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The fonds consists of correspondence, reports, minutes, and other materials relating to the administrative activities of the Society. It also contains photograph albums documenting the travels of the MPDSO to various European and North American destinations, 1987-1999. The fonds is divided into four series corresponding to each Presidential term of office, plus a series of photograph albums. Fonds is comprised of the following series: 1. Sidney Bregman files 2. Martin Kosoy files 3. Jack Markens files 4. Mary F. Williamson files 5. Photograph albums

Fonds consists of two scrapbooks containing material created and collected throughout George Reid’s life and were compiled by him in the late 1930’s. Volume I, 500 pages, contains photographs and notes on the Reid family; drawings, sketches, etc., as well as press clippings and exhibition catalogues relating to works of art by Reid and his first wife, Mary Hiester Reid. The 131 pages of Volume II are devoted to designs for buildings and their interior fittings, including summer homes and a church at Onteora, New York, houses in Wychwood Park (Toronto) including the Reid house, and Ontario College of Art designs. Materials include drawings in pencil, pastel and ink, watercolour sketches, small oil paintings, blueprints, photographs, postcards, letters, texts of speeches, letters, awards and material clipped from magazines and newspapers.

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.

The collection consists of newspaper articles, reproductions, illustrations, exhibition notices and invitations, death notices, photographs and biographical notes on 112 Canadian artists (birthdates 1803 to 1915) and four arts organizations: Canadian Society of Painters in Water Colour, Ontario Society of Artists, Royal Canadian Academy of Arts, and Toronto Art Students’ League.

Collection comprises photographic prints submitted with replies to biographical questionnaires sent by the AGO to Canadian artists between 1912 and 1984. The collection was augmented with 239 photographs purchased from Toronto photographer M.O. Hammond (1876–1934) between 1927 and 1934. Collection also includes photos and copy prints obtained in connection with Gallery exhibitions and photos acquired by other Gallery departments, with news photographs and reproductions of photos from agencies and other institutions. Photos were added to the collection up to the end of the 1990s.
The photographic prints in the collection are chiefly gelatin silver prints but also include chromogenic colour prints, diffusion transfer prints and photos produced by other processes. The collection includes images of 598 artists in studio portraits and snapshots, at exhibition openings and in their studios, and in group photos. Some photographs are annotated with biographical details on verso or in accompanying textual records.

Collection consists of raw footage and edited versions of Jim Shedden and Alexa Shaw’s documentary Michael Snow Up Close.

Collection consists of three drawings by Jessie Oonark on mimeograph stencil sheets. Items are arranged in a single series.

The collection comprises archival material related to Harris’s photographic work from her time in Spence Bay, as well as that of the darkroom project she conducted while living there. The archival collection consists of Pamela Harris’ original contact sheets; her active and passive correspondence; documentation, publicity and text panels related to her exhibitions of Spence Bay photographs; audio recordings of interviews with people she met and worked with in Spence Bay; and related materials from the 1973 Women’s Kit. It includes the 28 b&w photographs taken by the Inuit women participants of the concurrent natural dyes workshop and the related text panels exhibited at the Artic Women’s Craft Conference and TD Centre in 1974, as well as documentation of their work in the Darkroom Project and the resulting exhibition. It also includes a questionnaire designed and distributed by Pamela Harris and colleague Paul Carter to other documentary photographers during this same time period.

Fonds consists of the working papers of Micah Lexier. Items include correspondence, sketches, computer renderings, project descriptions and proposals, press clippings, publicity materials, photographs, and other documents pertaining to the design and fabrication of artworks.

Fonds consists of the personal and professional records of Murray Favro, documenting his life and activities as a multimedia artist and musician, as well as his personal interests and pursuits. It includes such textual records as notebooks, correspondence, contracts, grant applications, newspaper clippings, meeting notes, invitations, and records from Favro’s involvement with the 2020 Gallery and Forest City Gallery. Also included are records relating to exhibitions of Favro’s work, including two major retrospectives in 1983 and 1998. Throughout the fonds there are extensive notes and writings by Favro including installation instructions, project notes and ideas, drafts of documents and correspondence, and journal writings recording the artist’s thoughts on a wide range of topics. There are also textual records that were likely used for research and reference in Favro’s work, such as articles, photocopied pages from textbooks, catalogues, and other printed materials, often relating to technology and technical equipment such as projectors, computers, film and photography. Visual materials in the fonds include a watercolour painting, posters, photographs, drawings, and rough sketches and diagrams. Personal records include materials such as membership cards, schedules, and records from Favro’s interests and activities, such as flying lessons and motorcycles. Materials capturing his activities as a musician with the Nihilist Spasm Band include promotional posters and flyers, itineraries, set lists, expense lists for tours and performances, and other textual records. The fonds also includes one optical disc with samples from Favro’s digital projects.

The fonds has been arranged into a single series comprised of 64 files. The materials within each file may span a range of years and reflect a variety of activities. Details about the contents of each file can be found in the scope and content notes.