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Copyright

Copyright

Ownership, credits, permissions, third party rights and responsible reuse of material published by Limerick Archives.

Copyright within Limerick Archives depends upon the nature and history of each item. Original articles, research, catalogue descriptions, website presentation and restoration work created for the archive are protected unless a different statement is provided. Historical photographs and documents may have separate rights belonging to photographers, authors, publishers, employers, families, institutions or contributors. Some older material may be out of copyright, but age alone does not always settle ownership. Limerick Archives therefore records available credit and rights information with individual items. Visitors should read those details before copying, publishing, altering or commercially using material found anywhere on the public website.

Gerard J. Hannan and Limerick Archives retain copyright in original writing produced for the project, including articles, introductions, descriptions and research summaries. Visitors may quote reasonable portions for criticism, study, education or research when proper acknowledgement is given, subject to applicable law. Reproducing complete articles, removing authorship or republishing substantial text as another person’s work is not permitted. Links to original pages are encouraged because they preserve context and allow readers to consult updated information. Anyone seeking to reproduce substantial written content in a book, website, broadcast or commercial publication should contact Limerick Archives and describe the proposed use beforehand.

Photographic copyright usually belongs to the photographer or another lawful owner, although ownership can change through employment, agreement, inheritance or assignment. Limerick Archives may hold a digital copy without owning rights in the underlying photograph. A contributor may grant permission for publication while retaining copyright. A newspaper or institution may control an image even when a print survives in a family album. For these reasons, the archive cannot automatically authorise every possible reuse. Credits and source notes identify known information, but users planning publication should consider whether additional permission is required from the photographer, contributor, collection or other rights holder.

Material that is out of copyright can be reused more freely, but the archive’s modern scan, restoration, caption, arrangement or research may still deserve acknowledgement or carry separate rights. Public domain status does not justify removing source information or presenting historical material misleadingly. A complete credit helps future researchers trace the original and distinguishes the historical work from later digital treatment. Limerick Archives aims to identify public domain material where confidence exists, but it cannot guarantee status in every circumstance. Users with legal or commercial concerns should obtain independent advice and verify the relevant term of protection before any publication.

Contributors should submit material when they own it, control the relevant rights or have permission from the person who does. Sending a photograph to Limerick Archives does not automatically transfer copyright. Unless a separate written agreement states otherwise, the contributor or lawful owner retains ownership while allowing the archive to assess, preserve and publish the material as agreed. Contributors should disclose known photographers, publishers, institutions and previous restrictions. They should also explain whether an image contains private or sensitive information. Clear ownership details protect the contributor, the archive and users, while reducing the risk of incorrect credits or unauthorised publication.

Restoration and colourisation involve new creative and technical work applied to historical sources. Cleaning scratches or balancing contrast may simply clarify existing information, while reconstruction or extensive colourisation can include significant interpretation. Limerick Archives identifies restored and AI assisted images so viewers can distinguish them from untouched originals. The underlying historical photograph may have one rights status, while the restored version has another. Users should not remove restoration credits, misrepresent an enhanced image as an original colour photograph or sell derivative versions without permission. Responsible reuse preserves both the historical source and the work invested in making it publicly understandable.

Third party material appears throughout historical research, including newspaper extracts, book references, maps, institutional records and photographs supplied by families. Limerick Archives uses such material for historical, educational and archival purposes where appropriate, while attempting to identify sources and respect restrictions. A credit does not necessarily mean that the named source owns copyright, and absence of a known owner does not prove that no rights exist. Anyone who believes material has been credited incorrectly or published without proper authority should contact the archive with evidence. Claims will be considered carefully, and material may be corrected, restricted or removed when justified.

Appropriate noncommercial sharing is generally welcomed when the complete archive credit, named creator, source and reference are retained. Examples may include family histories, classroom presentations, community websites, unpaid lectures and social media posts that direct audiences back to the archive. However, a noncommercial purpose does not cancel third party rights or privacy concerns. Users should not crop out credits, add false watermarks, claim authorship or alter an image in a way that damages historical meaning. Where an item carries a specific notice, that notice takes priority. Asking before uncertain use is safer than assuming that online availability equals unrestricted permission.

Commercial use includes advertising, merchandise, paid publications, commercial films, product packaging, promotional campaigns and other activities intended to generate revenue or business benefit. Permission may be required from Limerick Archives and from separate rights holders. Applicants should identify the exact item, proposed format, print run, territory, duration and context of use. The archive can explain which rights it controls and what additional enquiries may be necessary. Fees, conditions or refusal may apply depending upon ownership and purpose. Commercial users should obtain written permission before production, because later correction of an unauthorised use can be costly and damaging to everyone involved.

Copyright guidance on Limerick Archives is intended to support responsible access, not to provide legal advice. Rights can depend upon dates, authorship, employment, publication history, agreements and the laws of different countries. The archive will share the information it holds and correct records when better evidence appears, but users remain responsible for evaluating their proposed use. Respecting credits, seeking permission and preserving context help keep historical material available while recognising creators and contributors. The aim is to balance public discovery with lawful stewardship, ensuring that Limerick’s visual and written heritage can be shared without disregarding the rights attached to it.

About Page

Books Supporting the Archive

Every Book Purchased Helps Support The Continuing Work Of Limerick Archives.

Cover of Ashes

Ashes

The Ashes Trilogy, Book One

Ashes begins the story of a group of children growing up in the streets and lanes of Limerick, where poverty and hardship are balanced by humour, imagination and fierce friendship. Their city is more than a setting: it watches, remembers and gives voice to lives often absent from official history. As the children explore their neighbourhood, they encounter family pressures, faith, hunger, danger and the first signs of a changing world. Through their adventures and loyalties, the novel captures the resilience of ordinary people and introduces the characters whose lives will unfold across the three volumes of The Ashes Trilogy.

