This collection contains 171 watercolor illustrated letters by H.O. Kelly, written to his close friend and biographer, William "Bill" Weber Johnson, his wife Elizabeth Ann (McMurray) Johnson, Mary Longwell (Lady), and their family between 1948 and 1955. These letters formed the basis for William Weber Johnson's research for Kelly Blue, a biography of Kelly, first published by Doubleday in 1960, with a foreword by Western writer Tom Lea.

A smaller group of fifteen letters by H.O. Kelly, and two in pencil by his wife Jessie (Bowers) Kelly, are addressed to another art collector and friend, Dallas lawyer, Rudolph Johnson. Seventeen additional letters by Rudolph Johnson, typewritten on yellow paper between 1955 and 1958 are included, addressed to Kelly, or, after the artist's death, to his wife, Jess.

Of interest too is a letter to Kelly by Otto Kallir of the Galerie St. Etienne in New York City, requesting some of Kelly's works to be displayed in an exhibition of American primitive artists to be mounted at the Galerie early in 1952. Included is Kelly's letter to Mrs. Daniel Longwell (Lady) asking permission to refer Kallir to her to view the painting she had just purchased from Elizabeth Ann McMurray. Also of note is a letter written by John L. Paxton of Fort Worth, Texas, in reply to Rudolph Johnson soon after Kelly's death in December 1955. Attached to Paxton's reply is a list of all the known owners of Kelly's artwork at that time, whom Paxton has written to in the interest of collecting funds to aid in supporting the then-destitute Jess Kelly.

In Series 2 copies of correspondence between Elizabeth Johnson, J. Wayne Stark, Irene Hoadley, and others relates to the bulk of the letters in this collection, an art exhibit at the Texas A&M University Memorial Student Center, a color slide of the painting "Penning Goats". and plans by Texas A&M University Press to publish an illustrated edition of Kelly Blue.

The tiny colored drawings found on Kelly's letters and cards to friends and family are a foreshadowing of the lovingly detailed scenes in his oil paintings. As a significant primitive artist, Kelly's paintings present a world of rolling, green pastures, tranquil blue skies, and solid farms and farming towns, also populated by a thick dusting of livestock, including wily goats, unpredictable donkeys, fine mules, and lively horses. The robust folk is reminiscent of Kelly's mother's German ancestors in Ohio, similar to those living in Fredericksburg, Texas, a town Kelly often visited for inspiration. As these letters so vividly attest, when Kelly sold a painting, it was the buyer's initiation into a warm friendship with the raconteur artist, not a mere business transaction.

This collection consists of 7 small bronze sculptures and 1 plasterite sculpture created by various artists and cast as various bronze works.

This collection contains letters, magazine and newspaper articles, magazines, prints, and other materials documenting the work of artist Edward Muegge "Buck" Schiwetz, as both a commercial and fine artist.

His sketches and watercolors are featured in a vast majority of the print material in the collection, from Christmas cards to sketchbooks to fine prints.

Rather than focusing on Schiwetz's life and his time at Texas A&M, the collection pays most attention to his art career and people's opinion of Schiwetz as an artist in the traditional sense of the definition.

The collection consists of the program books, documents, correspondence, and miscellaneous items collected by the Cepheid Variable Science Fiction Club from its inception in 1969 through 2005. The collection was assembled from deposits of the club, gifts from Bill Page, and other occasional donors.

This collection is comprised of correspondence, publications, writings, listings, directories, manuscripts, photographs, and research material for the Powers publication on Texas art and artists, titled, "Texas Painters, Sculptors & Graphic Artists: A Biographical Dictionary of Artists in Texas Before 1942", Austin, TX: Woodmont Books, 2000. The collection is primarily photocopies and writings of the Powers with some published materials.

The original order has been maintained as much as possible. Correspondence is dispersed throughout the collection with most concentrated in box 1. Those artists with significant information have been given a single file. The artists' information files are arranged in alphabetical order by artist's last name and are inclusive of all artists within the alphabetical listing. Each of these files begins with one artist and ends with the last artist information in the file. Artists' information can consist of one news item to several pages of information. To find an artist's name not listed on the file, please look at the file where his name would be in the alphabet.

