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Half-length studio portrait of a young soldier in the Royal Field Artillery. His arms are resting on the back of a chair in order to display his good conduct stripe and three overseas service chevrons. See also DCH Mil 232. On his shoulder is a divisional patch depicting a thistle, that of the Ninth Division.

Full-length studio portrait of a young soldier. His cap is on a plinth beside him and displays the cap badge of the Royal Welsh Fusiliers.

Brief history of the Battalion; organisation of a permanent Memorial to the “Old Battalion”; provision of bursaries or grants to enable the children of men who had served in the Battalion to pursue higher courses of education.

‘Secret’ order given to several Battalions and Units informing of the order: “‘Z’ Day will be 31st July, 1917.”

The English poster design, 2017, for the ‘Borth's Lost Legends’ exhibition.

A photograph, 2017, of the carved wooden ‘Brenin y Coed Môr’ (‘King of the Sea Trees’) sign designed and made by Mark Sawyer which was used in the project exhibitions; photograph by Erin Kavanagh.

The Welsh poster design, 2017, for the ‘Borth's Lost Legends / Chwedlau'r Borth a Gollwyd’ exhibition.

Author's proof copy, 2018, of 'Re-thinking the conversation: a geomythological deep map' by Erin Kavanagh in which she describes the conceptual framework behind her ‘deep mapping’ of Cardigan Bay and explains the activities undertaken by the ‘Layers in the Landscape’ project.

Granted to Major W.P. Wheldon, 14th Royal Welsh Fusiliers, on account of “Urgent Private Affairs.”

A poster, 2017, explaining ‘Haenau yn y Tirwedd’ (the Welsh title for the ‘Layers of the Landscape’ project) in Welsh, designed by Erin Kavanagh; the poster was used in the project exhibitions.

‘H.M. Forces Overseas (in Uniform) Combined Leave and Railway Tickets’ granted to Wheldon: (i.) First Class, from France to Senior Officer’s School, Aldershot; (ii.) First Class, from Llanberis to France; (iii.) First Class, from Llanberis to France.

A postcard image, 2017, of the ‘King of the Sea Trees’, drawn and designed by Erin Kavanagh with an extract from her poem of the same name; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

A recording, August 2017, of the 'King of the Sea Trees' shanty, composed and performed by David Moore (under the pseudonym Dafydd Eto) and drawing on traditional songs of the sea in response to Erin Kavanagh's poem of the same name, with the prologue of the poem spoken by Erin Kavanagh and also backing vocals by her; recorded by Jacob Whittaker and used in the project exhibitions.

A photograph, 2016, of a textile interpretation by Emily Hawkins of ‘King of the Sea Trees’, produced by her for a Master’s degree and used in the ‘Layers in Lampeter’ exhibition; photograph by Erin Kavanagh.

A photograph, 2016, of a textile interpretation by Emily Hawkins of ‘King of the Sea Trees’, produced by her for a Master’s degree and used in the ‘Layers in Lampeter’ exhibition; photograph by Erin Kavanagh.

A photograph, November 2017, of part of the display at the ‘Layers in Lampeter’ exhibition, including the prehistoric red deer antlers, the ‘Brenin Y Coed Môr’ sign and the 'Time Scroll'; photograph by Erin Kavanagh.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.

A photograph, 2017, of Valerie Price and her sculpture ‘Mammoth’, which was used in the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.

Typed, with a map of the area on the reverse. Map includes much detail with notes on the terrain and enemy locations.