Search

This collection is made up of incoming and outgoing correspondence pertaining to Mary Flavin and her grandson, Charles A. Robertson of Albany and Berkeley, California, who served with the United States Army in Europe during World War II. Robertson wrote letters to Flavin about his experiences in Western Europe and received letters from Flavin and his fiancée, Naomi Watson ("Dee"), who wrote about her life in Oakland, California, during the war. Later letters pertain to Robertson's compensation from the Veterans Administration and to romantic relationships between soldiers. The collection also contains ephemera.

This collection (1.5 linear feet) mainly consists of incoming and outgoing correspondence pertaining to Mary Flavin and her grandson, Charles A. Robertson, who served with the United States Army in Europe during World War II. Robertson wrote letters to Flavin about his experiences in Western Europe and received letters from Flavin and his fiancée, Naomi Watson ("Dee"), who wrote about her life in Oakland, California, during the war. Later letters pertain to Robertson's compensation from the Veterans Administration and to romantic relationships between male soldiers. The collection also contains ephemera.

The Correspondence series, which comprises the bulk of the collection, is primarily made up of Robertson's incoming and outgoing correspondence, particularly during his military service. The earliest items are family letters and greeting cards to Robertson's grandmother, Mary Flavin ("Mother May"). From September 1943-March 1946, Robertson wrote letters to his grandmother and received letters from his fiancée, the Veterans Administration, and acquaintances. Between September 1943 and July 1944, he discussed his army training at the Presidio of Monterey; Camp Lee, Virginia; Fort Washington, Maryland; and Fort Omaha, Nebraska. From August 1944-April 1946, he wrote about his experiences in England, France, Germany, and Belgium with the 48th Machine Records Unit (Mobile), 29th Machine Records Unit (Mobile), and 65th Machine Records Unit (Fixed). He occasionally mentioned attending mass and communion and responded to family news, such as the death of his Aunt Lizzie. His letter of December 9, 1944, has diagrams of his quarters in a building formerly held by German troops and a cabinet, and his letter of April 10, 1945, encloses several German monetary bills. Some of Robertson's later letters are written on stationery with printed cartoons about military life. Flavin received many greeting cards for Mother's Day, her birthday, and other holidays throughout the World War II era. The collection also has a small number of letters from Flavin to her grandson.

Much of the series is comprised of letters and greeting cards to Charles A. Robertson from his sweetheart and fiancée, Naomi M. Watson ("Dee") of Oakland, California. She regularly wrote to Robertson about her work, social activities, and life in Oakland, particularly after he was sent to Europe. She reported news of her family and his, whom she occasionally visited or with whom she corresponded, and discussed their relationships and her hopes for their future. A few of her letters enclose newspaper clippings, often with cartoons about military life or photographs of herself and friends. In the spring of 1945, she celebrated the one-year anniversary of their engagement and V-E Day, which she hoped would lead to Robertson's quick return home. Her letter of October 29, 1945, has drawings of cartoon mice representing Watson and Robertson. Watson's mother sometimes wrote personal letters to Robertson, whom she referred to as a "son." One large group of newspaper clippings is enclosed with correspondence dated July 1945, and other enclosures include advertisements, telegrams, a program, and an invitation. Watson stopped writing to Robertson after February 1946, and later correspondence indicates that their relationship eventually ended.

Charles A. Robertson occasionally received letters from fellow soldiers and other acquaintances after the war. A group of letters from the Veterans Administration, including some drafts of Robertson's responses, pertains to financial compensation and to Robertson's health in the late 1940s. Charles F. Foley ("Chuck") wrote a series of letters to Robertson while stationed in Tokushima, Japan, with the United States Army in July and August 1948. He frankly discussed his reluctance to visit prostitutes, despite the threat of derogatory epithets from fellow soldiers, and mentioned the possible effects of giving up the "gay life" (August 7, 1948). Foley's later letters apparently went unanswered, and he ceased to write after August 25, 1948. Later items, dated as late as 1951, concern Robertson's financial compensation from the Veterans Administration.

Dee Watson compiled 2 Scrapbooks entitled "Army Life of Charles A. Robertson 1943-1946." The volumes have picture postcards, train timetables, travel ephemera (including guides and visitors' maps), souvenir folders, performance and church service programs, and newspaper clippings. Additionally, several items relate to a trip taken on a United Air Lines "Mainliner" aircraft. The postcards have images with humorous mottos, paintings of army bases and other locales, and photographs of army bases where Robertson was stationed. The clippings and other materials pertain to his service in the United States and Europe.

