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The YDMA has administrative relationships with the International Sled Dog Racing Association, the Yukon Sourdough Rendezvous Committee and Alaskan dog mushing associations. The YDMA has an executive and board of directors. Past presidents have been: Paul Sheridan, 1973-1975; Elmer Bankhead, 1978; Ken Weagle, 1982.; Secretaries have been: J.B. Fitzgerald, 1964; Marion Elden, 1968-1973; Jan Couture, 1975; Pam Buckway, 1982. Function: The object of the YDMA is to promote dog sled racing in the Yukon Territory and to promote and improve the class and type of dogs and equipment. The Association organizes and operates dog sled races and one dog pulls, and especially the dog sled races and mushers parade at the Sourdough Rendezvous. They also acquire land for and maintain permanent trails and facilities.

Aaron Moulton was born on November 17, 1859 and he left for the Klondike in August 1897, leaving behind a wife and children. He arrived in Dawson City, Yukon on September 15, 1897 and spent the winter of 1897, and spring and early summer of 1898, mining before returning to Tacoma, Washington in July or August 1898.

A. (Alfred) Richard King first came to the territory in 1939 when he was attempting to establish a new bush airline in Alaska and the Yukon Territory. Unfortunately, King and his two partners lost their plane and equipment when they crashed in Teslin Lake while on their way to Alaska from the United States. They were rescued by residents of the First Nation village of Teslin, the only community on the lake. King returned to the states after spending 6 weeks in Teslin. After the war King graduated from Western Washington College and became an elementary school teacher in Washington. In 1949 he went to Saipan and taught for a year and then remained in the Trust Territory of the Pacific (Islands) for the next five years teaching and administering the development of the native elementary schools in the islands. He continued to develop his interest in applied anthropology and its relevance to educational administration and educational assistance programs. In 1964 he was granted a PhD degree at Stanford, his major fields of study were education and cultural anthropology. In 1963-1964 King spent a year as a fourth-grade teacher and participant-observer at Chooutla (Carcross) Residential School in Carcross, Yukon and this resulted in his doctoral dissertation. In 1967 he published "The School at Mopass: a problem of identity" which was based on his thesis. In 2005 he was living in Brentwood Bay, B.C. with his son Peter and grandsons. Dr. King died August 14, 2005.

Wilfrid Laurier University Women's Association (1960-1993) was a social group for female faculty and administrators as well as the wives of faculty members of Waterloo Lutheran University (now Wilfrid Laurier University) in Waterloo, Ontario. Its purpose was to welcome new members, develop social events and foster member participation in University and community affairs. The group was established under the name of Faculty Wives, which was changed to Waterloo Lutheran University Women's Association, and later to the Wilfrid Laurier University Women's Association.

The Department of Radiology of Women's College Hospital was established in 1920 under the hospital's first radiologist Dr. Elizabeth L. Stewart (1920-1954). Following Dr. Stewart, Dr. Elizabeth Forbes (1955-1975) was appointed the next Radiologist-in-Chief in 1955 and was followed by Dr. Terrance P. Connor (1975-1988), Dr. Eve Fishnell (1988-1996) and Dr. Katherine Fong (1997-1999). In 1990 the Department of Radiology was expanded to include a newly formed Division of Nuclear Medicine. In 1995 the department was renamed the Department of Medical Imaging and was reorganized to include a Division of Radiology & Ultrasound. In 2006, Dr. Alan Moody was appointed Radiologist-in-Chief of the Department of Medical Imaging.

In 1920 Women’s College Hospital established the Department of Laboratories and Dr. Vivian Marvin Laughlen (1920-1945) was appointed Chief of Laboratories. In 1945 Dr. Laughlen was followed by Dr. Eva Mader MacDonald (1945-1952); Dr. Alice Gray (1952-1980) and Dr. Ali H. Qizilbash (1980-1981). In 1981 the Department of Laboratories was divided into 2 new departments: the Department of Clinical Laboratories and the Department of Pathology. Dr. Kathleen Givan (1981-1992) was appointed Chief of Clinical Laboratories and was followed by Dr. Mary Vearncombe (1993-1999). In 1999 the name of the department was changed to the Department of Microbiology and Dr. Andrew Simor (1999- ) was named Chief of Microbiology.

