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Fonds consists of the records of the Canadian Art Club, including minutes of the organization’s meetings, constitution and by-laws, membership lists, photographs of artworks, documents of incorporation (1909) and ultimate dissolution (1930s) and club financial records in the form of ledgers and a collection of bills and receipts. Materials related to club exhibitions and dinners are supplemented by an extensive collection of clippings from reviews in newspapers of the day. Correspondence forms a significant portion of the papers, especially that to and from Edmund Morris, secretary of the club for several years. Papers related to the founding of the Art Museum of Toronto and the Central School of Industrial Art and Design are also included. Fonds is comprised of the following series: 1. Minutebook 2. Transcribed minutes and other documents 3. Records of annual banquets and exhibitions 4. Club lists 5. Photographs 6. Replies to dinner invitations 7. Scrapbooks/press clippings 8. Bills and receipts 9. Cash book 10. Records of club dissolution 11. Notes on a Toronto art school 12. Miscellaneous papers 13. Correspondence (Edgar J. Stone collection)

Fonds consists of correspondence with art galleries, artists and others regarding the acquisition and lending of artworks, as well as general correspondence with members of the Canadian arts community. Correspondents include André Bieler, B.C. Binning, E.J. Hughes, Jean-Paul Lemieux, Arthur Lismer, J.W.G. MacDonald and Frederick Varley (including a 1951 filmscript on Varley by Allan Wargon). The fonds also comprises two pen or pencil sketches by Arthur Lismer of C.S. Band, photographs of him and his friends, photographs of his collection, and installation shots of his artworks in exhibitions along with several exhibition catalogues. Fonds is comprised of the following series: Photographs Correspondence, galleries Correspondence, artists Correspondence, F.H. Varley Correspondence, general Miscellaneous

Fonds consists of the archival contents of Betty Goodwin’s studio, including sketchbooks and notebooks in which she drew and recorded inspiration and ideas; loose sketches and notes; found and manufactured objects retained for their aesthetic or inspirational qualities; printing plates; folders containing inspirational found images and the artist’s re-workings of same; photographs of the artist and her work spaces; folders and a maquette relating to proposals for public commissions; a small amount of personal correspondence and publicity material; photographic documentation of her artwork; her numerous awards and honourary degrees; and video documentation of Goodwin’s dance collaborations.

Fonds consists of research materials generated in preparation for Southcott's book The Sound of the Drum: The Sacred Art of the Anishnabec (Erin, Ontario: Boston Mills Press, 1984). The following artists are documented in the fonds: Allen Angeconeb, Del Ashkewe, Carl Beam, Leland Bell, Benjamin Chee Chee, Shirley D. Cheechoo, Blake Debassige, Noel Ducharme , Don Ense, Rhonda Franks, Ril Gaiashk, Tom Hill, Robert Houle, Alex Janvier, Francis Kagige, Goyce Kakegamic, Morley Kakepetum, Eleanor Kanasawe, Josh Kakegamic, Norman Knott, John Laford, Mel Madahbee, Norval Morrisseau, Hugh Mckenzie, Johnson Meekis, Daphne Odjig, Martin Panamick, Carl Ray, Tim Restoule, Michael Robinson, Allen Sapp, James Simon, Arthur Shilling, Roy Thomas, Randy Trudeau, and Saul Williams.

Fonds consists of records of the artistic and academic career of Barbara Astman, chiefly in Toronto from the 1960s to the second decade of the 21st century, including photographs of her projects and exhibitions, correspondence and textual documentation of projects, personal and other photos and journals, and some audiovisual materials.

Contains series:

1. Photographic documentation of art works
2. Project records
3. Portrait photographs
4. Installation photographs of gallery exhibitions
5. Teaching-related records
6. Publicity material
7. Audio and video recordings
8. Journals
9. Address books and notebooks
10. Experimental work
11. Process and preparatory material
12. Art supplies, ephemera and found objects
13. Personal correspondence
14. Works by other artists
15. Juvenilia
16. Financial records

Fonds consists of material documenting the administrative and exhibition functions of Baldwin Street Gallery, including correspondence, the records of gallery director Laura Jones, grant applications, research files, press, and the gallery's published material such as newsletters, exhibition invitations, posters, and programmes.

Collection consists of correspondence between Avis Lang Rosenberg and Jack Chambers over a three-year period, slides created for the proposed book, transcriptions of taped interviews, contents of a notebook, poetry and prose written by Chambers, research notes, Lang’s writings on Chambers, exhibition catalogues and a private press publication containing illustrations by Chambers. Much of the material is present in photocopied form. File titles were assigned by Avis Lang, except where square brackets are used. The collection is arranged in a single series.

The fonds consists of exhibition lists; manuscripts of articles, lectures, radio broadcasts, and a book; correspondence; art education pamphlets; materials related to a National Film Board production about the artist; papers about other artists; memorabilia from the Arts and Letters Club, Toronto; photographs and papers relating to Tom Thomson; and a source book on Arthur Lismer prepared by Marjorie Lismer Bridges.

Fonds consists of Art Institute of Ontario records accumulated by Paul Bennett, in the course of his duties as Field Director / Adviser and later Director of the Art Institute of Ontario. Fonds includes Adviser’s service reports, minutes of annual meetings, director’s reports, funding briefs, and two scrapbooks documenting the activities of the AIO. Fonds is comprised of the following series: 1. Adviser’s service reports 2. Minutes, director’s reports and funding briefs 3. Scrapbooks

The Art Gallery of Ontario Biographical Questionnaires Collection consists of written responses to forms requesting factual information pertaining to the careers of 372 Canadian artists. The Collection consists of printed forms that have been completed and signed by Canadian artists between 1912 and 1979 and a group of 24 responses to questions posed by AGO staff in 1984. The final group is concerned more with the nature of the artist’s work rather than factual and biographical information. The earliest forms were one page in length; basic information regarding birth date, education, exhibitions, awards, publications and a signature was requested. Forms sent out in the 1970’s are two pages; the 1980’s files consist of lengthy responses in essay format to 7 or 8 questions. Two of the artists from the final group submitted audio tapes that have been transcribed. An alphabetical listing of artists can be found in the administration file. Forms were completed in the following years (numbers in parentheses indicate the number of forms completed for a given year): 1912 (69); 1913 (43); 1914 (20); 1915 (16); 1916 (9); 1917 (7); 1918 (17); 1919 (6); 1921 (1); 1922 (1); 1923 (47); 1924 (22); 1925 (23); 1927 (34); 1928 (3); 1929 (1); 1930 (1); 1945 (1); 1974 (3); 1976 (1); 1979 (1); 1984 (24). Fonds is comprised of the following series: 1. Biographical questionnaires 1912-1979 2. Toronto Painting ’84 questionnaires