick Coursing Club. Coursing is all about the hare, a remarkable work of nature which has thrived for thousands of years on our island, and will continue to flourish only with the assistance of coursing clubs. It is this concern for hare conservation that makes the sport so indispensable and unique. Without the efforts of our sport, the hare population would be without the significant layer of protection it presently enjoys from the hare husbandry initiatives afforded by coursing clubs on a 12 month basis. The Irish hare is legally protected since 1930 in the Republic of Ireland, initially under the Game Preservation Act (1930), more recently by the Wildlife Act (1976) and Wildlife (Amendment) Act (2000). The hare is listed as an internationally important species in the Irish Red Data Book (Whilde, 1993). hare-620 Coursing operates in a highly regulated environment coupled with comprehensive rules directly applied by the ICC. It operates under a licence from the Minister of Arts, Heritage & the Gaeltacht, issued annually with a total of 22 conditions attached. Although our sport may take place only over the winter months and is sensitive to the hare breeding season, the protection and policing of preserves is a continuous activity and conducted on a voluntary basis. Quercus, the Belfast University research body reports that “Irish hares are 18 times more abundant in areas managed by the Irish Coursing Club than at similar sites in the wider countryside”. Without regulated coursing there would be an increase of unregulated illegal hunting taking place throughout the year, with no organisation taking responsibility or interest in the overall well-being of the hare. If coursing clubs ceased to perform their functions, the hare population here would decline at a rapid rate as the proliferation of illegal hunting could easily rise to epidemic proportions as seen in the UK, where poaching and hare population decline are the order of the day. Finally, I offer a quote I recently found that seems appropriate: “The future of coursing is so dependent on hare preservation that no effort should be spared by us to put it on an assured basis.”That was from an October 1924 edition of the Irish Coursing Calendar, now known as the Sporting Press newspaper. The Irish Coursing Club has been, and will continue to be, deeply immersed in the conservation of the Irish Hare population, always seeking new ways to improve conservation in the face of loss of habitat due to the “advances” of our modern world and in spite of grossly uninformed efforts to ban it when no proven alternative conservation programmes are in place. hare-greyhound-620
    There are 18 Greyhound Racing stadiums operating in Ireland (two in Northern Ireland) of which ten are operated by the Bord na gCon (Irish Greyhound Board) with the remaining six owned and operated by private enterprise but licensed by the Bord na gCon. Most have modern facilities including grandstand restaurant's and Parimutuel betting tote system with on-course and off-course betting available. The Bord na gCon is a commercial semi-state body and reports to the Department of Agriculture, Food and the Marine. Greyhound racing as it is seen today evolved from a sport called coursing. In 1926 the oval form of racing arrived in Britain at Belle Vue Stadium in Manchester which resulted in the creation of hundreds of tracks all over the United Kingdom and Ireland in the following ten years.   The sport of greyhound racing in Ireland mainly takes place in the Republic of Ireland but also in Northern Ireland. However, any tracks in Northern Ireland have always been in a state of limbo due to the fact that they are licensed neither by the Greyhound Board of Great Britain (GBGB) nor the Bord na gCon. To confuse matters, even more, the industry regards racing as either UK or Irish, the latter including Northern Ireland.[5] The Irish Greyhound Board provide all of the results from Northern Ireland. The vast majority of greyhounds running in the UK are bred in Ireland (95% in 2017). A new act called the 'Greyhound Racing Ireland Act 2019' was brought in to improve welfare within the industry. The act would also grant the Irish Greyhound Board extra authority to take action against anyone that fell short of the welfare standards. During 2019 the IGB had condemned some breeder practices.Additionally the Bord na gCon was renamed the Rásaíocht Con Éireann (Greyhound Racing Ireland).

    There are many types of competitions in Ireland but the primary race is the Irish Greyhound Derby held at Shelbourne Park. Along with the English Greyhound Derby and Scottish Greyhound Derby they are considered the big three in greyhound racing. The Irish Greyhound Board publish an annual list of feature events. Leading events include the Easter Cup, Champion Stakes, Cesarewitch, Oaks, Laurels and St LegeThis is any minor race staged at a track, and prize money is varied. This kind of racing is the most common and the core of most stadiums.Greyhound racing in Ireland has a standard colour scheme (the same as the UK).
    • Trap 1 = Red with White numeral
    • Trap 2 = Blue with White numeral
    • Trap 3 = White with Black numeral
    • Trap 4 = Black with White numeral
    • Trap 5 = Orange with Black numeral
    • Trap 6 = Black & White Stripes with Red numeral
    A racing jacket worn by a reserve bears an additional letter 'R' prominently on each side  
  • Original oil on canvas painting of Bunratty Castle by the local artist Anne Byrne. 30cm x 36cm   Limerick Bunratty -Caisleán Bhun Raithe, meaning "Castle at the Mouth of the Ratty") is a large 15th-century tower house in County Clare, Ireland. It is located in the centre of Bunratty village (Irish: Bun Ráite), by the N18 road between Limerick and Ennis, near Shannon Town and its airport. The castle and the adjoining folk park are run by Shannon Heritage as a major tourist attraction The name Bunratty, Bun Raite (or possibly, Bun na Raite) in Irish, means "river basin" of the 'Ratty' river. This river, alongside the castle, flows into the nearby Shannon estuary.

    An Irish language plaque at Bunratty Castle
    Bunratty Castle Plaque in English
    The first recorded settlement at the site may have been a Norsemen settlement/trading camp reported in the Annals of the Four Masters to have been destroyed by Brian Boru in 977. According to local tradition, such a camp was located on a rise south-west of the current castle. However, since no actual remains of this settlement have yet been found, its exact location is unknown and its existence is not proven. Around 1250, King Henry III of England granted the cantred or district of Tradraighe (or Tradree) to Robert De Muscegros, who in 1251 cut down around 200 trees in the King's wood at Cratloe. These may have been used to construct a motte and bailey castle, which would have been the first castle at Bunratty, but again the exact position of this is unknown. A later reference in the state papers, dating to 1253 gives de Muscegros the right to hold markets and an annual fair at Bunratty. It has thus been assumed that the site was the centre of early Norman control in south-eastern Clare. Early 19th-century scholars put the structure to the north-west of the current castle. However, when a hotel was constructed there in 1959, John Huntexcavated the area and thought the remains to be that of a gun emplacement from the Confederate Wars (see below).
    South solar in Bunratty Castle
    These lands were later handed back to (or taken back by) King Henry III and granted to Thomas De Clare, a descendant of Strongbow in 1276. De Clare built the first stone structure on the site (the second castle). This castle was occupied from 1278 to 1318 and consisted of a large single stone tower with lime white walls. It stood close to the river, on or near the site of the present Bunratty Castle. In the late 13th century, Bunratty had about 1,000 inhabitants. The castle was attacked several times by the O'Briens (or O'Brians) and their allies. In 1284, while De Clare was away in England, the site was captured and destroyed. On his return, in 1287, De Clare had the site rebuilt and a 140-yard (130 m) long fosse built around it. The castle was again attacked but it did not fall until 1318. In that year a major battle was fought at Dysert O'Dea as part of the Irish Bruce Wars, in which both Thomas De Clare and his son Richard were killed. Lady De Clare, on learning this, fled from Bunratty to Limerick after burning castle and town. The De Clare family never returned to the area and the remains of the castle eventually collapsed. As the stones were likely used for other local construction works, no traces remain of this second castle In the 14th century, Limerick was an important port for the English Crown. To guard access via the Shannon estuary against attacks from the Irish, the site was once again occupied. In 1353, Sir Thomas de Rokeby led an English army to conquer the MacNamaras and MacCarthys. A new castle (the third) was built at Bunratty, but once again, its exact location is unknown. Local tradition holds that it stood at the site where the Bunratty Castle Hotel was later constructed. However, the new structure was hardly finished before being captured by the Irish. Documents show that in 1355, King Edward III of England released Thomas Fitzjohn Fitzmaurice from prison in Limerick. He had been charged with letting the castle fall into the hands of Murtough O’Brien whilst serving as a Governor (Captain) of Bunratty.

