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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.

Writings, clippings, and ephemera relating to the life and works of Pat Halley, a Detroit cab driver, writer, and anarchist.

The correspondence file contains two outgoing letters from Halley: a brief (possibly unsent) letter to writer/publisher Ken Wachsberger and a handwritten letter to two friends asking for their support after Halley was accused of sexual misconduct involving a child.

The largest file in this collection consists of scripts for plays Halley wrote or co-wrote in approximately the 1970s, which include Tales of the Sea, The National Desire, The Werewolf of Grosse Point, The Curse of Belle Isle, Cheap Shots, and A Grave Matter. The theatre flyers and playbills folder holds ephemera associated with these and other performances.

The clippings consist of a 1994 article Halley wrote about his experiences as a cab driver, a 1986 article by Jim Gustafson about the MC5, and Halley's 2007 obituary. Finally, the collection includes a 45 RPM vinyl recording of songs written by Pat Halley and a J. Sase.

The Performer's Awards of Detroit Records (1974-2008) consists of materials relating to the Performer's Awards of Detroit (P.A.D.), an organization that promoted gay entertainment in Detroit, Michigan. The materials represent a portion of gay culture and entertainment in Detroit, Michigan and the Southeast Michigan region. The collection contains administrative records, event flyers and programs, correspondence, performer information, posters, pageant applications, handbooks and regulations, and other documents relating to the organization and its members and events.

The Performer's Awards of Detroit Records (1974-2008) consists of materials relating to the Performer's Awards of Detroit (P.A.D.), an organization that promoted gay entertainment in Detroit, Michigan. The materials detail the organizational history through administrative records such as meeting minutes and correspondence; the annual awards show and its preparation, promotion and performers; other shows and pageants in the metropolitan Detroit, Michigan area; official USA Pageantry documentation such as handbooks and applications; and posters, awards, and audiovisual materials. The items represent a large portion of gay culture and entertainment in Detroit, Michigan and the greater Southeast Michigan region from the mid-1970s to the mid-2000s.

The Performer's Awards of Detroit Records were collected by David Marshall, aka Vicki Martin. Many of the items in the collection bear personal inscriptions to Marshall/Martin, and contain handwritten notes by Marshall.

The collection consists of seven series:

Administrative Records Consists of P.A.D. board meeting minutes, correspondence, rules and regulations, by-laws, award and election nomination lists, member registration lists, newsletters, mission statements, candidate statements, event flyers and other organizational notes. Folders were kept as they were received and usually contain one year's worth of P.A.D. records.

P.A.D. Annual Awards Show Records Consists of records relating to the annual awards show organized by P.A.D. Shows from the First Annual Show in 1976 to the 33rd Annual Show in 2007 are represented. There is a folder to represent each year of the show, containing the event program, ballots, flyers, and many that contain handwritten notes, photographs, newspaper and magazine clippings, speeches, performer information, obituaries of entertainers who have participated in the shows, and other information pertaining to the awards shows.

Other Pageant Records Contains various event flyers from Detroit gay bars: primarily Gigi's, but others as well. Also contains event programs, pageant applications, performer headshots, correspondence, newspaper clippings, advertisements, and performer lineup lists. Some files are pageant specific, i.e. Mr. Gay Michigan, Miss Gigi's, Royal Queen of Queens.

USA Pageantry Records Consists of pageant preliminary records, promoter's packages, and handbooks, rules and regulations for specific pageants held by USA Pageantry, including Miss Gay Heartland, Miss Gay USA, Mr. Gay Heartland, Mr. Gay Michigan, Mr. Gay USA, Miss Gay Michigan At-Large, Miss Great Lakes USA and Gay Jr. Miss Michigan. Also included is correspondence, event photographs, performer headshots, notes, and event flyers.

Posters Posters include promotions for various shows and other events held in Detroit, Michigan. A notable inclusion is a poster promoting the 1982 "2nd Annual Moonlight Cruise on the Bob-Lo Boat," which includes a Boblo Boat felt pennant. The Boblo Boats transported passengers to Boblo Island, a former amusement park on Bois Blanc Island in the Detroit River.

Awards Awards consist of trophies, a tiara, and an inscribed softball, as well as a plaque from P.A.D. to award Vicki Martin (David Marshall) for being "a pioneer in gay entertainment."

Audiovisual Materials One VHS tape and four ¼" tape sound recordings.

Richard Tillinghas is a poet and critic based in Ann Arbor, Michigan. He is known for his employment of stylistic techniques to explore tracel, history, lanscapes, and the evolution of personal relationships. He was an active in the counterculture movement, and produced several published collections of poetry. Tillinghast claimed that his writings were primarily inspired by everyday experiences, which he interpreted in "an unusual way". In addition to writing, Tillinghast taught at both Harvard and San Quentin Prison, as well as at the University of Michigan. He travelled extensively, and now lives in rural Ireland. The Richard Tillinghast Papers contain materials from throughout Tillinghast's career, including extensive correspondence, manuscripts, and critical pieces. A large section of the collection is dedicated to the scrapbooks and journals spanning many years, and in which Tillinghast details his writing, work, and travels.