This collection chronicles the day-to-day history of the Mariposa Ranch of Coahuila, Mexico which was owned by Australian brothers and managed by several generations of family friends originally from New Zealand.

The collection spans the years 1880-1955 and consists of three basic parts, personal correspondence, business correspondence, and miscellaneous business papers. Included are letters, diaries, minutes, proceedings, printed material, financial documents, legal documents, photographic and audio material, maps, charts, graphs, and lists that chronicle the history of La Hacienda de la Mariposa and document the hard work and political savvy of the McKellars as they tried to balance the economic and business necessities of running a ranch, with the political realities of the Mexican Revolution and land reform.

This collection consists of twelve letters handwritten in black ink on both sides of thirteen pages of blue-lined paper with an envelope. The letters are arranged into two series. At the center of the top of the paper are printed the words "Nation War Work Council of the Young Men's Christian Association," each side of which is decorated with an American Flag and the symbol of the YMCA printed in red and dark blue ink. Each page, measuring 27 cm. x 15 cm., is now housed in a transparent plastic folder. On the upper-right side of the envelope are handwritten words "Sailor's Mail". The addressee written on the envelope is Mrs. J.E. Bosworth, who lived on 141 Midland Ave. in Syracuse, New York. However, the letters are addressed to "Dear Folks." Bosworth seems to have bought the envelope before he wrote the letters because his letters begin on June 16, 1919, but the date stamped in blue ink on the envelope is June 14, 1919. In his letters, Bosworth very often does not write the first singular pronoun "I" and uses "&" in preference to the word "and." He crosses out with one or two lines on the words he writes incorrectly. He provides some hand-drawn maps and pictures. He frequently mentions numbers to detail his stories. Of interest is that he comments on the characteristics of the Bolsheviks. He also mentions that he hopes to fight them because he has had no chance to hear gunshots, except in practice.

This collection was part of a gift given to the library by the Anthropology Department.  The collection documents the work and writings of Professor Dolores Richter. The collection includes photographs, negatives, writings, and news clippings related to Prof. Richter’s research in the Ivory Coast, West Africa, and Oceania and the publication of her book “Arts, Economics and Change: the Kulebele of Northern Ivory Coast” published in 1980.

This collection documents Criner's professional and personal life as an artist and educator. The collection includes correspondence, original works of art, prints, drawings, exhibition photos, postcards, writings, photographs, publicity, news clippings, interviews with Criner, and thank you letters and cards from students and visitors who have been taught the art of printmaking and provided tours of the Museum of Printing History in Houston by Criner. The collection includes a number of Criner's prints and copies of his art reproduced as advertisements, exhibits, and prints. Of particular note are the significant examples of Criner’s various cartoons, Johnny Jones, The Job Crowd, The Dogs, and a few others. These were all produced from his stint in the Army, his work with the Houston Post, Houston Chronicle, HUD, and his collaboration with William Henry Hygh. 

A listing of Criner’s artwork and cartoons is included at the end of the finding guide. The collection includes examples of each of these works either in print, photos, or exhibit material.

This collection contains over 275 letters of correspondence in Series 1, serving to portray the longtime relationship between Roy Fuller and Julian Symons which started on terms of business and grew to a close friendship. The letters are primarily from Roy Fuller to Julian Symons with occasional addendums from Kate Fuller. There are several letters from Julian Symons in response. In addition, there are some letters from John Fuller to the Symons, from Roy Fuller to Jack Clark, and from Roy Fuller to Sebastian Barker. The folder list contains a brief description of each individual letter and its focus, often with a list of Subjects. Especially lyrical and poetic are Roy Fuller's war letters starting when he was stationed in Africa (Kenya and Nairobi) and Ariel through the office of the Admiralty (folders 1000-1370).