    The fourth castle, the present structure, was built by the MacNamara family after around 1425. Its builder may have been one Maccon Sioda MacNamara, chieftain of Clann Cuilein (i.e. the MacNamaras). He died before the castle was completed which happened under his son Sean Finn (died in 1467). At around 1500, Bunratty Castle came into the hands of the O'Briens (or O'Brians), the most powerful clan in Munster and later Earls of Thomond. They expanded the site and eventually made it their chief seat, moving it there from Ennis. In 1558, the castle—now noted as one of the principal strongholds of Thomond—was taken by Thomas Radclyffe, the Lord-Lieutenant of Ireland from Donal O'Brien of Duagh, last King of Thomond (died 1579), and given to Donal's nephew, Connor O'Brien. Donogh O'Brien, Conor's son, may have been the one to move the seat of the family from Clonroad (Ennis) to Bunratty. He made various improvements to the castle including putting a new lead roof on it. During the Confederate Wars set off by the Irish Rebellion of 1641, Lord Forbes, commanding forces of the English Long Parliament, was allowed by the then Lord Barnabas O'Brien to occupy Bunratty in 1646. Barnabas did not want to commit to either side in the struggle, playing off royalists, rebels and roundheads against each other. He left for England, where he joined King Charles. Defence of the castle, whose position allowed those holding it to blockade maritime access to Limerick (held by the Confederates) and the river Shannon, was in the hands of Rear-Admiral Penn, the father of William Penn, founder of Pennsylvania. After a long siege, the Confederates took the castle. Penn surrendered but was allowed to sail away to Kinsale. Barnabas O'Brien died in 1657, but had apparently leased out the castle to one "John Cooper", possibly the same person married to Máire ní Mahon of Leamaneh Castle, widow of another O'Brien, Conor (died 1651). Bunratty Castle remained property of the O'Briens and in the 1680s the castle was still the principal seat of the Earls of Thomond. In 1712, Henry, the 8th and last Earl of Thomond (1688–1741) sold Bunratty Castle and 472 acres (191 ha) of land to Thomas Amory for £225 and an annual rent of £120. Amory in turn sold the castle to Thomas Studdert who moved in ca. 1720. The Studdert family left the castle (allowing it to fall into disrepair), to reside in the more comfortable and modern adjacent "Bunratty House" they had built in 1804. The reasons for the move are bound up in family arguments over the eldest son marrying his first cousin. For some time in the mid-19th century, the castle was used as a barracks by the Royal Irish Constabulary. In 1894, Bunratty was once again used by the Studdert family, as the seat of Captain Richard Studdert. In the late 19th century, the roof of the Great Hall collapsed. In 1956, the castle was purchased and restored by the 7th Viscount Gort, with assistance from the Office of Public Works.He reroofed the castle and saved it from ruin. The castle was opened to the public in 1960, sporting furniture, tapestries and works of art dating to around 1600.

    Rose Cottage at the Folk Park
    Today, the castle is a major tourist attraction, along with "Bunratty Folk Park". Both the castle and Bunratty House are open to the public. The castle is famous for its medieval banquets, offered since 1963, at which the "Bunratty Castle Entertainers" perform today. "Bunratty Folk Park" is an open-air museum featuring around 30 buildings, including the Ardcroney Church Of Ireland church, which moved here and reopened in 1998. Recently and controversially the Armada table of the O’Briens, princes of Thomond, was  sold at auction for the princely sum of €360,000. Made from the timbers of a ship from the Spanish Armada which was wrecked off the coast of Co Clare in 1588 it had been placed for sale with Adam’s auction house yesterday, guiding between €100,000 and €200,000. In the end it sold to an undisclosed Irish buyer for €360,000.

    “The good news is, it will be staying in Ireland, ” says the managing director of Adam’s auction house, James O’Halloran. “That’s all we’ve been allowed to say for the moment, but we’re hoping that more information will be released fairly soon.” It’s understood that the State was outbid for the table and that the new owner is a private buyer.

    Bidding on the table started at €70,000 but with one online bidder, three on the phone and one person in the room, it didn’t take long to sail past its lowest guide of €100,000, followed quickly by its top estimate of €200,000. “It got to €360,000 quite quickly,” O’Halloran says. “We thought it would do reasonably well, but because there was nothing to compare it to, we didn’t really know what to expect.”

    The three-metre-long table was the property of Lord Inchiquin. Its rectangular top sits on a frieze of a dozen carved heads, with four carved heraldic lion corner supports and two figures of Hope and Charity, which would originally have been found on the stern of a galleon. It spent 300 years at Dromoland Castle before moving to Bunratty, where its elaborate series of carved masks became a key attraction.

    When it was announced that the table – described by the Knight of Glin, Desmond FitzGerald, as “one of the most important and earliest pieces of Irish furniture” – was to be sold at Adam’s Country House Collections sale at Townley Hall, near Drogheda, Co Louth, there were calls for it to be kept in Ireland as it represents part of our cultural heritage. The only question now is, where will the table find its new home?

