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The Archives of Oland and Son Limited consists of records created by Oland and Son Limited and its affiliated companies. Some of the companies changed names after Oland and Son sold its brewing assets to John Labatt Limited. Records for these companies are included as well. Records range from 1867 to 1989, but were predominiately created between 1950 and 1971.

The Archives of Oland and Son and Affiliated Companies include a wide variety of materials, including administrative records, financial records, correspondence, photographs, advertising and marketing materials, beer production files, sales records, and legal documents. Administrative records typically include meeting minutes, annual reports, memorandums, surveys, and studies or reports on various aspects of the brewing industry and the breweries operated by Oland and Son. Beer production files typically include brewing books, yeast log books, fermentation schedules, production reports, and other records that document the beer production process. The Archives contains a large amount of correspondence between Oland and Son and its affiliated companies and various businesses, government agencies, associations, and individuals from across the Maritimes and around the world. Financial records typically include financial statements, cost reports, comparative statements, general ledgers, valuations, audit reports, and other records documenting the financial position of the various companies. Extensive advertising and marketing files exist, including advertising contracts and schedules, proofs and sketchs, reports and proposals, and budgets. The Archives also has extensive sales records documenting the sale of beer across the Maritimes, Quebec, and parts of the United States and the Caribbean. The Archives also contains hundreds of photographs and blueprints of the factories, factory equipment, and the Bluenose II.

Materials are in English, French, German, and Czech. See individual Series descriptions for detailed scope and content notes.

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 These writings include handwritten and typed, complete and incomplete, and published and unpublished works.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.

Photograph of the 1907 iteration of the Stellarton Rovers cricket team.

Two men wearing jackets standing on either side of two young men also standing, and behind seven young men seated, two of whom are on the arms of others' chairs, with two men wearing jackets posed in front on the floor; full pose. One of the men on the floor is holding a pencil and notebook. Those not wearing jackets are wearing tops on which the name: "Rovers" is sewn. Print of a room interior is placed behind as a backdrop. Print copy is included.

Jack Forrestall is third from left in the back row, while Rev. Morris Taylor is on the far left of the second row.

Six men standing behind six men seated with one man and a boy seated on the floor, all members of the 1905 Stellarton cricket team which won the Nova Scotia Cricket League championship that year; full pose. A large vase filled with flowers is in the centre in front of the group. Two men are wearing jackets; the others are in shirt-sleeves. One is wearing leg-pads. Print of a room's interior is placed as a backdrop behind them. Print copy is included.

Back row, l to r: Tom Falconer, scorer; Frederick MacKenzie; James Henderson; James Wright; Jack Cummings; John Grant, manager;
Second row: Rev. Morris Taylor; David Conway; Bill Hosking; Dr. Clarence Miller; John Sample; Bill Falconer;
Front row: Alex Jameson; Stanley Fraser, bat boy.
Missing: William Campbell

Group of 13 members of the Rovers cricket team, late-1900s or early-1910s; full pose. 2 reclining, 5 seated, 6 standing. One has a cricket bat across his knees.

Players identified include Rev. Morris Taylor (back row, third from left); Jack Forrestall (second row, far left); Dr. Clarence Miller (second row, second from left); and William Cummings (second row, far right).

Group of 13 members of the Stellarton Rovers, winners of the 1910 Nova Scotia Cricket League championship; full pose. 3 reclining, 5 seated, 5 standing. One has a cricket bat across his knees, another looks to have a pencil and a notepad.

Per the Pictou County Sports Heritage Hall of Fame, player identification is as follows:
Back row, l to r: Rev. W.R. Turner, scorer; Frederick MacKenzie; Harry Saunders: Jack MacKinnon; John Grant, manager;
Second row: Rev. Morris Taylor; Dr. Clarence Miller; Robert Ferguson, captain; Alex Jamieson; William Cummings;
Front Row: Alex McIntyre; George Cutten, mascot; Jack Forrestall.

File consists of records related to the North American Black Artists exhibition organized by Dalhousie Art Gallery. The exhibition was shown at Dalhousie in November 1972.

Records consist of correspondence between Ernest Smith (Director, Dalhousie Art Gallery) and directors at Brockman Gallery, lists of slides, and letters to the artists requesting samples of artworks in slide form. Records also include four slides of artworks from Manuel Hughes (Professor Art Department, Florissant Valley Community College) and four from Benny Andrews.

The fonds consists of records that document the administrative and operational activities of the Faculty of Medicine. These include general correspondence, minutes (faculty and departmental), financial records, reports, statistics, administrative relationships, program information, course materials, examination records, newspaper clippings, memorabilia, photographs as well as provide evidence of relationships with outside organizations.

Principally, the material is composed of records from the Dean's Office of the Faculty of Medicine. To facilitate access to the collection the materials have been organized into 17 different series.

File consists of records related to an exhibition of artwork by Stephen Cruise titled 'Bitsandpieces,' organized by and presented at the Dalhousie Art Gallery from April 27 to May 22, 1976, and later at the Vancouver Art Gallery in 1980.

Records consist mainly of correspondence, financial statements, floor plans, and clippings. Also includes three photographs of Cruise's artworks, two postcards from Stephen Cruise to Bruce Ferguson (Director, Dalhousie Art Gallery), eight photographic slides, and an opening invitation.