The William Weintraub fonds documents Weintraub's career in documentary film and literature covering the period between approximately 1950 to 2000. The fonds falls into four series: (1) literary correspondence, (2) literary activities, (3) documentary filmmaking, and (4) biographical materials, personal correspondence, and career ephemera, documenting Weintraub's early life as well as theatre programs, pamphlets, and other collected material. Weintraub's career as a documentary film maker both as a freelance and with the NFB (1965-1986) with some 150 films to his credit is well documented including his work in Africa. The material includes scripts, research notes and correspondence. In some cases copies of the films are included. Material related to the NFB also includes newsletters, office files, and correspondence. The material documenting Weintraub's literary career includes drafts, proofs, correspondence and reviews for his two novels Why Rock the Boat? (1961) and The Underdogs (1979). In addition, the former was made into a film and extensive files relate to this. The latter novel was adapted for the stage and drafts, publicity and material relating to the controversy it aroused are included. Weintraub's book on Montreal in 1940s and 1950s City Unique (1996) is documented with extensive research files, drafts, reviews and correspondence. The literary correspondence with Mavis Gallant (127 letters), Brian Moore (603 letters) and Mordecai Richler (210 letters) constitutes a major source for the study of three prominent Canadian writers in the last half of the twentieth century. In addition, there are copies of 280 letters from Weintraub to Moore and 123 copies of letters from Weintraub to Richler. While the Gallant correspondence dates primarily from the 1980s with only 8 letters from 1950-1951, the Moore and Richler correspondence is continuous from the 1950s. This latter correspondence reveals the close involvement of Weintraub in the development of the work of both Moore and Richler.

This archive contains letters and copies of letters, from the Wisdom sisters to one another, describing their experiences at Royal Victoria College, 1900-1908. There is also a letter from Stephen Leacock, accepting an invitation to deliver an address, and two from Hilda Oakeley to Mrs. Wisdom. Programmes (particularly of R.V.C. plays and sports events), clippings, and photographs are also included. There are also course notes for C.W. Colby's Renaissance history and William Caldwell's history of modern philosophy.

Collection consists of 38 letters written primarily by John Wood Senior to family members in England. Many of these were written to a sister or sister-in-law and a few are addressed to his brother, Will Wood, a watchmaker and jeweller in London, including two in which Wood includes a list of trade supplies to order. Four letters are from John Wood's son, Peter Wentworth Wood. One letter is by John's wife, Anna. Contents include topics such as the country's economy, Canadian-British politics, the Woods' watchmaking and jewellery business, crops, slavery, and the American Civil War, as well as local Montreal news on subjects such as fires, the Victoria Bridge, a cholera outbreak, the 1856 Railroad Celebration, and a visit by the Prince of Wales. Letters also include family news, particularly of John Wood's children Peter, John, and Charles, seafaring disasters, gold mines, improvements in shipping in the St. Lawrence seaway and the Atlantic Ocean, the expansion of railroads, and the Atlantic Telegraph. Letters date between 25 November 1839 and 13 December 1867. One is a crossed letter.

The fonds contains correspondence related to the Osler Library and its holdings with people such as Maude Abbott, Edward Archibald, William B. Bean, Edward Horton Bensley, Archibald Malloch, Casey Wood, as well as John Farquhar Fulton, Keeper of the Medical History Collections at Yale University's library; the fonds also contains a typescript of talks by W.W. Francis (titled "Showman's Patter") about books and other items held in the Osler Library.