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Cover of Gurriers

Gurriers

The Ashes Trilogy, Book Two

Gurriers continues the lives of the Limerick children introduced in Ashes as childhood freedom begins to give way to work, responsibility and harsher choices. Their friendships remain strong, but poverty, family expectations, faith and the pressures of growing older test loyalties once taken for granted. The streets and lanes still offer humour, adventure and belonging, yet the wider world increasingly intrudes upon their lives. Through vivid dialogue, memorable characters and the watchful voice of Limerick itself, the novel explores resilience, identity and change while showing how even the closest companions can be drawn towards futures by circumstances beyond their control.

Cover of Scattered

Scattered

The Ashes Trilogy, Book Three

Scattered concludes The Ashes Trilogy as the friends who once shared Limerick’s streets and lanes face adulthood, work, hunger, faith, family duty and emigration. Time has altered their ambitions, tested their loyalties and carried some beyond the city that formed them. Yet memory continues to bind Louie, Seamus, Joe, Sean, Peter, Tony, Bardy, Maura, Eileen, Nora, Lingo and the mysterious Gleamer. Narrated through the enduring presence of Limerick itself, the novel explores separation, sacrifice and survival while recognising the humour and affection that remain. Together, their scattered lives complete a moving portrait of friendship, community and change across changing generations.

Cover of Threshold

Threshold

The Troubles Trilogy, Book One

Threshold opens in Belfast in 1968, where the Catholic Devlins and Protestant Morrows confront a city divided by religion, memory and fear. Civil rights marches, police violence, riots and internment transform ordinary streets into dangerous frontiers while political conflict enters homes, workplaces and schools. At the centre are Aileen Devlin and Thomas Morrow, whose relationship challenges the boundaries their families regard as essential to survival. As loyalty hardens into suspicion, both must decide whether inherited allegiance excuses injustice. Through family arguments, upheaval and private courage, the novel explores love, conscience, division and survival during the opening years of the Troubles.

Cover of Hunger

Hunger

The Troubles Trilogy, Book Two

Hunger is Book Two of The Troubles Trilogy, set in Belfast during the 1980s. Aileen Devlin and Thomas Morrow have built a fragile life across the city’s sectarian divide, but the conflict threatens the home they created for their daughter, Claire. As hunger strikes, the Anglo Irish Agreement and violence reshape Northern Ireland, republican Declan and loyalist Billy exploit fear, grief and vulnerable young men. Against them stand Aileen, Kathleen and Elsie, whose quiet strength keeps their families human. This is a story of love, survival and the courage to place people before causes in a divided society under pressure.

Cover of Crossing

Crossing

The Troubles Trilogy, Book Three

Crossing concludes The Troubles Trilogy during the decade from 1990 to 2000, as Belfast moves from violence towards negotiation, ceasefires and uncertain peace. The Devlin and Morrow families face political change alongside grief, ageing, divided loyalties and the consequences of choices made across three decades. Relationships once threatened by religious boundaries are tested by memory, mistrust and the fear that compromise may betray the dead. As the peace process gathers momentum, ordinary people must decide whether reconciliation is possible. The trilogy closes with a story of endurance, forgiveness, loss and hope beyond inherited division, proving that peace begins with courage.

Cover of Severance

Severance

Historical Novel

Severance is a historical novel set in Ballingarry, County Limerick, during Ireland’s struggle for independence. A torn and bloodied dispatch passes through fields, kitchens, lofts and hidden routes, placing everyone who handles it in danger. Michael Enright carries the burden of trust, while Mary, Molly and their neighbours struggle to preserve the message and protect one another. Against them, Captain Edward Harcourt studies every delay, wound and fragment for clues. As loyalty, fear and betrayal tighten around the hidden network, ordinary people must decide what they are willing to risk when history enters their homes and silence itself becomes dangerous.

Cover of Limerick Generations: 1900 to 1909

Limerick Generations: 1900 to 1909

Limerick Decalogy, Book One

Limerick Generations: 1900 to 1909 opens the decade by documenting a city and county entering the twentieth century amid political debate, commercial activity, poverty, faith and technological change. Month by month, the book connects major Irish developments with local events, institutions, streets and communities. Public meetings, labour, transport, education, sport, business and everyday life reveal how national questions were experienced in Limerick. Historical reports and carefully reconstructed narratives bring forgotten moments and ordinary people into focus. As Book One of Limerick Decalogy, it establishes the foundation for a ten volume journey through one hundred years of local history and memory.

Cover of Limerick Generations: 1910 to 1919

Limerick Generations: 1910 to 1919

Limerick Decalogy, Book Two

Limerick Generations: 1910 to 1919 traces a decade of political transformation, labour conflict, war, revolution and social change across Limerick city and county. Home Rule, unionist resistance, trade union organisation and the First World War entered streets, farms, schools, workplaces and family life. The Easter Rising, conscription crisis, influenza pandemic and general election altered public loyalties and expectations. The decade culminated in the Limerick Soviet of 1919, when workers challenged military restrictions through organised collective action. As Book Two of Limerick Decalogy, the volume preserves local experiences of hardship, courage, grief, endurance and change during years of intense historic upheaval.

Restoring History

Limerick Archives preserves, enhances, restores and colourises historic photographs, sometimes presenting fresh angles on familiar scenes. When no suitable public-domain image exists, we create carefully researched AI illustrations for archive articles. We also invite the public to submit photographs for restoration and possible publication, with ownership always remaining entirely theirs.