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The Laurance Labadie Papers document the work and life of Laurance Labadie, anarchist writer and theorist and son of the noted labor leader and anarchist Joseph A. Labadie. The collection contains correspondence, other writings, and printed material related to Laurance's economic theory and work with the School of Living, as well as a series containing papers related to the work of Laurance's father Joseph A. Labadie.

The Laurance Labadie Papers measure 9.5 linear feet and date from 1882 to 1973. The collection documents, through correspondence and writings, Labadie's ideas on anarchism and the social problems of the time, as well as the views of many of his anarchist contemporaries, mainly from 1932 to 1972. Unfortunately, there is little material from the years before this, and little, if anything, on Labadie's family. The correspondence is especially rich for the 1930s and 1940s, when Labadie was corresponding with anarchists who had been active in the late 19th and early 20th century, and who had known Labadie's father. The papers from the 1950s and 1960s document his involvement with the School of Living, a decentralist, back-to-the-land organization that he supported. The Joseph A. Labadie papers held by Laurance are chiefly notebooks and booklets of poetry with broad subject range, and scrapbooks of news clippings about Joseph Labadie, anarchy and labor movements in the 19th century, and Walhalla, the farm of Labadie's friend Carl Schmidt.

The Lee Walp Family Juvenile Book Collection is the collection of the late Russell Lee Walp (1906-2003), an avid book-collector and Professor of Botany at Marietta College (Marietta, Ohio). Mr Walp, along with his wife, Esther "Sparkie" Walp, collected materials related to the best in 20th century children's literature, with an emphasis on well-known illustrators and their illustrations. He corresponded with many illustrators and authors, whose letters, manuscripts, and original artwork may be found in the collection. Ed Emberley and Robert Andrew Parker are the most well-represented, but Roger Duvoisin, Hardie Gramatky, Robert Lawson, and Shimin Symeon, as well as scores of other luminaries in the world of children's literature are also represented. Included in the collection are notes, bibliographies, and catalogues documenting how Mr. Walp built and used his collection to educate the public are included, along with a small amount of material related to the study and teaching of botany.

The Lee Walp Family Juvenile Book Collection contains two types of materials: information about the Walps and their collecting, and information about the illustrators and authors. Material related to Mr. Walp's collecting may be found in the following series: Personal, Book Collecting, Walp Library Catalog Cards, and Articles, Exhibits, and Lectures by the Walps. Information about the illustrators and authors is concentrated in the series Illustrators and Authors and Art, and also in Articles and Clippings, Audiovisual, Posters, and Realia. The approximately 5,000 books in the Walp Collection include a complete set of first editions of the Caldecott Medal Books, and first editions of all but three Newbery Medal-winning books. These books are cataloged separately.

The Walp Collection has material by or about over 250 children's book illustrators and authors. The two most well-represented are Ed Emberley and Robert Andrew Parker. There is also a significant amount on Roger Duvoisin, Hardie Gramatky, Robert Lawson, and Symeon Shimin.

Formed in 1913 by Carl G. Fisher, Frank A. Seiberling, and Henry B. Joy, the Lincoln Highway Association was made up of representatives from the automobile, tire, and cement industries. The Association aimed to plan, fund, construct, and promote the first transcontinental highway in North America. The route ran from New York to San Francisco, and covered approximately 3,400 miles. The Detroit headquarters of the Association closed in 1928. This collection contains: correspondence, particularly between members of the Association and government officials; meeting minutes; reports, bulletins, and newsletters published by the Association; motorist maps of the route; and annotated editions of The Complete Official Road Guide of the Lincoln Highway. Photographs from the Lincoln Highway Association Records have been digitized and are accessible online at the Lincoln Highway Digital Image Collection (http://quod.lib.umich.edu/l/linchigh). The Digital Image Collection contains over 3,000 images including views of construction underway, towns and cities, markers, bridges, cars, camp sites, scenic views, and snapshots of Association directors and field secretaries traveling the route.