     
  • They don't come any more special than this extremely rare Power's Whiskey mirror from the 1930s.Its petite dimensions and stunning patina and considerable weight make it a real collectors item.Please email us at irishpubemporium@gmail.com for more information about this once off gem. Origins: Co Kilkenny.  Dimensions:16cm x 36cm In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son,and had moved to a new premises at John’s Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O’Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.
    The Still House at John’s Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
      During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the “Big Four”) came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John’s Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as “about as complete a work as it is possible to find anywhere”. At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:”The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels.” The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power’s Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John’s Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John’s Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John’s Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery’s pot stills were saved and now located in the college’s Red Square.   Origins :Co Kilkenny Dimensions;16cm x 36cm
  • Magnificent and extremely rare small  Dublin DWD Whiskey Mirror.In particular the smaller mirrors are amongst the most sought after on the market and this very special example will adorn any collection. 23cm x 30cm  Rathdrum. Co Wicklow

    History of the DWD Whiskey Distillery

    The Dublin Whiskey Distillery Co Rebirth & Redemption

    Ireland’s history of whiskey distilling runs long and deep. The word ‘whiskey’ comes from the Gaelic, “uisce beatha”, meaning “water of life”, and Irish whiskey is one of the earliest known distilled beverages in the world, believed to have originated when Irish monks brought the technique of distilling perfumes back to Ireland around 1000 AD. Ever resourceful, the Irish modified this craft to create the wonderful spirit that endures to this day. But Irish whiskey’s most recent past reveals an extraordinary tale of subterfuge and intrigue that belies this golden spirit. The mercurial craft of whiskey making has lost none of its ethereal mystique and remains indelibly woven with what it means to be Irish. It has oiled a rich and eclectic culture that has reached far beyond our island shores. Yet the ‘light music’ appreciated by Joyce hides a dramatic tale of endurance and fortitude that has demanded so much from its leading protagonists. Neither war, nor famine or draconian law, be it home-grown or foreign made, or the shifting sands of empires and nations, or the shallow trends of libatious fashion could halt this most resolute and enduring spirit.
    DWD-Whiskey-Review-Heritage-Edition

    The founder and Master Distiller of the Dublin Whiskey Distillery Company

    John Brannick, founder and master distiller of the Dublin Whiskey Distillery Company, was born into a renowned family of Irish whiskey-makers. His father Patrick and his uncles were all established distillers with Sir John Power of “Powers Irish Whiskey” fame, and in time both John and his younger brother Patrick Jr would follow in their father’s footsteps. Like all the great Irish distillers of the 19th century, the Brannick family used traditional “Pot Still” distillation, the simplest and oldest form of distillation, the principles of which have remained unchanged to this day. First, a whiskey “mash” comprised of water and grain is prepared. Yeast is added, causing fermentation, which creates alcohol in a solution known as “distiller’s beer” or “wash”. The “wash” is placed into a round bottomed copper kettle or “Pot Still” and heated to a temperature above the boiling point of alcohol but below that of water. The alcohol evaporates, leaving the water behind, and the vapour rises into a tube where it cools and condenses back into spirit. However, not all spirit is created equal. The early evaporations and the last evaporations, known as “heads” and “tails,” contain impurities, so it is the “heart” or mid part of the distillation process that the distiller seeks. The essence of distillation is timing, knowing when to “cut” between the head, heart and tail and retain only the best spirit. It was this time-honoured process that the young John Brannick learned from his father and uncles, a method to which he faithfully adhered and a skill which he perfected throughout his life. 1845 was a significant year for John Brannick when, at the age of 15, he began his formal apprenticeship at the John’s Lane Distillery. The Powers Distillery was one of the great distilleries of Dublin and young John’s experiences there instilled in him a lifelong passion for the fine art of whiskey-making. At the time, Ireland was an impoverished country with little or no industry. Distilleries constituted a rare exception and they, their owners and employees enjoyed significant status in their communities.
    The young John Brannick soon demonstrated a natural flair for the craft of whiskey-making. These early years, working within the hallowed halls of the John’s Lane Distillery, laid the foundations for his later exploits within the industry. It wasn’t long before the other great distilleries took note of his growing reputation and in 1852 George Roe & Sons enticed Brannick to join the House of George Roe & Co with the promise that he would some day become a Master Distiller.After nearly 20 years of perfecting his craft with the House of Roe, Brannick had reached the illustrious position of Master Distiller. His reputation amongst the great distilleries of Dublin was now firmly established, but his ambitions didn’t end there. Brannick had long harboured a burning desire to build the finest distillery in the world, and in 1870, having secured the necessary backing, he resigned his position and struck out on his own, establishing the Dublin Whiskey Distillery Company Limited. DWD.For the next two years Brannick worked on a revolutionary design for his distillery. A site was chosen, less than a mile north of Dublin’s city centre, on the banks of the River Tolka, and construction started on 22 July 1872 Exactly one year later, distillation began with the preparation of the first ever DWD wash. Meanwhile, with work on the great distillery underway, Brannick finally fulfilled another long-standing promise and married his sweetheart Mary Hayes on 26 January 1873.

    Aeneas Coffey Inventor of the Continuous “Patent Coffee Still”

    In the year in which John Brannick was born, Aeneas Coffey was granted patent #5974 for his design of a two column continuous still or “Patent Still”. The Patent Still represented a revolution in spirit distillation, eliminating the need for multi-distillation using traditional “Pot Stills” and producing a lighter spirit with a higher proof at a fraction of the cost. However, it was shunned by the great Dublin distilleries, who considered the whiskey produced to be bland and tasteless in comparison with their world-famous “Pot Still” creations. They may have also considered the arrival of the Patent Still a direct challenge to their profession, an early form of automation attempting to replace the distiller’s art and skill. Many years later John Brannick, who went on to become one of the great masters of Pot Still whiskey, would reflect on the irony that the year of his birth marked the establishment of the Patent Still, the nemesis of his life’s work

    The DWD Legacy is Reborn

    Two old friends meet amid the bustle of the city and retire to the Palace Bar on Fleet Street to remember old times. By chance, one of them notices a bottle – a very old, unopened whiskey bottle with a mysterious, faded label – sitting in a glass case behind the bar. A relic of lost times. ‘What is that?’ he asks the barman. With this simple question, not one but two journeys began: a journey back in time into the extraordinary story of the “Finest Whiskey in the World”, a story of one man’s vision, gloriously realised, crushed by history and destroyed in a very Irish betrayal. And a journey into the future, the future of a once-great distillery, dismantled, neglected and forgotten. Until now. After 75 long years, DWD is back. Today’s DWD is not a copy of the past: a simple reproduction for nostalgia’s sake. Since the distillery closed its doors in 1941 the world has moved on and advances in the art of distilling cannot be ignored. But some values are timeless and remain as cherished and respected as they did when John Brannick laid the cornerstone of his great distillery in theglorious summer of 1872: real character, brave resolve and a true sense of belonging. Today’s DWD is the natural heir of its noble ancestor, a modern whiskey that draws on the wisdom of the past. And this is only the beginning of the DWD revival. In time, Brannick’s great house will be rebuilt, his achievements rivalled and perhaps even surpassed. But for now let us raise a glass to the return of the “Finest Whiskey in the World”, and look forward to the glories yet to come.