The Department of Psychiatry at Women's College Hospital was established in 1961 under Dr. Lois Plumb (1961-1973), Chief of Psychiatry. Prior to its establishment, the hospital retained a psychiatrist on staff through the Department of Medicine during the 1950s. Following Dr. Plumb, Dr. A.G. Swayze (1973-1974) was appointed Acting Chief of Psychiatry in 1973 and was followed by Dr. G. Anthony Ives (1974-1984), Dr. Howard E. Book (1984-1995), Dr. Peter Nynkowski (1996), Dr. Barbara Dorian (1997-1999) and Dr. Anthony Levitt (2006- ).

The Department of Surgery at Women's College Hospital was established in 1915 under the leadership Dr. Minerva Reid (1915-1926), Chief of Surgery. By 1920, the department was performing approximately 500 operations per year. The Department was next headed by the following Surgeons-in-Chiefs: Dr. Edna Guest (1926-1931); Dr. Kathleen Bartley (1931-1946); Dr. Jessie Gray (1946-1964); Dr. Marjorie Davis (1965-1976); Dr. Robert D. Henderson (1976-1988); Dr. Lavina Lickley (1988-1999). In 1999, Women's College Hospital amalgamated with Sunnybrook Health Sciences Centre and the Orthopedic and Arthritic Institute to form Sunnybrook & Women’s College Hospital. During this time period, Women’s College Campus continued to maintain a Chief of Surgery. On April 1, 2006, Women's College Hospital regained its independent governance and became Ontario’s first and only ambulatory care hospital. The Ambulatory Surgical Services Program at Women's College Hospital performs a variety of surgical procedures including general surgery, plastic surgery focusing on breast cancer & breast reconstruction and urological procedures under the leadership of Dr. John Semple, Chief of Surgery.

In 1946, under the Department of Medicine, Women's College Hospital established its first formal dermatology program, an outpatient clinic that was held twice a week. That year, Dr. Ricky Kanee Schachter was appointed Head of the newly formed Division of Dermatology. Under her leadership the program expanded to include the Phototherapy Education and Research Centre (PERC), launched in 1976. After Dr. Schachter's retirement in 1985 the Department operated under the leadership of the the following Heads of the Division of Dermatology: Dr. Colin Ramsay (1986-1990); Dr. Gary Sibbald (1991-1993) and Dr. Lynn From (1993-2000). In 1991 the Ricky Kanee Schachter Dermatology Centre was launched at Women's College Hospital. Today the Dermatology program is comprised of three main components:The Ricky Kanee Schachter Dermatology Centre; Dermatology Day Care and Wound-Healing Clinic and the Phototherapy Education and Research Centre (PERC).

The Division of Ophthalmology began at Women's College Hospital in the 1910s as a weekly eye clinic held in the Outpatient Department. In 1941, a Department of Ophthalmology was formally established with Dr. Mary Albertson (1941-1969) as its Chief. In the late 1950s the Department of Ophthalmology was re-established as a division of the Department of Surgery. Today, the Division of Ophthalmology is still active at Women's College Hospital.

The Department of Anaesthesia of Women's College Hospital was formally established in 1914 under Dr. Margaret McCallum-Johnston, a graduate of the Ontario Medical College for Women, predecessor to Women’s College Hospital. Dr. McCallum-Johnston (1914-1935) held the position of Chief of Anaesthesia until 1935 and was then followed by Dr. Hannah Reid (1926-1931) and Dr. Ellen Blatchford (1931-1956); Dr. Evelyn Bateman (1956-1972); Dr. Edith Rogoman (1972-1982); Dr. Bronwen Gates (1982-1988) and Dr. Jean Kronberg (1988- ). In 1969, the Department of Anaesthesia was officially affiliated with the University of Toronto. The Department remains one of Women's College Hospital's first and longest running medical departments.