The Lincoln Highway Association Records date from 1911 to 1993 with the bulk of materials concentrated before 1930. The records are divided into five series: Official Business (1912-1941), Correspondence (1912-1929), Planning (1914-1940), Publicity (1911-1993), Publications (1915-1935), Jens Jensen Drawings (1922-1924) and Miscellaneous.

The Lincoln Highway Association archive was donated to the University of Michigan's Transportation Library in 1937. The archive was transferred to the Special Collections Library in 1992.

Communication was frequent between members of the Association as well as with officials from towns, counties, states, and the federal government. Correspondence and meeting minutes make up an important part of the collection. The Association published reports, bulletins, and newsletters to keep board members and the public aware of the Highway's progress. Maps of the driving route along with mileages were provided for motorists for navigation as were five editions of The Complete Official Road Guide of the Lincoln Highway .

Photographs from the Lincoln Highway Association Records have been digitized and are accessible online at the Lincoln Highway Digital Image Collection (http://quod.lib.umich.edu/l/linchigh). The Digital Image Collection contains over 3,000 images including views of construction underway, towns and cities, markers, bridges, cars, camp sites, scenic views, and snapshots of Association directors and field secretaries traveling the route.

This collection details the correspondence and writings of Louis J. Berger, an avid bicycling journalist and enthusiast in the 1880s and 1890s. The collection pimarily consists of his correspondence, most of which is related to bicylicing ethusiasts and cycling clubs. The Bicycling series relates to cycling clubs and magazines, as well as newspaper clippings, song lyrics, and bicycle part receipts. Berger himself worked as the editor for the "Bearings" bicycling magazine in the early 1880s, and as the editor for "Cycling Life" after moving to Chicago in 1887.

The collection is divided into three series: Correspondence, Bicycling, and Personal Clippings and Pamphlets.

The Correspondence series (0.7 linear feet, 1882-1898) contains the bulk of the collection. The correspondence is arranged in alphabetical order by correspondent. The majority of the correspondence is to L. J. Berger. There is a note, "includes outgoing," if letters from Berger to the correspondent are included. In general, there is one letter from each correspondent.

The majority of the correspondence is related to bicycling, either the cycling clubs of which Berger was a member or the cycling magazines where he served as an editor and correspondent. The correspondents range from business acquaintances to good friends of Berger and include editors and writers for sports magazines, officers of the League of American Wheelmen (L.A.W.) and other bicycling clubs, individuals involved in the manufacturing industry related to bike production and cycling enthusiasts.

Correspondence from bicycling clubs and bicycling enthusiasts discuss road conditions and routes, compare bike models, describe club events and travels and analyze club election politics. Two of the more frequent correspondents are Thomas White (Illinois) and James W. Neil (Missouri). A portion of the letters discusses the L.A.W. organization, events and the politics associated with officer elections, most notably from William M. Brewster, E.A. Clifford and Isaac B. Potter..

Correspondence related to the cycling magazines typically discusses obtaining correspondents across the country, the topics they should write on and negotiations of payment. Correspondence includes Berger's efforts to obtain facts for articles and direct correspondents as well as the reactions of readers to the magazines. Berger was an outspoken editor and some of the reader response is in reaction to his criticism of their company or organization. L. J. Berger also wrote road books for bicyclists, and some correspondence concerns road conditions in Missouri for his book.

Bicycling (11 folders, 1885-1941) includes papers related to cycling clubs as well as a letter to Cycling Life protesting an editorial, a note on Bearings finances, a few newspaper clippings with images of bicycles, song lyrics for biking songs and receipts for bicycle parts.

The three cycling clubs represented in the collection are the Chicago Cycling Club, the Missouri Bicycling Club, and the St. Louis Ramblers. For the Chicago and Missouri clubs there are announcements for meetings, membership lists and receipts for membership dues. The majority of the material is related to the St. Louis Ramblers and includes meeting minutes, financial statements, correspondence from when L. J. Berger was the secretary and circular letters from the 48th annual meeting of the St. Louis Cycling Club that outline the history of bicycling in St. Louis in the 1870s and 1880s and discuss the changes in bicycling up until the time of the meeting in 1935. Personal Clippings and Pamphlets (1 folder, 1916-1922) contains materials collected by Berger that are not directly related to bicycling. The topics include motorcycles and automobiles, engine technology, phonographs and how to learn shorthand.

