This fonds documents the teaching career and private interests of Dennis W. Harley. It contains film, audio tapes, publications by Harley, reference material, correspondence, sketches and photographs.

This fonds contains documentation relating to the Hones' extensive involvement in the arts--notably, the art scene in Saskatchewan during the early 1940s and the establishment of the Saskatoon Arts Centre, the Art Association of Saskatoon, "The Prospectors," along with correspondence from friends Ernie Lindner, Nonie Mulcaster, Robert Hurley, etc. The Hone=s own artistic work is also well documented; as is their exceptional community work: with the Saskatchewan Teachers' Federation, UNESCO, Voice of Women, Regina Community Clinic, etc. The Hones were also actively involved with the Unitarian Fellowship, Regina. Additionally, this fonds contains business records from ADM Hone, Mac's father, documenting early land / mining / logging rights and development in the west. An extensive collection of slides documents the art and architecture of numerous countries visited by the Hones; including personal and commercial images of international works of art. The slide collection also illustrates many of the themes used in the Hones' art, and documents their family, friends, and interests.

Since 1984, Joanne Abrahamson has travelled extensively throughout Saskatchewan, and has documented virtually every city, town, village, and hamlet in the province, from Aberfeldy to Xena. Her photographs are primarily of grain elevators, schools, churches, railway stations, town offices; in some instances she has returned to a site after a period of several years, providing documentation of changes over time. A few of her images are of rural Alberta and Manitoba, with a few of the northern United States (North Dakota and Montana). In addition, she created a daily photographic journal of the demolition of the YWCA building in Saskatoon. Several of her photographs have been published.

This scrapbook belonged to Ora Devine [later Way-White]; it appears to have been created at the suggestion of Robert Hurley, and from material he sent – “Hurleyana,” as he called it. This included a number of photographs, usually identified by Hurley; some of his sketches and colour studies, and his later experimental work. The correspondence details his life in Victoria, BC, where he and his wife had retired; their increasing health issues; and his art.

This fonds includes materials relating to Ernest Carefoot’s career as a playwright, poet, theatre director, as well as his later interest in the merger of visual art and prose poetry.

This collection consists of exhibition catalogues, posters, invitations and promotional ephemera, primarily (but not exclusively) from Canadian art galleries. The catalogues predominantly feature the work of Canadian artists, with some European and American artists (and minimal representation from Asian artists). The collection provides interesting documentation of the development of Canadian art across the country, including regional focus and to some extent, the development of interest in Indigenous art. In addition, the collection includes some auction catalogues, as well as items relating to advertising; art and design used in industry promotion; and industrial design.

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.