    The Finest Whiskey in The World

    Today, Irish whiskey is regulated and controlled both by international law and the Irish Whiskey Association. The definition of Irish whiskey and the method of production is globally agreed and enforced to ensure industry standards are protected and maintained at all times. However, back in 1880 no such legal definitions existed, and the global success of the industry began to attract the attention of disreputable characters intent on passing off various spirits and concoctions as ‘Irish whiskey’. The problem was made worse by the great distilleries of Dublin, which were content to leave bottling and branding to merchants and bonders. This laissez-faire attitude enabled unscrupulous dealers to import cheap Scotch and pass it off as highly desirable Irish whiskey. True to form, John Brannick was one of the first to recognise the danger and take steps to protect both his whiskey and his customers from counterfeit products. In 1880 he introduced the famous DWD Post Still logo to identify and market the DWD brand. He controlled its use tightly, working only with trusted merchants and bonders to ensure the DWD brand was respected and admired as the “Finest Whiskey in the World”.
    “The extraordinary story of the ‘Finest Whiskey in the World’, a tale of one man’s vision, gloriously realised, only to be crushed by history and destroyed in a very Irish betrayal.” Tomas – DWD Brand Ambassador

    THE GREATEST ACCOLADE

    In 1887 Brannick’s achievements and DWD’s greatness were formally recognized by two seminal publications: The Whisky Distilleries of the United Kingdom by Alfred Barnard and The Industries of Dublin by Spencer Blackett. Barnard’s work has been described as the most important book ever written on whiskey. It was Barnard who first recognised DWD as one of the six “Great Distilleries of Dublin City” by inspecting the distillery in the summer of 1886. Barnard described DWD as “the most modern of the distilleries in Dublin, handsomely designed and of great ornamentation, it rears its head proud and at a distance looks like a monument built to commemorate the virtues of some dead hero.” Barnard also acknowledged “that a mastermind and skilled hand had planned this great work.”

    The Six Great Distilleries Of Dublin City

    During the 19th and early 20th centuries, Irish whiskey was the most prestigious whiskey industry in the world. At the heart of this industry stood Dublin, its whiskey recognised the world over as the finest expression of the art and now, with the acclaim of Alfred Barnard and other connoisseurs, DWD assumed its rightful place among the “Great Distilleries of Dublin City”, an exclusive club that brought together the six great masters of Irish whiskey: John Jameson & Co, William Jameson & Co, Sir John Power & Sons, George Roe & Sons, The Phoenix Park Distillery and, of course, the Dublin Whiskey Distillery.
     
           
  • Fantastic offset framed Bulmers Irish Cider advertising showcard of the cider company's current sponsorship of the blue riband of National Hunt Steeplechasing,the Cheltenham Gold Cup .The showcard features 3 of the main protagonists of the 2020 event, with the famous green and gold silks of JP McManus to the forefront.
    50cm x 57cm    Limerick
    Bulmers cider bottle | © Andy Rennie/Flickr
    While the brand of cider produced locally in County Tipperarymay be known as Bulmers to the people of the Irish republic, it is referred to as Magners everywhere in the world. Established in 1935 by a local from the town of Clonmel named William Magner, the cider factory there was later bought out by cider-makers H. P. Bulmer in 1946.
    After buying an orchard in County Tipperary, William Magner began to produce his own Irish cider in the mid-1930s. In 1937, he teamed up with the well-established H.P. Bulmer company from England, acquiring the right to produce under the Bulmers name in Ireland, and the brand became more widespread. Following almost ten successful years in partnership, Magner decided to sell his remaining fifty percent stake to his colleagues, seeing the factory become known as Bulmers Ltd Clonmel.

    Unfortunately for H.P. Bulmer, it wasn’t long before the company again changed hands. Coming out on the losing end of a legal dispute with the creators of Babycham sparkling perry over a competing product, they were forced to sell Bulmers Clonmel during the 1960s. Having become part of the C&C Group – a soft drinks and cider company then jointly owned by Guinness and Allied Breweries – production of Irish Bulmers was moved five years later to a modern complex at Annerville, outside Clonmel.

    Pint of Magners | © PierreSelim/WikiCommons / Bulmers factory, Clonmel | © Dimod61/WikiCommons / Bulmers | © Stephen Carter/Flickr

    With the Tipperary cider greatly exceeding sales expectations in Ireland, the C&C Group sought during the late 1990s to sell it outside of its home country, particularly in the burgeoning international Irish bar market. But as H.P. Bulmer still owned the rights to that name everywhere other than Ireland, they decided to call the brand after its original owner when exporting it – bringing Magners Irish cider first to Spain, then to Germanyand the UK. In spite of the the differing name, the two products are identical.

    Still produced at Annerville, today Irish Bulmers and Magners are made from 17 different kinds of apples, left to ferment and mature for up to two years. Continuing to grow in popularity, the cider can now be found in bars throughout Europe, Asia, North America, Australia and New Zealand.

