A Christmas greeting card from Canon Patrick Rogers. The card has an illustration of the exterior of Trench House (later known as St. Joseph’s College), a Catholic teacher training college, located on Stewartstown Road in the Andersonstown area of Belfast. Canon Rogers was principal of the college.
A view (from onboard a ship) of the Levensau High Bridge, a high level arch bridge that spans the Kiel Canal in the German state of Schleswig-Holstein. Built in 1894, it is the oldest bridge crossing the the canal.
An outdoor group family portrait of six unidentified individuals. The plate is contained within an envelope which has a manuscript annotation of dates from c.1915-27.
Metal stereotypes (set on wooden blocks) of illustrations (many by Fr. Gerald McCann OFM Cap. with some by Grace Perry) of Franciscan life published in 'The Capuchin Annual'. The themes include Christmas festivities, pranks and mischiefs involving Capuchins (some of the friars depicted, including Fr. Senan Moynihan OFM Cap., were known to Fr. Gerald), sports, music, everyday chores and religious rituals. Several of the blocks depict more general aspects of religious devotion including representations of saints, the nativity, symbols and crests, missionaries and the clergy. Some of the blocks have annotations on the reverse indicating the theme of the illustration. These include: • ‘This place is holy’. • ‘Joy in the struggle’. • ‘St. Francis of Assisi / the builder’. • ‘People in love’. • ‘Building together’. • ‘Call to praise’. • ‘Peace and goodness’. • ‘St. Francis and the Wolf’. The cover illustration of 'The Capuchin Annual' by Seán O’Sullivan RHA. • Richard King at work on a Station of the Cross in his studio. Some of these stereotype blocks were found in box marked with an annotation suggesting that they had been returned from ‘Kelly’s Printers’.
Metal stereotypes (set on wooden blocks) with illustrations of women. The original filing cabinet containing these blocks was labelled ‘women’. The blocks lack any identifying captions, but some are numbered. Some of the images appear to show women in domestic situations and at work (particularly in a rural setting). Several of the metal stereotypes are detached from the wooden
