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Fonds consists of a typed, carbon copy letter on onion skin paper.

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

The fonds consists primarily of video recordings of interviews, meetings, seminars, performances, and local footage shot in Canada, the United Kingdom, the United States, East Timor and Indonesia. It consists of 178 video recordings including 97 beta tapes (large and small), 80 VHS tapes and a broadcast DVD and 6 audio recordings. Many of the video elements include both a beta and VHS copy. The fonds is divided into three series. The largest consists of beta and VHS tapes of raw footage and background research shot or collected by Briere from Canada, the United Kingdom, Indonesia and East Timor. This series also includes six audio recordings. There is a separate series of video recordings of lectures and interviews with Noam Chomsky regarding East Timor recorded during his visit to Vancouver in March 1996. The third series consists of beta masters of the finished documentary, including video in NTSC and PAL formats, and English, French and Swedish language versions. Much of the content of Bitter Paradise consists of interviews with Canadian and foreign individuals engaged in the events in East Timor, either as businessmen, bureaucrats or politicians working with the Indonesian government on trade and development projects in East Timor, or as activists, dissidents, and supporters of the liberation movements within the island nation. In Canada, interviews with Warren Allmand, David Kilgour and Svend Robinson (federal Members of Parliament), David Webster of the East Timor Alert Network, Geoffrey Robinson (Amnesty International, now UCLA History Department), portray the interests of those supporting the resistance, while Colin Baker (Simons Engineering), David Mundy (Kilbourn Engineering) and Ron Richardson (Asia Pacific Foundation) identify business and development opportunities in East Timor and Indonesia for Canadian companies. There are insights on East Timor supplied through interviews with local and international actors including Noam Chomsky, Carmel Budiardjo (an Indonesian dissident and founder of TAPOL) an Amnesty International prisoner of conscience, Constancio Pinto (former guerrilla fighter and currently Timor Leste Ambassador to Washington) and Muchtar Pakpahan, a labour leader jailed repeatedly in Indonesia who, in 2011, resigned as head of the Indonesian Labour Party. The documentary also includes live footage from international broadcasters (BBC, Australian Broadcasting Corp.) of the Dili Massacre (Santa Cruz Cemetery) in November 1991, when more than 260 protesters were killed by Indonesian troops. The broadcast filming of that event, first shown on ITV, UK in 1992, was pivotal in the campaign to bring western nations to apply pressure for independence, achieved a decade later. The fonds also contains archival film footage from the Portuguese era of East Timor, film on projects being undertaken in the country by the Roman Catholic Church, smuggled footage of the East Timorese resistance movement in countryside, footage of Indonesian troops being trained in Australia and of the Indonesian invasion of East Timor.

Fonds consists of correspondence, sketches, exhibition notices and posters, press clippings, photographs, financial records, and artefacts relating to Iain Baxter’s career as an artist and university instructor. It includes records of the N.E. Thing Company, the Eye Scream Restaurant, and later solo work by Baxter. Also included are records of Baxter’s employment by Labatt’s Canada as Creative Consultant, and of his collaborations with Louise Chance Baxter.

The collection consists chiefly of photographs of the artists Elizabeth McGillivray Knowles (1866-1928), Farquhar McGillivray Knowles (1859-1932), George Agnew Reid (1860-1947), Mary Heister Reid (1854-1921), Mary Wrinch Reid (1877-1969) and Edmund Wyly Grier (1899-1961), their studios and works, along with related textual materials. Fonds consists of the following series: Elizabeth McGillivray Knowles Farquhar McGillivray Knowles George Agnew Reid Mary Heister Reid Mary Wrinch Reid Edmund Wyly Grier

Fonds consists of photographs of Canadian artists and paintings, personal and professional correspondence of Newton MacTavish, manuscripts, offprints, illustrations, newspaper articles and reviews and other photographs. Included are correspondence and manuscripts of Kate Johnson MacTavish. Fonds is comprised of the following series: Correspondence Manuscripts Offprints Reviews Newspaper clippings Original illustrations Photographic studies Photographs of Canadian artists Photographs of paintings by Canadian artists Negatives Miscellaneous

