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16 pages of drawings inserted into a Paragon Series tablet cover

5 studies for “The Passion”: Untitled (Passion Series study), [ca- 1930-34]; Untitled (Passion Series study), [ca- 1930-34]; Untitled (Passion Series study), [ca- 1930-34]; Untitled (Passion Series study), [ca- 1930-34]; Untitled (Crucifixion study), [ca- 1933]

27 designs in pencil on paper and 1 stencil cut in heavy paper. The designs include borders, corner designs, book covers, etc. The verso of one sheet contains the first page of an undated draft letter in Kathleen Munn’s hand to her mother evidently en route to Buffalo and Boston in which she mentions a visit to Elbert Hubbard’s studio in East Aurora NY, and a scheme to make money.

Series comprises manuscripts of a synopsis of a projected art textbook and notes and essays on art subjects by Arthur Lismer; with copies of other writings about art education.

File contains correspondence to Arthur Lismer in Toronto and elsewhere from the Director of the National Gallery of Canada in Ottawa, Eric Brown, his assistant H.O. (Harry Orr) McCurry and others between 1920 and 1956. The letters, some including pencil sketches, discuss Lismer

File contains manuscript correspondence of Lismer to Eric Brown, officials at the Ontario College of Art, and others, largely unfinished and unsent, on art education and other subjects.

File contains correspondence received by Lismer between 1921 and 1965 from various correspondents including Vincent Massey, Lewis Mumford, Barker Fairley, Marius Barbeau, Leo Mol and others; also from publishers, universities, art associations, galleries and schools. Some leaves have pen or pencil sketches on verso.

File contains manuscript correspondence from Lismer to the staff of the Children’s Art Centre at the Art Gallery of Toronto discussing his sentiments about art education; letters were written from Columbia University in New York (1938–1939), and afterwards from Ottawa. Includes typed transcripts.

File contains correspondence to Lismer in South Africa, New York and Montreal from then-president of the Art Gallery of Toronto Charles Shaw Band in Toronto, between 1936 and 1949, commenting on events and committee affairs at the Gallery. The file also includes correspondence (1949–1950) from Harry Southam regarding Lismer’s canvas Sombre Isle.

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.