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 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).

The Westcott-Hurley Collection contains many finished paintings, sketches, and experimental artworks by Hurley as well as correspondence, newspaper clippings, slides and photographs of Hurley, as well as his family, friends, and things that interested him.

The fonds contains personal ephemera including cards, sketches, art, and photographs, from the Russell/Walker/Hurley families. A number of Hurley’s letters and cards include sketches, pictograms, and “Hurleyniks”. The personal correspondence includes updates on personal achievements, activities and health concerns. Hurley’s failing eyesight is apparent in later letters.

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.

This collection includes working papers and completed versions of Hillis’ published and unpublished poetry, drama, and fiction, as well as research and correspondence related thereto. The collection includes a range of interviews conducted by Hillis with a number of Saskatchewan authors for her books Voices and Visions and Plainspeaking. This collection also includes chapbooks published by Andrew Suknaski, Lorna Uher, and Mick Burrs.
Further, the collection contains a range of materials gathered by Doris on the subject of puppetry for her work with the Macklin Puppeteers throughout the 1960’s and 1970’s. Her personal memoirs are also included, as are materials from her involvement in Saskatchewan’s literary community, including helpful information on the art of writing from her workshops.

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 first accession (2011-053) contains a scrapbook, art catalogues and theatre playbill programs.
The second accession (2016-147) is a record of Calder’s activities in three areas: personal life and career as student and faculty member, career as an internationally published author, and contributions to the Saskatchewan writing community.

This fonds contains numerous of Marie Elyse St. George’s prints and sketches, together with some textual records relating to print-making and writing.

This collection includes Howdy McPhail’s aerial photographs, predominantly of individual farms and views of towns and cities. Some images are of specific landmarks, scenic views, or fauna. All images are identified and a majority are dated. A second accrual contains examples of printed calendars and postcards that were sold by McPhail, as well as some correspondence and other business documentation. Images used in an exhibition curated by Helen Marzolf were added in 2018. Further accruals of correspondence, order forms, negatives and prints were interfiled in Series B.

This collection includes 7 original photograph albums, primarily documenting life overseas for Canadian servicemen during World War I. In addition to the military images are photographs of the Canadian west, including the Better Farming Train, fairs and livestock exhibitions, and early images of Banff, the Rockies, and Vancouver.

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 fonds contains photographs, negatives, slides, notes and drafts pertaining to the writing, editing and production of the book University of Saskatchewan : a photo album by Betty Jantz & Louise Barak, published in Saskatoon, Sask. by the University of Saskatchewan, in 1997.

This collection contains original works of art, photographs, and documentation relating to classes Ms. Perron took at the University of Saskatchewan, notably fine art classes. Her professors included Bill Epp, Otto Rogers, and Eli Bornstein; her classmates included Bob Christie and Doug Bentham.