Conains a log or "continuation of proceedings" of the H.M.S. Hannibal maintained by its commander, E.J. Smith.

The fonds consists of papers of the Rhodes family of Yorkshire and Quebec, approximately 1774-1975, and Percyval Tudor-Hart and family, approximately 1920-1970, including business and personal correspondence. Rhodes family, approximately 1850-1970, business and personal correspondence. Tudor-Hart family, approximately 1920-1950, Crimean war military papers, Col. Godfrey Rhodes, approximately 1850-1858, diaries and notebooks, Rhodes family, approximately 1774-1970, business and estate papers including accounts, receipts and inventories for Rhodes and Tudor-Hart properties, family history material for Rhodes family, including charts and pedigrees, drawings and sketches, mainly by Catherine and Percyval, approximately 1890-1920, and photographs and Rhodes family members and residences, Yorkshire and Quebec, approximately 1850-1968.

Much of the collection is family correspondence and papers relating to the hardware business of Thomas D. Patton, 1816-1884. There are also papers and military notebooks of Sergeant George Patton, 1823-1856 and letters concerning Douglas Church and the St. Lawrence Sunday School, Montréal, 1853-1854.

The domestic finances of the Lyman family are documented by Mary Lyman's household account book, 1849, and by family accounts from 1885 to 1889. Correspondence between the Lyman and Corse families covers the period 1820-1827. The remainder of the papers consists of Corse family business letters, 1815-1853; estate documents, largely insurance policies, 1828-1856; Roswell Corse's cash book, 1842-1853; and documents concerning his buildings, 1846; a statement by Roswell Corse concerning his late brother Henry's bastards, 1853; papers of Henry Corse concerning his contribution to the construction of St. Lawrence Hall, 1845-1847; and documents connected with building supplies, 1845-1848, and R.and H. Corse and Lyman business correspondence, 1806, 1842-1846, 1852-1853.

Madame Desrivière's diaries describe social, family and economic life in Montréal and Stansbridge, Québec. The first (1843-1846) and last (1853-1854) volumes are in French, the others in English.

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.

Collection includes a scrapbook created by Maude Lilian Bremner during her time in South Africa as a teacher to Boer children in refugee camps, as well as other related loose clippings and ephemera. The scrapbook contains newspaper clippings, postcards, and other ephemera tipped in. Many of the clippings are articles reprinting letters written home by Bremner and other volunteer teachers in her contingent. Collection also includes a published Memorandum respecting the engagement of teachers for the refugee camps in South Africa.

Collection consists chiefly of an album of photographs and clippings compiled by Cecile (Burroughs) Masson. Captions date the photographs to between 1915 and 1940, with one earlier photograph from 1883 that depicts Cecile and Rodrigue Masson's wedding. Many of the personal photographs depict members of the Masson family taken in Terrebonne, Quebec (where the Masson family home was located), in Ottawa, and during travels to Italy, London, the south of France. There are 28 leaves of full page plates of travel photographs from France, Italy, and Africa. Also included in the album are postcards and newspaper clippings. One series of postcards depicts architecture in Terrebonne, Quebec. The clippings include a letter to the editor written by L. R. Masson (Mrs. L. A. Globensky) and published in the Montreal Star, 1939. Other clippings relate to the S-Plan, a bombing campaign by the Ireland Republic Army, in 1939, as well as the British royal family. The album is half bound in faux black morocco and pebbled cloth boards with the initials C. M. stamped in gilt on the front cover. A caption at the head of the second leaf reads "This album is for mother from Grace", with "mother" crossed out. An inscription on the first leaf reads "This is for my dear daughter Cecile. Many happy memories of the past - affectionately from Mother." The collection also includes two loose black and white photograph portraits, one of which is inscribed to Aunt Cecile.

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.