The Hellmuth Wolff Organ Collection consists primarily of organ plans, pamphlets, photographs, books and periodicals, and personal correspondence. The majority of these documents are associated with or represent one of the fifty organs in Wolff’s opus. In addition to depicting Wolff’s instruments, the collection of organ plans also includes Wolff’s drawings for proposed but not-constructed organs, plans by other organ builders, and plans drawn by Wolff that are based on historical models and treatises by writers such as Dom Bédos. Of the photographs, most are associated with specific Wolff organ projects and represent a span date of the late 1960s to the early 2000s. Also in the photograph collection are images of historical organs in Europe, which Wolff presumably used in modelling and designing several of his instruments, as well as images associated with other organ projects by builders such as Casavant Frères, Karl Wilhelm, and Rieger, all of whom Wolff worked with before establishing his own workshop in Laval. The collection of pamphlets includes programs, program notes, and concert series information for several of the Recitals and concerts performed on Wolff’s instruments. Of the periodicals and books, titles include The American Organist, Choir & Organ, and Orgelforum. Also in the collection are several three-dimensional models, or maquettes, of Wolff organs.

The Bernard Gagnon Fonds consists of audio recordings, including interviews, manuscripts, correspondence, and event documentation of Bernard Gagnon, a Montreal-based electroacoustic composer who recorded his first electroacoustic pieces at McGill’s Schulich School of Music’s Electronic Music Studio (EMS) in the 1980s. The Bernard Gagnon Fonds contains the work of Bernard Gagnon a Montreal-based electoacoustic composer and performer who was active in the avant garde scene in the city during the 1970s and 1980s. He composed his first electroacoustic pieces at McGill’s Schulich School of Music’s Electronic Music Studio (EMS) and the collection includes a 2012 Tenzier recording of these works. The Bernard Gagnon Fonds is divided into 5 series and contains approximately 100 items. The majority of the collection consists of audio recordings, including interviews, manuscripts, correspondence, concert posters and programs.

The collection consists of programs and recordings of ensemble performances (including opera) by students, faculty members, and guest artists associated with the Schulich School of Music at McGill University and performed at one of the School's halls (Pollack Hall, Redpath Hall, Tanna Schulich Hall, and Clara Lichtenstein Hall), as well as some performances at venues outside McGill.

The Haemmerle family fonds reflects the life of Russian emigres in Canada and consists mainly of correspondence in Russian (1919-1960) to and from Alfred Haemmerle, his wife Amy Waht, and other family members, particularly their son Anatole. The fonds contain numerous photographs of family members and events (1904-1960), photo negatives, a small number of family documents from the 19th century, genealogical notes, newspaper clippings, postcards mainly from Japan, maps and correspondence from the 19th century in Russian dealing with Haemmerle family as well as the Larssen family in Denmark, who were Alfred's maternal relatives. There are also letters to Anatole from his aunts in England and Japan. Included are also lectures and writings by Alfred Haemmerle on cooperative banking and related subjects, financial notes, diaries, receipts, wills, deeds and newspaper clippings also in English. Aside from the photographs, the non textual records include an ink sketch, a pastel sketch Enid signed by A. Dickson Patterson, a sketch of St. Lawrence River signed by C.B.K., a small still life painting of pots, one leather pouch and one small box.

The fonds consists of textual records related to the operations and administration of the Percé Handicrafts Guild, the Black Whale Shop, as well other community initiatives sponsored by Percé Handicrafts Guild such as the the Black Whale Dental Clinic, and photographs of the shop and its volunteers. Operational and administrative files are intermingled with a range of informal correspondence, in particular many letters between Ethel Renouf and Phyllis Birks, and files of anecdotal notes and clips related to the Black Whale shop as well as to the history, flora, and geology of the Gaspé region.

Formal administrative records consist of letters patent for the Percé Handicrafts Guild, full minutes for 1939, and brief annual summaries of activities from 1933 to 1975. Legal documents comprise licence and registration papers, together with pertinent correspondence, 1938-1953, and a correspondence file relating to rental of the shop building. The financial side is illustrated by a cash book, 1934, and files of miscellaneous receipts, inventories, balance sheets and bookkeeping instructions, 1935-1971. Almost half the records of the Black Whale are informal in nature, for example, letters from Ethel Renouf to Phyllis Birks mixing personal news with accounts of shop operations and craft production, 1934-1937. Files of anecdotal notes and clippings relate the shop and to the history of the Gaspé, as well as on the flora and geology of the region. The fonds includes a copy of The Black Whale cookbook and some related records.. Some correspondence, budget notes and flyers pertain to the work of the Dental Clinic, 1939-1940. Sixty photographs featuring different views of the Black Whale handicrafts shop in Percé, Quebec, are also included. A number of photographs are individual and group portraits of the volunteers who created and ran the shop, including Ethel Renouf. A few photographs document a Black Whale Shop stand at the University of Montreal.

Fonds consists of originals, copies, printed materials and photographs pertaining to every aspect of James’ education, private life, and career.

Series consists of 1) Private and Autobiographical Records; 2) General; 3) Research; 4) Teaching; 5)
Addresses; 6) Pictorial Materials; and 7) Miscellaneous Materials.

The Dawson-Harrington Families Fonds follows the family of Sir John William Dawson, geologist and Principal of McGill University from 1855-1893, through four generations, including both personal and scientific papers of John William Dawson, his son-in law, B. J. Harrington, and his son, explorer, geologist, and Director of the Geological Survey George Mercer Dawson. Other family members include James Dawson, father to Sir John William Dawson, a Scots immigrant to Nova Scotia, printer, stationer, unsuccessful investor and zealous Presbyterian; John William's wife Margaret Mercer; their children William Bell Dawson, an engineer, Rankine Dawson, a physician, and Anna Lois Dawson. Also represented are Anna Dawson Harrington and B. J. Harrington's children, Eva Dawson and her husband, Hope Atkin, and their families

Fonds consists of originals, carbon and photocopies stemming from both the wartime and post-war phases of Currie's career. His wartime career is recorded in a copy of his battlefield diary for 2 June 1916- 8 February 1917 and commemorated in an album of signatures of the officers he commanded. Postwar materials comprise correspondence and speeches. The correspondence concerns various causes which Currie patronized and books for which he wrote introductions. His speeches (in 7 volumes, with some loose) are devoted to the war and its aftermath, politics, education, eulogies, speeches of welcome, Christmas and New Year's messages, dedications of war memorials and the like. Some are noted as having been written by Wilfred Bovey.

Description forthcoming.
Please contact McGill University Archives for further information: 514-398-4711 or refdesk.archives@mcgill.ca

The fonds consists of a typed manuscript and a xerox sheet containing information collected by R.C. Amaron about Edwin Hatch, prepared for Dr. R. Williamson of England.