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This collection contains microfilmed copies of correspondence and other documents relating to Sir Richard Bourke held by the State Library of New South Wales and used by Margaret Power for a a thesis to gain a Master's Degree in Local History at the University of Limerick.

Eleven rough pencil sketches by the Swiss architect Aurelio Galfetti.

This collection contains a client ledger and separate index from Sir Matthew Barrington's legal firm in Limerick city, providing names of clients and details of the legal affairs in which they were involved. The ledger, originally part of a multiple set of volumes, is of considerable historical interest in view of the distinguished client list, which includes both nobility and prominent merchants, and the level of detail provided of their legal affairs.

This collection contains correspondence, accounts and other documents concerning the leasing of Mungret Agricultural School by its trustees to the Commissioners of National Education in 1853; the subsequent closure of the school and surrender of the lease back to the trustees in 1878; the parliamentary bill required to allow the trust fund to be redirected for broader educational purposes; and the subsequent lease of the school to the Reverend Joseph Bourke 1880 and to Father Ronan in 1882. The material provides an interesting record of the legal and administrative complications affecting the operation of the school and its gradual shift from an agricultural school to a Jesuit apostolic school and lay secondary school.

Programmes, posters, flyers and recordings illustrating the events and activities of International Dance Festival Ireland (renamed Dublin Dance Festival in September 2007) since its inception in 2002.

Programmes, flyers and posters relating to the productions of Chrysalis Dance. Also lists and correspondence illustrating the company’s financial and administrative history.

Bound volume of names of club members and a related note.

Promotional material and DVDs relating to performances given by Croí­ Glan Integrated Dance Company.

The collection is based on a single theme, namely, the publishing background to James Joyce’s Dubliners. The book did, indeed, have a very strange history. Its journey began in 1904, when Joyce submitted a collection of short stories to the publisher, Grant Richards. It was not until February 1906 that Richards accepted them. Unfortunately, Richards had problems with his printer who refused to set up the print for the story Two Gallants, as he objected to certain passages therein. Richards and Joyce had many debates and arguments about the deletion and modification of this and other passages in the book. Finally in 1907, Richards backed away from publishing the work. In 1909, George Roberts of the Dublin firm Maunsel & Co. accepted Dubliners and signed a publication contract in August of that year. However, Roberts had second thoughts about its publication soon after and the entire first print run of the book was burned before it was launched. Dubliners was finally published in 1914 by the original publisher, Grant Richards, a full ten years after it was written. McGrath seems to have had a great interest in discovering what influenced two successive publishers to reject the manuscript. Other items in the collection include an original Seán O’Casey letter to McGrath in which he enclosed a large signed black and white photograph of himself (P8/4). There are also press cuttings which comprise of an obituary of Oliver St. John Gogarty (P8/20) and a review of a book about Joyce (P8/21).