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Fonds documents Elke Town’s activity in the visual arts in Toronto between the years 1974 and 1991. The files are related to various positions she held, beginning with A Space in 1974, and the curatorial work she carried out at the Art Gallery of Ontario, Gallery 76 at OCAD, Art Metropole and as an independent curator. There are also files related to her writing about visual art and video for numerous publications such as C Magazine, Vanguard, Parachute and Canadian Art.

The fonds consists of poetry and prose writings by Williamson; exhibition notices, press clippings and magazine articles concerning Williamson’s career; sketches and drawings related to sculpture projects; a Canada Council grant application made for an exhibition of Williamson’s work; and photographs of Williamson, her cabin, and her sculptures. Fonds consists of the following series: Poetry and prose writings Publicity material Sketches and drawings Canada Council grant application Miscellaneous personal and professional records Photographs

Fonds consists of documentation of Chitty's creative process as an interdisciplinary artist, including plans, notes, technical drawings of set designs, posters, promotional material, press, photographs, scripts, correspondence, grant materials, slides used during performances, and photographs of live performances and installations. Fonds also consists of professional records documenting Chitty's role as an arts administrator and curator with Cultural Desire Projects, Western Front, the Canadian Alliance of Dance Artists, the St. Catharines and Area Arts Council, and ANNPAC; speaking notes pertaining to artist talks and conference presentations; as well as drafts and manuscripts pertaining to her editorial and writing work.

Fonds consists chiefly of correspondence to Edmund Morris as an artist and as secretary of the Canadian Art Club, Toronto (extant 1907-1915). Materials relating to the art club were received predominantly between 1906 and 1913 and deal with the membership of the club, with artworks and with art publications. Correspondents include artists Peleg Franklin Brownell, Edmond Dyonnet, Clarence Gagnon, James Kerr-Lawson, Ernest Lawson, James Wilson Morrice, Alexander Phimister Proctor, Marc-Aurèle de Foy Suzor-Côté, Horatio Walker, Homer Ransford Watson and poet Duncan Campbell Scott. Also included are letters written by Edmund Morris himself and a few received by other members of the art club. The approximately 800 items were originally in two letter-binders. Although most of the items are letters, the fonds also comprises exhibition notices, invitations, newspaper and journal articles, lists of artists and artworks, price lists, illustrations, prospectuses, lists of subscribers for memorials (etc.), invoices, as well as miscellaneous items such as visiting cards, envelopes, an abstract of land title, a telegram and a cancelled cheque.

Fonds consists chiefly of correspondence to Douglas Duncan as director of the Picture Loan Society in Toronto between 1936 and 1966, and his personal correspondence with Norman Endicott and their friends in common during the 1920s. Also included are records of Canadian artist David Milne from the 1950s and British painter Robert ‘Scottie’ Wilson from about 1945 to 1970; both were clients of Douglas Duncan and friends of Norman Endicott. Fonds is comprised of the following series: 1. Picture Loan Society correspondence 2. Duncan-Endicott correspondence 3. David Milne records 4. Scottie Wilson records

Collection consists of the research files kept by Doris McCarthy and Lora Carney, including exhibition notices, press releases and invitations, photocopied articles, hand-written sheets containing references and notes, a few slides and photographs, some personal correspondence, 2 theses, and a binder of copied material relating to Ann Davis’ book on Christiane Pflug. The Rae Simone file contains 12 black & white photographs, the Carolyne Dukes file contains 10 slides, and the Marian Scott file contains a signed letter and transcript of an interview with Doris McCarthy. The files were kept for the purpose of publishing a book on Canadian women artists and cover artists from across the country from the 19th century to the early 21st century. There are files on a few male artists integrated into the sequence, added by Prof. Carney. Exhibition catalogues have been removed and integrated into the library collection. A list of these catalogues is available. A list of the original file names is also available. The collection is arranged in a single series by artists’ last names, preceded by a few geographical files, arranged by province. Files containing only one or two records have been combined by the archivist in a ‘miscellaneous’ file for each letter of the alphabet.

Collection consists of letters solicited by Donald Buchanan for his study James Wilson Morrice: a biography (Toronto: Ryerson Press, 1936). Correspondents include Léa Cadoret, W. Somerset Maugham, Gerald Faustus Kelly, Charles Prendergast, Elizabeth R. Pennell, Clive Bell, Walter Pach, David Morrice, Pavel Ettinger and Henri Matisse. Also included are a photograph of Morrice, a postcard from him to William Brymner, and photographs of three of his works.

Collection consists of correspondence received by Gillies from Burton over the course of their friendship, including a few informal treatises written by Burton on various aspects of the visual arts. It includes two collage works by Burton.

Fonds consists primarily of a series of notebooks created by Dennis Burton, containing writing, sketches, photographs, correspondence and ephemera, and recording the artist’s daily activity and thoughts on a wide range of subjects and issues. Notebooks have been arranged in approximate chronological order. Fonds also includes photographs by Burton of various subjects, and a small amount of additional documentation including a file of letters from Avrom Isaacs to Dennis Burton. Fonds is comprised of the following series: 1. Notebooks 2. Photographs 3. Correspondence and related documentation

Collection consists of David Milne Project administrative records created chiefly in the 1980s and 1990s in the Project office at Massey College in the University of Toronto for the purpose of producing a catalogue raisonné of the paintings of Canadian artist David Brown Milne (1882-1953). Collection also includes photocopied materials assembled for researching the artist’s life and works for a biography of Milne (1996) by David Silcox and the catalogue raisonné (1998) by his son David Milne Jr and David Silcox. The activity of the Milne Project ceased after the publication of the catalogue raisonné in 1998.
Milne Project administrative records (series 1 and series 21-40) document the steps taken in developing the catalogue raisonné. They begin in the late 1970s and include research forms created to organize and record data on Milne’s paintings for the two-volume work, files of correspondence, fundraising, financial, editorial/production, book launch, and marketing/publicity materials, some on computer disks; and records of Milne researcher Blodwen Davies.
Research material (series 2 to series 20) consists of photocopies made chiefly in the 1980s of primary sources such as David Brown Milne’s correspondence, essays, diary, autobiography and similar records from Library and Archives Canada, Milne Family records and other sources, and includes photocopied lists of paintings, records of the Picture Loan Society in Toronto and other art dealers and institutions relating to the sale and exhibition of Milne paintings; photocopied clippings from newspapers and magazines; and transcripts of recollections and interviews provided by David Brown Milne’s relatives and contemporaries.