The Department of Anatomic Pathology of Women's College Hospital was officially established in 2006. In 1920, pathology was part of the Department of Laboratories under Dr. Vivian Marvin Laughlen (1920-1945) as the Chief of Laboratories. Dr. Laughlen was followed by Dr. Eva Mader MacDonald (1945-1952); Dr. Alice Gray (1952-1980) and Dr. Ali H. Qizilbash (1980-1981). In 1981 the Department of Laboratories was divided into 2 new departments: the Department of Clinical Laboratories and the Department of Pathology. In 1981 Dr. Lynn From (1981-1992) was appointed Chief of Pathology, followed by Dr. Weded Hanna in 1992 (1992- ). In 2006 the Department of Pathology was divided into 2 new departments: Anatomic Pathology and Clinical Pathology.

The Department of Emergency Medicine of Women's College Hospital was officially established in 1981. Prior to the formation of the Department, patients received emergency care in the hospital’s Outpatient Department staffed by members of the Department of General Practice. In 1971, due to the high volume of emergency cases, Women's College Hospital established a separate Emergency Department under the leadership of Dr. Yvonne deBuda. In 1981 after review, the Emergency Department External Review Committee recommended that the existing Emergency Department fall under the direction of a distinct organizational entity staffed by full-time physicians and a Chief who would be a full-time member of the hospital's Medical Advisory Committee. In July 1981, the Department of Emergency Medicine was established under Dr. John W. Letts, Chief of Emergency Medicine (1981-1993). On April 30, 1987 the Urgent Care Centre officially opened, replacing the Emergency Department. In 1993 the Department of Emergency Medicine was dissolved.

The Department of Family and Community Medicine was established at Women’s College Hospital in 1956. The Department operates the Family Practice Health Centre, an ambulatory care unit. In 1964, Dr. Jean Davey, Chief of Medicine, introduced a family practice teaching unit within the Department of Family and Community Medicine to train family physicians. In 1956, Dr. Bette Stephenson (1956-1965) was appointed the Department's first Family-Physician-in-Chief. She was followed by Dr. Shanna Gimbert (1965-1969); Dr. Marjorie Swanson (1969-1972); Dr. Yvonne deBuda; Dr. Hollister King (1982-1992) and Dr. James Ruderman (1992- ). Today, the Department continues to operate the Family Practice Health Centre at Women's College Hospital which provides care for women and men of all age groups. It is one of the largest clinics in Ontario, providing more than 54,000 visits per year to patients.

The Faculty of Science at Wilfrid Laurier University was founded in 2000, when the Faculty of Arts and Sciences partitioned into distinct faculties of Arts and Science. The Faculty consists of the Departments of Biology, Chemistry, Kinesiology and Physical Education, Mathematics, Physics and Computer Science, Psychology and the Health Sciences program. Deans of the Faculty of Science have been Dr. Arthur Szabo (2000-2007), Dr. Deb MacLatchy (2007-2009), and Dr. Paul Jessop (2009- present).

The Faculty is predominantly housed in the Science Building which was officially opened in 1995. Eventually the Science Research Centre (opened in 2004) was added between the Science and Bricker Academic Buildings. The Research Centre is a dedicated research building for faculty and students.

In 2000, the Faculty of Science mandate was as follows:
“Laurier’s Faculty of Science is dedicated to collaboration between and beyond its six departments. In that spirit, the Faculty offers selected high quality programs with homes in Biology, Chemistry, Kinesiology & Physical Education, Mathematics, Physics and Computer Science and Psychology. Its programs are contemporary and competitive, designed to attract the highest quality students, and to provide them with a stimulating education and thorough preparation for employment or further studies. That Faculty holds the advance of scientific knowledge as one of its key values, and as such is committed to sustaining a supportive climate for research in the pure, social and applied sciences. The Faculty’s spirit of shared enterprise is highly valued by its members.”