In Series 2, there are 64 letters from Roy Fuller with three annotations from Jack Clark and five from Kate Fuller, one letter from Jack Clark, one from Kate Fuller, six from John Fuller, Roy Fuller's son, and several others from miscellaneous individuals. The letters from Roy Fuller date from 1958 to 1990 and are primarily handwritten postcards to Jack Clark, Co-founder of the Poem-of-the-Month Club. Many of these letters are regarding or, at least, in reference to Fuller's position as advisory to the Poem-of-the-Month Club. However, Fuller and Clark were also close friends, and Fuller feels free, in these letters, to discuss everything from his failing health to how he met his wife, along with many other personal remarks. Most of the letters from John Fuller and the one from Kate Fuller were written after Roy Fuller's death. The few other items in this series include poems, obituaries, newspaper clippings, and pamphlets pertaining to Roy Fuller's life and/or subjects exchanged between Fuller and Clark.

List of Abbreviations Used:

• ALS - Autograph letter, signed.
• AL - Autograph letter, unsigned.
• ANS - Autograph note, signed.
• APCS - Autograph postcard, signed.
• TLS - Typed letter, signed.
• TL - Typed letter, unsigned.
• TPCS - Typed postcard, signed.
• RF - Roy Fuller
• POMC - Poem-of-the-Month Club
• TCV - Twentieth Century Verse

These six letters, dated December 12, 1862 - August 6, 1863, are from Benjamin M. Linsley to his friend Mrs. Lucy G. Palmer in Suffield, Conn. Each letter is written in ink on both sides of a single folded sheet, except for the first one, which is on two folded sheets, sewn together in the center with cloth thread at some point after they were composed. All are addressed by Linsley from the camp near Falmouth, Va., where his regiment, the 14th Infantry of the Army of the Potomac was based, except the last one, which is addressed from McKinnis Hospital in Baltimore, Md., where Linsley was sent to recover from typhoid fever.

In the letters, Linsley comments on the failure of the Union army to obtain substantial victories ever since the Union defeat at Fredericksburg; inflated prices for postage stamps and sutler's goods; the despair he feels at the poor treatment in general of the sick in military hospitals, not only by medical personnel but by fellow soldiers; strategies for obtaining better food and bedding for his brother while nursing him through a severe fever, probably typhoid; the need for statesmen of moral standing more like George Washington than the much clamoured for "little man" George MacClellan; the trials of long marches in either rain and mud to cross the Rappahannock and Rapidan rivers, only to retreat back over them after the battle of Chancellorsville, or the intense heat of marches toward Warrenton Junction, Va., from which Linsley was transported with the sick and wounded to recover from typhoid himself in McKinnis Hospital at Baltimore; the desperation of deserters being taken to their punishment; the immoral behaviour of men in camp; the need for more good chaplains like Clay Trumbull of Hartford, Conn., who served with his brother's regiment of Volunteers; and perhaps, more poignantly, the eerie sound of drums during funerals for the many soldiers who died in camp from sickness in their poor living conditions.

The letters are now each encased in a clear plastic sleeve. A one-page report from the National Archives and Records Administration is included with the first letter. This NARA report (2 July 2001) replies to a request made by Professor Dale Baum of Texas A & M University in April 2001 to locate and make a copy of Benjamin M. Linsley's pension documents packet, stating NARA staff could not locate the materials. Baum had listed Linsley as an enlistee of the U.S. Army in Company A, 1st Battalion, 14th U.S. Infantry.

This collection dating from 1846 to 1906 (bulk: 1846-1847) consists chiefly of handwritten letters, journal entries, a memoir, a proof copy of a report from the U. S. Secretary of War on Army operations in Texas and on the Rio Grande during the Mexican War (1846-1848), as well as plans, maps and nine hand-colored copies of lithographic engravings drawn by Everett, which vividly chronicle southwest Texas cultural as well as military history during the late1840s.

Series 1, Letters (1847-1863), mainly handwritten in ink by Edward Everett to his brother, Samuel W. Everett, from 1846-1847, while Everett was serving in San Antonio de Bexar with the U. S. Army during the Mexican War. A few letters from other correspondents pertain to Everett's disability and eventual official discharge from the Army. Three letters written in the period 1852-1863 are about business or from family members.

Series 2, Journal and Memoir (1846-1899) contains three sets of journal entries for Sept. 1846-Jan. 1847. All are handwritten in ink on loose sheets of paper. The memoir, also handwritten in ink, on machine-ruled paper measuring about 8 x 5 inches, covers the years 1846-1848, with additional material added and dated, on at least one page, with 1899. This memoir is edited in pencil by Everett, evidently for publication, since one note suggests that the memoir was donated in 1899 to the Quincy Historical Society, later known as The Illinois Historical Society. The memoir was actually published, at least part, or possibly all of it, under the title "Military Experience," in Transactions of the Illinois Historical Society for 1905.

