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Collection comprises 34 mounted photographs of political demonstrations and protest marches organized by Dalhousie students between 1967 and 1970. The photographs were taken by students for the Dalhousie Gazette and/or Pharos yearbook and were compiled and printed by Stephen Archibald for a show in the Student Union Building in Spring 1971. The scope and content notes for the images are drawn from the background information provided by Stephen Archibald, who writes: "The pictures were taken by young men in their late teens and early 20s who had no formal training, but who were drawn to photography because it provided a visual, aesthetic outlet that was missing from their academic university life. We also had no particular political beliefs or insight. The editors at the Gazette were left-leaning during this period so it is not surprising that we were assigned to photograph demonstrations that were organized, in large part or totally, by Dal radicals."

The photographs were printed and mounted by Stephen Archibald on F5 high-contrast paper to exaggerate their graphic nature, and printed full frame, which gives them a black border. As he explains in his notes, this was part of the contemporary aesthetic, ensuring that the viewer was aware that the images were composed in the frame, with nothing edited or cropped out. Most of the photographs are mounted, and the dimensions provided in the physical descriptions do not include the mount board.

Fonds contains records created and collected primarily by Alexander H. Leighton, with some by Jane Leighton Murphy. Documents span from Leighton's studies at Princeton, Cambridge, and Johns Hopkins univerities, through his government employment in World War II, and his teaching career at Cornell, Dalhousie, and Harvard. The majority of records are related to the 1961 Cornell-Aro Mental Health Research Project and the 1963 Study on the Role of Women, both based in Nigeria, and the Stirling County Study, based in Nova Scotia. Record types include correspondence, manuscripts, grant applications, reports, photographs and slides, medical and academic records, method and guidebooks, reviews, offprints and publications, teaching and course materials, and surveys and interview transcripts.

A sous-fonds contains records documenting the migration of Alexander Leighton's parents from Ireland to the United States and their subsequent life in Philadelphia. The sous-fonds contains extensive correspondence between extended family members over the course of a century, as well as photographs, diaries, wills, family trees, memoirs, and Alexander Leighton's personal correspondence.

Fonds includes Alan Creighton's diaries, which cover many of the years from 1920 to 2000. Writings from the period 1920 to 1954 (many undated) are mainly short stories and poems. These writings include handwritten and typed, complete and incomplete, and published and unpublished works. There is also some correspondence throughout as well as copies of his two books of poetry. The fonds includes writings with titles such as "About Poetry," "Poetry Courses," "Thoughts," "Music & Art," and "Bedford Basin." His notebooks include evidence of a variety of courses taken, including French and Greek, music, poetry, and art (both practice and history, including Chinese art). There is also a record of his art sales from 1964 to 1999. Personal and family documents are included in the fonds.

Alan Creighton's artwork is extensive and primarily in the form of sketches and watercolours, with a few oil paintings. Many of his sketches are in albums, many of which are used exclusively for one particular aspect of his studies. For example, album labels include "People," "Trees," "Skies," "Rock Formations," "Buildings," "Railway Sketches" (scenes from train journeys), and "Outdoors." Others identify a place and time and include such labels as "At the Zoo," "Nova Scotian Sketches 1951," "South Shore 1982," and "Toronto 1996." Still others contain a mixture of styles and themes. There are also numerous loose sketches and watercolours which have been loosely arranged into similar groupings such as "Clouds," "Boats," "Flowers," and so forth. Photograph albums include photos of family and of scenes taken by Alan as a reference for future paintings.

Included with Alan Creighton’s personal items are papers, writings, art, and memorabilia belonging to his friend and roommate Christine Eyles, who died without heirs. Some relate to her employment as a violinist in England and in Toronto, Ontario and some contain her poetry, plays, and artwork (in sketchbooks and on loose paper). Published and handwritten music scores, mostly for the violin, are also included. A photograph album contains many formal portraits of family and friends taken in England in the early 20th century. Records also include papers by and about her father, Charles Eyles, a famous violin-maker. Such materials include advertisements, brochures, and letters attesting to the high quality of his craftsmanship.

This fonds consists of records which document the personal and business activities and interests of Alfred Dickie and, to a lesser extent, those of his immediate family and employees. Although the records span Dickie’s lifetime, few relate to his childhood, education, or final two years of life. Some items, in particular those concerning his export lumber business or his travels, derive from various places in North and South America, the Caribbean, Europe, and South Africa, though by far the majority are found to be located within Nova Scotia.

The fonds includes correspondence, business and administrative records, speeches, photographs, legal documents, and plans, among other materials. Records are chiefly in English, although a very small portion are in French, Norwegian, Finnish, Spanish, and Italian.

Fonds contains the business papers from Himmelman Supply Company and several other companies owned or operated by Ernest H. Himmelman and Lawrence Himmelman. These include O.K. Service Shipping Company, Himmelman Shipping Limited, Oakland Shipping Limited, LaHave Investments Limited, Nova Hereford Farms, and Himmelman Supermarket Limited. The fonds contains a variety of business papers, including meeting minutes and administrative records, ships' vessel papers, correspondence, financial statements and ledgers, legal agreements and contracts, blueprints and maps, and photographs.

Some of the personal papers of Lawrence Himmelman are also included in the fonds, including correspondence with the LaHave School, the local fire department, and other groups, financial records, and contracts and agreements.

In 1954, a fire in the Himmelman Supermarket destroyed many of the business records. Most records in the fonds are from after this date, though some vessel papers and correspondence from before the fire survived. See individual series descriptions for more detailed descriptions of the scope and content of the fonds.

Fonds consists of 18 series. Administrative, Correspondence, Financial, and Vessel Papers Series contain records for Himmelman Supply Company and subsidiary companies. Additional records for subsidiary companies are found in series for Himmelman Shipping Company, O.K. Service Shipping Limited, Oakland Shipping Limited, LaHave Shipping Limited, and LaHave Investments Limited. Each vessel from the O.K. Service Fleet also has a series. See individual series descriptions for more detailed descriptions of their scope and content.

Fonds contains a selection of documents, drawings, material samples, and images collected by D'Arcy Wilson and Lisa Bouraly during a two-year research project focused on Thomas McCulloch and Andrew Downs. The fonds is part of an exhibition, the "Impossible Museum," curated by Lisa Bouraly and featuring works by D'Arcy Wilson and Amy Malbeuf. The exhibition is presented by Eyelevel Gallery in the Thomas McCulloch Museum in the Dalhousie University Life Sciences Centre from March 5 to April 30, 2020.

Material includes a selection of texts and notes tracing Bouraly's research while preparing the exhibition. These documents were selected by Wilson from Bouraly's collection. Fonds also includes an encapsulated drawing of Thomas McCulloch, material swatches linked to one of the works in the exhibition, scraps and drawings left over from a collage, photographs of works in progress, a copy of the exhibition essay, and other material related to the exhibition. Fonds also includes photocopies of several nineteenth century texts reviewed by Bouraly during her research.

The file box includes a pair of white gloves and a list of materials in the box.