The Waterloo Lutheran University Graduate School of Social Work was founded in 1966 with a curriculum based on clinical practice as well as community organization practice. Students specialized in one of five concentrations: community development, social planning, social administration, research, or individuals, families and social groups. The first class graduated in 1968, the same year that the Graduate School of Social Work was accredited by the Council on Social Work Education. In 1974, the name of the program was changed to the Faculty of Social Work to reflect the expansion into part-time, continuing education and undergraduate social welfare courses (offered in the Faculty of Arts and Science). In 1981, the Faculty of Social Work created an undergraduate Social Welfare Option, considered to be a minor.

The Doctor of Social Work program was established in 1987, making it the first doctoral program at Wilfrid Laurier University.

By 1988 the Faculty had moved from the seminary to the Peters building and then to the Aird building before moving to the St. Jerome’s Duke Street building in 2006. This Laurier Kitchener campus was a 12 million dollar conversion from historic landmark to professional school.

The first Dean of the Faculty of Social Work was Sheldon L. Rahn (1966-1968), followed by Francis J. Turner (1969-1979), Sherman Merle (1980-1983), Shankar A. Yelaja (1983-1993), Jonnah Hurn Mather (1994-2001), Luke J. Fusco (2001-2006), Leslie Cooper (2006-2009), and Nicholas Coady (2011-).

The Brantford campus of Wilfrid Laurier University opened in 1999. The campus is located in downtown Brantford, Ontario and awards Bachelors degrees in Business Technology Management, Contemporary Studies, Criminology, Education, English, Health Administration, Health Studies, History, Human Rights and Human Diversity, Journalism, Law and Society, Leadership, Psychology and Youth and Children's Studies.

Planning for the creation of a university in Brantford began in 1996, when the Brant Community Futures Development Corporation commissioned a business plan for the establishment of a university in Brantford. The city of Brantford had experienced economic decline in the wake of the collapse of the farm equipment industry. Community leaders, including members of the Grand Valley Educational Society, hoped that a university would contribute to urban renewal of the city’s downtown core. They also sought to provide local post-secondary educational opportunities for local students. In 1998, the City of Brantford, The Grand Valley Educational Society and Wilfrid Laurier University signed a “letter of intent” to form a campus of Laurier in Brantford.

The first building occupied by Laurier Brantford was the Carnegie Building on George Street, originally constructed as a library, and renovated as a university building. As it expanded the university has constructed new buildings, including the Student Centre built by the Student Union in 2005. Other university buildings, like Grand River Hall which opened in 2001, are examples of adaptive re-use, and have been renovated to meet the needs of the university.

Laurier Brantford is administered by a Vice-President/Principal who reports to the President of Wilfrid Laurier University. The faculty report to the Dean of Brantford, and govern through the Brantford Divisional Council. Library service is provided by Laurier librarians at the Brantford Public Library.

Brantford students are members of the Wilfrid Laurier University Students Union (WLUSU).

Leslie Lasky was a student at Waterloo Lutheran University in Business Administration from 1964 to 1968. He lived in Willison Hall and served as a residence Don. In 1967, he was elected as student representative to the Selection Committee for a new president of the University.

Dr. Yehoshua (Shieky) Brownstone is a photographer in London, Ontario. He was formerly a Professor in the Biochemistry Department at the University of Western Ontario.

Gail Carr was a student at Waterloo Lutheran University (now Wilfrid Laurier University) from 1967 to 1970. She was a contestant in the Miss Canadian University Queen Contest in 1969. Her married name is Gail Murray.

Marcia Schofield was a student at Waterloo College (now Wilfrid Laurier University) from 1947 to 1950.

Eugene Kash (1912-2004) was a Canadian violinist, conductor and teacher. He was married to contralto Maureen Forrester from 1957 to 1974.

