This archive consists of 26 limited edition prints of posters relating to poetry readings at Morden Tower, Newcastle.

The Local Illustrations date from the Eighteenth and Nineteenth Centuries and depict a variety of local scenes and structures, such as schools, hospitals, residences, castles and churches. There are views of Newcastle, Durham, Northumberland, Sunderland; portraits; depictions of local life (keelmen playing cards) and a plan of the Grainger Market, Newcastle.

Consists of: Professional and personal letters, both to and from Joseph Crawhall II. Pencil, ink and watercolour sketches created by Joseph Crawhall II, some including annotations. Various printed ephemera from a variety of authors. Various leaflets, notifications, invitations, cards and reciepts relating to Joseph Crawhall II. A collection of woodblock pulls from a selection of original woodblocks created by Joseph Crawhall II. Letters and sketches relating to George Edward Crawhall, brother of Joseph Crawhall II. A genealogical scrapbook relating to the Crawhall family.

This collection of illustrations by local artist Thomas Hair (c.1810-1875) depicts the mining industry and the coal trade in the North East in the nineteenth century. The illustrations are based on Hair's watercolours on the same topic. The illustrations in the collection highlight numerous aspects of the region's mining heritage, including collieries, machinery, and river trade scenes. Many of the illustrations also show the everyday workings of the industry and those involved in it.

Consists of 42 prints made from James Gillray's original engravings and documents relating to Newcastle University's acquisition of the prints.

Leonard Charles Evetts (1909-1997) was a designer and artist, and the Head of Design at Kings College Newcastle between 1963-1974 (now Newcastle University). Evetts is known primarily for working in stained glass, calligraphy and watercolour, although the full range of his design work was extensive, and included various more unusal commissions from milk cartons to ceremonial ornaments. His contribution to building and artefact conservation was also significant and within this remit he was Vice-Chairman of the Council for the Care of Churches, between 1972-81, and a member of Newcastle Diocesan Advisory Committee (on new installations and additions) for over fifty years. Over four hundred examples of his stained glass work exist in Britain, including his most ambitious work at St Nicholas, Bishopwearmouth, Sunderland comprising of forty-six individual windows.

This archive of Leonard Evetts' work, kindly transferred to Newcastle University Library by his widow in 2016, comprises largely of his commission project files. These files are of great research value, containing large scale colour designs as well as sketches and commission correspondence. They span hundreds of commissions which include paintings, the design and restoration of armorials, the design of ceremonial and religious objects, and the design and execution of over 300 stained glass windows in both religious and secular settings.

In addition, the collection also includes a smaller representation of other aspects of Leonard Evetts' work including some watercolours, lettering studies and some personal family items.

Daguerreotypes were an early form of photography which did not permit reproduction therefore the images on the plates are unique. The daguerreoytypes in Special Collections have particular significance because among them are the first-known photographic images of Niagara Falls and the Clifton Hotel, taken in 1840 by metallurgical chemist and industrialist, Hugh Lee Pattinson (1796-1858) who was Gertrude Bell's great-grandfather.

There are also two daguerreotypes depicting Rome which are signed 'Lerebours'. The daguerreotypes have deteriorated: the plates exhibit signs of spotting, surface scratches, there are cracks in the glass and the plates have oxidised but they have been conserved and digitised.