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A flier for an exhibition of religious art by five Irish artists at the Ashley Gallery in London. The exhibition included work by Richard King, Fr. Jack Hanlon, and Daniel O’Neill.

A clipping of an obituary for the sculptor Albert Power. The clipping is taken from ‘The Advocate’ (19 September 1945), a weekly newspaper published by the Catholic Archdiocese of Melbourne.

A letter from Cyril Clemens, President of the Mark Twain Society, to Fr. Senan Moynihan OFM Cap., welcoming him to the Society. Clemens also refers to his request for images of the late Cardinal Joseph J. Glennon.

A photographic print of Fr. Senan Moynihan OFM Cap. (third from the left) and Fr. Gerald McCann OFM Cap. (second from the left) at a social gathering. The identifies of the other individuals in the image has not been ascertained.

A clipping of an article reporting on a window designed by Evie Hone in Kilmilkin Church, Maam, in County Galway commemorating the surgeon John Francis O’Malley. The article was published in the ‘Connacht Tribune’ (2 June 1951).

A clipping of short article announcing the release of several female prisoners detained after the insurrection. The prisoners included Annie Higgins, Madeline Ffrench-Mullen, and Nellie Gifford. The clipping is taken from the ‘Freeman’s Journal’ (5 June 1916).

A clipping of an article reviewing ‘St. Anthony of Padua’ by Alice Curtayne published in ‘The Kerry Champion’ (21 November 1931). The article notes that it is the first in a series of monographs to be edited and published by Fr. Senan Moynihan OFM Cap.

A clipping of a review of ‘The Capuchin Annual’ (1942) by Patrick Kavanagh published in the ‘Irish Times’ (10 January 1942).

A clipping of a review of ‘The Capuchin Annual’ (1942) published in the ‘Waterford Star’ (30 April 1942). Reference is made in the article to work of the Capuchin friars during the temperance crusade, to Ring College in County Waterford, and to Canon Patrick Sheehan.

A letter from D.L. Kelleher to Fr. Senan Moynihan OFM Cap. referring to ‘The Capuchin Annual’ (1942) and describing it as ‘an extraordinary production in the present “darkest ages” of war’.