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Series comprises correspondence to F.H. Varley between 1919 and 1969 from friends, admirers, collectors of works of art and students seeking help with school assignments. Contents include letters and notes, postcards, greeting cards, invitations, exhibition notices, receipts and, in the case of the Edmund Carpenter and the Allan Wargon folders of correspondence, motion picture scripts.

Series contains posthumous and other material that does not fit into Panton’s file categories. Files relate to exhibitions of his work, including posthumous exhibitions, personal material including party invitations and home-made Christmas cards, qualifications certificates relating to his teaching career and his RCA induction certificate, obituaries and other material collected around the time of his death, his passport, four small caricatures, and the layout for an unpublished book.

Series comprises Arthur Lismer’s correspondence, chiefly between the 1920s to 1950s, with officials at the National Gallery of Canada (Ottawa); the Children’s Art Centre at the Art Gallery of Toronto; Charles S. Band, president of the Art Gallery of Toronto; with miscellaneous active (unsent) and passive correspondence; and typed transcripts of some handwritten letters.

Series comprises business and professional files kept by K.M. Graham, including correspondence, consignment information, sales documentation, inventories, slide lists, and photographs.

Notebooks document Munn’s student life in New York City and at the Art Students League Summer School in Woodstock. She recorded her lecture notes, essays containing reviews and summaries of books read, notations regarding books of interest, sketches, anatomical drawings, copies of historical works of art, poems, and occasionally ephemera. Under the tutelage of her teachers at the Art Students League – Andrew Dasburg, Max Weber, A.S. Baylinson, Stanton Macdonald-Wright and Henry L. McFee, she embraced modernism and gained exposure to literary, artistic and musical influences of her day. The notebooks show her to be an avid reader with a keen interest in the intellectual life of her time and in the artistic expression of other cultures and epochs. There is a particular delight in pattern and an underlying search for explanation and order. On the front pastedown of Notebook No. 8 she wrote, “Perfect beauty is the expression of perfect order, balance, harmony, rhythm. Beauty is a supreme instance of order intuitively felt, instinctively appreciated”. The notebooks are undated, with the exception of No. 5.

Series consists of files containing forms published by the Art Gallery of Ontario and filled in by artists. The early forms (1912-1930) contain the following fields: Name (in full), Born (Date), Studied, Have received awards as follows, Am represented in the following collections,
Member of, Refer to published articles, books, etc., as follows, Date, Post Office Address, Signature. Many of the forms have been pasted onto larger sheets and in some cases letters, clippings and death dates have been added. In a few cases there are two forms of different dates for one artist. Forms from the 1970’s additionally ask for art dealer, technique, works in private collections, works in public collections and positions held. The forms are arranged alphabetically by author’s last name.

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 consists of 3 handmade hooked rugs by Florence Vale.

Series comprises photographs of Arthur Lismer's friend and fellow painter Tom Thomson (1877-1917) and places where they sketched landscapes together; clippings from the 1940s and '50s about Thomson; and some Thomson ephemera.

Series comprises records related to K.M. Graham’s private life with family and friends and Howitt family history, including photographs, photo albums, scrapbooks, travel diaries, correspondence, works by other artists, and writings.