Series 3, Engravings, Maps, and Plans (ca. 1846-1849) includes nine copies of lithographed illustrations drawn by Edward Everett and engraved by C. B Graham Lithographers in Washington, D.C. The engravings were to be published in a report on U.S. Army operations in Texas during the Mexican War. A proof copy of this 67-page report, titled Report of the Secretary of War, communicating ... the Operations of the Army of the United States in Texas and the Adjacent Mexican states on the Rio Grande (31st Congress, 1st Session, Senate. Executive Document 32), published in 1850, is annotated throughout by Everett in pencil. For this publication Everett was at least responsible for eight illustrations: seven engravings of the San Antonio de Bexar area, including the Alamo church, as well as locations in Mexico; a plan of the ruined Alamo as it was in 1846, before being renovated according to Everett's direction, as a U. S. Army supply depot and workshops.

Engravings include nine copies of the lithographed prints. Notations made in ink on the separate prints, and on p. [4] of the proof copy of the published government report, indicate that: illustrations numbered for publication 2, 3-6 were engraved from original drawings made by Everett; those numbered 1, 7-8 were engraved from drawings made by Everett based on pencil sketches by other individuals, particularly no. 1 titled "Watch Tower Near Monclova," which was drawn by Everett from a sketch by Lieutenant McDowell of the U.S. Army.

Everett's proofs of the lithographic prints have all been exquisitely hand-tinted, in contrast to the severe black-and-white reproductions in the printed report. Of the nine hand-colored prints, two are duplicates of two illustrations, one titled "Church Near Monclova," and the other "Watch Tower Near Monclova." These identical prints are each hand-colored in two versions, apparently to represent the depicted buildings' appearances during the daytime, as well as at dusk or sunset.

Maps include one copy of a published map, possibly also by Everett, though it has been attributed to Josiah Gregg, which also appeared in the 1850 Army Operations report, titled "Map Showing the Route of the Arkansas Regiment from Shreveport La. to San Antonio de Bexar Texas," which is annotated with a penciled in route drawn from San Antonio to Austin, and a town location labeled "New Braunsfels." Also included are two manuscript versions of a map by Edward Everett, one copy titled "Plan of the Vicinity of Austin and San Antonio, Texas."

Plans are represented by two copies of an illustration drawn by Everett for the 1849 Army operations report showing plans of the Alamo before the renovation, titled "Plans of the Ruins of the Alamo near San Antonio De Bexar, 1846." Also present is one manuscript plan, titled "Plan of San Antonio de Bexar, Texas, 1848," which is labeled as "Drawn from recollection by E. E." The legend states that locations number 1-5 on the plan show, for instance, the spot near the Plaza in town where Everett received his disabling gunshot wound in the leg, the Hospital where he convalesced, and the Quartermaster's Office, to which he was assigned to work after being declared disabled from active service in the field.

A handwritten loose-leaf page kept with the proof copy of the report is titled "Index to Col. Hughes Report," and lists subject divisions and page numbers, though these divisions are not present in the published report by Hughes.

Thus Everett's accounts of frontline actions in the Mexican War mainly rely on reports from occasional volunteer soldiers or scouts, or Mexican nationals, returning back to Texas from the front lines of battle in Mexico. As much as he is able, however, Everett produces very detailed accounts of the various battles and skirmishes in and around the Texas-Mexico border, including battles at Monterrey, Saltillo, San Luis, Camargo, Buena Vista, Vera Cruz, and Tampico, recording a large number of casualties on both sides.

Of particular interest is Everett's extensive first-hand description of the ruins of the Alamo, and how it was converted for U.S. Army use as a military headquarters, according to plans drawn up by Everett. He deplores the vandalism already wreaked by relic seekers and stressed the respect shown to the mission church by the U. S. Army restorers, who refused to plunder it for building stone but instead merely cleaned away the debris. In the process, skeletons were uncovered, which Everett assumes to be from the time of the siege and Battle of the Alamo in 1836. Everett's accounts of frontier life in the rather rambunctious confines of San Antonio, complete with ambushes, shootouts, rough and ready court trials, and various local characters are often riveting.

