Fonds consists primarily of correspondence between E. J. Hughes and Max Stern. The first accession consists of original letters from Hughes to Stern, as well as a folder of location photographs taken by Hughes and photocopies of his descriptions of his paintings. The second accession consists of photocopies of letters from Stern and his assistants to Hughes, or to others regarding Hughes’s work. The final accession consists of a single folder of photocopies of correspondence between Hughes and Dominion representatives.
The fonds consists of a handwritten letter to an unknown correspondent about his visit to Moscow as guest of its theatres, and the book he is trying to write about it.
The fonds consists of a handwritten letter to an unnamed cousin. In the letter, she mentions her book "Letters and Papers of Andrew Robertson" ed. Emily Robertson.
The collection consists of a woodblock and a signed pencil drawing of a "Mother and Child" (used as a Christmas card for the Peace Pledge Union); a collotype reproduction of a signed pencil drawing of David Pepler; a typed, signed letter to ? Henderson re: the Catholic Church and the Trade Union Movement, with a pencil draft on verso (illegible?); and eight signed engravings to illustrate Patrick Miller's "The Green Ship" (Golden Cockerel Press).
Fonds reflects Siebner’s intellectual and philosophical interests and ideas on art and life; his interactions with galleries, friends, family and patrons; travels; involvement in the Limners; pre-publication work for his monographs and other books; promotion and sale of art; and public art commissions. The fonds consists of personal writing and poetry, correspondence, sales lists, inventories, exhibition announcements, sketches, clippings, photographs, film and video, prints and drawings.
The collection consists of letters written by Jack B. Yeats to Sarah Purser (1888-1889) and to a Mr. Quinn, humorous sketches, and a sketchbook for "La La Noo" (1942).
The fonds consists of approximately 550 presentation drawings, sketches, conceptual drawings, working drawings, technical drawings (inclusive of blueprints), travel sketches and photographs. These include exterior and interior renderings of plans and designs for work produced in both Europe and in China. The architectural collection consists of works by Hudec and two other unknown authors. The work of Hudec is transcribed in English, German and Chinese characters. The work of the unknown authors is transcribed in Hungarian and German. There are also 2 boxes of textual records including notes, notebooks, photo albums, documents, letters, memos, scrapbooks, photos, legal records, rare journals, and newspapers clippings.
Fonds documents the activities of the Victoria Limners Society from 1972-2008 and includes correspondence, meeting minutes, financial records and society filings. It also contains records related to various group exhibits, including the Limners’ 25th anniversary exhibition in 1996, as well as records related to a book and video produced about the group. A small number of newspaper clippings, exhibition pamphlets, various editions of a booklet on the Limners Society artists and black and white photographs showing Limner members at exhibitions and meetings can be found in this fonds. This fonds has been arranged into into six series: 1) letters; 2) minutes; 3) financial records; 4) society filings; 5) 25th anniversary exhibition; and 6) publications and graphic materials.
Fonds consists of manuscripts, correspondence, family documents, photographs, memorabilia about Georgia and Abkhazi family, and miscellaneous pamphlets. The manuscripts include a typescript of "Manuscript of (Mrs.) Peggy Pemberton-Carter written during internment in Lunghua Prison Camp, Shanghai", accompanying watercolours by Deirdre Fee and Lilian Schlee; typescript of "Dragon Aunt Remembers, 1900-1980", unpublished; photocopy of typescript "The Curious Cage", and an extensive photograph collection of the development of the Abkhazi garden.