    Bulmers is brand of cider produced in County Tipperary in Ireland by the C&C Group. The product range includes the cider varieties: Original, Light, Pear and Berry. The cider was originally produced as Bulmers Irish Cider and continues to be sold under that name in the Republic of Ireland, although the product is no longer owned by H. P. Bulmer; it is sold as Magners in Northern Ireland
    Commercial cider production was started in Clonmel, South Tipperary, in the then Irish Free State, in 1935 by local man William Magner. Magner bought the orchard from Mr Phelan from Clonmel. Magner quickly established a successful cider mill on the site of Thomas Murphy's brewery in Dowd's Lane, Clonmel. In 1937, English cider-makers H. P. Bulmer purchased a 50% share in the business, using their expertise to greatly increase production. After the war, in 1946, Bulmer's purchased the remaining 50%, changing the name to Bulmer's Ltd Clonmel. H.P. Bulmer maintained international rights to the Bulmer's trade mark, so that any exports were carried out via the parent company rather than directly exported from Ireland. In the 1960s, H. P. Bulmer produced a "Champagne perry" product in direct competition with Babycham, owned by Showerings Ltd of Shepton Mallet. Showerings challenged this in court, and H.P. Bulmer lost the case. In 1964, they were forced to sell Bulmer's Clonmel to Guinness and Allied Breweries, parent company of Showerings. The company name was changed to Showerings (Ireland) Ltd. Soon after, the company moved its main processing operations to a new complex at Annerville, five kilometres east of Clonmel, which was opened in 1965 by the then Taoiseach, Seán Lemass. Today the Bulmers/Magners arm of C&C Group employs more than 470 people and is a substantial part of the economic infrastructure of Clonmel. The company also once produced Cidona, a popular soft drink in Ireland which, along with all of the company's other soft drinks, was sold to Britvic in 2007.
    Bulmers/Magners cider brewery, Annerville, Clonmel
    The success of Bulmers cider in Ireland led to the development of the Magners brand to market the company's cider outside the Republic of Ireland. Since H. P. Bulmer retained the right to market their original British Bulmer's worldwide, the C&C Group needed a new name under which to market their international product. The concept was originally developed by Brendan McGuinness, John Keogh and Shane Whelan, all of Bulmers Ireland, who argued that the international growth of Irish pubs provided a natural market for a drink such as Irish cider. Majorca in Spain was the first market to sell Magners in May 1999, followed by Munich in Germany in July 1999. Magners was first sold in the United Kingdom in late 1999 when the brand was launched in Northern Ireland. C&C established the trade mark by selling to wholesalers and retailers in London, Glasgow, Birmingham and Cardiff. Irish Bulmers cider and Magners have the same label and are identical products, except for the name. The ciders are made from 17 varieties of apples (with glucose syrup, E colours and sulphites added for flavouring, colour and as preservative), fermented and matured for up to two years. It is available in 330 ml, 440ml, pint, litre and 750 ml bottles and 500 ml cans, and is served over ice. It is also available in most Irish bars on draught and Magners is available in some bars on draught in Scotland. Initially the Magner's brand was only available in Spain, Northern Ireland and Scotland. However, the brand saw its popularity increase significantly in recent years and is now available across the United Kingdom, Europe, Australia, Canada,New Zealand, Japan, Hong Kong, Singapore, Thailand and the United States. In 2004, Magners Light, which is a low calorie version of the cider, was released. In 2011, the Bulmers Light pint bottle was launched. In March 2009, a new perry (marketed as "Pear Cider") called Magners Pear was launched. In February 2010, Magners Berry was launched. The Berry variety is a blend of 17 varieties of apple, similar to Bulmers Original, fused with blackcurrants, raspberries and strawberries with an ABV of 4.5%. It is available in pint and "long neck" bottle in the licensed trade, and 440ml cans in supermarkets. Magners Golden Draught was released in 2010 which is a traditional "old style" crisp cider available purely on tap in the on trade market and 2011 with 3 special flavours consisting of Spiced Apple & Honey, Pear & Ginger, and Spiced Apple & Rhubarb available in supermarkets and bars. In August 2015, Bulmers launched four new flavoured ciders onto the Irish market, called the Forbidden Flavours range. The flavours are Cloudy Lemon, Strawberry & Lime, Berry Berry, Juicy Pear. In March 2017, Bulmers, as part of a €10 million investment, launched a new copper-toned packaging on its bottles and cans, which are inspired by the warm tones of the liquid colour of the cider. As part of this new branding, a new sweeter cider called Outcider was also launched. Typically, Magners is advertised as being poured over ice. Drinking cider with ice mirrors the move towards chilled and "extra-cold" beers. Magners' success led to the UK's cider market-leader Scottish & Newcastle introducing Strongbow Sirrus in summer 2005, a smooth version of its Strongbow cider produced specifically to be poured over ice, although Strongbow Sirrus has since been discontinued. In 2006 they also relaunched Bulmers Original in the UK, a premium packaged cider. The Magners brand was the title sponsor of rugby union's Celtic League beginning in 2006–07, when the league featured the top teams from Ireland, Wales and Scotland, and ending with the 2010–11 season, the first in which the league included teams from Italy. Magners sponsored the 2007 Brighton Festival Fringe. From 2003 to 2005 Magners sponsored the Scottish football team Dundee FC. The Magners brand was also one of the main sponsors of the 2009 Edinburgh Festival Fringe and is the main sponsor of the Glasgow International Comedy Festival. This has also extended to Singapore, where they sponsored the King's and Queen of Comedy Asia in 2010 and the Comedy Club Series. In 2013, it was announced that Magners would replace Tennent's Lager as the main jersey sponsor for Celtic F.C. when that contract expired. Magners will be on Celtic's shirts for three years starting from the 2013–14 season. On 20 August 2013, Celtic wore the Tipperary Natural Mineral Water logo on the front of their shirts for their UEFA Champions League first-leg clash with FC Shakhter Karagandy due to Kazakhstan's restrictions on alcohol advertising. Celtic switched to Tipperary Water as it is also owned by the C&C Group. From 2019 until 2022, Magners will sponsor the Cheltenham Gold Cup. Origins :Co Limerick Dimensions : 48cm x 60cm
  • Quaint castiron miniature pig advertising Limerick Ham from 1949 onone side and exhibiting the different parts of the pig carcase on the other. Limerick is well-known and famed for its bacon production, “everything but the squeak was used”. And was often referred to as 'Pigtown".Many of the households in areas such as the Abbey kept pigs along with the more traditional chickens usually fed on domestic scraps as well as on root crops. Although the majority of the pigs were imported from the local environs. Thousands of pigs were slaughtered and processed weekly in the Limerick Bacon factories, who in the height of their production were the most consumed pork products in the British Isles. In the 19th century Limerick Hams became renowned throughout the British Empire with Queen Victoria insisting on Limerick hams at her Christmas dinner. Limerick pork through the O’Mara’s was even exporting as far away as Russia and Romania in 1891 and 1902 respectively. The four great bacon factories in Limerick were Matterson’s, Shaw’s, O’Mara’s and Denny’s each competing for local, national and international trade out of Limerick city during the 19th and early 20th Centuries. Other Bacon Merchants in Limerick City during this period were Hogan, Longbottom, Looney, Lynch & Spain, Neazor, O’Brien, O’Connor, O’Halloran, Prendergast, Rea, Sullivan, Thompson  though this article concentrates on the four major players. The bacon industry was wrought with tragedy and some of the stories can be read on the Factory Fatalities page. Further reading on the bacon factories can be found in this issue of The Old Limerick Journal.

