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Collection consists of research and administrative files created and maintained by Joan Murray during the development of the Tom Thomson Catalogue Raisonné, and further files documenting the editing and online publication of the catalogue by Emma Conner.

Collection consists of General Idea ephemera including exhibition and performance invitations, postcards, flyers, tickets and similar items.

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.

Collection consists of posters designed by Will Munro for events organized by him at various venues in downtown Toronto. Posters employ a variety of media and processes, including silkscreen and photocopies. Some of these posters were featured in Will Munro: Total Eclipse, July 31-September 26, 2010, part of the Toronto Now series of exhibitions at the AGO. Silk-screening of many of the posters was carried out by Michael Comeau.
Contains series:

1. Vaseline / Vazaleen / Vazoween posters
2. Peroxide posters
3. Moustache posters
4. 7th Heaven posters
5. Miserable Mondays posters
6. NO T.O. posters
7. Posters for various events at The Beaver Restaurant

Collection consists of research on Rolph Scarlett by Judith Nasby, correspondence between Rolph Scarlett and Judith Nasby on his artistic method, and studies by Rolph Scarlett.

Collection consists of audio recordings of interviews with individuals who were active in the Toronto visual art community during Robert Markle’s lifetime, art historians, and friends and family of Robert Markle. Collection also includes two notebooks containing transcriptions and notes. Interviews were created and used in the process of researching Blazing Figures: A Life of Robert Markle. Collection includes interviews with Harvey Cowan, Jack Foster, Anna Hudson, Avrom Isaacs, Craig Kenny, Mitchell Maracle, Susan Maracle, Marlene Markle, Tim Noonan, Gordon Rayner, John Reeves, Richard Gorman, Ruth Grogan, Nobuo Kubota, Don Obe, Helen & Marty Poizner, Michael Sarrazin, Peter Stollery, Hana Trefelt, Michael Snow, Patrick Watson, Paul Young, Jack Aldersley, Kenny Baldwin, Patricia Beatty, Laura Berman, Sheryl Wanagas, Dennis Burton, Vera Frenkel, Ray Hanson, Tom Hill, Jerri Johnson, Rae Johnson, Emmett Maddix, Scott Townson, Murray McLauchlan, Stephen Williams, Gordon Lightfoot, Dennis Reid, Peter Goddard, and Diane Pugen. The collection is arranged in a single series.

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 ornamented and illustrated bookplates accumulated by the Art Gallery of Ontario (AGO) Library and Archives beginning in 1969. In that year, AGO librarian Sybille Pantazzi acquired the first group of items now included in the collection, and added to it in 1975 and 1978. The Library and Archives continues to augment the collection.
The bookplates in the collection were chiefly designed for Canadian book collectors, libraries and associations by Canadian, American and other artists from the 19th century to the present day. The collection includes armorial, presentation and other bookplates and 1 leaflet, and comprises various forms of prints such as engravings, etchings and woodcuts. Most of the bookplates have not been used.

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.