Everett also pictures the moods and attitudes of the soldiers toward a variety of issues. Everett describes their arduous marches, unsavory living conditions, often dire medical care, and the cruel climate tormenting them. Having been left behind in San Antonio with all the stores rejected by the army, which had proceeded on into Mexico, Everett's men were faced with nursing broken down mules and horses back to usefulness, salvaging wagon parts from several damaged ones to make a serviceable one, and generally, trying to make do with what could be had in the vicinity, or easily transported from the Quartermaster at New Orleans.

According to Everett, communications on the Texas frontier often proceeded through "solitary express riders." He describes Mexican culture co-existing with "the Indians" and their horse-stealing. He also gives an excellent but pejorative account of the Texas Rangers and their activities, calling them desperados. Everett describes Mexican Generals Santa Anna, Torrejón, and Woll, the exceedingly unpopular U. S. Army Colonel Churchill, officers George W. Hughes, 1st Lieutenant W. B. Franklin, 2nd Lieutenant F. T. Bryan, General Zachary Taylor ("Old Rough and Ready"), General Winfield Scott, and General James Morgan, Captain J. H. Prentiss, Brigadier General John E. Wool, Major General Worth, Captain James Harvey Ralston, Captain L. Sitgreaves, as well as Edward Everett's own two brothers Charles Everett and Samuel W. Everett (Sam).

Full of absorbing narrative and elusive details often lost in larger historical works, the content of Everett's narratives and letters may be summed up in his own words from the handwritten memoir: "Mine is not a tale of battles, or of the movements of great armies, but the details will show some of the hardships and vicissitudes of a soldier's life, the exposure to which causes a greater sacrifice of life than that ensuing from wounds of death received from the enemy."

This collection is comprised of 12 scrapbooks (compiler unknown) that contain magazine and newspaper clippings, maps, and other printed ephemera chronicling the Spanish-American War (April-August 1898) in Cuba, and the Boxer Rebellion (1899-1901) in China. No commentary or other original text has been provided by the compiler. The volumes differ slightly, but all are bound in either dark green or dark brown cloth, with maroon quarter calf. Most of the spine covers are damaged or missing. The scrapbooks measure from 20-25 cm. high and from 24-29 cm. wide.

• Volume 1, Spanish-American War Scrapbook, circa April - August 1898
  • A copy of the war-revenue law of 1898, with index [approved June 13, 1898] is pasted onto the inside back cover
• Volume 2, Spanish-American War Scrapbook, circa April - August 1898
• Volume 3, Spanish-American War Scrapbook, circa April - August 1898
• Volume 4, Spanish-American War Scrapbook, circa April - August 1898
• Volume 5, Spanish-American War Scrapbook, circa April - August 1898
• Volume 6, Spanish-American War Scrapbook, circa April - August 1898
• Volume 7, Spanish-American War Scrapbook, circa April - August 1898
• Volume 8, Spanish-American War Scrapbook, circa April - August 1898
• Volume 9, Spanish-American War Scrapbook, circa April - August 1898
• Volume 10, Spanish-American War Scrapbook, circa April - August 1898
• Volume 11, Spanish-American War Scrapbook, circa April - August 1898
• Volume 12, Boxer Rebellion Scrapbook, circa June 29 - July 15, 1900 (A few loose clippings are included inside the front cover)

The collection contains foil figures from the Texas A&M College Slide Rule Contest (1947). Figures included: 5 fish; 4 Texas-shaped molds; 1 figure with a circular shape with the name of the college written; and 1 wooden figure.

This collection consists of correspondence to and from legendary author Frederick Pohl, mostly regarding editorial matters and other items of authorial business.

Most of the letters, dated from 1948-1952, are to or from Shasta Publishing founder Erle Melvin Korshak or editor Ted Dikty. There is also some correspondence between Pohl and Playboy Magazine dated between 1962-1978.

