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The collection consists of correspondence, poetry manuscripts, and typescript of part of Memoirs of An Infantry Officer (1930), the second volume of the Sherston trilogy.

All certificates are undated and stamped "cancelled"; two of the certificates are issued pursuant to supplementary letters patent granted on 25 April 1935.

Collection consists of correspondence with Hans von Bülow and several others. Photograph is of Buonamici; engraving is of von Bülow.

Bettina Randall's Charges is the second part of an illustrated story for girls which also contains seven water-coloured illustrations and another seven India ink pen-and-ink drawings.

At end of ms.: "First Part commenced 1915. Second Part finished 1920 (aged 16)". A charming period piece of the Home Front, featuring Bettina, Pixie and Trixie, Lieutenant and Mrs. Lancing, Colette, Neanette and Ronnie. Chapter 1 entitled "Belgian Flag Day" and Chapter 3 "An Air Raid". Also contains a black-and-white studio portrait of Warden herself.

The collection consists of news clippings, letters to the editor of The Hamilton Spectator from the Real Estate Board, and a report done of the McKittrick Properties, a large 700 acre parcel of undeveloped land within the Hamilton, Ont. city limits, submitted on 1 February 1919.

The collection consists of the printed announcement of the 1932 convention of the Ontario Woman's Christian Temperance Union, as well as clip sheets for meeting discussions, 1932-1934. On the verso of the convention call is a letter from May Hall, "Y" secretary, to the president, Edith Kerr.

Mary J. Mason was the sister of Kernighan. She was contacted after her brother’s death by F.E. Page of New Dundee in 1928 with regard to a memorial to her brother and later on for her memories of him. The fonds consists of three letters to Page, and a memoir of Kernighan’s life, death, and funeral (manuscript, 7 pages) sent to Page on 5 September 1933. Page was writing a life of Kernighan. In the memoir, his sister gives his date of birth as 1854. Note: Mason’s hand makes it difficult to read the name of her correspondent; “Page” is assumed but may not be correct.

The album contains eight portrait photographs of Lorraine taken by Charles A. Aylett, The Hardy Studio, and the Bain Studio. Each portrait has her name and the dates 1914-1932 stamped in gold. The first leaf of the album contains an unsigned poem of remembrance, titled “Lorraine”. It was possibly written by Wilson MacDonald. Found loose in the album was a poem written by MacDonald for Percy Gardiner. This poem has been placed in the Wilson MacDonald collection. Also in the album is a card, dated 1901, certifying that Mrs. Phillip Gardiner of Mount Forest is a member of the Methodist Church Twentieth Century Fund.

The fonds contains 11 letters written by and to Paul Nash. Ten of the letters in the collection are written to R. H. Wilenski (1887-), an art critic. The other letter is to Desmond Flower (1907-) of Cassell's. Flower writes about Nash's work on Urne Buriall in his autobiography, Fellows in Foolscap (1991).

The fonds contains a letter to The Most Reverend, The Lord Archbishop of Nova Scotia written by Gordon Cosmo Lang, Archbishop of Canterbury on August 1931. The letter concerns the relations between the Old Catholic and Anglican Churches. The letter is signed "Cosmo Cantuar" which was Lang's customary signature. The letter concerns the relations between the Old Catholic and Anglican Churches.

Collection consists of five photographs, all of which appear to have been taken at Bisley, Surrey, England. All photographs depict the team; in three of the photographs the scoring board is also on display. In 1927 the team is identified as winnter of the Mackinnon Challenge Cup. In 1929 the team is identified as the winners of the Rajah of Kolapore's Imperial Challenge Cup. The names of all the team members are printed beneath each photograph; in four the photographs their regiment names are also included.

The engravings can be divided into two groupings. There is a collection of engravings done from paintings of scenes from Shakespeare's plays. There are thirty-five of these as well as a list of illustrations from an unidentified book. The other grouping consists mainly of engravings of actors and actresses in a variety of different roles, including Shakespearean roles. A few are portraits. This grouping contains ninety-two engravings, some of them duplicates. A few are autographed: signatures include Gustavus Vaughan Brooke, Edwin Forrest, Leigh Murray, Anna Cora Mowatt, Grant Thorburn, and William Wilberforce. One engraving, a depiction of Mr. Compton as Launce, is hand-coloured. In addition, there are sixteen theatre programmes, 1881-1929, from London, England.

The collection consists of sixteen printed cards, each illustrating a virtue: Reverence, Good Resolution, Perseverance, Helpfulness, Courage, Unselfishness, Cheerfulness, Truthfulness, Love of Father, Good-will, Obedience, Ambition, Influence, Honesty, Purity, Mutual Aid. Each desired quality is illustrated with a poem and a photograph. Each card has either a red, green or brown border with the same printed design on each side of the poems. The cards were published by the Life Portrayal Series, Toronto, Ont. Someone has numbered the series by hand: 1-8, 11-16, 18, 21-22, which would indicate that some of the cards are missing from the set. Some of the cards are stained.

