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Series consists of photographs, copies, and print reproductions of Florence Vale’s artwork. Series includes slides of artwork kept by Florence Vale. Series includes a list of the artworks of Florence Vale, and documentation of artwork sales and transfers of possession.

Series contains preparatory pencil drawings for ‘The Passion’ series. Munn commonly used both sides of her sheets of paper and the numbers given are for the number of pages. Some contain a brief notation or number. She apparently combined and rearranged the small drawings; some are pasted composites, and others contain pin-holes. Most sheets contain a single figure with variations in stance, usually involving points or dots, suggesting that she was using an angle to work out geometrical structure. The sheer quantity indicates the extraordinary effort involved in the creation of her final drawings. Series also contains 1 ink and brush drawing, and one charcoal drawing. None are dated.

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.

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 comprises correspondence from Thoreau MacDonald to curator Nancy Robertson Dillow, to other staff at the Art Gallery of Ontario and to collector Thomas Roche Lee; with designs from Christmas cards.

Series comprises a volume (booklet) of page layouts made in Toronto in 1937 by Thoreau MacDonald for his illustrated edition of an English translation of Louis Hémon’s Maria Chapdelaine: récit du Canada français (Paris : Bernard Grasset, 1921). On p. [2] of the booklet is a note written by MacDonald describing his concept for the illustrations and the planned number of drawings.

Series comprises a portfolio of ink drawings made in Toronto in 1933 for Thoreau MacDonald’s planned illustrated edition of Henry David Thoreau’s Walden (originally published: Boston: Ticknor and Fields, 1854), and a volume (booklet) of pencil sketches of the layouts of the book. A note pasted inside the front cover of the portfolio, written by MacDonald, indicates the scope of the project, which was to have
included some 60 designs for the book.

Series consists of correspondence with Avrom Isaacs, a photocopied typescript of "Out of the Park: Modernist Painting in Toronto 1950-1980" by Barrie Hale, and Dennis Burton’s curriculum vitae.

Series consists of photographs (mainly negatives) by Dennis Burton of various subjects.

Series consists of notebooks created by Dennis Burton, containing a wide variety of writing (journal-style, expository, teaching notes, etc.), sketches, diagrams, ephemera, photographs, natural history specimens and other material, on a broad range of topics; series also includes addenda to certain of these notebooks.