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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.

The material consists of correspondence, speeches, press cuttings, photographs and taped interviews relating to Frances Condell’s political career; typescripts and drafts of poems, articles, short stories and stories for children; genealogical material and photographs relating to the Eades family; and assorted recordings. Collection highlights include letters signed by President John F. Kennedy, Senator Edward Kennedy and Mrs Lyndon B. Johnson, and correspondence with the American poet Beverley Githens Dresbach (1903-1971).

This collection comprises musical notations of jigs, reels, hornpipes, mazurkas, flings, gallops, quadrilles, lancers, schottisches, mazurkas and waltzes popular in Ireland at the turn of the twentieth century.

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.

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.

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

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

This collection contains photographs, correspondence, school records and ephemera accrued by Hella Scholz during her youth and early adulthood. They provide insights into her life in Germany before and during the Second World War, which revolved mainly around school, hobbies, boyfriends and holidays. Wartime administration and the Nazi regime feature faintly in the backdrop: Hella was a member of Hitler Youth and of Bundes Deutscher Mädel (League of German Girls), the girls’ wing of the Nazi Party youth movement. However, apart from owning a portrait of Adolph Hitler, there is no indication of Hella being a Nazi sympathiser, she was simply a young middle-class girl growing up during the Nazi regime. Some of the collection highlights include Hella’s correspondence with Günther Junge, a rare enough example of an exchange in which the letters of both parties survive, and an extensive photographic record of Hella’s life. The collection provides intimate glimpses of a life which remained remarkably happy and stable during an extraordinarily dark period of European history. Spanning as it does the rise and fall of National Socialism in twentieth-century Germany and post-war Britain, it forms a rewarding primary source for researchers of this era.

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.

This collection offers insights into Lorna Reynold’s academic career, her work as a poet and translator of poetry and her personal life. Material relating to her academic career is perfunctory, consisting in the main of academic certificates, correspondence of mainly administrative nature and extensive research notes primarily on English literature for teaching, talks and academic papers. Material relating to her literary career includes manuscript and typescript drafts of her poems and short stories, many of which were published in newspapers and other publications, typescript drafts of a play, Swear Not by the Moon, and book reviews.

Undoubtedly the most interesting part of this collection is to be found among the records of Lorna Reynolds’ personal life, which incorporate some 800 items of correspondence with her lover Kate O’Brien. Uniquely, both sides of this correspondence survive from November 1946 to July 1949, after which only Kate O’Brien’s side remains. The letters reveal the intense nature of the relationship between two highly creative, strong-minded and extremely intelligent women and the many clashes and fallings-out their respective personalities inevitably generated. While Kate seemed to thrive on and be invigorated by this intensity, for Lorna, weighted down by her academic duties and a difficult domestic situation, it proved too much and her feelings for Kate receded, but their friendship continued until Kate’s death. Another interesting series of letters are those from Darina Silone née Laracy to Lorna Reynolds, which reveal on the one hand Darina’s marital unhappiness and its consequences, and on the other her devotion to her husband Ignazio Silone and her determination to preserve his legacy.

The Lorna Reynolds collection reveals the remarkable personality, strength of character and outspokenness of its creator, and her unyielding insistence on the rights of women to enjoy the same personal freedom and independence as men. On a broader scale, the collection builds an exceptional picture of the Irish academic, cultural and artistic circles in the twentieth century, circles in which Lorna Reynolds moved and played a seminal role.