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.

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.

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

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.

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.

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.

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

The Northumberland Handicrafts Guild was formed at a meeting held on 9th June 1900 and its aim was to promote the study of handicrafts in the County of Northumberland. There was a particular emphasis on embroidery, woodwork, basket work, leather work and weaving. Prominent members of the committee include Thomas Edward Hodgkin, Richard George Hatton, Ella Pease and Miss Noble.

This archive comprises of the annual reports of the organisation 1900 - 1936, together with a small collection of other constitutional and committee records. The collection includes also accounting material for the period 1930 - 1947 and press cuttings related to the activities of the Guild. Part of the archive is dedicated to mementos and the embroidery work of Margaret Scott, a member of the Guild in the early 1900s.

The Stanford Collection comprises the musical manuscripts (published and otherwise) of Irish composer Charles Villiers Stanford (1852-1924) and was brought together by Dr. Frederick Hudson, at one time a member of staff in the Department of Music.The collection, representing approximately seventy-five percent of Stanford's output (symphonies, operas, chamber, concerto, piano and organ works, church music and choral works), includes autograph manuscripts and photocopies of autographs, as well as transcripts of Stanford's letters to The Times, essays and articles. For many years organists in Canada and England were of the opinion that there were no brass or percussion parts for St. Patrick's Breastplate but the score proves that there were!