    MATTERSON’S

    J Matterson & Sons operated out of Roches Street, while their rival company O’Mara’s operated across the road on the same street from 1839. Mattersons was established in 1816 by John Russell and J Matterson, who were brother-in-laws of a kind. Both men married a Mossop sister, Mary and Eleanor. After the death of Joseph Matterson Snr in 1854, Joseph Matterson Jnr took over the Limerick aspect of the company. While Joseph Matterson Snr’s other son William Matterson, oversaw the London branch of the business. William Matterson died aged 71 in London in January 1903. Not only was Joseph Matterson Jnr. a business owner in the city but he was also a key player in the community. He was vice president of the Protestant Young Mens Association which stained-glass window still remains in-situ in O’Connell Street. Below are the funeral notices from the Limerick Chronicle, from the Limerick City Library Local Studies, for members of the Matterson Family.
    • Matterson, Alfred, Castletroy, Limerick Chronicle 12 August 1848, son of Joseph Matterson Snr
    • Matterson, Mary, Castletroy, Limerick Chronicle 25 June 1853, aged 16, daughter of Joseph Matterson Snr
    • Matterson, Anne, Castletroy, Limerick Chronicle 26 July 1854, aged 20, daughter of Joseph Matterson Snr
    • Matterson, Joseph Snr, Castletroy, Limerick Chronicle 08 July 1854, provision merchant, manufacturer of Limerick Hams; int at Kilmurry church
    • Matterson, Henry, Castletroy, Limerick Chronicle 23 January 1858, aged 32, son of late Joseph Matterson Snr
    • Matterson, Elizabeth , Castletroy, Limerick Chronicle 24 February 1858, aged 23, daughter of late Joseph Matterson Snr
    • Matterson, Mary, Castletroy House, Limerick Chronicle 1st June 1886 aged 82, widow of late Joseph Matterson Snr, death notice.
    • Matterson, Evely Gordon, 81 George Street, 4 January 1890, death notice, aged 4 months, daughter of J. Matterson Jnr
    bacon factoryIn 1901 Joseph Matterson, Jnr aged 60 was living with his 46 year old wife Agnes and children Leopold (18),  Vera Sunderland(9), Victor (7), Eva (5)  and a seven various servants.  Joseph Matterson Jnr and his wife Agnes had 12 children in total with 9 still living in 1911, married 33 years. After Joseph’s death in 1906, Agnes and family moved to the Ennis Road, her children Ian Gordon and Vera Sunderland were living with her in 1911. The following also courtesy of Pat Mossop is a wonderful letter written by a Limerick lady in 1873: Eleanor McGhie, an article by Sharon Slater based on the letter was published in the Old Limerick Journal.

    SHAW’S

    Shaw & Sons operated out of Mulgrave Street. It was founded in 1831 by William John Shaw, whose family originated in Co. Down. In 1892 Shaw’s factory was using electric lights, lifts, a mini-railway  and even telephonic communications, the Shaw’s factory was  well ahead of it’s time. It is now owned by the Kerry Group. Below are the funeral notices from the Limerick Chronicle, from the Limerick City Library Local Studies, for members of the Shaw Family.
    • Shaw, Martha, Rose Cottage, Limerick Chronicle 14 April 1868, wife of William John Shaw – buried in St. Munchin’s Graveyard.
    • Shaw, William John, Rose Cottage, Limerick Chronicle 02 December 1869 – buried in St. Munchin’s Graveyard
    • Shaw, Harriett E., Willowbank, Limerick Chronicle 30 August 1879, second daughter of William John Shaw, Esq.
    • Shaw, Anna Gertrude Thompson, Cheltenham 13 June 1918,  daughter of late William John Shaw, Limerick.
    Alexander William Shaw27 October 1847 – 29 November 1923Derravoher North Circular Road,bacon curer and local politician and the founder of Limerick and Lahinch golf clubs. He was born in County Limerick, the second son of John Shaw (son of WJ Shaw) of Willowbank, bacon merchant. The family firm was already thriving when he took it over, but under his astute management it grew to become one of the largest bacon curing businesses in Europe, and Shaw became one of the most prominent businessmen in the city.  

    O’MARA’S

    J. O’Mara & Sons was founded by James O’Mara who was born in Toomevara, Co. Tipperary. James O’Mara’s originally began curing bacon in the basement of his house on Mungert Street. In 1839 he moved his business to a purpose built factory on 30 Roches Street at the junction of  Anne Street, across from their rival Matterson Bacon Factory. He also moved his family during this time to Hartstonge Street. The O’Mara’s factory was demolished in the late 1980s to make way for the multi-story which stands in the spot today. O’Mara’s 100 year lease on the site on Roches Street ended on 18 June 1979. Below are the funeral notices from the Limerick Chronicle, from the Limerick City Library Local Studies, for members of the O’Mara Family. More information on the O’Mara factory in Limerick can be read on this Old Limerick Journal article. More information on the O’Mara family can be found at Mark Humphry’s Site.

    DENNY’S

    Denny’s and Sons operated out of 27 Upper William Street in in 1891 as well as Mulgrave Street. It was founded by Henry Denny in the 1870s and first operated as a Provision Merchants out of Newtown Mahon, Upper William Street. Denny operated out of Limerick, Cork and Waterford. Denny’s sausages make an appearance in James Joyce’s Ulysses, where Leopold Bloom watches a young girl in Dlugacz’s butcher’s shop buy a pound and a half of Denny’s sausages, as he waits to buy a pork kidney for his and wife Molly’s breakfast. Denny’s is now owned by the Kerry Food group, after they acquired it in 1982. Dimensions :230cm x 10cm x 8cm
  • Superb old Beamish tin advertising sign of manageable dimensions !Its distinctive patina effect and time honoured rusting really adds to this signs character and charm. Origins : Cobh Co Cork Dimensions : 38cm x 44cm Beamish and Crawford operated until 2009 and had a number of owners, including Carling O'Keefe, Elders IXL, Scottish & Newcastle and, most recently, Heineken International. While the Beamish and Crawford brewery closed in 2009, Beamish stout is still brewed in the city, at a nearby Heineken operated facility.
    The Counting House, part of the brewery complex in central Cork, Ireland
    The Beamish and Crawford brewery was founded in 1792, when two merchants, William Beamish and William Crawford, went into partnership with two brewers, Richard Barrett and Digby O’Brien. They purchased an existing brewery (from Edward Allen) on a site in Cramer's Lane that had been used for brewing since at least 1650 (and possibly as early as 1500). Beamish and Crawford's Cork Porter Brewery prospered, and by 1805 it had become the largest brewery in Ireland and the third largest in the then United Kingdom as a whole. In 1805, its output was 100,000 barrels per annum – up from 12,000 barrels in 1792. It remained the largest brewery in Ireland until overtaken by Guinness in 1833.
    Beamish Stout, 1919 advert for the noted Cork brewers
    In 1865, the brewery underwent a modernisation programme and was completely revamped at a cost of £100,000. Alfred Barnard, a noted brewing and distilling historian, remarked in his book Noted Breweries of Great Britain & Ireland in 1889 that:
    "The business of Beamish & Crawford in Cork is a very old one dating as far back as the seventeenth century and it is said to be the most ancient porter brewery in Ireland."
    The company went public in 1901, issuing a share capital of £480,000. Further expansion was aided by the acquisition of a number of local breweries in the early 1900s. In 1962, it was purchased by the Canadian brewing firm Carling-O'Keefe Ltd, who embarked on a modernisation programme at the brewery. In 1987, Elders IXL purchased Canadian Breweries (incorporating Carling-O'Keefe). In 1995, Elders sold the brewery to Scottish & Newcastle. With the 2008 takeover of Scottish & Newcastle, the brewery passed into the hands of its main Cork-based rival Heineken International. In December 2008, it was announced that the Beamish and Crawford brewery was to close in March 2009 with the loss of 120 jobs. Production was moved to the nearby Heineken Brewery (previously Murphy's), with about forty of the Beamish staff moved to Heineken. The brewery buildings (including the Tudor fronted "counting house") are still in the heart of Cork's medieval city, close to the South Gate. The original brewery facilities are subject to planning permission for use as a visitor and events centre. Before the takeover and closure of the brewery, beers included:
    • Beamish stout, Beamish and Crawford's flagship product, now brewed by Heineken at the Murphy's brewery.
    • Beamish Red, a sweetish Irish red ale, made to resemble Kilkenny or Murphy's Irish Red. Production ceased immediately following the takeover. Several Cork pubs which once stocked Beamish Red replaced it with Franciscan Well Rebel Red.
    In addition to their own beers, Beamish and Crawford brewed and distributed a number of internationally known brands of beer, with the Irish franchises for Fosters, Kronenbourg 1664 and Miller. Fosters has remained with the new owners, while Miller was transferred to a new distributor, importing the beer from SABMiller's Netherlands brewery.In 2009, after just over two years of being reintroduced to the US market, owners Heineken decided to stop distribution of Beamish products outside Ireland.  
  • Classy Johnnie Walker Scotch Whisky Mirror.
    Johnnie Walker is a brand of Scotch whisky now owned by Diageo that originated in the Scottish burgh of Kilmarnock in East Ayrshire. The brand was first established by grocer John Walker. It is the most widely distributed brand of blended Scotch whisky in the world, sold in almost every country, with annual sales of the equivalent of over 223.7 million 700 ml bottles in 2016 (156.6 million litres).