The Lucius L. Hubbard Papers consist of correspondence received by Hubbard in the years of 1918 through 1922, largely regarding the publishing of two monographs: A Dutch Source for Robinson Crusoe (1921) and Contributions Toward a Bibliography of Gulliver's Travels (1922). The folders that comprise this collection are sorted chronologically, which retains the original order of the papers.

The Lucius L. Hubbard Papers contain correspondence received by Hubbard in the years from 1918 through 1923. Despite his prominent career in the field of geology, these letters focus on his other scholarly pursuits, particularly his collection and study of Robinson Crusoe and Gulliver's Travels. Through his collection of various editions of these novels, as well as others, Hubbard developed bibliographic records and analyses through the publishing of monographs regarding these texts: A Dutch Source for Robinson Crusoe (1921) and Contributions Toward a Bibliography of Gulliver's Travels (1922), respectively.

The letters contained within these papers contain correspondence between colleagues, publishers, and other interested parties regarding Hubbard's literary pursuits and the path towards publication. Several letters discuss attempts at publicity in various mailings to spur interest in the scholastic merit offered through Hubbard's bibliography. While many others are from collaborators discussing the ongoing work towards Hubbard's developing collection and his manuscripts.

This collection includes five letters, both handwritten and typed, between American playwright Marion Short and her publisher, Edgar S. Werner and Co. The correspodnence discusses selling copies of her works, "A Legend of Bubble Land" and "An Orchard Romance" as well as depicting Short's growth of her career as demands and taste change with the ratification of the 19th Amendment. Details provided by Whitmore Rare Books.

Five letters of correspondence between American playwright Marion Short and her publisher, Edgar S. Werner and Co. The letters span between 1896 and 1928 and show an evolution of Short's career and ability to adapt as a businesswoman. Notable areas of research include: LGBTQ+ studies, women's business collaborations, women's literary collaborations, the history of theater and film in the US, the role of early women in film, and the rise of women in publishing after suffrage. Since this collection is one folder, it is housed with other single folder collections.

Details provided by Whitmore Rare Books.

Consists primarily of manuscripts of unpublished biographies, plays, and short prose. Correspondence with many prominent journalists, historians, novelists, and other early 20th century literati includes both criticism of Phelps's writing and general discussion of the writer's craft. Accompanied by research materials, photos, and illustrations for several works including her only published book, Kate Chase, dominant daughter (New York: Thomas Y. Crowell Company, 1935); 1 scrapbook; and 1 record book showing the dates manuscripts were sent to and returned by publishers.

This collection is comprised of correspondence, research notes and related materials, and short prose. It is arranged into four different series.

The Mike Gold (Irwin Granich)/Mike Folsom Papers date from about 1901 to 1990, and measure about thirteen linear feet. They are divided into twelve series: Correspondence (1901-1990 and undated); Writings (1904-1989 and undated); Biographical Materials (1954-1969 and undated); Individual Files (1905-1978 and undated); Periodicals (1913-1958 and undated); Newspaper Clippings (1924-1980s and undated); Events and Activities (1935 1972 and undated); Notes and Journals (1906-1962 and undated); Personal (1930s-1967 and undated); Miscellaneous (1935-1970s and undated); and Visual Materials (1923-1960s and undated).

