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Drafts, published works, correspondence with publishers and literary agents and agreement forms illustrating Tom Nestor’s career as an author and playwright.

The collection contains a vast array of documentation relating to the activities of the East Limerick Brigade during the War of Independence, both day-to-day organisation and military engagements involving the brigade. The material documents the logistical problems of running an amateur guerrilla army with extremely limited resources. It also paints a picture of the efforts made to maintain morale during the Truce of 1921. The collection includes a weekly British intelligence report by Major General Strickland (P46/2/1) providing a comprehensive account of the state of Ireland in February 1921. The report was captured by the East Limerick Brigade in 1921 and was slightly damaged by the British forces in an effort to burn it before it fell into enemy hands. Other documents of interest in the collection include the announcement of the Truce in July 1921 signed by Ernie O’Malley (P46/1/3/1/3), and an order issued by O’Malley of the steps to be taken in the event of the collapse of the Treaty talks and the resumption of hostilities (P46/1/2/2/12).

This collection is a fascinating record of the life and career of writer Kate O’Brien, providing not only a cross-section of her literary output, but also an insight into the private world of one of Limerick’s most prolific daughters. This body of material is an extremely valuable source for researchers in Ireland and abroad. It contains many personal items such as O’Brien’s correspondence with family, friends and admirers, diaries recording appointments and other news, and material relating to her financial affairs. Her long-term relationship with artist Mary O’Neill is reflected in a number of cards and postcards exchanged between the two women from the late 1940s until the year of O’Brien’s death. Letters from José M. De Areilza, one of O’Brien’s former students in Bilbao, suggest how living and working in Spain influenced the writer. De Areilza states the following in a letter dated 26 May 1952, ‘…this year I went to London for a short trip… and found at last the famous “Mary Lavelle” which I was looking for since years ago. You can imagine with what a tremendous anxiety I went through that pages and the vivid scenes of life in “Casa-Pilar” at Cabantes, Altorno. The book is really fascinating. And for me it was still more, because a whole world which slept in my memories, for years, woke up and dreamt again as in the golden times of adolescence. Thank you, Miss Kitty, for bringing to life that dear shadows of my youth!’ (P12/1/2/2/5).

O'Brien’s diaries, dating from the early 1960s and covering just over a decade, record the writer’s daily activities, appointments, travel plans, financial dealings and occasionally more personal information such as the state of her health or mood. The collection also provides insights into O’Brien’s financial affairs. A letter to the Collector of Taxes in London dated 5 June 1963 reveals her on-going struggle to control her finances, ‘…I am not resident in the British Isles. It is my intention to live there, but since I sold my house in Ireland three and a half years ago I have been in very bad circumstances; have been living as the guest of friends and relatives in Ireland or in Spain, am unable to pay rent anywhere, and earn only pittances… I cannot afford to rent even a bed-sitting room’ (P12/1/4/2/5).

The component of O’Brien’s literary work is mostly in draft format and often contains handwritten amendments. It consists of travelogues, articles, essays and short stories, lectures, biographies, novels, and material for radio and film. Essays and short stories in draft format include ‘Singapore has fallen’ (1942), ‘On Ballycottin Strand’ (1945), ‘Old Balls MacSweeney’ (1956), ‘Boney Fidey’ (1956) and ‘Manna’ (1962). Two drafts of ‘Presentation Parlour’, the author’s reminiscences of her aunts, are contained in the collection. One of these documents reveals a selection of possible titles for the final publication including ‘Presentation Parlour’, ‘Five Aunts’ or ‘My Aunts’ (P12/2/1/4/2/1). One of the most interesting components, however, is the body of material relating to O’Brien’s last novel, ‘Constancy’, which remained incomplete at the time of her death. The collection holds both handwritten and typescript drafts of book one and two of the novel, each containing their own amendments. O’Brien’s interest in poetry is also reflected in two handwritten drafts of a poem about Haverstock Hill executed by the author in 1964.

The collection also illuminates O’Brien’s dealings with her literary agents and publishers and includes publishing contracts outlining conditions relating to copyright, royalties, publishing rights and payments, as well as financial material and correspondence. The author’s involvement with broadcasting bodies such as British Broadcasting Corporation (BBC), Radio Éireann and Radio Telefís Éireann (RTE) is also represented. A letter from Guy Vaesen from the Script Unit of the BBC dated 12 October 1973 refers to the script for ‘Pray for the Wanderer’, stating ‘It has not been the easiest novel in the world to dramatize and this final version is the fourth’ (P12/2/3/1/2).

