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Series is comprised of the journals of Robert Fones. The journals contain records and notations of daily life and art production; reflections on his personal life; and notes on his creative processes and inspirations. Often they include insertions of found images, product labels, pages from instruction manuals, photographs, letters, ephemera and samples of the artist’s poetry and writing. There are numerous connections between these books and the artist’s finished works. While several of the books contain drawings and collages, journal entries are the predominant feature, distinguishing them from the sketchbooks in Series 8. There are four daily diaries in this series. This series also includes one address book, undated.

Series comprises correspondence, receipts, invoices, floor plans, photographs and lists of artworks related to acquiring, exhibiting, maintaining and lending works from the J.S. McLean Collection (at the McLean residence and the offices of Canada Packers), along with art gallery notices, exhibition catalogues, booklets on art subjects and newspaper clippings. Correspondents include Lawren Harris, A.J. Casson, A.Y. Jackson, Paraskeva Clark, Carl Schaefer, Leonard Brooks, Joe Plaskett and Ada Carmichael (wife of Franklin Carmichael).

Series comprises personal correspondence to F.H. Varley’s companion Kathleen McKay from his friends and family as well as business correspondence from public and private art galleries, law firms and others, largely dealing with Varley and his works. Also included are letters from her to Varley early in their friendship. File titles are from original folders.

Series contains files and publications relating to John Faichney’s involvement with CEAC and the KAA, including publicity material, stationery and periodicals. Also included is the original typed manuscript for the 1976 Symposium on Contextual Art held at CEAC. Material has been arranged chronologically by the archivist.

Series contains published and unpublished material relating to Panton’s personal and professional life, including correspondence, clippings, lectures, notes, reproductions and photocopies. Correspondence relating to his tenure as President of the Ontario Society of Artists is included, during the controversy involving the secession of the Group of Seven and other matters. Among the papers was a list with file designations (see file 1). The first series follows this arrangement.

Series consists of undated drawings that appear to be contemporary with the notebooks in Series 1 and are consistent with the usual output of an art student. Figure studies predominate, probably originating in life drawing classes with a few drawings of specific individuals and places. A number of published plates of models and statuary are included. Four experiments with print-making are also included in this series, possibly dating from 1930 when Munn attended printmaking classes at the Art Students’ League. A file of decorative patterns and one cut stencil are also included in this series. One pattern contains a draft letter to the artist’s mother on the verso, remarking on a proposed visit to Elbert Hubbard’s Roycroft studio in East Aurora, NY (Hubbard died in 1915). A money-making scheme is mentioned in the letter, perhaps revolving around the production of these stencils. Photocopies of letters written to Kathleen Munn around this time are included (originals remain in the family). Series also contains a hand-lettered sign for a sale at Munn’s Jewelry store, undated and unsigned.

Series comprises photographs of American-Canadian artist Frances Loring (1887–1968) and some of her sculptures, together with photos of sculptures by her companion, American-Canadian artist Florence Wyle (1881–1968), taken in Toronto and other places in Ontario, between 1916 and (probably) the 1950s. The Pollock Gallery held Loring & Wyle exhibitions in 1966 and 1969.

Series comprises material such as files, master copies and dummy copies pertaining to the print publications which Michael Bidner produced or co-produced. These publications include Adz magazine, Rude magazine, Rag magazine booklet, and the London District Union newspaper. In 1976, Bidner launched Adz, which he described as “the magazine as art” and was put out under AMSDAS Publishing (Adz Magazine Subscription Deposit Account Service). Adz was designed to be a magazine with up to 1,000 issues each with print runs of varying size. Bidner created his own issues or invited other artists to compose an issue. Issues were typically named with a single word followed by a number, for example “Bus 24” (numbers did not indicate a unified sequence). The envisioned run of 1,000 issues was never completed. Bidner went on to produce Rude magazine, co-founded with printmaker and owner of Acme Print & Litho, Joe Thomas. The magazine ran from 1977-1983 and operated out of two facilities located in London and Stratford. It was largely printed on found paper acquired by Bidner from various sources. Nine issues of Rude magazine were published. Also during this time, Bidner created Rag magazine (1979-198?) in partnership with Don Gaul and Gary Jack. Rag magazine is a half-sized zine booklet, or a “streetwise chapbook”; six issues were produced. The London District Union (1979-1980) was an arts-based local paper for London, Ontario which published only four issues as a market trial before folding. Carol Off, the television and radio journalist, was an editor for the London District Union.