The Richard Tillinghast Papers consist of a wide variety of materials from across the length of Tillinghast's career. The collection contains a large amount of correspondence with colleagues, family, friends, publishers, and others involved with his career, a voluminous amount of manuscripts for his many poems, essays, critical pieces, and other writings, and material related to his professional work as a poet and professor as well as his personal life and that of his family. The largest element of the collection is the many manuscripts and drafts of Tillinghast's poems and other published writings, as well as the scrapbook-like journals he kept for many years documenting his travels, work, and writing. The Richard Tillinghast Papers are divided into seven series: Name and Topical, Personal, Professional, Writings and Manuscripts, Journals and Diaries, Clippings and Reviews, and Audiovisual.

The Name and Topical series contains approximately 3.25 linear feet, Boxes 1-4, consisting mainly of correspondence with fellow authors, colleagues, academics, friends, and publishers. Although largely organized by names, a few organizations with which Tillinghast corresponded significantly are included as topics as well. Relevant photographs, clippings, and ephemera are generally kept with related names and topics. The series is arranged alphabetically by name. Each name or topic is given a folder as long as there are at least three letters of correspondence or if the person is of significant status. Names or topics that do not meet these minimum requirements are filed by letter in the alphabet. This series also contains some unidentified correspondence due to illegible signatures on letters.

Tillinghast's largest correspondents include David Freidberg, Rachel Hadas, Donald Hall, Alan Williamson, and Wesleyan University Press, which published several of his books. Other notable correspondents include William Bolcom and Joan Morris, Billy Collins, James Dickey, Annie Dillard, Shelby Foote, George Garrett, Allen Ginsberg, Robert Haas, Seamus Heaney, James Laughlin, Robert Lowell and Elizabeth Hardwick, Robert Pinsky, Gary Snyder, Chase Twichell, and Robert Penn Warren.

The Personal series contains approximately 1 linear foot, Boxes 4-5, and includes a variety of materials related to Tillinghast's early life and family. Much of the series consists of correspondence with family members and close personal friends, arranged chronologically. Some correspondence of Tillinghast's family members, especially his grandparents, that dates from before his birth is also included. Among these are a letter to his grandfather A. J. Williford, a prominent public figure in the Memphis area, from Theodore Roosevelt. The series also contains materials from Tillinghast's childhood, and some of his academic work prior to graduate school, especially from his undergraduate days at the University of the South (Sewanee) in Tennessee. More general materials related to his time at Sewanee and at graduate school at Harvard are also included. The series also contains genealogical information and photographs on both Tillinghast's father's and mother's families compiled by relatives, and other miscellaneous personal materials.

The Professional series contains approximately 2 linear feet, Boxes 5-7, and includes materials related to Tillinghast's work both as a professor at the University of Michigan and as a poet and lecturer more generally. The largest part of the series is correspondence, logistical and publicity information, and other material related to Tillinghast's travels around the United States and abroad to conduct poetry readings at college and universities, bookstores, and other locations. This material is arranged by state, and within each state every institution for which there was a significant amount of correspondence or other information is given its own folder(s). Readings which Tillinghast gave in Ireland follow the US states. This series also contains correspondence with many publishers and publications regarding publication of Tillinghast's poems and essays. Because it is with such a wide variety of entities, this correspondene was left together rather than being split in Name and Topical. There is thus some overlap with Name and Topical, as well as correspondence in the Writings and Manuscripts series. Other materials in this series include some teaching materials, material related to projects Tillinghast conducted as a professor, materials on writers' conferences he attended and/or organized, and materials related to his work in Ireland and international travel.

The Writings and Manuscripts series contains approximately 6.75 linear feet, Boxes 7-15, and contains materials from Tillinghast's writings throughout his career. The series contains nine subseries: Poetry, Published Books of Poetry, Novels, Editorial Work, Criticism, Essays, Talks and Lectures, Robert Lowell, and Other.

The Poetry subseries consists largely of manuscripts of Tillinghast's poems from drafts, and revisions made by Tillinghast, which show the development of his work over time. Occasionally, correspondence related to the development of the poems is included as well. Undated manuscripts are grouped together at the end of the series, which also contains manuscripts of unpublished books of poetry and photocopies of published poems. Materials were generally kept together in the groupings in which Tillinghast had arranged them, which means related materials are sometimes dispersed throughout the series. For example, when a large number of copies of poems were placed together, they were placed in a single folder or set of folders. The same is true, though to a lesser degree, for other materials in this series. A limited amount of correspondence appears alongside the manuscripts.

