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The collection includes financial records, photographs, and reports of the Ormsby dairy farm.

The collection includes mostly financial reports, such as: expense and income reports, 1957-1964; comparison of annual farm business reports, 1930-1938; inventory reports, 1964-1975; and farm account books, 1930-1948, undated. Two aerial photographs of the farms are also included. Many of the financial records and forms are from Michigan State University’s Cooperative Extension Services or Main-In program.

The Orson Welles-Chris Welles Feder Collection is an assortment of material on Orson Welles collected by his eldest daughter Chris Welles Feder. She was born Christopher Welles in 1938 to Orson Welles and Virginia Nicolson Welles. The collection includes letters written by Orson Welles to his first wife, Virginia Nicolson, and family photographs. Also included are clippings and articles, audiovisual materials such as movies or TV shows dedicated to Orson Welles, and miscellaneous material such as postcards, exhibition programs, and catalogs. The collection has five series: Correspondence, Clippings and Articles, Photographs, Audiovisual, and Miscellaneous.

The Correspondence series contains letters written mainly by Orson Welles to his wife Virginia Nicolson from 1937-1952. They were married in 1934 and separated in 1939 when Orson moved to Hollywood and Virginia visited Ireland with her friend Geraldine Fitzgerald. By 1940 the couple legally divorced. The letters are a combination of handwritten and typed letters and some include drawings in the margins by Welles. A significant series of letters are the ones written between July-August 1939 to Virginia. They provide insight into Welles's professional transition from New York to Hollywood, describing his first month on the West Coast and his introduction to the world of movie-making. Responses from Virginia Nicolson Welles are not included. The early photographs, wedding announcement, and Christmas card of 1937 had been housed together in an album.

The Clippings and Articles series includes newspaper clippings from 1936-2004 on both Orson and Virginia, but the majority are about Orson Welles’s career. Also included are clippings from society pages from the 1930’s announcing Orson Welles and Virginia Nicolson's marriage, the birth of their daughter Christopher, and the couple’s divorce. Some clippings include annotations in the margins by Chris Welles Feder.

The Photographs series includes a wedding portrait of Virginia and Orson Welles’s marriage in 1934. Also included are childhood photographs of Chris Welles Feder with Orson Welles along with photographs of Rebecca Welles Manning, Orson Welles’s daughter with Rita Hayworth. Also included are headshots of Orson Welles for different productions and some photographs of him as a child. Production photographs from "Too Much Johnson" (1938) and "Macbeth" (1948) both directed by Orson Welles are in the collection.

Audiovisual Material is an assortment of audio cassette tapes and VHS tapes. Included are three Smithsonian Historical Performances audio cassettes of the radio dramatization of "Les Miserables" recorded by Orson Welles in 1937. VHS tapes include movies Welles made guest appearances in and television shows, and Criterion Collection material about his life and work.

The Miscellaneous series contains an assortment of legal documents, press packets and exhibit and awards programs from Orson Welles tributes and retrospectives.

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.

Amateur photographer of Ann Arbor, Michigan, bookkeeper with the Symons Food Co. in Ann Arbor. Photographs taken highlighting Ann Arbor and University of Michigan views, notably football games, arrivals and departures at the train station, train wrecks, and other vehicular mishaps, graduation ceremonies, parades, and business and university buildings. Some photographs are of gatherings of the Ku Klux Klan in Jackson, Michigan and outside the city, 1920s.

The Buss photograph collection consists of approximately 700 prints dating from approximately 1923 to the early 1950s. The views are primarily relating to the University of Michigan and to Ann Arbor although there are also images of Detroit, Ypsilanti, and Jackson. The bulk of the collection concerns University of Michigan events (commencements, football games and game day activities, and student life) and buildings (standing or in the process of construction). There are also numerous images of parades: patriotic, military, circus, etc.

Of note are the several images that Buss took of members of the Ku-Klux-Klan walking together on a street in Jackson, Michigan, probably in the period of 1924-1928, and of a Klan gathering in an open field, perhaps near to Jackson.

Temperance leader, assistant to the general superintendent of the Anti-Saloon League of America. Correspondence, scrapbooks, dramatic productions, photographs, and printed material concerning the enforcement and repeal of the 18th Amendment, the political activities of the Anti-Saloon League, particularly during the election of 1928, and the temperance activities of William Jennings Bryan, Morris Sheppard, Billy Sunday, and F. Scott McBride. Correspondents include: Patrick H. Callahan, James Cannon, Arthur Capper, Luren D. Dickinson, F. Scott McBride, Homer Rodeheaver, Howard H. Russell, Morris.

The Christgau Collection is comprised of correspondence, scrapbooks, topical files, printed matter, and photographs covering the period of roughly 1906 to 1971. The Correspondence deals largely with the mechanics of Christgau's work: the enlisting and scheduling of temperance speeches and productions, local arrangements for temperance conventions, and personal support for local option and other temperance-related issues. Though there is some overlap, the collection includes a separate series of correspondence and other materials relating specifically to his work as manager of the regional Southeastern Conference convention of the ASL which met each year in St. Petersburg, Florida. This sequence of correspondence covers the years 1928 to 1948.