    History

    John Walker was born on 25 July 1805. His farmer father died in 1819, and the family sold the farm. Their trustees invested the proceeds, £417, in an Italian warehouse, grocery, and wine and spirits shop on the High Street in Kilmarnock, Ayrshire, Scotland. Walker managed the grocery, wine, and spirits segment as a teenager in 1820. The Excise Act of 1823 relaxed strict laws on distillation of whisky and reduced, by a considerable amount, the extremely heavy taxes on the distillation and sale of whisky.By 1825, Walker, a teetotaller, was selling spirits, including rum, brandy, gin, and whisky. In short order, he switched to dealing mainly in whisky. Since blending of grain and malt whiskies was still banned, he sold both blended malt whiskies and grain whiskies.They were sold as made-to-order whiskies, blended to meet specific customer requirements, because he did not have any brand of his own.He began using his name on labels years later, selling a blended malt as Walker's Kilmarnock Whisky. John Walker died in 1857.
    Alexander Walker, son of John Walker, inherited the business following his father's death.
    The brand became popular, but after Walker's death it was his son Alexander ‘Alec’ Walker and grandson Alexander Walker II who were largely responsible for establishing the whisky as a favoured brand. The Spirits Act of 1860 legalised the blending of grain whiskies with malt whiskies and ushered in the modern era of blended Scotch whisky.Blended Scotch whisky, lighter and sweeter in character, was more accessible, and much more marketable to a wider audience. Andrew Usher of Edinburgh, was the first to produce a blended whisky, but the Walkers followed in due course. Alexander Walker had introduced the brand's signature square bottle in 1860. This meant more bottles fitting the same space and fewer broken bottles. The other identifying characteristic of the Johnnie Walker bottle was – and still is – the label, which, since that year, is applied at an angle of 24 degrees upwards left to right and allows text to be made larger and more visible. This also allowed consumers to identify it at a distance.One major factor in his favour was the arrival of a railway in Kilmarnock, carrying goods to merchant ships travelling the world. Thanks to Alec's business acumen, sales of Walker's Kilmarnock reached 100,000 gallons (450,000 litres) per year by 1862. In 1865, Alec created Johnnie Walker's first commercial blend and called it Old Highland Whisky, before registering it as such in 1867. Under John Walker, whisky sales represented eight percent of the firm's income; by the time Alexander was ready to pass on the company to his own sons, that figure had increased to between 90 and 95 percent. In 1893, Cardhu distillery was purchased by the Walkers to reinforce the stocks of one of the Johnnie Walker blends' key malt whiskies. This move took the Cardhu single malt out of the market and made it the exclusive preserve of the Walkers.Cardhu's output was to become the heart of the Old Highland Whisky and, subsequent to the rebranding of 1909, the prime single malt in Johnnie Walker Red and Black Labels. From 1906 to 1909, John's grandsons George and Alexander II expanded the line and had three blended whiskies in the market, Old Highland at 5 years old, Special Old Highland at 9 years old, and Extra Special Old Highland at 12 years old. These three brands had the standard Johnnie Walker labels, the only difference being their colours: white, red, and black respectively. They were commonly referred to in public by the colours of their labels. In 1909, as part of a rebranding that saw the introduction of the Striding Man, a mascot used to the present day that was created by cartoonist Tom Browne, the company re-branded their blends to match the common colour names. The Old Highland was renamed Johnnie Walker White Label,and made a 6 year old, the Special Old Highland became Johnnie Walker Red Label at 10 years old, and Extra Special Old Highland was renamed Johnnie Walker Black Label, remaining 12 years old. Sensing an opportunity to expand the scale and variety of their brands, Walker acquired interests in Coleburn Distillery in 1915, quickly followed by Clynelish Distillery Co. and Dailuaine-Talisker Co. in 1916.This ensured a steady supply of single-malt whisky from the Cardhu, Coleburn, Clynelish, Talisker, and Dailuaine distilleries. In 1923, Walker bought Mortlach distillery, in furtherance of their strategy. Most of their output was used in Johnnie Walker blends, whose burgeoning popularity required increasingly vast volumes of single malts. Johnnie Walker White was dropped during World War I. In 1932, Alexander II added Johnnie Walker Swing to the line, the name originating from the unusual shape of the bottle, which allowed it to rock back and forth. The company joined Distillers Company in 1925. Distillers Company was acquired by Guinness in 1986, and Guinness merged with Grand Metropolitan to form Diageo in 1997. That year saw the introduction of the blended malt, Johnnie Walker Pure Malt, renamed as Johnnie Walker Green Label in 2004. In 2009, the brand's owners, Diageo, decided to close all operations in Kilmarnock. This met with backlash from local people, local politicians, and then First Minister of Scotland, Alex Salmond. Despite petitions, public campaigns, and a large-scale march around Kilmarnock, Diageo proceeded with the closure. The Johnnie Walker plant in Kilmarnock closed its doors in March 2012 and the buildings were subsequently demolished.