The Published Books of Poetry subseries contains materials related to many of Tilinghast's published works, arranged chronologically by book. The series contains drafts, manuscripts, galleys, copies, signatures, and correspondence with publishers and others. The amount of material for each book varies considerably, and for none is there enough material to show the complete development of the book. It is important to note that the manuscript entitled "They Gambled For Your Clothes" was renamed as "The New Life" before eventually being published. Earlier manuscripts can be found in the Poetry subseries. Many of the individual poems in each book also have files in the Poetry subseries.

The Novels subseries consists of a manuscript for a never-published novel by Tillinghast, as well as drafts and fragments of another unpublished novel or short story.

The Editorial Work subseries contains material related to Tillinghast's service as editor of an edition of the literary magazine Ploughshares, mainly correspondence and manuscripts. Correspondents are arranged alphabetically.

The Criticism subseries consists primarily of book reviews Tillinghast wrote for a wide variety of academic and popular publications, arranged chronologically. Materials include manuscripts and drafts of the reviews and correspondence with publishers and publications. The subseries also includes similar materials on various other works of criticism published in a variety of publications. Publications for which there was not a significant amount of materials are grouped together as "various." The subseries also contains materials of the same nature as those in the Published Books of Poetry subseries for one published book of criticism by Tillinghast.

The Essays subseries contains material similar to that on book reviews in the Criticism subseries, but for essay on literary and travel topics by Tillinghast published in various publications, arranged chronolgoically. A large amount of these essays were travel pieces for the New York Times, as well as a large amount of writing on Irish literature and culture for a number of publications. Folders on many of the travel pieces also contain a variety of tourist materials and other ephemera from the locations about which the essays were written. Those essays for which there were not a large amount of materials are grouped together as "various." Manuscripts and materials related to Tillinghast's Finding Ireland are grouped following the essays, as well as working manuscripts and correspondence related to "The Istanbul Book", an as-yet unpublished book.

The Talks and Lectures subseries contains manuscripts of a few talks and lectures given by Tillinghast.

The Robert Lowell subseries contains all of Tillinghast's writings on Robert Lowell, arranged by type and chronologically therein. Lowell was a mentor to Tillinghast at Harvard and Tillinghast wrote his Ph.D. thesis on Lowell as well as a literary biography of him. Because of the importance of Lowell in Tillinghast's work, these writings are grouped together. This subseries contains book reviews, essays, a lecture, and various Lowell-related clippings and articles.

The Other subseries contains a few other writings and manuscripts by Tillinghast that do not fit into any of the other subseries, such as an interview, a travel guide, and an autobiography Tillinghast provided to Gale.

The Clippings and Reviews series contains approximately 0.25 linear feet, Box 15, of primarily clippings and photocopies of reviews of Tillinghast's published books of poetry, arranged by book. The series also contains miscellaneous clippings about Tillinghast from throughtout his career.

The Journals and Diaries series contains 7 linear feet, Boxes 15-20, of Tillinghast's journals or diaries from throughout his career, arranged chronologically by decade, though the bulk are from the 1990s and 2000s. These books contain a wide variety of materials: notes on and drafts of poems, materials related to teaching, such as notes on grading and class preparation, notes from Tillinghast's extensive travels, clippings and photographs pasted in, and a wide range of other content. The earliest journals, from Tillinghast's undergraduate days, are primarily his class notes. The journals appear to have been kept as "catch-all" books that served a wide variety of professional and personal purposes. They are in a wide variety of physical formats. When the dates of a journal could not be determined, a guess was made based on the other journals near it and on content. Since the dates of journals occasionally overlap, no attempt was made to arrange them chronologically beyond the level of decade. The varied nature of these books mean that they reveal much about Tillinghast's writing, his work, and his life in general in the years in which they were kept.

The Audiovisual series contains1 linear foot, Box 21, of primarily audio and videocassettes, as well as two CDs. Some of the audio and videocassettes are of Tillinghast giving poetry readings or of projects he participated in or coordinated. The bulk of the collection is recordings of class meetings for two classes Tillinghast taught, the Beat Generation and Poets Live, from January to April 1995.

The collection includes business and personal correspondence, production materials, scripts, photographs, motion picture, and sound recordings related to Richard Wilson and Orson Welles's work in radio, theater, and film from the 1930s to the 1950s. Also included are materials related to each man's later solo careers and personal life.

The Richard Wilson-Orson Welles Papers document many aspects of the two men's creative collaboration in radio, theater, and film for the Mercury Theater and Mercury Productions. Material related to several moments in Welles's post-Mercury Productions solo work and life form part of the collection. Richard Wilson's post-Mercury Productions work is also represented. The collection includes business and personal correspondence, production materials, scripts, photographs, and audio and motion picture recordings.