Also of interest are mostly typescript drafts of articles produced by O’Brien from her home in Kent as part of the ‘Long Distance’ series for the Irish Times, addressing a variety of issues from Northern Ireland to Charles de Gaulle. There are also drafts of lectures for different audiences including the Europea degli Scrittori, Sir William Gibb School for Girls in Faversham, Canterbury College of Art, and Association of Professional and Business Women. Of additional interest is O’Brien’s involvement with educational projects such as the Catholic Youth Encyclopaedia, Irish Week in the University of Valladolid in Madrid, Spain, and the Canadian Association for Irish Studies in McGill University in Montreal, Canada.

Media coverage of Kate O’Brien includes reviews and articles relating to the author’s work dating from the 1920s to the middle of the 1980s, a scrapbook of press-cuttings from 1927 to 1934, and a number of articles on other subjects including the death of actress Katherine Cornell, the Burren in county Clare and politician Cecelia Lynch. There are also press cuttings relating to the death of O’Brien in 1974 in the Irish and British Press. Publications and other printed matter in the collection include works by Kathleen Cunningham, copies of two of O’Brien’s novels, ‘Without My Cloak’ (which contains the signature of Mary O'Neill's sister, Elizabeth Hall), and ‘Mary Lavelle’, a programme of a bullfight at Plaza de Toros de Madrid, and of the play ‘That Lady’ performed at Dipson’s Erlanger Theatre in October 1949. An essay by O’Brien entitled ‘As to University Life’ includes a handwritten note on the cover of the volume which reads ‘This may amuse you, pet – frightful misprints and all! It is causing uproar in the Governing Body of UCD – which was my hope & purpose in writing it’ (P12/4/7).

The photographic component provides a valuable record of O’Brien’s family life growing up in county Limerick, school days in Laurel Hill Convent, graduation from University College Dublin, close relationship with her sister Nance, travels to Spain and other locations, brief marriage to Gustaff Renier, literary commitments, life at The Fort in Roundstone, county Galway, move to Kent, England, and passion for cats. Some of the more memorable images in the collection include a black and white photograph of O’Brien’s mother Catherine as a beautiful young woman prior to her premature death from cancer (P12/5/1/1), two black and white images of schoolgirls from Laurel Hill Convent, some of the studio portraits of O’Brien (P12/5/2/1/1-17), and an image of O’Brien’s husband, Gustaff Renier (P12/5/1/31).

The collection also documents the sickness and subsequent death of Kate O’Brien in August 1974, and includes documentation from Canterbury Hospital relating to her personal possessions, copies of her death certificate, and correspondence between family and friends. The administration of the writer’s estate is also addressed, and significant documents include O’Brien’s last will and testament, a codicil of will, and material relating to Mary O’Neill’s dealings in her capacity as O’Brien’s Literary Executrix.

The archive contains a selection of letters and notes written by Republican Prisoners imprisoned in Limerick Jail and the Curragh Internment camp between 1922 and 1923 during and following the Civil War. They comprise in the main thank you-notes for parcels delivered to or sent to them by Annie McGowan, her daughter Sarah and her son Timothy.

This collection contains material created and received by the Carrol, Angus and Scott families, particularly during their ownership and residence of Tulla and Lissenhall but also beyond. It includes legal, administrative and personal documents. There is a small amount of late eighteenth century material, the more interesting of which is a map from 1798 of the Kingdoms of Spain and Portugal, though the bulk of the documents are from the nineteenth century. Legal documents include wills and issues of probate and executorship, affidavits, judgments, opinions and correspondence covering financial and trustee arrangements. They also include a large quantity of correspondence related to land sales and transfers, such as agreements, ejectment decrees and indentures, much of which arise from William Hutchison’s efforts to bring estate matters into order. Of particular interest is a return of debts due by the late Lieutenant General Sir William Parker Carrol and paid by his executors which lists many Limerick and Tipperary businesses from the period. Later documents, particularly relating to a legal struggle between the Carrol’s and Lloyds Insurance regarding claims for losses due to the theft of livestock and equipment during the 1920s, are also illuminating.
The Carrol family’s direct involvement with the Tulla and Lissenhall Estates has resulted in the collection containing some rental accounts which provide the names of tenants, acreage and their rentals and also estate accounts which includes the names of local individuals and businesses having commercial interaction with the Carrol estate. Other estate material involves correspondence regarding day to day estate management and operations but worthy of note is a print of the Encumbered Estates auction schedule which includes a description of Lot 1, Lissenhall, its tenants and rents at the time of William Hutchison Carrol’s purchase, and also Alice Carrol’s interactions with the Land Commission leading up to her vacating Lissenhall.
Personal material includes a great deal of personal correspondence and letters from family members much of which is concerned with family genealogy and includes printed and transcribed material from third party sources. Correspondence from institutions with regard to personal finances, stocks and taxation issues is also present. There is a significant quantity of photographs, both in albums and loose covering most of the principal individuals dating from the 1860s to the 1990s. Also present is a large scrapbook. The result of a familial connection to the Scott’s and compiled over nearly fifty years from 1895 to 1944, it contains copious material on Clement Scott and also the Du Maurier family, including photographs of Gerald Du Maurier and the young Daphne with her siblings.