The fonds consists of correspondence with art dealers, artists and public art institutions, invoices, shipping and customs forms and other documents relating to their involvement in the international art market in the mid-20th century. Carbon copies of letters written by the Zacks and letters written to them are included. The fonds also contains the administrative files kept by the Zacks: insurance lists, index cards for art and books, photographs and catalogues. The fonds includes the records of the Zacks’ involvement as board members in a variety of organizations relating to the arts, including agendas, memos, minutes of meetings, and travel arrangements. Correspondence files document the Zacks’ involvement in the State of Israel, through its cultural institutions, and communication with prominent citizens. Mrs. Zacks’ papers created after her husband’s death relate to her honourary degree, the Order of Canada, board activities and social involvement. Fonds is comprised of the following series: General correspondence Artist files Dealer files Public institution files Exhibition catalogues Photographs Administrative files Exhibitions of the collection Boards and committees Israel Personal

Fonds consists of the administrative files created by the Mercer Union gallery during the first twenty years of its existence, including photographs and slides, material printed for the gallery (catalogues, posters, invitations etc.), newspaper reviews, and a small number of video tapes, audio tapes and computer disks. Files remain in the order they were received; errors in filing have not been corrected. Fonds is comprised of the following series: Artist/exhibit files Board of Directors files Programming binders Curatorial files Promotional material

Fonds consists of correspondence, newspaper and magazine clippings, lecture notes, newsletters, cards and party invitations, exhibition catalogues, reproductions of art works, passport, certificates, and photographs relating to L.A.C. Panton’s personal and professional life. The photographs range from portraits of his family in England to scenes that provided the basis of paintings, particularly the Nova Scotia coastline. Correspondence relates to his involvement in art societies and his community in North Toronto but does not include his family life. Letters were received from several members of the Group of Seven, Florence Wyle, Arthur Heming, Fred Brigden, G.A. Reid and many others. Clipping files relate both to his professional life and his interest in economics and current events. The fonds arrived at the archives in no discernible order; order has been imposed by the archivist to correspond as much as possible to a file listing found in the fonds. Fonds is comprised of the following series: L.A.C. Panton’s file arrangement Other files Photographs

Fonds consists of the personal and professional records of Greg Curnoe. It includes such textual documentation as writing files; correspondence; project files including grant applications, records of the National Gallery retrospective exhibition, and Curnoe’s published writings; notebooks and journals kept by the artist, including his cycling journals; and a number of bookworks. Visual material includes numerous sketchbooks and works on paper as well as extensive photographic documentation of Curnoe’s studio, social and professional activities, exhibitions, family life, and art work. Also included are printing blocks and rubber stamps used in Curnoe’s art making. The fonds contains audio and audiovisual material which records important events and ideas in Curnoe’s life. The fonds includes two pop culture collections relating closely to Curnoe’s art practice: his collection of buttons and his collection of regional pop bottles. Titles not in brackets follow Curnoe’s original folder names. Fonds is comprised of the following series: 1. Writings files 2. Correspondence files 3. Organization and project files 4. Publications files 5. Research and subject files 6. National Gallery of Canada retrospective exhibition records 7. Deeds/Abstracts and Deeds/Nations files 8. Grant applications 9. Financial records 10. Inventories of art works 11. Publicity material 12. Cycling journals 13. Notebooks and diaries 14. Sketchbooks 15. Bookworks 16. Printing plates 17. Rubber stamps 18. Buttons collection 19. Pop bottle collection 20. Works on paper 21. Ephemera / found objects 22. Photographs 23. Audio cassettes 24. Video recordings 25. Clothing and personal effects 26. Sheila Curnoe’s files 27. Published material