This fonds contains correspondence, clippings, photographs and printed material dealing primarily with the artistic career of Ruth Pawson. These slides represent a complete catalogue of Ruth Pawson's artwork, as well as images of friends' cabins and other locations where she liked to paint. Most of the slides were annotated; title, price, size, sales, some notes, and dates where provided have been listed here. Please note that the date on the slide may refer to the date of sale, and not the date the work was created. The slides arrived in a series of boxes, each of which was labelled with dates, and have been left in that order.

This fonds contains correspondence from Reta Cowley, and John Hicks. The Cowley correspondence in part, discusses her painting process; and the Hicks correspondence discusses the Saskatchewan writing scene (particularly Prince Albert); his publications and awards, and his ideas about writing.

A small collection of Japanese postcards from the Meiji and Taisho era.

This collection contains Christmas cards, notes and letters, ephemera and clippings sent from Ernie to Johanna over a period of years. A small amount of material is from J.W.T. Spinks.

This collection contains correspondence relating to Fenton’s professional and private life—including a great deal of correspondence with notable artists, art dealers, and galleries. The fonds also contains working and completed drafts of his writing, and research notes, clippings, and photocopies related thereto. Working files from his periods of directorship, and from his time running Terry Fenton Art Services are also present. News clippings and articles about Fenton are dispersed throughout.
Art / travel journals are also included, as is an extensive collection of photographs and slides both documenting Fenton’s inventory of his own work, and also showing a range of art by others encountered over his career. A number of more personal photographs, slides and videos show artists at work and at play at a variety of workshops, and in a variety of settings. Digital and physical landscape photographs used for inspiration in Fenton’s painting are also present.
A large portion of the collection is comprised of Fenton’s library, which includes publications from the Edmonton Art Gallery, the Mendel Art Gallery, and the Leighton Foundation, as well as more general collected texts, works by Fenton, and an extensive collection of exhibition catalogues.

The fonds includes paintings, sketches and memorabilia relating to the artistic pursuits and output of Olena (Sherven) Smith; and material relating to Tom Smith’s careers and interests, particularly archaeology and local history, as well as engineering and farming, including documentation of his job on the engineering crew for the Alaska Highway.

The Photograph Collection consists primarily of images documenting the growth and development of the University of Saskatchewan. Images of faculty, students, staff, alumni, buildings, equipment, and various events and activities constitute the majority of the collection.

Materials relating to the Saskatchewan artist Robert Newton Hurley.

This fonds consists of 27 Sony Beta videocassettes of drawing tutorials.

These posters document some of the social activities available to students during the 1940-41 regular term. All are hand-made and most are the work of students Jim Quong and A.B. Farnam.

This collection primarily reflects Zepp’s interest in Inuit art and artists. It includes interviews with artists, images taken over the course of several years of the northern landscape, community and individuals. Importantly, Zepp and Varga spent time at fishing and hunting camps or in the homes of artists, and the resulting material reflects that friendship and intimate relationship. Material created or acquired during Zepp’s career as a curator is also evident, including a significant photo resource of Inuit art from major collections. The reference library is an uniquely complete set of articles and major works relating to Inuit art in Canada. Additionally, the collection includes material relating to a number of other artists, predominantly from Saskatchewan, whose work Zepp admired (in many instances, Zepp organized the first major exhibition of their work).