Series is comprised of approximately 15 of colour slides, date unknown, and five black and white photographs.

This series consists of research, writing, and correspondence files relating to Casey Wood's major and minor publications and unpublished works, as well as, others assisting in Wood's publications, research, or writing about Wood. The majority of the research and writing materials for Wood's published and unpublished works were created between 1920-1940, while other materials collected during Wood's life, those associated with his memoir and obituary, date from approximately 1850-1943.
Some prominent writings by Wood include “Introduction to the Literature of Vertebrate Zoology” (1921-1956), his unpublished memoir (ca. 1850-1939), “Fundus Oculi” (1911-1934), Wood family history (1920-1940), “Birds of Fiji” (1920-1928), “Through Forest and Jungle in Kashmir and North India” (1921-1934); Persian, Arabic and Hindustani manuscripts (1927-1934); and “The Art of Falconry” (1942).
The series consists of many volumes and files containing a number of record types including manuscripts, typescripts, proofs, publications, photographs, correspondence, clippings, printed material, postcards, journals, administrative and financial records, and artwork. Some of the volumes are scrapbooks containing many of these materials mounted within, while others include similar materials bound within. These volumes do not necessarily have a clear organization but are sometimes arranged chronologically or by correspondent.

There are 2230 incoming and outgoing pieces of correspondence including letters, postcards, notes, telegrams, and cards. Subseries 1) Introduction to the Literature of Vertebrate Zoology includes 1313 pieces of correspondence, the largest number of correspondence within the collection.

This series consists of glass plate negatives and other photographic materials with their original boxes relating to the Feather Book, ornithology, falconry, McGill University Library, and Casey Wood. The majority of the glass plates were produced in Berlin, Germany by Agra, while a few were produced in London, England and Toronto, Canada; which is indicated on the boxes the plates were contained in. On many of these boxes, McGill University librarian Dr. G. R. Lomer’s name appears, indicating these plates and photographic materials were used for library-related activities. Most of the plates, photographs, and photographic negatives (1927, 1930, 1956) show pages from the Feather Book by Dionisio Minaggio. Other glass plate negatives and photographic material depict artwork or images relating to ornithology and falconry, a portrait of Casey Wood (1927), Gronvold’s painting of Wood’s parrot John III (1930?), an ornithological archeological exhibit in the Redpath Library (1924), and library stacks in the Redpath Library (1924).

According to the series descriptions found in Box 308, the series consists of five bundles of sheets summarizing the patient record details of the files contained in Series A.

The series consists of records pertaining to Duncan’s published works and art work. The series contains four scrapbooks of clippings related to each of her published books: “You Can Live in An Apartment” (1939), “Here’s to Canada!” (1941), “Bluenose: A Portrait of Nova Scotia” (1942), and “Partner in Three Worlds” (1944). Duncan’s work as a writer is also represented by publishing contracts from houses in New York and London (1940-1946), a series of photographs and captions that were used in “Here’s to Canada,” and files of newspaper and magazine clippings of articles written by and about Duncan, including a feature that she wrote about Gabrielle Roy. Duncan’s work as an artist is documented by files of clippings and contracts with art galleries. There is also a list of Duncan’s paintings included in one of the notebooks in Series 5 Notebooks and Diaries (1931-1957).

The series consists of research files on the Palestinian bridge.

Series consists chiefly of architectural photography from Italy and France, featuring building exteriors and exteriors and details such as doorways, crests, and capitals. Photographs are mostly undated. One file contains photographs of public buildings in the United States and one photograph of a Royal Canadian Mounted Police garage in Montreal Quebec.

Series consists of manuscripts, typescripts, and correspondence regarding various personal, non-architectural projects undertaken by Nobbs, in particular the design of his deflected northern lighting system for the National Research Council.

Series E consists of 33 folders containing patient files arranged chronologically with alphabetical sub-arrangement. It includes admission, discharge summaries, and Dr. Cone’s holograph notes.

Correspondence relating to Nobbs' participation in several professional organizations, specifically the Art Association of Montreal (1916-1933), the Royal Institute of British Architects (1927-1929), the Royal Canadian Academy of Arts (1928-1939), the Royal Society of Arts (1938-1940) and the Royal Architectural Institute of Canada (1955).