The first series, Correspondence, contains items dating from 1901-1990, and measures 1.5 linear feet. It includes correspondence materials from both Mike Gold and Mike Folsom, as well as some materials written between two other outside parties which it seems that Folsom used in his research and writing. It also includes letters to and from Gold and his wife, Elizabeth, as well as their sons, Carl and Nick. There are a variety of prominent figures included in the correspondence, including such persons as Theodore Dreiser, Elizabeth Gurley Flynn, Joseph Freeman, Ernest Hemmingway, Walter Lowenfels, Lewis Mumford, and Upton Sinclair, along with a host of others. Of particular interest is the early correspondence between Sinclair and Gold, the H.L Mencken correspondence (on microfilm), Folsom's correspondence with Gold and other literary figures and writers in the 1960s and 1970s, and the topical folders on Gold's application for a Guggenheim fellowship in 1928-1929 and 1935-1936, and on the Estate and Papers of Mike Gold, which provides some insight into the history of the papers themselves. It should be noted that in particular during the 1960s it is often difficult to distinguish between the correspondences of Gold and of Folsom because many letters are simply addressed, "Dear Mike".

The second series, Writings (1904-1989 and undated) is the largest series at about 7 linear feet. It primarily contains manuscript and published materials by Mike Gold, including books (no manuscripts), fiction (including many manuscripts), drama (including manuscripts), poetry (including many manuscripts), song lyrics (mostly published), columns and articles (mostly published, also including some manuscripts), and other writings (some manuscripts and some published materials). Also included in the series are the writings of Mike Folsom (including manuscripts and published materials), and the writings of other people (including his wife), such as dissertations, published articles, and a number of manuscripts.

The third series, Biographical Materials (1954-1969 and undated) includes about 0.75 linear feet of materials. There are some of Gold's manuscripts for the autobiography/memoir book he was working on towards the end of his life, as well as transcripts from interviews with Mike Folsom and some notes, and a few published items relating to Gold's life. Most of the items in this series seem to have been produced by Gold and Folsom during the time they were working together on Gold's autobiography/memoir, although a few items dated earlier suggest that Gold had been working on and off on the project himself for some time before collaborating with Folsom.

The fourth series, Individual Files (1905-1978 and undated) measures about 0.25 linear feet. This series is composed of folders relating to a specific individual, including a number of prominent people as well as some lesser-known figures. The materials included in the series are mostly notes and articles, although in some cases there are other items such as pamphlets and images included in the folders. Most of the people included in the series figured prominently into Gold's life (either personally, professionally, or both), or into Folsom's own research on Gold or other proletarian writers.

The fifth series, Periodicals (1913-1958 and undated) also measures about 0.25 linear feet. It includes mostly small collections of such titles as The Flame, The Liberator, The Masses, The New Masses, The Oakland Post Enquirer, and The Scarsdale Inquirer, for which Gold wrote over a period of years or months. These contain published versions of Gold's writings (some under the name Irwin Granich) and give an idea of how his writings appeared to readers at the time of their original publication.

The sixth series, News Clippings (1924-1980s and undated) includes 0.5 linear feet of folders containing dated and undated news clippings. These appear to be items clipped by Gold (to 1967) and Folsom, sometimes used for research or to write an article, or for personal interest. A few of the folders are somewhat topical within a time frame, such as pertaining to the H-bomb and McCarthyism, but most contain articles on a variety of subjects.

The seventh series, Events and Activities (1935-1972 and undated) is about 0.25 linear feet in size. It includes materials from events Mike Gold attended as well as a number of events held in his honor, and materials from his national speaking tour in 1954 in honor of his sixtieth birthday, including manuscripts.

The eighth series, Notes and Journals (1906-1962 and undated) contains both 0.75 linear feet of foldered materials and two boxes of card files. There are a large number of Gold's notebooks and notes, a diary, as well as some address books and address and business cards, and a childhood autograph book. Also included are Folsom's loose and topical notes (although Folsom's notes, where possible, have been kept with the materials with which they were found in the papers) and a notecard file housed in two small shoebox-sized boxes. Most notebooks and notes are not labeled or dated, making it difficult to distinguish what they are about and when they were written.

The ninth series, Personal (1930s-1967 and undated) is the smallest series at about 0.1 linear feet. It contains folders on such subjects as Gold's family, medical and financial information (mostly social security), and his death, including articles and obituaries.

