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Series consists of three audiovisual items relating to Iskowitz’s career.

Series consists of several drafts of Curnoe’s posthumously published books Deeds/Abstracts (London, Ont.: Brick Books, 1995) and Deeds/Nations (London, Ont.: London Chapter, Ontario Archaeological Society, 1996). Series also contains research materials used by Greg Curnoe in writing these books.

Series consists of photographs, postcards, newspaper and magazine clippings, and original sketches collected and filed by Robert Markle for their inspirational value or personal importance. Many of these files are titled “Good Stuff” or simply “Stuff”. Some additional files have been assembled by the archivist from similar material which had not been filed.

Series consists of notebooks and diaries in which Greg Curnoe recorded visual and verbal observations and poetry and prose writings from his art college years to his later professional life.

Series comprises records from the Gallery Moos New York office, including correspondence with clients, artists and colleagues; card indexes; floor plans and architectural drawings; photographs of artwork and the gallery space; administrative records regarding the gallery space and samples of letterhead. Material was received from Gallery Moos in 2004 and 2012. .

Records group contains records relating to the restoration and operation of the Grange House in the Art Gallery of Ontario. Includes records of programs, exhibitions, research about inhabitants of the house, and day-to-day operation as a historic house.

The Grange served as the first exhibition space for the Art Gallery of Ontario (then known as the Art Museum of Toronto) since the Gallery took ownership of this historic landmark in 1913. It continued to house the administrative staff of the Art Gallery from 1918, when the first adjacent gallery spaces were built, until the early 1970s. At that time, the Art Gallery underwent the first of three major renovations, commonly referred to as Stage I.

Concurrent with this Stage I expansion, the Grange was restored as a gentlemen’s house in Upper Canada circa the 1800s. As administrative offices and the library were incorporated into the new footprint of the Gallery, the Grange became an exhibition site and period piece, with volunteers often dressing in costume, conducting tours and hosting events and 19th century themed exhibitions.

The first staff person to manage the Grange as an historical house was appointed in 1970 under the title Custodian/Keeper of the Grange. Initially hired to oversee the Grange restoration, Margaret Machell served as Custodian/Keeper of the Grange until 1981. During that time, the Grange was administered by a department of up to 17 staff, most of whom were historical interpreters. Initially reporting to the Director, this department became part of the Curatorial Division in 1977.

In the early 1980s, during a time of financial hardship, gallery director William Withrow laid off paid staff and asked volunteers to maintain the operations of the Grange. Two full-time staff under the Volunteer Activity Division of the Gallery a secretary/coordinator (Peggy Eades) and an historic housekeeper/interpreter (Ruth Keene) supervised.

In 1997, Jennifer Rieger was hired as a curatorial assistant to oversee the Grange and the extensive collection of original furnishings, artworks and objects inherited by the Gallery as part of the original bequest from Harriet Smith (nee Dixon). She reported to the Curator, Canadian Art until 2012 when her position title changed to Historical Site Coordinator of the Grange and she reported to the Associate Director of Visitor Services.

The Grange closed briefly during the Transformation renovations under architect Frank Gehry in the mid to late 2000s and reopened with the rest of the Art Gallery in 2008, housing the members’ lounge. In 2014, the second floor of the Grange was also converted back into administrative space for staff offices. The lower floor of the Grange House now houses the Norma Ridley Members’ Lounge.

Series contains photographs and negatives relating to the personal and private life of L.A.C. Panton. Material includes photographs of family and friends, photographs of his paintings, and photographs on which he based his paintings. The photographs have been arranged by subject matter and size. Very few of the photographs have been labeled or dated.

Collection consists of ornamented and illustrated bookplates accumulated by the Art Gallery of Ontario (AGO) Library and Archives beginning in 1969. In that year, AGO librarian Sybille Pantazzi acquired the first group of items now included in the collection, and added to it in 1975 and 1978. The Library and Archives continues to augment the collection.
The bookplates in the collection were chiefly designed for Canadian book collectors, libraries and associations by Canadian, American and other artists from the 19th century to the present day. The collection includes armorial, presentation and other bookplates and 1 leaflet, and comprises various forms of prints such as engravings, etchings and woodcuts. Most of the bookplates have not been used.

Series contains documents related to the Boulton Family and inhabitants of Grange house dating from before the Art Museum of Toronto took possession of the house in 1913, most of which were acquired in the 1970s during the operation of the Grange as a historic house. Includes correspondence (mostly to and from the Boulton family), statements of account, mortgages and indentures relating to lots on Queen St W, documents related to the management of Harriette E.M. Smith’s trust, photographs of the Boulton family, genealogical information, and ephemera.