This collection contains correspondence to Dave Mellor from the Lewis and Clark Heritage Foundation, an organization whose members are dedicated scholars of the Corps of Discovery's expedition to map the Louisiana Purchase. Other items also originating from that organization are copies of their member's only journal "We Proceeded On", foundation notes from meetings, and plans for the annual gathering of all the members (usually at a location pertinent to the Lewis and Clark expedition in some way), newsletters informing members of upcoming activities.

Aside from the material from the Heritage Foundation, there are also pamphlets from various tourist sites located on the trail; some are actual locations the Corps of Discovery passed by (Pompey's Pillar, the Lolo Trail, Fort Clatsop), whereas others are cities and towns located near these historic locations. Others are simply named for the explorers (Lewis and Clark Lake), and others relate to the Native Americans the Corps of Discovery encountered on their journey (Big Hole Battlefield, a site sacred to the Nez Perce). A number of magazine articles on the expedition are included, topics cover such as the environmental impact on some of the historic sites, Meriwether Lewis's death, Sacagawea's biography, and later, her gold dollar coin, Thomas Jefferson, both about his shrewdness in making the Louisiana Purchase and the controversy surrounding his relationship with his slave Sally Hemings, descendants of Lewis, Clark, and other members of the Corps of Discovery meeting together to travel the Expedition trail on the 200th Anniversary of the Expedition, and the plight of the Columbia River. Most of the remaining material is a re-hash of all of these topics, save for a couple of unique articles (including a biographical account of Sacagawea's son, Jean-Baptiste Charbonneau).

These comics were created in countries that were ruled by colonial powers in Africa, namely Italy, France, Belgium, and Spain. The comics are both individual copies and bound volumes with numerous copies. They date from around 1926 to 1973.

This collection consists of materials related to Arthur C. Clarke's sales of stories and other pieces to Playboy Magazine. The collection includes a group of 27 typed letters and 7 autograph letters, mainly between Clarke and editor A. G. Spectorksy, internal Playboy memoranda, and correspondence from Playboy. Also included are typescripts (marked as setting copy) for 4 short works of fiction and 8 nonfiction pieces by Clarke.

This collection consists of Oliver's manuscripts, notes, and correspondence, published books, magazine appearances, books collecting his stories, foreign-language editions, clippings, and other related material. Chronologically, the collection ranges from the mid-1950s through the mid-1990s.

This collection includes an exchange of letters between Berenice Napper and an official of Connecticut's Commission on Civil Rights, six items concerning Napper's membership in the National Council of Negro Women, eight printed ephemeral items including a photograph of Berenice Napper with three other individuals looking over a copy of Walter White's book How Far the Promised Land?, and a small group of newspaper clippings concerning her work as a field secretary for the National Association for the Advancement of Colored People (NAACP).

The collection covers the personal, academic, and professional life of Jeff Stumpo and his founding of the Java Shock slam poetry event held initially in College Station, but now based in Bryan, TX.

This collection consists of typescripts of 8 novels with most including the author's corrections and accompanying carbons, and 18 short stories with most corrected including carbons and in some cases tearsheets from the magazines in which the stories initially appeared, corrected and with continuation sheets for expansion into full-length books. In addition, there are close to 300 business and personal letters, photographs, postcards, and other files including broadcasting projects, non-fiction articles, letters and critiques from literary agents and publishers, materials on Space World, and several folders of unfinished manuscripts. Unusual "picture cards" featuring text and photographs on postcards are included.

Excluding duplicate carbons, letters, etc., there are approximately 2,300 pages (mostly 11 x 8.5-inches) of typescript with a total of about 575,000 words. Many of Binder's letters are on letters received or on the backs of manuscript or script fragments.

This collection contains letters from Sylvia Townsend Warner to John Putnam.

This collection includes copies of administrative orders, field orders, and weekly reports compiled by the staff of the Sixth Army and sent to General Krueger, as well as copies of operation reports sent from General Krueger to the Adjutant General in Washington, D. C. Also included are after-action operation reports concerning the 6th Army.

The administrative orders primarily contain data or amendments to accompany Field Orders and are concerned with supply, evacuation, traffic, service troops, personnel, prisoners of war, and miscellaneous items. Also included are instructions and annexes dealing with captured enemy equipment, individual clothing and equipment, supply, burials and cemeteries, native labor, sanitation, prisoners of war and enemy dead, captured material trophies, air supply circulars, and plans of operation. Maps and sketches are also found among the administrative orders.