The collection includes Christgau's autobiography, many of his speeches and notes for speeches, notes which he made on the conventions he managed and the speeches he heard, and copies of the addresses he made over the radio in the late Thirties and throughout the 1940's. Christgau also maintained separate files documenting his work with the national ASL and the ASL of Illinois, Iowa, and Minnesota. In a series of topical files, Christgau included information, clippings, and printed materials on individuals associated with the temperance movement and with issues of concern to temperance groups.

The collection also contains files pertaining to the dramatic productions which Christgau presented under ASL auspices. These files have been arranged by the name of the production and include texts of the drama and promotional materials. The remainder of the collection consists of a section of temperance printed items, newspaper clippings, bound scrapbooks and photographs.

Republican state legislator and businessman from Alpena, Michigan. Correspondence, newspaper clippings, scrapbook material, and photographs. Correspondents include Chase Osborn, March 2, 1935, and Arthur Vandenberg, July 16, 1940.

Correspondence, newspaper clippings, and miscellanea, concerning Bishop's legislative career and the history of Alpena, Michigan; and photographs. Correspondents include Chase Osborn, March 2, 1935, and Arthur Vandenberg, July 16, 1940. Portrait and group photographs of participants at Michigan Tourist Council and other meetings.

Professor of physics at University of Michigan, specialist in the dynamics of fluids at high temperatures and atomic spectroscopy. Research notebooks, manuscripts of writings, and reprints of scientific articles.

The Laporte collection documents only the period of the time that Laporte was a professor at the University of Michigan and does not reflect any other of the activities in which he was involved. The collection begins with a detailed biography and a bibliography of his works. The is followed by a series of correspondence that includes a folder of general correspondence, one concerning grants and one relating to his consulting work with NASA. The remaining series are highly technical in nature and consist almost entirely of equations and lecture notebooks.

Ann Arbor, Michigan educator and superintendent of schools; personal and professional papers relating to his work as school superintendent; also publications, speeches, correspondence, family materials, and photographs.

The Otto W. Haisley collection consists of five series: Personal (1934-1960); Correspondence (1906-1958); Publications, Speeches, and Clippings (1924-1954); Superintendent's Office (1929-1954); Family Papers; and Photographs. Within each series, files are arranged alphabetically by topic.

Owen Lovejoy (1811-1864), brother of Elijah Parish Lovejoy, was a prominent abolitionist and congressman who staunchly supported President Lincoln during the Civil War. His papers primarily contain correspondence, speeches, and writings related to his family life, ministerial duties, and congressional activities, with additional materials from his descendants.

The Owen Lovejoy papers primarily consist of the correspondence, speeches, and writings of Owen Lovejoy, with additional material from his descendents. The collection contains 170 letters, 13 land records and indentures, a diary, 3 documents and 10 checks, 27 speeches and writings, 3 images, 11 commemorative items, and 26 newspaper clippings. The correspondence of Owen Lovejoy includes 71 letters written by him, mostly to his wife and children, and 40 letters received from family and friends. The other correspondence in the collection is primarily that of his son, Elijah Parish Lovejoy, II.

The earliest letters, from Owen Lovejoy’s student days at Bowdoin College, include affectionate advice from his parents and news from his siblings. He received 8 letters from his parents between 1830 and 1837. His mother’s letters are filled with religious references, and her strong faith is clear from her writing. She wrote passionately against the “crying sin of slavery,” and also supported the temperance cause (14 July 1836). Sister-in-law Sarah Moody Lovejoy wrote two letters to him in 1836, filled with news of the family and church. His sister Elizabeth, who ran a school, kept him informed about her endeavors and news of the family in three letters from 1836. Brothers Joseph and John also wrote occasional letters to Owen. The collection also contains three love letters written by Owen Lovejoy as a young man, including a poem he wrote entitled “Autumn pale fading autumn.”

The family was worried about Elijah Parish Lovejoy, the eldest brother, whose antislavery activities were becoming increasingly dangerous. His mother wrote to Owen in 1836, “you doubtless know what outrages they have committed in regard to destroying the types in that affair” (14 July 1836). His sister Elizabeth wrote, “E.P. does not write us at all why not I cannot divine & I wish I was there now” (30 July 1836).

A number of friends came to the aid of the Lovejoy family after Elijah Parish Lovejoy’s death in November 1837. Rev. Edward Beecher, the son of Lyman Beecher and brother of Harriet Beecher Stowe, wrote a letter to Owen Lovejoy, in which he urged him to “collect and file all documents which have a relation to you brother’s life & efforts since he acted upon his course as editor…They will be read with interest in future ages” (14 November 1837). In 1838, Beecher wrote his best-known work, Narrative of Riots at Alton, on the subject. Owen and Joseph Lovejoy, meanwhile, were working on their own book commemorating their brother. Joseph wrote to Owen in December 1837, “The death of P. has made a very deep & strong sensation through this & indeed through all the country. A great many sermons have been preached & meetings are held in almost every village through the land” (7 December 1837). Owen also corresponded with his other siblings during this time.

