This collection comprises a small amount of papers of and relating to William Lisle Blenkinsopp Coulson (1841-1911), army officer and campaigner for animal rights. It includes correspondence, published material relating to Blenkinsopp Coulson, and a number of family items namely a General Pardon granted by Edward IV, an Eighteenth Century recipe book and collections of stamps and postcards.

This collection contains correspondence of Sir Austen Henry and Lady Enid Layard and Charlotte Maria Guest between 1869 and 1884. One series mainly comprises the correspondence of Enid Layard with her sister Charlotte Maria Guest and a smaller number from Sir Austen Henry Layard to Charlotte Maria Guest. A second series comprises a file of letters from members of the Du Cane family, including letters written by Alicia Marie Du Cane while staying with the Layards in Constantinople. Much of the material relates to Layard and the custodianship of his collection. There is also some published material relating to Layard, photographs of the Layard family, and some associated family and biographical material including objects and artefacts.

Sir Joseph Swan (1828-1914) was a North East physicist, chemist and inventor who is best known for his innovation in the photographic process and the invention of the incandescent light bulb. This small collection comprises of items retained by various members of the Swan family, until donated to Newcastle University in the 1960s/1970s. The collection includes personal family items such as medals and certificates, original Swan lamps and a silk dressing gown, together with items which appear to come from Sir Joseph Swan's home workshop including a number of photographic prints, presumed to date from Sir Joseph Swan's experiments with various photographic print techniques.

This collection comprises copied, and some original, photographs, papers and documents relating to the architect Robert Burns Dick (1868-1954) who had substantial influence in the north-east of England, particularly in the city of Newcastle upon Tyne.

The collection includes photographs of personal documents relating to land conveyance and partnerships with Cackett and Mackellar; architectural drawings and photographs of 'Millmount' and 'the Wedge', both designed by Burns Dick; and newspaper articles and other cuttings relating to him and his work. There is also material relating to an exhibition on Burns Dick held by the northern region of the Royal Institute of British Architects in 1984.

This collection comprises a large number of the musical manuscripts of the twentieth-century British composer David Barlow (1927-1975), formerly a lecturer in the Department of Music at Newcastle University, although it is not a complete collection of his works. The material comprises over 100 items which cover the musical genres of orchestral, opera, choral, songs, solo works, instrumental and chamber music, although some of the scores are incomplete. Barlow's musical influences included biblical and literary interests and the collection includes his church operas David and Bathsheba and Judas Iscariot as well as his children's opera The Selfish Giant. The collection also contains copies of many of Barlow's important works which are held at the British Music Information Centre, as well as some early manuscripts (mainly short works and sketches) and copies of recordings of Barlow's music and interviews, held on ten reel-to-reel tapes at present.

Includes material relating to the marketing, governance and individual performances of Northern Stage.

Papers of Max Roberts Creative Director of Live Theatre from 1986 to 2017 include his personal collection of Live Theatre documents including play scripts, photographs, correspondence, papers related to the grow and development of the Theatre at their Quayside location, as well as a substantial collection of leaflets and posters from Live Theatre performances.

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.

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.

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.