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1.Maunsel and Company changed its name to Maunsel and Roberts in December 1920. C. Hutton and P. Walsh describe the history of the company in The Oxford History of the Irish Book, Volume V: The Irish Book in English, 1891–2000 (Oxford: Oxford UP, 2011), p.561.

2.MS 39,202/ B, in Harry Clarke Papers, National Library of Ireland. Pocket diary, 1919.

3.C.121.f.1, British Library.

4.N. G. Bowe, Harry Clarke: The Life and Work (Dublin: History Press Ireland, 2012) passim.

5.N. C. Johnson, ‘The Spectacle of Memory: Ireland’s Remembrance of the Great War, 1919’, Journal of Historical Geography 25, 1 (January 1999), pp.44; N. G. Bowe, ‘Ireland’s Memorial Records, 1914–1918’, Ireland of the Welcomes, November / December 2006, pp.18-23.

6.Royal Academy of Arts, War Memorials Exhibition 1919 (London: William Clowes and Sons, 1919); C. Smith, Victoria and Albert Museum, Catalogue of the War Memorials Exhibition, 1919 (London: HMSO, 1919).

7.Jameson, et al. v. Attorney-General, Affidavit, RDFA 020/001, Folder No.1: 1926, (3 March 1926): p.1.

8.Jameson, et al. v. Attorney-General, Affidavit, RDFA 020/001, Folder No.1: 1926, (3 March 1926): p.2.

9.Bowe lists an opening date of 1940 in Harry Clarke, p.203.

10.F. D’Arcy, Remembering the War Dead: British Commonwealth and International War Graves in Ireland Since 1914 (Dublin: The Stationery Office, 2007), p.1.

11.J. Horne, Our War: Ireland and the Great War (Dublin: Royal Irish Academy 2008), p.14.

12.K. Brown, The Yeats Circle, Verbal and Visual Relations in Ireland, 1880–1939, (London: Ashgate, 2011), pp.34–35.

13.N. G. Bowe, ‘Ireland’s Memorial Records, 1914–1918’, Ireland of the Welcomes, November/December 2006, pp.18–23.

14.J. Rendell, Profiles of the First World War: The Silhouettes of Captain H.L. Oakley (Stroud, Gloucestershire: Spellmount, 2013); L. Gosling, Brushes and Bayonets: Cartoons, Sketches and Paintings of World War I (Oxford: Osprey, 2008).

15.For example, ‘The Great War, Depicted by Distinguished British Artists,’ The Studio: An Illustrated Magazine of Fine and Applied Art, (1919).

16.T. Burnell, The Tipperary War Dead: History of the Casualties of the First World War (Dublin: Nonsuch, 2008); G. White and B. O’Shea, A Great Sacrifice: Cork Servicemen Who Died in the Great War, (Cork: Echo, 2010).

17.British Artists at the Front, (London: Published from the offices of Country Life, 1918); A. E. Gallatin, Art and the Great War (New York: E.P. Dutton & Co., 1919); R. Cork, A Bitter Truth: Avant-Garde Art and the Great War (New Haven: Yale, 1994).

18.P. Nash, Outline: An Autobiography (London: Faber & Faber, 1949), p.211. This letter from Nash to his wife dated 16 November 1917, is also cited in S. Malvern, ‘“War As It Is”: The Art Of Muirhead Bone, C. R. W. Nevinson and Paul Nash, 1916–17’, Art History, 9, 4 (December 1986), p.499.

19.K. Jeffery, ‘Artists and the First World War’, History Ireland, 1, 2 (Summer 1993), pp.42–45.

20.C. Bowen, ‘Lady Butler: The Reinvention of Military History’, Revue LISA / LISA e-journal, 1, 1 (2003), pp.127–137.

21.M. Camille, Image on the Edge: The Margins of Medieval Art (London: Reaktion, 1992). p.43.

22.C. Pennell, A Kingdom United: Popular Responses to the Outbreak of the First World War in Britain and Ireland (Oxford: Oxford UP, 2012), p.184.

23.Pennell, A Kingdom United, p.184.

24.T. Denman, Ireland’s Unknown Soldiers: The 16th (Irish) Division in the Great War, 1914–1918 (Dublin: Irish Academic Press, 1992), p.134.

25.Pennell, A Kingdom United, p.167.

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