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Half-length studio portrait of a young soldier in the Royal Field Artillery. His arms are resting on the back of a chair in order to display his good conduct stripe and three overseas service chevrons. See also DCH Mil 232. On his shoulder is a divisional patch depicting a thistle, that of the Ninth Division.

Full-length studio portrait of a young soldier. His cap is on a plinth beside him and displays the cap badge of the Royal Welsh Fusiliers.

The English poster design, 2017, for the ‘Borth's Lost Legends’ exhibition.

A photograph, 2017, of the carved wooden ‘Brenin y Coed Môr’ (‘King of the Sea Trees’) sign designed and made by Mark Sawyer which was used in the project exhibitions; photograph by Erin Kavanagh.

The Welsh poster design, 2017, for the ‘Borth's Lost Legends / Chwedlau'r Borth a Gollwyd’ exhibition.

Author's proof copy, 2018, of 'Re-thinking the conversation: a geomythological deep map' by Erin Kavanagh in which she describes the conceptual framework behind her ‘deep mapping’ of Cardigan Bay and explains the activities undertaken by the ‘Layers in the Landscape’ project.

A poster, 2017, explaining ‘Haenau yn y Tirwedd’ (the Welsh title for the ‘Layers of the Landscape’ project) in Welsh, designed by Erin Kavanagh; the poster was used in the project exhibitions.

A postcard image, 2017, of the ‘King of the Sea Trees’, drawn and designed by Erin Kavanagh with an extract from her poem of the same name; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

A recording, August 2017, of the 'King of the Sea Trees' shanty, composed and performed by David Moore (under the pseudonym Dafydd Eto) and drawing on traditional songs of the sea in response to Erin Kavanagh's poem of the same name, with the prologue of the poem spoken by Erin Kavanagh and also backing vocals by her; recorded by Jacob Whittaker and used in the project exhibitions.

A photograph, 2016, of a textile interpretation by Emily Hawkins of ‘King of the Sea Trees’, produced by her for a Master’s degree and used in the ‘Layers in Lampeter’ exhibition; photograph by Erin Kavanagh.

A photograph, 2016, of a textile interpretation by Emily Hawkins of ‘King of the Sea Trees’, produced by her for a Master’s degree and used in the ‘Layers in Lampeter’ exhibition; photograph by Erin Kavanagh.

A photograph, November 2017, of part of the display at the ‘Layers in Lampeter’ exhibition, including the prehistoric red deer antlers, the ‘Brenin Y Coed Môr’ sign and the 'Time Scroll'; photograph by Erin Kavanagh.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.

A photograph, 2017, of Valerie Price and her sculpture ‘Mammoth’, which was used in the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.

A photographic reel, January 2018, containing an account of a live performance entitled ‘Penrolio’ at the castle mound, UWTSD Lampeter, in which R.M. Parry delivered his sculpture, ‘Pen Bendigeidfran’, to the ‘Layers in Lampeter’ exhibition; the performance was inspired by ‘Branwen uerch Lyr’.

A postcard image, 2017, of ‘Sandstorm’, comprising a poem and a photograph of Borth beach, both by Erin Kavanagh; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

A copy, 2016, of a Modern Welsh translation by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen relating to Seithenhin and the legend of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Middle Welsh rendition and the English translation.

A copy, 2016, of an English translation by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen relating to Seithenhin and the legend of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Middle Welsh rendition and the Modern Welsh translation.

A copy, 2016, of a rendition by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen (ff. 53v-54) relating to Seithenhin and the legend of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Modern Welsh and English translations.