Most items in the Ephemera series pertain directly to Charles A. Robertson's military service, such as his service record and military documents. Among the printed items are a French/English dictionary, a religious pamphlet, newspaper clippings, and pocket guides to Paris and Birmingham. Other items include, but are not limited to, a record with a message for Mary Flavin from Robertson, name cards, and photographs.

Correspondence, topical files, photographs, and printed material relating to the operation and activities of the department, primarily after 1960 during the administrations of Warner Rice, Russell A. Fraser, John L. Styan, Jay L. Robinson, John R. Knott, Robert Weisbuch, and Martha Vicinus; also include scattered files before 1960 and after 1979.

The bulk of the records of the Department of English Language and Literature are from the years 1960 to 1979 and generally coincide with the chairmanships of Warner Rice, Russell Fraser, John Styan, and Jay Robinson. The records primarily document the internal workings of the department and its relationship with other units in the university. The majority of the records were created by the department itself and consist of minutes of committee and faculty meetings, correspondence, department reviews, course outlines, position requests, and newsletters and publications.

The records of the Department of English Language and Literature are divided into seven series: Correspondence, Topical Files, Photographs, Executive Committee, Chair's Files, Presentations, and Faculty Files.

Edward (Ed) Nicholas Cole was a President of General Motors Corporation and highly influential automotive engineer. His wife Dollie Ann was a well-known philanthropist and socialite in Michigan and Texas. Collection include correspondence, reports, technical records, speech transcripts, genealogical papers, photographs, audiovisual materials and scrapbooks.

The Edward Nicholas and Dollie Ann Cole papers contain materials from influential automotive exectuive Edward Nicholas Cole and his wife Dollie Ann Cole. The collection has been organized into two series:

The Edward Nicholas Cole series contains correspondence, business records, reports, photographs, audiovisual materials, transcripts, and blueprints. The series has been divided into four subseries: the Correspondence subseries contains personal and professional letters, the Project Files subseries includes documents related to Cole's career with General Motors, Chevrolet, Checker Motors Corporation and other projects. The Speeches and Appearences subseries chronicles Cole's public speaking engagements in the early 1970s and the Personal Materials subseries contains photographs, audiovisual materials and other materials related to Cole's family and recreational interests.

The Dollie Ann Cole series contains correspondence, papers, photographs and scrapbooks. The series has been organized into two subseries: the Correspondence series which contains letters dated between 1968-1976 and the Topical files series which includes materials related to Cole's charitable and community work, her media appearances and other pursuits.

University of Michigan group established in 1946 devoted to production of Gilbert and Sullivan operettas. Records include production files with programs, photographs, reviews and newspaper clippings, and scattered production notes and memoranda; topical files relating to the Society, its friends organization, and its publication; slides of productions; Society newsletter, "Gasbag"; posters; phonorecords, tapes, and videos of productions.

The records of UMGASS have been divided into ten series: Slides, Topical Files, Production Files, Posters, Memorabilia Volumes, Magnetic Tape Recordings, Sound Recordings, Audiotapes, Videotapes, and Scrapbooks. Because materials on one production can include photographs, scrapbooks, recordings, or slides- all of which live within different boxes of the collection -- a directory has been compiled in the Production Files series. The directory lists the year and title of the UMGASS production for which the library has materials and a lettered key exists that denotes the physical existence and location of materials within the collection.

The Institute for Social Research (ISR), an interdisciplinary center for social science research, was created in 1949 when the Research Center for Group Dynamics (founded at Massachusetts Institute of Technology) joined the university's Survey Research Center. ISR houses the Center for Political Studies (CPS), Interuniversity Consortium for Political and Social Research (ICPSR), Population Studies Center (PSC), Research Center for Group Dynamics (RCGD), and the Survey Research Center (SRC). Records document the founding and development of ISR and its related centers and programs and include audiovisual materials, minutes, correspondence, topical files, reports, and proposals. Administrative records include governance committees and director's files. Records of the Program for Research on Black Americans (PRBA) consist of grant proposals, survey instruments, focus group transcriptions, correspondence, bulletins, and internal governance records created under the auspices of PRBA and its various projects. Records of the Research Center for Group Dynamics are primarily the papers of director Kurt Lewin, including manuscripts and talks. Survey Research Center records consist largely of proposal and project files, although they also include faculty oral histories. The records of the Population Studies Center consist of lectures from its founder, Dr. Ronald Freedman, while the Center for Political Studies contains one binder of material from the American National Election Survey conducted in 1980.

