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Fonds consists of personal and professional records of Canadian painter Jack Bush, created chiefly in Toronto during the 1930s to 1970s: his personal diaries; record books containing notes on his paintings; photographs (slides, transparencies, negatives and prints) largely of his paintings but also of his studio, exhibit installations and other subjects; with scrapbooks of newspaper and magazine clippings about the artist, exhibition notices, examples of his commercial art, and further records of his paintings.
Contains series:

1. Diaries
2. Record books
3. Photographs
4. Scrapbooks
5. Commercial art

Fonds consists of the personal and professional records of David Brown Milne, including correspondence with friends, patrons, family and his dealer; diaries and similar writing; documentation of Milne’s military service; designs for Canadian flags; cancelled watercolours; sketches and sketchbooks.
Contains series:

1. Correspondence sent by David Milne, including drafts of letters
2. Correspondence received by David Milne
3. Diaries and other writings by David Milne
4. World War I documents
5. Douglas Duncan and Picture Loan Society documents
6. Maps of potential painting locations
7. Publicity material
8. Documents relating to Vera Parsons and 1963 court case
9. Canadian flag drawings and designs for Studio Magazine cover
10. Cancelled watercolours
11. Baptiste Lake sketchbooks
12. Personal effects
13. Sketches

The fonds consists of exhibition lists; manuscripts of articles, lectures, radio broadcasts, and a book; correspondence; art education pamphlets; materials related to a National Film Board production about the artist; papers about other artists; memorabilia from the Arts and Letters Club, Toronto; photographs and papers relating to Tom Thomson; and a source book on Arthur Lismer prepared by Marjorie Lismer Bridges.

The fonds consists of personal and professional correspondence, exhibition and projects files, exhibition catalogues, newspaper articles and reviews of Tim Zuck’s work, multimedia records including art related photographs, films, audio cassette tapes, conceptual art projects, exhibition notices, financial records, and publications. Fonds consists of the following series: Correspondence files Publicity material Exhibition and projects files Financial records Art college projects Art ephemera (other artists) Publications

Fonds consists of administrative records of Gallery Moos, including files on artists and associated dealers and galleries, art fair participation and travel. Fonds also contains the gallery’s published output, including exhibition invitations and catalogues, posters, and limited edition publications. Two films on gallery artist Gershon Iskowitz are also included. Fonds is comprised of the following series: Artist files Gallery, dealer and associate files Art fair files Travel files Exhibition invitations and catalogues Posters Films Limited edition publications

Fonds consists of photographs of Canadian artists and paintings, personal and professional correspondence of Newton MacTavish, manuscripts, offprints, illustrations, newspaper articles and reviews and other photographs. Included are correspondence and manuscripts of Kate Johnson MacTavish. Fonds is comprised of the following series: Correspondence Manuscripts Offprints Reviews Newspaper clippings Original illustrations Photographic studies Photographs of Canadian artists Photographs of paintings by Canadian artists Negatives Miscellaneous

Fonds consists of two scrapbooks containing material created and collected throughout George Reid’s life and were compiled by him in the late 1930’s. Volume I, 500 pages, contains photographs and notes on the Reid family; drawings, sketches, etc., as well as press clippings and exhibition catalogues relating to works of art by Reid and his first wife, Mary Hiester Reid. The 131 pages of Volume II are devoted to designs for buildings and their interior fittings, including summer homes and a church at Onteora, New York, houses in Wychwood Park (Toronto) including the Reid house, and Ontario College of Art designs. Materials include drawings in pencil, pastel and ink, watercolour sketches, small oil paintings, blueprints, photographs, postcards, letters, texts of speeches, letters, awards and material clipped from magazines and newspapers.

The fonds includes correspondence, newspaper and magazine clippings, photographs, drawings, poems, notes and memorabilia relating to Helen Sanderson’s student days at the Ontario College of Art and subsequent teaching career. Many of these were pasted into a scrapbook, entitled ‘Art School Days’, forming a distinctive memoir of student life in the 1920’s and 1930’s. The fonds is arranged in a single series.

Fonds consists of correspondence, newspaper and magazine clippings, lecture notes, newsletters, cards and party invitations, exhibition catalogues, reproductions of art works, passport, certificates, and photographs relating to L.A.C. Panton’s personal and professional life. The photographs range from portraits of his family in England to scenes that provided the basis of paintings, particularly the Nova Scotia coastline. Correspondence relates to his involvement in art societies and his community in North Toronto but does not include his family life. Letters were received from several members of the Group of Seven, Florence Wyle, Arthur Heming, Fred Brigden, G.A. Reid and many others. Clipping files relate both to his professional life and his interest in economics and current events. The fonds arrived at the archives in no discernible order; order has been imposed by the archivist to correspond as much as possible to a file listing found in the fonds. Fonds is comprised of the following series: L.A.C. Panton’s file arrangement Other files Photographs

Collection consists of a four-volume set of proof engravings by Henry Sandham for his illustrations in Century Magazine and other publications. The engravings were assembled by the artist, who inscribed in ink on the title page of volume 1: “The only complete set of proofs of the engravings from Hy Sandham’s drawings for Century Magazine from 1881 to 1886. These proofs were printed from the blocks before they were electro-typed and cannot now be reproduced except by being engraved again. The cost of each print in this book was fifty cents. Hy. S.”