Maureen Forrester (1930-2010), born in Montreal, Quebec, was one of the world's leading contraltos. After making her professional debut in 1951, she toured the world performing with virtually every major choir until the 1990s. In 1965 she began giving master classes. She was chairman of the voice department at the Philadelphia Music Academy from 1966 to 1971 and later taught part-time at the University of Toronto and the University of Alberta. Forrester was chair of the Canada Council 1983 to 1988, chancellor of Wilfrid Laurier University 1986-1990, and in 1986 she was honorary president of the International Year of Canadian Music. Maureen Forrester received many awards and recognitions including 30 honorary degrees. She was named a Companion of the Order of Canada in 1967, awarded a Canadian Music Council medal in 1983, received the Order of Ontario in 1990, and inducted into the Juno Hall of Fame. Wilfrid Laurier University named its recital hall in her honour and established a scholarship in her name.

Terry Copp was born in 1938 and grew up in the Montreal suburb of Notre Dame de Grace. He attended Sir George Williams University (now Concordia) where he earned his bachelor’s degree. His career as an educator began prior to graduation when, in his third year, a teaching position at the University. As a condition of his employment, he was required to graduate before the beginning of classes in September and enroll in the Master of Arts program at McGill. After his year of teaching at Sir George Williams, he taught history at Westmount Junior High School. While there, he became concerned about the conditions at a local residential house where a number of his students lived, known as Weredale House. When he had a letter outlining his views published in the Montreal Star, many supporters of Weredale were upset and Copp left his position with the school board.

Copp completed his MA in 1961 and soon after was accepted into the PhD program at McGill. After a realization that his thesis would not work out, he took a job at a high school in Lindsay Ontario as an emergency replacement geography teacher. After this, was offered a full-time position teaching history at Loyola College and part-time teaching courses at McGill. He became a full-time faculty member at Loyola for the 1965/66 academic year while still teaching the Canadian history survey at McGill.

In 1968, Copp married and became a father to two step-children and later a third. In 1970, he took a position at Sir George Williams, which led to a year-long position as visiting professor at the University of Victoria. While in this position he was able to complete much of the manuscript for what became The Anatomy of Poverty: The Condition of the Working Class in Montréal 1897-1929, which was published in 1974. In 1975, Copp and his family left Montreal when he took up a position at Wilfrid Laurier University. In 1980, Copp’s research interest shifted from labour history to military history. He has published extensively in this area of study, including the five-volume Maple Leaf Route series with Robert Vogel, and numerous articles in Canadian Military History and other journals. In 1991, Copp and Marc Kilgour were awarded a grant from the Security and Defense Forum to finance what became the Laurier Centre for Military Strategic and Disarmament Studies.

Copp has been involved in numerous projects outside of the university. He has served as a research director and on-camera historian for the television documentary series “No Price Too High”, which was produced in response to the controversy caused by the CBC’s “The Valour and the Horror”. He was involved in the Canadian Battle of Normandy Foundation raising money for a Canadian Memorial Garden and student bursaries.

Copp retired in 2005 and is currently professor emeritus of history and director of the Laurier Centre for Military, Strategic and Disarmament Studies at Wilfrid Laurier University. He also writes a series of feature articles that have been published in Legion Magazine since 1994.

John Theberge (1940- ) was a professor and researcher in the Faculty of Environmental Studies, University of Waterloo, from 1972 until his retirement in 2000. Theberge received his BSc from the University of Guelph, MSc from the University of Toronto, and PhD from the University of British Columbia. John Theberge's career focused on his wolf research, pioneering a technique using vocal patterns to identify wolves. John Theberge and his co-researcher and wife Mary Theberge became Canada's premier timber wolf research team, receiving international recognition for their field research. In 1993, Equinox magazine proclaimed John and Mary Theberge "Environmentalist of the Year". In 1998 they were presented with the Harkin Medal from Canadian Parks and Wilderness Services.

