Fonds consists of correspondence, reports, proceedings, brochures, pamphlets, and news clippings. The material documents the movement for the proposed Quinte Parkway, which ultimately became the Loyalist Parkway.
Fonds consists of correspondence, manuscripts, subject files, news clippings, tape recordings, galley proofs, a relatively complete bibliography of his work, a videocassette copy of "Rare 'Home Movies'" originally shot in the 1940's and 1950s, and photographs. Included are memorabilia and conference papers from Mr. Gustafson's career as a poet, critic, and scholar.
Fonds consists of correspondence, subject files, clippings, war diaries and notebooks relating to all aspects of Edmison's career in the fields of criminology and university administration, including the National Parole Board of Canada, and Queen's University at Kingston. In addition, it contains a very large collection of his writings, addresses, and photographs. Also includes material relating to Edmison's work with the United Nations Relief and Rehabilitation Administration.
The fonds consists of copies and transcriptions of records relating to World War I and World War II; the Colby Collection description; calendars of some records; 106 photographs relating to World War II; and finding aids for several collections in the museum, including the papers of Sir Henry Tizard, 1885-1959.
Fonds consists of correspondence received by A. E. Prince from his family and friends during the period of 1909 to 1946. Also included are publications by A. E. Prince, as well as other Queen's colleagues, teaching notes, household expenses, memberships, clippings and programmes for various theatrical and musical events. Of particular note are the photographs taken by Prince during his tour of duty in Cairo, Palestine, and Egypt.
Fonds consists of the material created and accumulated by Mary E. Rawlyk in pursuit of her artistic work. The collection consists of biographical information; newspaper clippings that include clippings on Rawlyk and her work and exhibitions; photographs of the artist and her exhibitions and workspaces; art show memorabilia including gallery pamphlets and promotional information; journals, letters and correspondence including personal journal entries, correspondence between public & commercial galleries, and personal correspondence; teaching documents from Rawlyk’s time teaching at St. Lawrence college; lists of inventory and lists of work; rentals and sales information; materials Rawlyk had compiled to create a catalogue of her work and website information; photographs of maquettes; catalogues from galleries and exhibitions; and contextual materials.