The tenth series, Miscellaneous (1935-1970s and undated) measures about 0.65 linear feet. It includes some topical files on subjects, a variety of items on various social, political, and scholarly interests, and some folders relating to Folsom's own interests and activities, particularly after Gold's death, and general materials which did not fit in elsewhere in the papers.

The eleventh, Visual Materials (1923-1960s and undated), measures about 0.5 linear feet and is housed in a separate smaller box. It includes photographs, microfilm, and a few illustrations. Most of the items are undated, except the microfilm. The photographs date from Gold's childhood to the end of his life, but most appear to be from the 1920s through the 1940s. A number of photographs are from Gold's visit to Ernest Hemingway's home in Florida, where Gold vacationed and went fishing in about 1929- 1930. There are also some unlabeled and unidentified photographs, and some photographs which have been removed from other items in the collection (such as correspondence) for preservation purposes.

The twelfth and final series, FBI File, measures about .75 linear ft. In 1978 Mike Folsom requested Mike Gold's FBI file under the Freedom of Information Act. He received photocopies of the documents in Gold's file with some information blacked out by the FBI to protect the privacy of informants and other individuals. In 2002 Nick Granich offered the Labadie copies of his copies of Mike Gold's file. Since the Labadie's copies are at least third generation some information is obscured, but for the most part the documents are legible. The documents were left in the order in which the Labadie received them. The organizational scheme is primarily topical and chronological. If any records did seem out of place, they were left as is to preserve the original order. The FBI reports cover the years 1941 to 1967 with additional correspondence between Mike Folsom and the FBI in 1978.

The Ogden E. Edwards Family Papers span over a hundred years (1820-1938) and through multiple generations of the Edwards' family. The focus of this resource is primarily on Ogden Ellery Edwards II, who acted as a businessman as well as an American consul in the Philippines after leaving California in the early 1850s. The resource is made up by letters between members of the Edwards family and their acquaintances, personal recollections from Ogden Ellery Edwards II, and various print materials.

The Ogden E. Edwards Family Papers consists of correspondence and other genealogical records that trace the family history of Ogden Ellery Edwards II, who had a prolonged stay in the Philippines (specifically, in Manila) operating a trade venture. It includes records of the generations before and after Edwards II, as well as specific writings reflecting on his time in the Philippines. This collection contains four series: Correspondence, Manuscript, Diary, Visual Material, and Periodicals.

Other members of the family featured in this collection, include, but are not limited to: Ogden Ellery Edwards I, Catherine Shepherd, Nellie Edwards, Annie Edwards, Fanny Edwards, Robert Edwards, Warren Rogers II, Henrietta Shepherd, Ogden Ellery Edwards III, and Ogden Ellery Edwards IV.

The Orson Welles – Oja Kodar Papers includes scripts, production documents, photographs, and other materials from Orson Welles's work in film and other media. General correspondence, topical files, papers related to Oja Kodar, and personal materials also make up a portion of collection. The bulk of the papers date from the 1960s to the 1980s with a smaller amount of material from the 1930s-1950s. The Additions to the Welles-Kodar Papers series, acquired in 2015, complements the scripts, correspondence and photographs already held, but also include annotated typescripts of drafts for a planned memoir, additional on-the-set photographs from films, television, and other projects, personal photographs, and documents from collaborations between Welles and Kodar.

The Orson Welles - Oja Kodar Papers primarily document the creative activities of Orson Welles during the last two decades of his life. The papers also contain a smaller amount of materials from the 1930s through the early 1960s. The materials in this collection were obtained from Oja Kodar, his companion and creative collaborator from the 1960s until his death in 1985. Additional papers were acquired in 2015 and are described below in the Additions to the Welles-Kodar Papers series.

The Welles-Kodar Papers have been divided into thirteen series: Theater, Radio, Film, Television, Other projects, Magic, Name and topical, Personal, Oja Kodar, Sound, Motion pictures, Realia, and Articles and clippings. Though much of the collection was loose and unordered, any parts of the collection that were grouped or organized by Welles, his assistants, or Oja Kodar have generally been kept in their original order. The loose, unorganized papers were then arranged according to the patterns that seemed exist in the material that was organized. Essentially, the current organization of the collection is an attempt to more fully implement the organizational schemes that Welles and Kodar were employing in the collection.