The Institute for Social Research (ISR) records are dated from 1936-2017 (scattered) and consist of 143.8 linear feet (in 146 boxes) and digital files (online). Materials in this record group include audiovisual material, committee files (which include minutes and agendas), correspondence, directors' files, oral histories, publications, reports, and topical files. These records document the founding and subsequent development of ISR as well as its centers and programs, particularly the Program for Research on Black Americans (PRBA) and the Survey Research Center (SRC). The records also provide an overview of ISR's administration and the evolution of social science survey research methodology.

There are gaps in the records, which can be addressed in part through the papers of Rensis Likert, Angus Campbell, Dorwin P. Cartwright, and Philip E. Converse—all of which are held at the Bentley Historical Library (BHL). When viewed in conjunction with other ISR-related personal papers in the Bentley Historical Library, a rich and detailed picture of the growth of ISR as a center and the social science research discipline emerges.

Hugh "Jeep" Holland was the founder of the A-Square Record label in Ann Arbor in 1967, and consequently became an integral part of the southeast Michigan music scene in the late 1960s and early 1970s. The collection documents, in papers, photographs and sound recordings, Jeep's personal life, interests, and career.

The Jeep Holland papers date from his youth in the late 1940s up to his death in 1998, and document his personal life, his education, and his career, particularly the record label and production company he founded, A-Square Records. The collection is comprised of the following series: Administrative, Artist Files, Personal Files, Realia, Sound Recordings, and Visual.

Editor and publisher of the Port Huron Times Herald. Scrapbooks, correspondence, and photographs concerning his newspaper career and other Port Huron, Michigan, activities.

The collection is composed of four series: Correspondence; Miscellaneous; Scrapbooks; and Audio-Visual materials. One of the scrapbooks contains letters received from William Lyon Phelps, H. L. Mencken, Edgar A. Guest, Chase S. Osborn, Frank Murphy, Theodore Roosevelt and Arthur H. Vandenberg.

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.

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.

Organization dedicated to outreach, education, and intervention for troubled youth located in Albion, Michigan. The collection includes materials related to Floyd Starr, Foundtaion's administrative and development records, historic and promotional photographs, analog and digital audio-visual recordings, marketing materials, as well as publications.

The Starr Commonwealth Records collection contains 150.4 linear feet (157 boxes), 1.65 GB, and 52 oversize boxes of the records from the main administrative office of the Starr Commonwealth organization. It also includes historical records from the Starr Commonwealth School for Boys and records from the organization's branch facilities located across Michigan and Ohio. The collection also contains a substantial amount of material related to Floyd Starr, the founder and first president of the organization. Materials include correspondence, records, publications, videocassettes, audiocassettes, digital files, photographs, scrapbooks. The collection highlights the life and work of Floyd Starr, the administrative work of Starr Commonwealth, and the impact of the organization on local communities in Michigan and Ohio.

The Starr Commonwealth records have been organized into seven series: the Floyd Starr series, the Visitors series, the Administrative records series, the Marketing records series, the Development records series, the Publications series, and the Visual materials and Artifacts series.

The Floyd Starr series contains correspondence, papers and audiovisual materials about the life of Starr Commonwealth's founder.

The Visitors series contains correspondence, speech transcripts, photographs, and clippings from the visits of influential individuals to Starr Commonwealth. The series highlights materials from the trips of George Washington Carver and Helen Keller to Starr Commonwealth to visit with the students and deliver inspiring speeches.

The Administrative records series contains records, notes, correspondence, clippings, audiovisual materials and photographs from the central administrative offices of Starr Commonwealth. The series also includes materials from the Starr Commonwealth Public Relations department and the Chapel-in-the-Woods religious facility on the Albion campus.

The Marketing records series contains records, photographs and audiovisual materials that illustrate publicity projects and strategies for the organization.

The Development records series contains records, publications, and photographs from fundraising and donor activities. These records highlight some of Starr Commonwealth's major fundraising strategies and activities.

The Publications series contains published materials produced by Starr's Albion, Van Wert and Columbus campuses. Publications include annual reports, student and faculty newsletters, student handbooks, and scholarly publications from Starr Commonwealth leadership.

The Visual Materials and Artifacts series contains a collection of scrapbooks, photographs, photograph albums, and slides. It also contains materials and artifacts from Bruecker Museum on the Albion campus. These materials provide a visual representation of the students, faculty, buildings and major events at Starr Commonwealth throughout its history.