The collection consists of three small scrapbooks, each titled “Milestones”. The collector wrote a table of contents in the front of each scrapbook, listing the dates of performance, the title of the play and the theatre where the performance took place. There is one letter from Fred Jacob to Mrs. Doolittle dated 14 Feb. 1924.

Jacob was the musical and dramatic critic for the Toronto Mail and Empire. He was also a playwright – his plays were collected and published as One Third of the Bill in1925. He died in 1928 at the age of 46 – his obituary in Saturday Night (43, 9 June, p. 6) was written by Hector Charlesworth. His letter concerns Mrs. Doolittle’s performance in Jacob’s play, “Autumn Blooming” performed by the Arts and Letter Club Players. Mrs. Doolittle may be Anne Carew, an English actress who settled in Toronto.

She appears in every play in this collection. This may be her collection or more likely, someone collected it for her. The scrapbooks contain newspaper clippings and tear-sheets from Saturday Night (mainly reviews), programmes, ticket stubs, autographs and photographs. Most of the items have been pasted into the scrapbooks but some remain loose. There is one photograph postcard of a troupe on stage with “Merry Makers” written on a drum in their midst.

An article on Vaughan Glaser and his career has been printed off the web by archival staff and is located with the collection.

The collection consists of the typescript of Bailey’s first book of poetry, Songs of the Saguenay and Other Poems, and three other poems (“Autumn Night”, “Belle Isle”, and “Tadoussac without You”). With the exception of one leaf, all leaves are signed by Bailey. The typescripts are on the rectos of each leaf.

The collection consists of the manuscript of The Informer as well as five letters. The manuscript is contained in five school-exercise books; there is also a typescript of chapters 1-3, with numerous holograph corrections, 27 pages. There are four letter from Arthur Rogers to Walter Hill, 1926-1927 and one letter from O'Flaherty to Arthur Rogers, 1927.

The collection consists of nine black and white photographs from Underwood & Underwood and the programme from the dedication ceremony.

The collection consists of news clippings and contains reviews of two of his ballad operas, Midsummer Madness (1924) and Mr. Pepys (1926). For correspondence by Bax to Frank and Joan Waters, see the J. L. Garvin, Frank Waters, and Oliver Woods fonds.

The collection consists of 23 letters from McGee to John O'Donohoe (1824-1902), a senator.The McGee collection also contains the research materials of J. Alexander Wallace, M.P., who wrote a Master's thesis on McGee at McMaster University in 1916. The materials include: correspondence, interview notes with John M. McGee, half-brother of Thomas D'Arcy McGee, typed copy of a letter from McGee to A. M. Sullivan, editor, Nation, Dublin, 25 June 1866, and research notes concerning McGee and Whelan. (Note: There are letters from O'Donohoe in the Patrick Francis Cronin collection.)

Paper soldiers were a popular children’s entertainment or decoration beginning in the 1700s, rising to a height of popularity in the mid-19th century, before all but dying out after the Second World War. This small collection typifies the range of materials on offer from the late 1800s into the post First World War period from German printers (two of the companies were in Germany, the third was in the Alsace region, which at the time was under the rule of the German Kaiser). Some are printed on heavy card (soldaten auf karton, eg. item 1) while others on thin newsprint. There are examples of a number of styles, including simple cut-outs, others that could be glued together to create three-dimensional landscapes and objects, as well as black and white images for children to colour (eg. item 13). There is also one example of the scheibenbilder (target picture) style (item 16). German is always the first language on the sheets, but many included French and English, and some Italian and Spanish, showing the world-wide market for the material.

The Carl Joseph Scholz company of Mainz (founded 1793 and still in existence as of 2015) has a long history in both the printing industry and paper soldier manufacture. At one point their distribution of toy soldiers went as far East as Russian, and west to Great Britain and North America. The company stayed in the Scholz family at least until the Second World War.

Hohenstein & Lange operated in Berlin from 1876-1906. In 1898 the company became a joint-stock company and the inclusion of Druck und Verlag, Aktiengesellschaft Berliner Luzuspapier-fabrik vorm Hohenstein & Lang on item 11, date it to this later period.

There have been many iterations of Carl Burckardt’s original company, but they all maintained a variation of the name. The paper soldiers in this collection are all printed under the Druck u. Verlag v. C. Burckardt Nacht in Weissenburg (Elsass) imprint, which existed from 1890-1906.