Fonds consists of a manuscript of Mémoires de mathématique et de physique contenant un traité des épicycloïdes (published in Paris in 1674) and illustrated with mathematical diagrams.

Fonds consists of contemporary manuscript copies of various legal records and instruments relating to the Capacci family. Includes one manuscript written on parchment in pale brown ink, ruled in pale brown ink, and bound in full contemporary blind tooled calf with laid paper endpapers and remnants of ties on covers, as well as a smaller booklet, written on parchment glued into a laid paper wrapper. Documents appear to be dated between 1556 and 1583 and are written in Latin and Italian (sometimes alternating within document). The legal instruments appear chiefly related to the dowry of Orietta Capacci (the dowry is also referenced in an Italian note in a later hand (1650?) inside front cover). Some names found throughout the documents include Orietta Capacci (or Orietta de Capacci) and Annibale (or Anibal) Camillo de Capacci.

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.

The collection consists of correspondence, research files, manuscripts, journals, and ephemera created and accumulated by writer and scholar Leon Edel, who was notably the editor and biographer of Henry James as well as Edmund Wilson.

The fonds documents Judith Fitzgerald’s personal and professional activities as a journalist, poet, and country music enthusiast, put together by Fitzgerald herself, documenting her work from the years 1965 to 1995. The majority of the records consists of research about individuals and musical acts, as well as other work-related projects that Fitzgerald was involved in. These include notes, drafts, and published work written by Fitzgerald, as well as various publications that she collected about the subjects and projects she worked on. The fonds also notably includes Fitzgerald’s creative work, including notes, drafts, manuscripts, and copies of her published books of poetry. Other materials include correspondence between Fitzgerald and friends, publishers, and individuals and institutions that she covered in her research. In addition, the fonds includes some financial records and personal records relating to Fitzgerald’s day-to-day activities and significant events in her life. These records include her marriage certificate, scrapbooks containing collected publications on herself, and notes on her autobiography.

The fonds documents Dorothy Duncan’s personal and professional activities as an American-born Canadian writer and painter, primarily between 1930 and her death in 1957. Duncan’s career as a writer is represented by scrapbooks, clippings, and photographs related to her published works, two unpublished manuscripts, and contracts and correspondence with publishers and her literary agent in New York. Her activities as a painter are documented in clippings, lists of paintings, and contracts with art galleries. The fonds also contains personal correspondence, including letters from friends, family, fans, and a significant number of letters from her husband, Hugh MacLennan. Duncan’s notebooks and diaries also attest to her personal and professional activities. They document her early adulthood in Illinois and her later life in Montreal, and include notes, agendas, and a ledger. The fonds also contains two albums of personal photographs.