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File contains personal correspondence.

Loose sheets from agenda

File contains holiday cards from Barbara Astman's friends and family.

File contains correspondence with Tony Baker, Astman, and their children Laura and Amy. File contains memos from Tony Baker to his family members.

File contains professional documents relating to Winsom's work. Includes professional correspondence, a CV, loan agreements for exhibitions, meeting notes, release forms relating to two editions of the publication Canadian Who's Who, budget documents, and other related documents.

File consists of promotional material relating to the exhibition Jumping the Big Boa (2012), held at the Image Factory art foundation in Belize.

Fonds consists of the records of the life and work of Sorel Etrog, including his personal, professional and literary correspondence; records of exhibitions and of acquisitions of his work by various galleries and collectors; administrative records related to various projects and collaborations by the artist; preparatory and experimental works on paper (“study drawings”); a selection of preparatory maquettes for sculptures; publicity materials including exhibition invitations and press clippings; and comprehensive documentation (photographs and lists) of the artist’s finished work. Three paintings by art collector and patron Samuel Zacks are also included.

The collection comprises archival material related to Harris’s photographic work from her time in Spence Bay, as well as that of the darkroom project she conducted while living there. The archival collection consists of Pamela Harris’ original contact sheets; her active and passive correspondence; documentation, publicity and text panels related to her exhibitions of Spence Bay photographs; audio recordings of interviews with people she met and worked with in Spence Bay; and related materials from the 1973 Women’s Kit. It includes the 28 b&w photographs taken by the Inuit women participants of the concurrent natural dyes workshop and the related text panels exhibited at the Artic Women’s Craft Conference and TD Centre in 1974, as well as documentation of their work in the Darkroom Project and the resulting exhibition. It also includes a questionnaire designed and distributed by Pamela Harris and colleague Paul Carter to other documentary photographers during this same time period.