The Beaver Valley Heritage Society began in the mid 1970s as a group of concerned citizens, and was incorporated in 1981 as a non-profit citizen's organization created to preserve and protect the natural environment of the Beaver Valley in Ontario. The Beaver Valley's territory runs through the four townships of Artemesia, Collingwood, Euphrasia and St. Vincent. It stretches over 25 miles, from Flesherton to Georgian Bay at Thornbury. The Beaver Valley Heritage Society endeavors to represent the interests of the Valley's residents and anyone who wishes to support the Society's objectives of opposing inappropriate development in the Valley. The Society supports development, provided it occurs in approved areas, and does not impact on wildlife, fishing, and the natural environment. The role of the Society is to present the views of its members in a coherent, concise and organized way to the decision-making bodies that have jurisdiction over the Beaver Valley.

Jim Birtch (19-- - ) is the Executive Secretary of the Canadian Biosphere Reserves Association, a non-profit association incorporated in 1997, to provide support and networking relationships that help develop and maintain biosphere reserves throughout Canada.

APT Environment is an environmental organization in Elmira, Ontario, that is interested in the Chemtura Canada Company, formerly Uniroyal Chemical and Crompton Company. Since 1941 the plant has undergone various name and ownership changes. From 1966-2000 the plant operated as Uniroyal Chemical, from 2000-2006 as Crompton Company, and on July 1, 2006 formally changed its name to Chemtura Canada Company.

Harold Russell was a student at Waterloo College from 1954 to 1958. He was a member of the Waterloo College Detachment of the University of Western Ontario Contingent of the Canadian Officers' Training Corps.

Robert Langen (19-- -) was a professor at Wilfrid Laurier University in Waterloo, Ontario, until his retirement in 1984. Langen received his BA from Waterloo College in 1948, and his MA from the University of Toronto in 1956. In 1954 he became a lecturer at Waterloo College (now Wilfrid Laurier University) and eventually became the first chairman of the Philosophy Department. Robert Langen was involved in many committees and organizations, including the Cultural Affairs Committee, and a local chapter of the World University Service of Canada. In 1989 Wilfrid Laurier University named its art gallery in his honour.

Personal Studio was founded by Robert T.G. Nicol and a friend, and officially opened for business on March 21, 1946. Nicol was the sole photographer and owner by the fall of 1946. For the next fifty years Robert Nicol documented the Waterloo Region through personal and commercial photography. He pioneered the concept of wedding albums in the local area. He had started flying in 1961 and from that time on took aerial photographs as well as studio and candid photography. In the course of his career he maintained memberships in professional photographers' organizations as well as completing continuing photographic educational courses offered by those organizations. He retired as a professional photographer in 1996.

John Frederick Nathanael Spady (1879-1947) was a musician and composer in Waterloo, Ontario. Taught by his mother, who was the organist at St. John’s Lutheran Church in Waterloo for more than 30 years, Spady excelled as a pianist and violinist. He authored more than 600 pieces of music.

Henry A. Regier (1930 - ) was a professor of zoology and environmental studies at the University of Toronto until his retirement in 1995. Regier received his BA from Queen's University, a professional teaching certificate from the University of Toronto, and his PhD from Cornell University. In 1966 he joined the University of Toronto. Henry Regier's research interests include the Great Lakes, human use of aquatic systems, world population, and climate change. Regier served as a Canadian commissioner on the Great Lakes Fishery Commission, from 1980 to 1989. From 1987 to 1990 he served on the Great Lakes Science Advisory Board of the International Joint Commission of Canada and the USA. Regier has received many awards, including the Conservation Award of the Federation of Ontario Naturalists in 1980, the Centenary Medal by the Royal Society of Canada in 1986, the Award of Excellence of the American Fisheries Society in 1992, and the Lifetime Achievement Award from the International Association of Great Lakes Research in 2005.

Pioneer Construction was founded in Sudbury by Joe Salvalagio, Pietro Coltinari, and Mario Negusanti in 1938. The team hired Alex Macgregor as manager shortly after.

By the 1950s Pioneer Construction was tackling city and highway road construction, sewer and watermain projects, while expanding into the mining, forestry and railroad industries. In 1954, Pioneer Construction was home to the first asphalt plant in the North. Company ownership transferred to Grant Henderson, Peter Crossgrove and then to Jamie Wallace in 1976. Today Pioneer Construction builds and maintains highways and municipal roads across Northern Ontario.