The field orders contain data and instructions relating to hostile dispositions and support of operations, task forces, command posts, supplies, and communications. Also included are annexes concerned with staging, loading and embarkation plans, intelligence, artillery and antiaircraft artillery, communications, and engineering. Maps, sketches, and code names are also included in the field orders.

The weekly reports contain intelligence information on enemy activities, terrain, counterintelligence, material and equipment, captured documents and POW interrogations, reclassification of documents, enemy tactics, psychological warfare, and code names and numbers. Also included are photographic coverage reports, sketches, and maps.

The operation reports provide the history of the operation, including organization and operating instructions, plans and preparations, background and terrain, reconnaissance, communication, operations, enemy reaction, engineer activities, captured materials, relations with natives, the recapitulation of casualties, commendations, awards, and decorations, conclusions, credit for success, and lessons learned.

This collection consists of miscellaneous files, alphabetical files on the authors, and a complete original folio of poems. Within the first miscellaneous file is background information on the club and correspondence with Bloomsbury Book Auctions. Other miscellaneous files consist of correspondence.  the author files primarily consist of correspondence between poet and club directors, contracts with the club, and proofs of the broadsides.  There are originals and carbon copies in the files.  Many of the letters and proofs are annotated and contain original signatures.  The complete folio contains signed broadsides as well as any other material sent with the poem, such as a brief biography or note from the author regarding his poem.

This consists, aside from the group of 900 or so monographs collected by Asselineau, chiefly of correspondence, accompanied by handwritten drafts of reviews written in ink or pencil by Asselineau on slips of paper, apparently placed in the relevant book on his shelf as a file. The correspondence and draft of reviews are often associated with clippings, photographs or snapshots, offprints, programs, newsletters, and a few postcards.

Most of these manuscript materials were found in the process of cataloging the monograph collection, apparently filed by Asselineau in volumes of his monograph collection, usually related to the author of the book into which he inserted the materials over a period of years. A title page of the relevant book into which the manuscript materials were found inserted is now clipped to the materials in the collection folder and the call number of the book written on the photocopied title page in pencil. Also present are musical scores of adaptations of Whitman's poetry, and quite a few copies of the Walt Whitman Circle quarterly newsletter, published by composer and Whitman enthusiast, Robert Strassburg.

Series 1 includes notable correspondents such as Gay Wilson Allen, V. K. Chari, Betsy Erkkila, Ed Folsom, Donald D. Kummings, Jerome Loving, Robert Strassburg, and Leandro Wolfson.

Series 2 consists of a bound manuscript book entitled "Walt Whitman on Burns and a Portrait Gallery of Walt Whitman". The book measures 21 cm by 13 cm and is bound in green half-calf with marbled boards. According to a letter pasted into the book, it was apparently purchased by Roger Asselineau on August 20, 1942, from Alfred F. Goldsmith of New York, NY. Twenty-seven leaves of the manuscript book are filled with mostly photographic portraits of Walt Whitman, a few obviously cut from published works, and one leaf containing a section from a page of a handwritten manuscript in pencil and ink, labeled "Rough draft of a page in 'Robert Burns as poet and person' in November Boughs (p. 61)." Twenty other leaves of the book are left blank.

Series 3 consists of four folders with programs, offprints, and newspaper clippings collected by Asselineau. Contains manuscripts with commentary and suggestions (1856-2000), programs, announcements and catalogs (1963-2000), and clippings collected (1962-1992) regarding the life of Walt Whitman, his writings, collections, and offprints.

Series 4 contains over 900 monographs collected by Asselineau, these materials are cataloged separately in the Library of Congress classification and housed in the Cushing repository stacks as part of the Lit/Whitman collection. These monographs include first editions of Walt Whitman's works, particularly Leaves of Grass, many translations of the poem into an incredible variety of languages, biographies, and other scholarly works. The breadth of Asselineau's scholarly activity and acquaintance is well represented by the amount of correspondence and other memorabilia which was found inserted into these volumes.