The first five series (Theatre, Radio, Film, Television, Other projects) represent the bulk of the collection and are arranged by project. For example, all materials relating to Citizen Kane including correspondence, photographs, and production documents, are kept together, physically and intellectually. The projects are then ordered chronologically. For example, immediately after the Citizen Kane (1941) materials are materials related to Welles' next project, The Magnificent Ambersons (1942). There are two exceptions to this project-based arrangement, where two groups of materials were kept together by production company (Astrophore and Roprama Film). Researchers should also note that Welles often worked on several projects at once so a memo filed, for example, under F for Fake (1974), may touch on Blind Window , which he was working on in roughly the same time period. Browsing through material from projects that occurred during the same general time period may therefore be a useful search strategy for researchers.

The Magic series, consists of a small amount of magic books, scripts for tricks, correspondence with magicians, and playing cards, reflects Orson Welles' strong, life-long interest in magic.

The remaining seven series (Name and topical, Personal, Kodar, Sound, Motion pictures, Realia, and Articles and clippings) contain material not generated during the making or distribution of Welles' creative projects. The Name and topical series consists of an alphabetical set of subject and name files material may range from correspondence with friends to posters from film festivals honoring or featuring Welles's work. The Name and topical series also includes correspondence with many famous filmmakers and actors and actresses. The Personal series contain photographs of Welles and materials relating to childhood friends, family, Welles's houses, and personal legal and financial matters. The Oja Kodar series includes material from her career as a sculptor, scripts she wrote, and some correspondence and personal material.

The final series: Sound, Motion pictures, Realia, and Articles and clippings, are relatively small (taken together they take up roughly 3 linear feet). Some material of note include cigar boxes on which Welles jotted various notes and a set of acetate records which seem to include a rare Welles radio performance.

The Theater series consists of a few files (about .1 linear feet) with he contents made up primarily of photographs and some programs from relatively early in his career, including the Mercury Theatre, as well as some from after he started working in film. Dates span 1934-1960.

In 2015, the library acquired the remaining Orson Welles papers in the possession of Oja Kodar. The Additions to the Wells-Kodar Papers series has been arranged into eleven series, mirroring the arrangement of the papers in the original acquisition. The series are: Theater, Radio, Film, Television, Other Projects, Magic, Name and Topical Files, Personal, Oja Kodar, Biographical Works, Clippings and Articles, and Oversize Photographs.

The Radio series consists of a few files (about .1 linear feet), related to Welles' work in the late 30's and early 1940s, including photographs, scripts, articles, and correspondence.

The Film series is the largest in the added material, comprising ca. 3 linear feet of scripts, drafts, correspondence, articles and clippings, promotional materials, and photographs. Films represented include both those directed by Welles and those directed by others in which he acted or participated. The series is arranged chronologically by film, dated according to their first public showing or general release date. Unfinished or unreleased projects are identified with an approximate date range of the years in the work took place.

The material related to the earliest films from the 1940s and 1950s consists primarily of photographs. Later unfinished films of particular interest include The Deep, Because of the Cats, The Other Side of the Wind, Crazy Weather, Assassin/The Safe House, The Other Man, The Dreamers, Big Brass Ring, and King Lear. Also included is articles, promotional materials, correspondence, and photographs from Don Quixote, filmed on and off from the late 1950's to the early 1970s. Materials are primarily related to the version which was released in 1992 after a the footage was edited and finished by director Jesus Franco, but the photographs are from the original filming.