Ann Augusta Stowe-Gullen (1857-1943) was a medical doctor, a lecturer and a suffragette. She was born in Mt. Pleasant, Ontario, the daughter of John Stowe and Emily Howard Jennings. She married John Benjamin Gullen in 1883. She died in Toronto. Stowe-Gullen was educated at the Toronto School of Medicine, then at the Faculty of Medicine at Victoria University, Toronto, where she became an M.D. in 1883, the first woman to graduate from a Canadian medical school. Immediately after graduating she was appointed Demonstrator in Anatomy at the Woman’s Medical College in Toronto (from 1894 onwards known as the Ontario Medical College for Women). In 1890 she was appointed Lecturer on Diseases of Children, subsequently Professor of Diseases of Children. She also served among the original staff members of Toronto Western Hospital (founded in 1896). Stowe-Gullen was a member of the Ontario College of Physicians and Surgeons, the Ontario Social Service Council, the Senate of the University of Toronto where she represented women in the medical profession (1912-24), the Toronto Board of Education (1892-96), the University Women's Club, the Women's Art Association, the Women's Board at Toronto Western Hospital, and the Women's Canadian Club. She was also active in the suffrage, temperance and other social movements. She was among the founders of the National Council of Women in 1893, (President) of the Canadian Suffrage Association, (Vice-President) of the National Council of Women, and she succeeded her mother as President of the Dominion Women’s Enfranchisement Association in 1903. In 1935 she was awarded the Order of the British Empire.

Emily Howard Jennings Stowe (1831-1903) was a teacher and principal, a medical doctor, and a suffragette. Educated at home, Stowe became a teacher in 1846 and graduated from the Provincial Normal School in Toronto, Canada West in 1854. In 1865 Stowe applied to study medicine at the University of Toronto, but was denied entry because she was a woman. Unable to pursue her education in Canada, she attended the New York Medical College for Women. After graduating in 1867, Stowe returned to Toronto to practice medicine without a license. In 1870 she was allowed to attend the University of Toronto and was granted a medical license in 1880. In 1877 Emily Stowe organized Canada's first suffrage organization, initially called the Toronto Women's Literary Club, which later became the Toronto Women's Suffrage Club.

Jim Stapleton was a student at Waterloo Lutheran University (now Wilfrid Laurier University) from 1961 to 1965.

Established in 1975, the Faculty of Music delivers music education and related activities at Wilfrid Laurier University. As of 2013, undergraduate degree options include an Honours Bachelor of Music (BMus) degree and an Honours Bachelor of Music Therapy (BMT) degree. The faculty also offers Master of Music Therapy and Master of Arts in Community Music degrees. In addition to the degree programs, there are several supplementary and post-graduate options including three diploma programs, a practicum program and a management option. The Faculty of Music invites guest artists from around the world to contribute to the course offerings and hosts a number of affiliated artists, beginning in 1967 with Peter van Ginkel. Every year the faculty produces a number of concerts and recitals of traditional, new and original music. The concerts showcase the talents of WLU students and special guests in a variety of styles and forms including jazz, opera and orchestra.
The institution’s involvement with music dates back to first half of the 20th century when it was known as Waterloo College. Initially, musical activities at the college were the domain of student groups such as the college choir and the glee club. In the years following World War II the interest in music had grown at the college. There was an annual student musical known as the Purple and Gold review and the college choir led by Dr. Ulrich Leupold regularly toured the parishes of Southern Ontario. In 1945 Dr. Leupold established the Department of Music with the class Music10. By 1956 the college offered two courses in music history and theory, as well as one course on church music. In 1965 a music program was formally created by Dr. Walter Kemp. This new program allowed students to earn a Bachelor of Arts with a major in music. In 1969, a new three-year Bachelor of Music degree was introduced and was to commence in 1970.

