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Collection consists of photographs of Jack and Olga Chambers by Shieky Brownstone. Collection has been arranged in a single series.

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.

Fonds consists of Suzy Lake’s documentation of her artistic projects and exhibitions, records of her teaching activity at the University of Guelph, trial proofs used in the production of photo murals, and an example of early experimental work by the artist. Fonds also includes Lake’s grandfather’s sketchbook from his studies at the Detroit Institute of Arts.

Collection contains book jackets, grouped into geographical categories. Also included is a published exhibition catalogue. Dates have been provided by Sybille Pantazzi and are written in pencil on the verso. Attribution is based on a designation on one of the jacket flaps, on a signature within the illustration, and occasionally on stylistic analysis.

Fonds consists of documentation of Tanya Mars' career as a performance artist and video artist, including photographic, video, and audio documentation of her live performances; raw footage used in the filming of her video artworks; slides, video projections, and soundtracks used as live elements during her performances; and textual records documenting her creative process. Fonds also consists of professional records documenting her involvement with Powerhouse Gallery, ANNPAC, 7A*11d, and Parallelogramme magazine in addition to her role as a professor at the University of Toronto and the Nova Scotia College of Art and Design.

The collection consists of Lee’s files on a number of Canadian visual artists, art associations and related individuals. File contents vary but typically contain material such as correspondence, essays, photographs, sketches, watercolour paintings, press clippings and printed ephemera. File titles are as follows: Arts and Letters Club; Brooker, Bertram R. (1888-1955); Challener, F.S. (1869-1959); Colgate, William (1882-1971); Delfosse, Georges (1869-1954); Dyonnet, Edmond (1859-1954); Forbes, Kenneth (1894-1980); Fowler, Daniel (1810-1894); Fraser, John A. (1838-1898); Girard, Rodolph; Grier, E. Wyly (1862-1957); Howard, A.H. (1854-1916); Huntley, Walter E. (1887-1931); Jackson, A. Y. (1882-1974); Jacobi, Otto R. (1812-1901); Jefferys, Charles W. (1869-1951); Johnston, R.E. (1885-1933); Kane, Paul (1810-1871); Kelly, John D. (1862-1958); Laberge, Albert; Lismer, Arthur (1885-1969); MacDonald, Grant (1909-1987); Millard, Charles S. (1837-1917); Ontario Society of Artists; Ottawa; National Gallery of Canada; Peel, Paul (1860-1892); Reid, George Agnew (1860-1947); Rolph, G.G. (Rolph, Clark and Stone Ltd.); Royal Canadian Academy of Arts; Rozaire, Arthur D. (1879-1922); Russell, Gilborne; Signatures of Artists; Spooner, James; Thomson, Tom (1877-1917); Toronto. National Portrait Gallery; Wickenden, Robert (1861-1931). Arranged alphabetically according to subject by T.R. Lee.

Collection consists chiefly of illustrative works by Canadian graphic artist Thoreau MacDonald, including a portfolio of drawings for an unpublished illustrated edition of Henry David Thoreau’s study Walden and a volume of layouts for the novel Maria Chapdelaine by French author Louis Hémon. Collection also includes some correspondence.

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 chiefly of correspondence received by Harold Murchison Tovell, Ruth Massey Tovell and Vincent Tovell, most notably from their friends the French artist Jacques Villon and his wife Gaby from 1928 to 1962. Other correspondence concerns the lending and donation of family artworks. Also included are catalogues for exhibitions of the works of Jacques Villon and his brother Raymond Duchamp-Villon as well as inventories and photographs of Tovell family artworks and furnishings. The fonds comprises ca. 83 items. Fonds is comprised of the following series: 1. Harold Murchison Tovell correspondence 2. Ruth Massey Tovell correspondence 3. Vincent Tovell correspondence 4. Jacques Villon exhibition correspondence 5. Jacques Villon exhibition catalogues 6. Tovell collection photographs 7. Tovell collection inventories

Fonds consists of correspondence with art dealers, experts and auction houses; photographs of artworks; hand-painted illustrations of ceramics; inventories of art and ceramics collections; descriptive catalogues of the art collection; research notes on the provenance of works of art; art-related publications; and wills pertaining to the development, maintenance and dispersal of the Van Horne family collections of paintings and ceramics over the course of three generations in Montreal from late 19th to the end of the 20th century. Fonds is comprised of the following series: 1. Sir William Van Horne’s notebooks 2. Sir William Van Horne’s files 3. Sir William Van Horne’s collections record books 4. Photo reproductions of works of art 5. Illustrations of ceramics by Sir William Van Horne 6. Note card collections inventories 7. “Dummy” catalogue 8. Division of collection records 9. Miscellaneous documentation of collection 10. Adaline Van Horne’s correspondence 11. Miscellaneous inventories 12. Robert J. Wickenden catalogues 13. Margaret Van Horne’s files 14. Margaret Van Horne’s binders 15. Janet Hannon’s provenance notes