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Two notebooks containing annotations on the Lord's Prayer; moral verses; a list of cattle at Rhûg, 1661; apothegms; Latin-English phraseology; Latin verses; an inventory of linen; etc.

The file includes a letter, dated October 1915, containing information on Allied attacks on German positions in France, and an undated letter documenting a soldier's experiences between March and July 1915 and the injuries he sustained at Dardanelles.

A transcript, [mid 20 cent.], of the diary, 26 July 1914-22 April 1916, of a soldier from Llanelli, Carmarthenshire, serving with the Royal Engineers in the First World War, including a record of his experiences on active service in the Dardanelles.
On the basis of information supplied by Mr Gwyn Jenkins, Talybont, January 2012, the writer of the diary has been identified as Hubert Cole, a Sapper with the 1st Welsh Field Company Royal Engineers. He married Kate Eveline Webb at St Luke's Bayswater on 1 November 1914.

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 Emily Hawkins working on the audio recording of Erin Kavanagh's reading of the ‘King of the Sea Trees’ poem; photograph by Erin Kavanagh.

Author's proof copy, 2019, of 'Writing wonders: poetry as archaeological method?' by Erin Kavanagh in which she discusses theoretical aspects of her poem ‘King of the Sea Trees’.

A photograph, January 2018, of Dafydd Eto (David Moore) about to sing the ‘King of the Sea Trees’ shanty at the ‘Layers in Lampeter’ exhibition during the ‘Penrolio’ event; photograph by Erin Kavanagh.

‘Layers in the Landscape’, 2016, a short film which sought to ‘deep map’ Cardigan Bay by bringing together multi-disciplinarian experts in a range of fields, each with skill crossovers with at least one of the other participants; what they chose to produce was their own choice and developed organically; the contributors include Martin Bates (geoscience and archaeology), Maria Hayes (artwork), Diarmuid Johnson (medieval Welsh language and literature), Lynne Denman (song), Peter Stevenson (artwork and folklore), Jacob Whittaker (filming and editing) and Erin Kavanagh (direction, production, folklore, photography, geoscience, archaeology and artwork), and there is also an interview with the geoscientist Denis Bates; the film includes the ‘Time Scroll’, the ‘Thin Deep Map’ and excerpts from the ‘Bran’ song’ and the ‘King of the Sea Trees’ poem; filmed and edited by Jacob Whittaker, directed and produced by Erin Kavanagh, and used in the project exhibitions.

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

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.

A poster, 2017, designed by Martin Bates containing a schematic geologic cross-section of Borth beach indicating the layers of sediments beneath the submerged forest; the poster was used in the project exhibitions.

A postcard image, 2017, of ‘Sandstorm’, comprising a poem and a photograph of Borth beach, both by Erin Kavanagh; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

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 postcard image, 2017, of the prehistoric red deer antlers discovered at Borth; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.