Grianghraif

  1. K030.17.00003

    K030.17.00003

    2013

    Great Famine: 'For the “Offaly Famine Stitch” the women used hessian sacks which were readily available on their farms and were manufactured in Goodbody’s Jute Factory in Clara, Co. Offaly. The women cut the sacks into shapes suitable for cushion covers, table centres and as wall hangings in their white-washed kitchens. They embroidered the sacking with a criss-cross stitch using coloured wool and a darning needle. They created their own designs and often used a daring combination of colours when they were available' - Mary O’Connor, Arts and Culture magazine 2013.

  2. K030.17.00004

    K030.17.00004

    2013

    Great Famine: 'For the “Offaly Famine Stitch” the women used hessian sacks which were readily available on their farms and were manufactured in Goodbody’s Jute Factory in Clara, Co. Offaly...The women cut the sacks into shapes suitable for cushion covers, table centres and as wall hangings in their white-washed kitchens. They embroidered the sacking with a criss-cross stitch using coloured wool and a darning needle. They created their own designs and often used a daring combination of colours when they were available.' Mary O’Connor, Arts and Culture magazine 2013.

  3. K030.21.00001

    K030.21.00001

    1939

    Strife and combat/oppression and bravery: The Crooked Tree - former gallows in Newcastle West.

  4. K030.21.00003

    K030.21.00003

    1939

    Strife and combat/oppression and bravery: The Crooked Tree - former gallows in Newcastle West.

  5. K030.24.00001

    K030.24.00001

    Strife and combat/opression and bravery: Pike found on Rathlin being held by Peter McMullen who now owns it.

  6. K042.21.00002

    K042.21.00002

    Historical maps: Map of Lough Gur, showing sites of historic and mythological interest, based on map by Windele, by Tomás Ó Loinsigh NT, Grange NS, Kilmallock, NFCS.516: 206, Schools' Collection 1937-38

  7. L010.20.00001

    L010.20.00001

    The front of Church of Christ the King, Cork.

  8. L020.06.00086

    L020.06.00086

    St Colmcille's Well, Oldcourt, Dublin.

  9. M001.01.00001

    M001.01.00001

    1989

    Storytellier: Mary Kate Callinan, Ardrahan.

  10. M001.01.00002

    M001.01.00002

    1989

    Storytellier: Andrew Quinn, Ballylee, Gort.

  11. M001.01.00003

    M001.01.00003

    Family photo by the fireplace.

  12. M001.01.00004

    M001.01.00004

    Family photo by the fireplace.

  13. M001.01.00005

    M001.01.00005

    A couple and a girl hiding behind the man by the fireplace.

  14. M001.01.00006

    M001.01.00006

    A couple and a girl hiding behind the man by the fireplace.

  15. M001.04.00001

    M001.04.00001

    1982

    Informants: Jack Flannery, Cloonfad. Storyteller.

  16. M001.04.00003

    M001.04.00003

    1982

    Informants: Jack Flannery, Cloonfad. Storyteller.

  17. M001.04.00004

    M001.04.00004

    1982

    Informants: Jack Flannery, Cloonfad. Storyteller.

  18. M001.06.00013

    M001.06.00013

    2013

    Informant: Mary Whooley (née Hart), Timoleague, Co. Cork, Schools' contributor, Timoleague NS, with her son Donal Whooley visting the National Folklore Archive UCD.

  19. M001.06.00014

    M001.06.00014

    2013

    Informant: Mary Whooley (née Hart), Timoleague, Co. Cork, Schools' contributor, Timoleague NS, with her son Donal Whooley visting the National Folklore Archive UCD.

  20. M001.18.00001

    M001.18.00001

    1946

    Informants: Seán Mhártain Ó Súilleabháin.

  21. Tuilleadh grianghraf
Dáta
2013
Suíomh
Biorra, Co. Uíbh Fhailí
Grianghrafadóir
Rónán Galvin
Daoine bainteacha
Mary O'Connor
Eolas cartlainne
Great Famine: 'For the “Offaly Famine Stitch” the women used hessian sacks which were readily available on their farms and were manufactured in Goodbody’s Jute Factory in Clara, Co. Offaly...The women cut the sacks into shapes suitable for cushion covers, table centres and as wall hangings in their white-washed kitchens. They embroidered the sacking with a criss-cross stitch using coloured wool and a darning needle. They created their own designs and often used a daring combination of colours when they were available.' Mary O’Connor, Arts and Culture magazine 2013.
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