Correspondence from a later period in Owen Lovejoy’s life reflects his growing involvement in politics. A letter from Abraham Smith in 1846 describes the activities of the Liberty party, of which Owen Lovejoy was a leader. Owen also corresponded with Gerrit Smith, an abolitionist and founding member of the Liberty party.

Owen Lovejoy’s letters from 1854 onward were addressed to his wife and children, while he was away from home on political business, usually in Washington, D.C. From October to November 1861, he wrote a number of letters to his family from the Missouri battlefield, having received a commission as colonel under General Frémont in the Western Department of the army. After returning to Washington, D.C., he wrote to his younger children of the death of Abraham Lincoln's son: "I have just been up to the White House to see the President. He feels very much the loss of his little boy Willie who is about the age of Parish…His father says he was a very gentle and amiable boy" (23 February 1862).

The correspondence of Elijah Parish Lovejoy, II, Owen Lovejoy's son, includes 36 letters written and received by him regarding his genealogical research on the Lovejoy family. He received a number of inquiries from others about his family history, and also conducted his own research. A number of his letters are correspondence with C.E. Lovejoy, the author of The Lovejoy Genealogy with Biographies and History, 1460-1930, published in 1930. He assisted C.E. Lovejoy with research and loaned him some materials from his own collection for the publication. The miscellaneous correspondence series includes the letters of other Lovejoy family members, as well as a few apparently unrelated letters. (For a listing of Owen and Elijah Lovejoy's correspondents, see the Additional Descriptive Data.)

The Butler Denham business papers contain 12 records of land purchases and an indenture contract with a young boy. Denham was the first husband of Eunice Storrs Denham, who married Owen Lovejoy after Denham's death in 1841.

A small pocket diary, dated 1857, contains appointments, expenses, personal notes, and what appear to be notes for a speech. The documents series includes Owen Lovejoy's call from the Hampshire Colony Church in 1839, his certificate of admission to the Illinois Bar in 1857, a note to his son E.P. Lovejoy for five dollars, and several checks written in 1862 and 1863.

Speeches and writings by Owen Lovejoy comprise three sermons, pamphlets of six political speeches, several printed copies of "An Agricultural Poem," written in 1859, and a copy of his last public prayer in Princeton from 1863. Excerpts from all of these have been republished in a comprehensive collection of his speeches entitled His Brother's Blood: Speeches and Writings, 1838-64. A draft of a poem entitled "The Wild Horses," is also included. The collection also contains writings about Owen Lovejoy, including articles and speeches written after his death, such as "Addresses on the Death of Hon. Owen Lovejoy" and "The Great Anti-Slavery Agitator Hon. Owen Lovejoy as a Gospel Minister." Also included are the recollections of Parker Earle on the nomination of Owen Lovejoy to Congress.

The scrapbook (29 disbound pages) includes newspaper clippings, articles, pamphlets, memorials, and manuscripts pertaining to various members of the Lovejoy family, particularly Elijah Parish Lovejoy (1802-1837) and Owen Lovejoy (1811-1864). The items about Elijah P. Lovejoy concern his death, his religious beliefs, and his memorial at Alton, Illinois. The scrapbook also has contemporaneous articles about Owen Lovejoy's abolitionist work and about Illinois politics around the time of the Civil War. Other articles, biographies, speeches, memorial programs, and memorial poems concern the lives and deaths of Owen G. Lovejoy, Lucy Lovejoy, Charles P. Lovejoy, Eunice Storrs Lovejoy, and members of allied families. One article describes Helsinki, Finland.

The collection is rounded out by three printed images of Owen Lovejoy, materials regarding memorials and commemorations for Owen Lovejoy and his brother Elijah Parish Lovejoy, and newspaper clippings about Owen Lovejoy and his descendents. Several of the commemorative materials pertain to the Lovejoy Monument Association, including a booklet of music for the dedication ceremonies of the Lovejoy Monument. The Lovejoy papers also contain correspondence and an inventory regarding the Lovejoy collection located at the Bureau County Historical Society of Illinois.

Organist and professor of music at the University of Michigan, and other members of the Christian family; correspondence, clippings, concert programs, and other papers re his teaching, concert career, European student days, etc.

The Palmer Christian collection is comprised of four series: Correspondence and other papers; Programs and reviews of recitals; Madrigals; and Photographs. The correspondence is noteworthy for long-term correspondents such as symphony conductor Eric De Lamarter who regularly communicated with Christian for over twenty year period beginning in 1925 and from Eugene Ormandy. During World War II, Christian received many letters from former students then serving in the military.