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Mary Mulvihill Collection

  • IE DCUA C32
  • Collectie
  • 1979-2015

The Mary Mulvihill collection touches upon all the interests, ideas and achievements of Mary Mulvihill from 1979-2015. The majority of its material relates to her published writing and the research that she undertook to complete these works. Mulvihill produced and edited two books about historic Irish women scientists; Lab Coats and Lace (Dublin, 2009) and Stars, Shells and Bluebells (Dublin, 1997), (as its publisher, see WITS series for research material for this book). She also wrote a guide for more sustainable living in Drive like a Woman, Shop like a Man (Dublin, 2009) and the Dublin-focused Ingenious Dublin: a guide to the city's marvels, discoveries and inventions (Dublin, 2012). However, the majority of literary research material is for her seminal work, Ingenious Ireland: A County-by-County Exploration of Irish Mysteries and Marvels, which was originally published in 2002 and again after her death in 2019. It is widely recognised as an outstanding piece of individual research that gave life to the memory of people and places in Ireland associated with scientific, medical and engineering achievements. The material is arranged in a similar way to the book, with 32 seperate files that correspond with the counties of Ireland.

Another sizable part of the collection is Mulvihill's role in setting up WITS (Women in Technology and Science). WITS is a voluntary, independent organisation advocating, connecting and acting for women to be full and vital participants in science, technology, engineering, and mathematics (STEM). As a founder of WITS in 1990, Mulvihill was central to the organisation’s vision and overall aims. She also played a vital role in highlighting the often neglected role of women in the history of Irish science. This part of the collection comprises of several sub-series detailing the various structures, governance, publications, correspondence and outreach of WITS from its foundation to its contemporary achievements.

The final section of the collection reflects Mulvihill's involvement in science communications, broadcasting and science-related public relations. It covers her interactions with television and radio and how to best put across the importance of science heritage and research in a contemporary and accessible manner. Educational outreach is also represented in this section, particularly her walking tours in Dublin and other parts of the country, where she merged the tourism sector with scientific heritage and awareness. Mulvihill’s company, 'Ingenious Ireland' was also involved in a science/media consultancy business, where she gave advice, ideas and notes about communicating successfully within the media and academia.

Mulvihill, Mary

Kenny Family Collection

  • IE DCUA C2
  • Collectie
  • 1905-2011

The fonds relates to the lives and careers of three men from the Kenny Family: Kevin J Kenny (1881-1954), his son Michael B Kenny (1919-1992), and Michael’s son Colum Kenny (b. 1951). The collection is arranged in three sub-fonds relating to the three men respectively.

The majority of the collection relates to Kevin J Kenny and his work at Kenny’s Advertising Agency. The sub-fonds relating to Kevin includes correspondence with many of his clients, some of whom included eminent nationalists of the day, such as Patrick Pearse, Arthur Griffith, Francis Sheehy-Skeffington and James Creed Meredith. Kenny solicited advertising for the publications of many of these figures, which often proved essential in keeping the publications afloat and in circulation, as evidenced in particular by the letters from Patrick Pearse regarding advertisements for An Macaomh, the official magazine of St Enda’s. This sub-fonds also includes several sub-series relating to significant episodes in Kevin’s career and life, such as the controversy over Kenny’s Advertising Agency and a contract to run British Army recruitment advertisements during the First World War, and personal memorabilia and publications relating to significant historical events, such as the 1916 Easter Rising, the War of Independence and Civil War.

This sub-fonds also includes a collection of British Army transcribed signals from the first day of the Battle of Gallipoli (25 April 1915), which give a vivid insight into the harrowing experience of some British soldiers fighting on the front line that day. These signals may have come into Kevin J Kenny’s possession from his wife Annette’s brother John Murphy, whose signature may be the ‘J Murphy’ included on some of the signals.

This sub-fonds relating to Michael B Kenny consists of a few items concerning his career in advertising. These include a brief history of the Kenny’s Advertising Agency written by Michael, and two photographs: one of meeting of the Advertising/Press Club in 1956 or 1957, and the other of the Kenny’s Advertising Agency premises at Lower Baggot Street, Dublin.

The final sub-fonds in the collection mainly relates to Colum Kenny’s work on three documentaries for RTÉ, and some of his personal correspondence with various figures relating to topics such as the media, law and Irish history. One of the sub-series relates to Colum’s research for a documentary about ‘The Tailor and Ansty'. The Tailor and Ansty (husband and wife Timothy [‘the Tailor’] and Anastasia ['Ansty'] Buckley) were the subjects of a book by Eric Cross about their storytelling and home in Gougane Barra, County Cork, which became a hub for notable figures of the Cork arts scene in the 1930s and 1940s. The sub-series includes letters from Eric Cross and friends of the Tailor and Ansty, including Seán Ó Faoláin and Nancy McCarthy-Allitt. Two of the other sub-series relating to Colum’s work on RTÉ current affairs television programmes are currently closed and access will be reviewed in 2025.

Another series relates to connections between Colum Kenny’s house, 1 Herbert Terrace, Bray, County Wicklow, and two of its former residents: Cyril Cusack and Grace Watt (née Muggeridge). The series mainly consists of correspondence between Kenny, Cusack and Watt during the early 1990s in which they reminisce about living in the house, and discuss Cusack and Watt’s personal lives.

Kenny, Kevin

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