Materials relating to classic films such as Citizen Kane , The Magnificent Ambersons , The Lady From Shanghai, and Macbeth are included in the collection. The original filming and 1980s-1990s reconstruction, led by Richard Wilson, of the suddenly-terminated Welles film, It's All True (1942) is particularly well-documented.

The Wilson-Welles collection has been divided into seven series: Orson Welles; Richard Wilson; Mercury Theatre/Mercury Productions; Sound; Motion Pictures; Realia; and Bill Krohn: It's All True (1993).

The three primary series: Orson Welles, Richard Wilson, and Mercury Theatre/Mercury Productions have been largely organized by production type (e.g. Theater, Radio, and Film) and then chronologically by project. Completed films, theatrical productions, and radio broadcasts are dated according to their first public showing or general release date. Unfinished or unreleased projects are dated according to the year in which most of the work on the project took place.

Correspondence and business papers for each project are located together under the project name. An important exception to this organizational scheme was necessitated by the fact that Welles frequently worked on several projects simultaneously and a single letter or memo may address several projects. Sets of memos and correspondence are filed with the project to which they are most closely related. Notable examples of overlapping projects and sets of memoranda that address at least two films are Macbeth and Othello (much of the information related to Othello is actually in correspondence in the Macbeth files), and The Magnificent Ambersons and It's All True (much of the information related to The Magnificent Ambersons is contained within the It's All True files).

The Richard Wilson and Orson Welles series also contains material related to both men's families and personal lives.

The Hash Bash collection consists of materials collected by Richard "Rich" Birkett relating to the organization and celebration of Hash Bash, an annual event held in Ann Arbor, Michigan, to advocate for the legalization of marijuana. The collection includes promotional and event flyers, photographs, newspaper clippings, and organizational information, as well as several court documents relating to permit bans and other legal issues related to Hash Bash events.

This collection contains materials related to the Hash Bash festival in Ann Arbor, Michigan. The bulk of the collection consists of newspaper clippings, photographs, event flyers and posters, and other advertisements. Also included are several court documents detailing legal disputes between Rich Birkett and Ann Arbor and University of Michigan authorities over the right to host Hash Bash on the University's campus.

Forms part of Robert Altman Archive. Includes Business and Financial records and a Chronological series (30 linear feet) that includes daily logs and correspondence for many of Robert Altman's production companies.

The Business and Financial series (68 linear feet) are business records that range from payroll, paid bills, general ledgers, insurance, banking transactions, residuals and other financial documents. There are two sub-series beginning with the Personal sub-series, and ending with the Accounting and General Business sub-series both organized chronologically. The documents range in date from 1969-2007.

The Legal series (7.5 linear feet) are legal documents with the majority of documents originating from three law firms, Lane & Mittendorf, and Mitchell, Silberberg & Knupp, and Frankfort, Garbus, Klein & Selz all of which represented Robert Altman personally and professionally from 1969-2005. The series largely consists of business and financial documents. The series includes personal, business and financial, real estate and expandable file folders from Jerome Walsh's law office. The majority of files were created by Robert Altman's lawyer Jerome Walsh.

The Chronological series (30 linear feet) includes daily logs and correspondence for many of Robert Altman's production companies. Materials consist of daily logs, desk calendars, daily planners and correspondence consisting of incoming and outgoing faxes created during production of several of his films.

Forms part of the Robert Altman Archive. The Robert Altman Personal series (14 linear feet, 3 oversized boxes) ranges in date from 1945-2007. The series includes correspondence, legal, and medical documents, topical and award-related material, early work, interviews and clippings, as well as photographs. The Early Projects series contains assorted materials from early projects including movies, TV, commercials, and short films (1 linear foot and 1 oversized box). Forms part of the Robert Altman Archives.

The Robert Altman Personal series (14 linear feet, 3 oversized boxes) ranges in date from 1945-2007. The series includes correspondence, legal, and medical documents, topical and award-related material, early work, interviews and clippings, as well as photographs. The Early Projects series contains assorted materials from early projects including movies, TV, commercials, and short films (1 linear foot and 1 oversized box). Forms part of the Robert Altman Archives.

Forms part of the Robert Altman Archive. Documentation related to unfinished and suspended projects, 1960s-2000s, that Altman had an involvement with but were never produced. Materials for a project may include correspondence, legal and financial files, scripts and publicity files.

The unfinished and suspended projects series consists of materials related to projects that Altman had an involvement with but were never produced. The reason that any specific project failed may or may not be apparent from the materials and vary greatly. Materials in this series run from the 1960's through the late 2000's.

The type and volume materials also vary greatly from project to project. These can include correspondence, legal materials, legal materials from Jerome Walsh, business and financial materials, scripts and related materials, production materials including those used for research, materials related to publicity and distribution, and articles and reviews related to both the productions and the subjects of the productions.