Last page of a letter from James Butler, Roman Catholic Archbishop of Cashel to an unidentified group of gentlemen, urging them to exercise their vigilance and diligence 'to extirpate vice, & plant virtue & good morels [sic] that they may gain the Celestial Reward'. The missive incorporates a letter from Ellicebeth Swift addressed 'to all & every Clergymen [sic] in Care of souls within the Dioceses of Cashel & Emly', accusing them of ill treatment and threatening to make them 'dance & gallop in sich [sic] a manner that the Munster Lass in her Prime would not catch you till you pass the post at Mitchelstown' if they do not mend their ways. The letter constitutes a rare and useful account of relations between clergymen and parishioners within the Catholic Church in the archdiocese of Cashel and Emly from the female perspective.

The O’Mara Papers comprise predominantly business and personal records created and generated by Stephen O’Mara Junior (1884-1959) in the course of his life. Material relating to his parents, grandparents, aunts, uncles and siblings is perfunctory.

The business records cover mainly correspondence in O’Mara’s capacity as director of O’Mara’s Bacon Company and later as director of the Bacon Company of Ireland and do not encompass all operational aspects of the business. However the material provides an interesting view of the bacon industry in early 20th-century Ireland and its gradual decline from the 1930s onwards.

The personal records cover O’Mara’s political career, including his three terms as Mayor of Limerick from 1921 to 1923; the second Bond Drive to the United States, his subsequent imprisonment in 1922-1923 and the ensuing court case of 1927; and his later political involvement, particularly his role as a founding director of The Irish Press. His personal correspondence is extensive and illustrates O’Mara’s prominent role in the family as a provider of employment opportunities for the younger generations and as a generous source of financial support in times of hardship. Other material of note includes extensive correspondence and architectural drawings relating to Strand House, New Strand House and Ivy Bank House, homes of the O’Mara family.

One of the most significant aspects of the collection is material relating to the O’Brien family of Boru House, particularly the private correspondence of the novelist Kate O’Brien with her sisters, brother-in-law and nephew. The letters illuminate O’Brien’s method of writing, the creative process behind each of her novels and the ups and downs of her career as author. They also reveal her complete lack of financial acumen, her tendency to live wildly beyond her means, and her lifelong dependency on the fiscal good will of Anne and Stephen O’Mara. Of Kate O’Brien’s private life the letters reveal almost nothing, demonstrating a high degree of circumspectness and a tendency to compartmentalise various aspects of her life. The one rare exception is correspondence relating to her brief marriage and its aftermath in 1922-1925 which, while not revelatory as such, exposes a more vulnerable aspect of Kate’s personality.

The O’Brien material also contains correspondence to and from lesser known members of Kate O’Brien’s family, including her parents and her brothers Tom and Eric who died in 1918 and 1920, respectively. A small number of items relate to Michael O’Brien who died in institutional care in 1923. The identity of this individual has not been ascertained but he could possibly be Michael Alphonsus O’Brien who was born between 1888 and 1889 and is claimed to have died in infancy. Also of interest are letters from Austin Clarke to Anne O’Brien in 1916-1917 written in the early stages of the poet’s literary career, which reveal the fragility of his search for expression and sense of identity.

The material also comprises an extensive photographic record of the O’Mara and O’Brien families particularly in the 1920s and 1930s.

This collection contains invoices, receipts and some related correspondence from wholesalers, specialist providers and other commercial outlets mainly in Limerick city and county, but also in Dublin and England accrued by John McCarthy in his role as farmer, publican and baker. The documents date from the time of the Irish War of Independence (1919-1921) and Irish Civil War (1922-1923) and reveal the way in which these conflicts interfered with commerce and trade and the availability of certain goods such as sugar and flour. It also provides insights into the commercial life of the country in its first years of independence, the cost of goods, the range of commercial outlets available and the rise of the large department stores.

Posters, flyers, programmes and recordings illustrating the productions and other activities of Cork City Ballet.

Posters and other promotional material reflecting dance culture in Cork City and the wide variety of dance performances at Firkin Crane and other venues.