    Blends

    For most of its history Johnnie Walker only offered a few blends. Since the turn of the century, there has been a spate of special and limited bottlings.
    A variety of blends
    • Red Label: A non-age-stated blend. It has been the best selling Scotch whisky in the world since 1945.It is primarily used for making mixed drinks.
    • Black Label: Aged 12 years, it is one of the world's best-selling Scotch whiskies.
    • Double Black Label: Made available for general release in 2011 after a successful launch in travel retail.The whisky was created taking Black Label as a blueprint, adding more peaty malt whiskies to it and maturing it in heavily charred old oak casks.
    • Green Label: First introduced in 1997 as Johnnie Walker Pure Malt 15 Year Old,it was renamed Johnnie Walker Green Label in 2004. Green Label is a blended malt whisky, meaning it is made by mixing single malts with no grain whisky added.All whiskies used are a minimum of 15 years old.Diageo discontinued Green Label globally in 2012 (except for Taiwan, where demand for blended malts is very strong), as part of a reconstruction of the range that saw the introduction of Gold Label Reserve and Platinum Label. The brand was reintroduced in 2016 and is again globally available.
    • Gold Label: A blend of over 15 single malts, it was derived from Alexander Walker II's blending notes for a whisky to commemorate Johnnie Walker's centenary. Originally, Gold Label was bottled at 18 years and labelled "The Centenary blend".In 2013, Gold Label was renamed "Gold Label Reserve", and now carries no age statement.
    • Aged 18 Years: Originally introduced as Platinum Label, it was introduced to replace the original Gold Label in the Asian market, and sold alongside Gold Label Reserve. Though still available around the globe, the Platinum Label name was discontinued in mid-2017 and replaced by Johnnie Walker Aged 18 Years. The two are identical except for the label.
    Johnnie Walker Blue label bottle in a gift box
    • Blue Label: Johnnie Walker's premium blend. Johnnie Walker Blue Label is blended to recreate the character and taste of some of the earliest whisky blends created in the 19th century.[39] It bears no age statement. Bottles are numbered serially and sold in a silk-lined box accompanied by a certificate of authenticity. It is one of the most expensive blended Scotch whiskies on the market, with prices in the range of US$174–450.Over 25 Limited Editions have been released to date.
    • Johnnie Walker Swing: Supplied in a distinctive bottle whose irregular bottom allows it to rock back and forth. This type of bottle design was originally used aboard sailing ships. It was Alexander Walker II's last blend: it features a high proportion of Speyside malts, complemented by malts from the northern Highlands and Islay.
    The Walkers created their primary marketing strategy in 1908 with advertisements featuring Browne's Striding Man, using the slogan, "Johnnie Walker: Born 1820, still going strong". Photographs replaced the drawings in the 1930s, and the Striding Man was miniaturised to a coloured logo in 1939; it first appeared on the Johnnie Walker labels in 1960. In the late 1990s, the direction of the Striding Man was reversed as part of a "Keep Walking" campaign. The Striding Man icon was most recently redrawn in 2015. In 2009, the advertising agency Bartle Bogle Hegarty (BBH) created a new short film, starring Robert Carlyle and directed by Jamie Rafn, titled The Man Who Walked Around the World, which outlined the history of the Johnnie Walker brand. Johnnie Walker also launched the international John Walker & Sons Voyager tour in order to market its higher variants in the Asia-Pacific, Europe and Caribbean markets. The Voyager tour was developed in order to promote the special edition Odyssey blend and pay tribute to the original trade routes and sea voyages by which Johnnie Walker was distributed throughout the world. In October 2018, Diageo teamed with HBO to produce "White Walker by Johnnie Walker" whisky, inspired by the army of the undead in the TV series Game of Thrones as part of the marketing for the series' final season.[45] Diageo then released a collection of Game of Thrones–inspired single malt whiskies, followed by two more whiskies by Johnnie Walker in mid-2019.

    Accolades

    Johnnie Walker spirits have received strong scores at international spirit ratings competitions and from liquor review bodies. The Green Label received a string of three double gold medals from the San Francisco World Spirits Competition between 2005 and 2007. The Gold Label received double gold medals from the San Francisco competition in 2008 and 2009 and won a gold in 2010. Spirits ratings aggregator proof66.com, which averages scores from the San Francisco Spirits Competition, Wine Enthusiast, and others, puts the Black, Blue, Gold and Green Labels in its highest performance category ("Tier 1" Spirits).Johnnie Walker spirits have several times taken part in the Monde Selection's World Quality Selections and have received a Gold and Grand Gold Quality Award. Johnnie Walker was voted India's Most Trusted Premium Whisky Brand according to the Brand Trust Report 2014, a study conducted by Trust Research Advisory.Johnnie Walker Gold Label Reserve won the World's Best Blended -- Best Scotch Blended in World Whiskies Awards 2018.

    Sponsorships

    Johnnie Walker is the official whisky of Formula One,and are a sponsor of two F1 teams McLaren and Racing Point. Johnnie Walker is also the title namesake for the F1 Grand Prix race in Spa Belgium. Johnnie Walker sponsored the Johnnie Walker Classic, an Asia-Pacific golf tournament, up to 2009 and the Johnnie Walker Championship at Gleneagles, a golf tournament in Scotland up to 2013.Diageo sold the Gleneagles Hotel and Golf Course, the site of the tournament, mid-2015 to focus on its core business.

    Cultural figures

    Winston Churchill's favourite whisky was Johnnie Walker Red Label, which he mixed with water and drank throughout the day. Vanity Fair writer Christopher Hitchens was partial to Johnnie Walker Black Label cut with Perrier and referred to it as "Mr Walker's Amber Restorative". Johnnie Walker Blue Label was a favourite of the late US president Richard Nixon's; Nixon used to enjoy it with ginger ale and a wedge of lime. A number of singers and songwriters have referenced Johnnie Walker in their works, from Amanda Marshall to ZZ Top.Elliott Smith's Oscar-nominated "Miss Misery" has the narrator "[making] it through the day with some help from Johnnie Walker Red." Heavy metal band Black Label Society was named after Johnnie Walker Black Label whisky, as Zakk Wylde was very fond of the drink. George Thorogood name checks “Johnny Walker and his brothers Black and Red” in "I Drink Alone". Polish fictional humorous character Jakub Wędrowycz is a word play based on Polish translation of "Johny Walker".

    Gallery

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