This collection contains manuscripts, correspondence, books, magazines, and other material related to Lansdale's writing career, circa 1989-2003.

This collection contains letters that are instigated by the inquiries of Mr. Charles Perry Gould, and his desire to have Llewelyn Powys write an introduction for the upcoming reprint of The Simple Cobbler of Agawam. It contains the initial contact, the deal under which Powys writes the introduction, and also what happens to his writings after Powys' death. Sometimes in his letters to Mr. Gould, Llewelyn encloses postcards of Davos, Switzerland, as well as a picture of the author himself.

This collection is made up of over 250 projects contained in 24 boxes, as well as drawings and construction documents housed in flat files in one map case.  Stripling’s work consists of 327 legal size folders, each related to architecture projects, as well as 60 folders of information associated with the field of architecture and miscellaneous items. 

The folders in the collection hold articles such as: contract documents, architectural services billing, contractors’ requests for payment,  correspondence, brochures, pamphlets, newspaper articles, magazine articles, photographs, sketches, drawings, and miscellaneous notes.

This collection consists of personal correspondence, manuscripts by Long and others, articles, booklets, essays, clippings, photocopies, research notes, maps, brochures, and photographs. The papers reflect Long's successful career as a Civil War historian and are in very good condition for the most part.

While most of the materials in this collection are dated in the twentieth century, there are several original Civil War documents of the nineteenth century. Of further interest are the drafts of Allan Nevins's Ordeal of the Union, which were edited by E. B. Long, and the nine long index boxes of Long's research notes on the Civil War.

The papers have been divided into the following categories: personal correspondence, manuscripts by Long, manuscripts by others, general files covering a wide range of subjects, drafts of Allan Nevins' Ordeal of the Union, research notes on the Civil War, index card files of articles, and miscellaneous volumes of clippings. The correspondence is arranged both chronologically for general correspondence and alphabetically for correspondence with specific individuals, resulting in some overlapping of dates. Correspondents include Bruce Catton, the Civil War Round Table, Doubleday and Company, Allan Nevins, Lowell Reedinbaugh, and John Y. Simon. Other materials in the collection are arranged either chronologically or alphabetically depending on the nature of the information.

This collection consists of some correspondence, a significant number of mostly typed manuscript drafts, both published and unpublished, and a printer's galley for her book, Coryell County Scrapbook, published in 1963 by Texian Press of Waco, Texas. Also present are a few newspaper clippings, as well as handwritten and typed research notes for her published book.

The manuscript drafts reveal an engaging blend of scholarship, personal recollection, and anecdotal history chronicling the development of Coryell county from when the area was part of Coahuila, Mexico, through to its formal organization as a county in the state of Texas in 1854. Included is an account of the growth of Fort Hood as a military base in the early 1960s.

Stories are cited from early twentieth-century newspapers recounting Indian skirmishes with pioneering settlers, deeds of cattle rustlers and trail drivers, as well as events surrounding prohibition and various political rivalries. The early days of Fort Gates, now Gatesville, and the later development of Camp Hood, now Fort Hood, one of the nation's largest military installations, are described. Statistical tables and records present expenditures for, and descriptions of, buildings, jails, courthouses, prominent homes, banks, and businesses in Coryell county.

Interspersed among the political and economic accounts of the county's progress are more personal stories of weddings, births, parties, church events, legendary horses, dogs, local heroes, and even the county's centennial celebration in 1954. Mears' relatively unadorned narrative describes in some detail the increasing social, economic, and political prosperity and influence, as well as the setbacks, of Coryell County. Mears' work brings to life frontier Texas culture during the late nineteenth and early to mid-twentieth century.

This collection includes books, serials, and framed artwork.

This collection includes commemorative metal plates with Texas A&M College logos and an engraving of Sull Ross dating from 1976, which is the commemorative centennial of Texas A&M's founding in 1876.

This collection contains over 100 items, primarily books that are cataloged and available via the Libcat system. The manuscript and drawings are also cataloged and available via the Libcat system.

This collection contains Liebig card sets which are trading cards that depict scenes and peoples from the Middle East and Africa including images of Muslims, flags, and maps. The cards are primarily written in French, with a few in English. Most of them were created to advertise the Liebig business.