As with drafts in the earlier accessions, Welles typically worked on scripts in sections, producing successive drafts which he then amended. The collection preserves many pages of these working drafts, which sometimes also include Welles's typed or written notes about the story and characters, along with messages to and from his typists. Minimal reorganization of the papers was done in order to preserve evidence of the process, and there are many files of "drafts" which may contain repetitions and out-of-sequence pages, filed as they were found. As Welles often worked by inserting new pages into older drafts or blending together several different versions of a scene, page numbers may not follow a logical sequence. In many cases no information about the script material was recorded before it was filed away, so dating the drafts is difficult. The dates assigned to this material are approximate. Because of the lack of identifying information on some of the material, a miscellaneous sub-series is included at the end of the series, which includes unidentified photographs and drafts of scripts.

The Television series comprises about .4 linear feet, and includes scripts, photographs, correspondence, and other materials relating to projects that were originally meant for television. This includes The Orson Welles Show, a talk show that only ever shot one episode with guests Burt Reynolds and the Muppets. Aslo included are materials related to Orson's Bag, a collection of short films including Swinging London, Stately Homes, and the Merchant of Venice, the contents of which were eventually released in 1995 as part of The One-Man Band. Other materials reflect the initial stages of a Christmas TV movie and a special for NBC.

The Other Projects series (.1 linear ft.) includes materials related to Welles' non-film related work, including advertising and vioceover work, as well as correspondence about various job offers.

The Magic series (about .5 linear ft.) includes scripts, correspondence, photographs, and other materials related to Orson Welles magic performances, including the Mercury Wonder Show, and television specials The World of Magic and Orson Welles' Magic Show. Also included are collected printed magic tricks, drafts of trick patter that he used during performances, articles and clippings, and drawings of costumes.

The Name and Topical Files series (approximately 1 linear ft.) contains primarily correspondence and various other materials arranged alphabetically by the name of a person, place, event, or subject. The series includes letters from directors and film executives such as Martin Scorsese and August Coppola, actors and actresses such as Charleton Heston and Charles Fawcett, close friends such as Roger Hill and Peter Bogdanovich, and some fans of Welles's work. Also included are posters, programs, and other materials related to film festivals and tributes to welles, including the Cannes International Film Festival and the American Academy of Arts and Letters.

The Personal series (1 linear ft) includes a variety of materials related to Welle's personally, rather than his screen work. This includes drafts of his writing including essays and articles about various topics, including Shakespeare and tributes and remarks about others in the film business, as well as untitled, unidentified drafts. Also in this series are works by others given to or collected by Welles including poems, short stories, and tributes. Most significant is the material from Welles' unpublished memiors, both in draft form and shorter more organized versions, along with notes, correspondence, and photographs meant for the book. Additionally, there are miscellaneous personal documents, including the notes he would write himself with lists of things that needed to be done, and notebooks with similar content as well as several doodles, one a self protrait. Correspondence with his daughters and Oja is also found in this series, as well as personal and family photographs, some from very early in his life.

The Oja Kodar series (approximately .75 linear ft.) consists of materials related to Oja Kodar's work both with and Without Orson Welles, as well as correspondence, and personal matters. The series is divided into subseries for film, writing, name and topical files, and personal. The writing and film subseries both include unpublished drafts of scripts and stories. The personal subseries included several topics related to Orson Welles' estate after his death, including real estate, legal papers related to the dispute over film rights, and Oja's eulogy for Welles. Also included are materials from her sculpture work and photographs.

The Biographical Works series (about .25 linear ft.) includes published and unpublished works about Welles written by others, including a collection of annotated correspondence, "Orson!:An Original Play", drafts of biographies by Jonathan Rosenbaum and Barbara Leaming, and a copy of The Unknown Orson Welles.

The Clippings and Articles series (approximately .5 linear ft.) is a collection of articles and clippings about Welles from various publications including magazines and newspapers. Materials are mainly arranged chronologically from before 1970 to 2014, but also included are folders of undated materials, undated clippings from Croatian/Yugoslavian publications, and photographs clipped from articles.

The Oversize series comprises two oversize boxes with oversize photographs that correspond with materials in the Film, Television, Magic, Personal, and Oja Kodar series and follows the same order. The magic subseries includes pages from a scrapbook with images from vintage magic ephemera together with images of Welles performing magic.