The Music Department remained affiliated with the Faculty of Arts for the next five years. Traditionally, the department held classes in the chapel and in a music room in the Arts Building. However, these facilities did not suit department’s needs and in 1971 classes were moved into two houses on Bricker Street. Due to noise complaints from neighbouring residents, the music department was soon asked to vacate the houses. The department was then moved into the garage of the President’s House (Alumni Hall). On May 1st, 1975 the Department of Music became the Faculty of Music. Dr. Christine Mather was named the first Dean and was inducted on November 3, 1975. That same year, the Faculty of Music was moved to Macdonald House. In 1979, Dr. Gordon Greene became Dean and held the position for two consecutive terms. In 1988 the Faculty was moved to the newly constructed John Aird Centre, which contains the Maureen Forrester Recital Hall, the Theatre Auditorium, classrooms, practice rooms and offices. This purpose-built centre remains as the current home of the Faculty of Music. In 1989, Anne Hall was appointed Dean. Other Deans of the Faculty of Music include Dr. Charles Morrison (Appointed in 2000) and Dr. Glen Carruthers (Appointed in 2010).

Example Corporation history (ISAAR 5.2.2)

The Wartime Prices and Trade Board is a former Canadian government agency, established on September 3, 1939, by the Mackenzie King government, under the authority of the War Measures Act, in the Department of Labour responsible for price controls and inflation control. The board was abolished in 1951, upon the lapse of the Continuation of Transitional Measures Act, 1947.

Samuel J. Zacks (1904-1970) was a financier, Zionist and art collector, born in Kingston Ontario and educated at Queen’s University and Harvard. He married Ayala Ben Tovim Fleg in 1947, whereupon they immediately began to collect art of the School of Paris as well as Canadian and Israeli art and antiquities, amassing an extensive collection by the late 1950’s that was in continual demand by museums around the world. Mr. and Mrs. Zacks were both involved in international art circles, sitting on the Boards of the International Committee of Museums (ICOM), a branch of UNESCO, the International Committee of the Museum of Modern Art, the Art Gallery of Ontario and others. In 1969 Mr. Zacks received an Honourary Fellowship from St. Peter’s College, Oxford. He died in 1970 in Toronto.

Sam and Ayala Zacks were prominent Canadian art collectors of international repute active in the mid-20th century whose gifts form the basis of the modern European art collection at the Art Gallery of Ontario. Ayala Ben Tovim Fleg Zacks Abramov (1912-) was born in Jerusalem and educated in Israel, Paris and London. In 1938 she married Maurice Fleg in Paris, and joined the French Resistance after her husband died in action in1940. Active in Zionist circles after the war, she met Sam Zacks in Switzerland. Samuel J. Zacks (1904-1970) was a financier, Zionist and art collector, born in Kingston Ontario and educated at Queen’s University and Harvard. Following their marriage in 1947 they immediately began to collect art of the School of Paris as well as Canadian and Israeli art and antiquities, amassing an extensive collection by the late 1950’s that was in continual demand by museums around the world. In 1956 a collection of Canadian art was donated to Queen’s University, Mr. Zack’s alma mater, the first of many significant gifts to institutions in Israel and Canada including the Hazor Archaeological Museum, the Royal Ontario Museum and the Art Gallery of Ontario. Mr. and Mrs. Zacks were both involved in international art circles, sitting on the Boards of the International Committee of Museums (ICOM), a branch of UNESCO, the International Committee of the Museum of Modern Art, the Art Gallery of Ontario and others. In 1969 Mr. Zacks received an Honourary Fellowship from St. Peter’s College, Oxford. He died in 1970 in Toronto. After his death, Ayala Zacks was awarded the Order of Canada and an honourary degree from the University of Toronto. She married Zalman Abramov, an Israeli lawyer and politician in 1976 and moved permanently to Israel in 1982.

The Ontario Fruit and Vegetable Growers’ Association (OFVGA) was established in 1859 as the Fruit Growers' Association of Ontario, making it one of Ontario and Canada’s oldest farm commodity organizations.

As the voice of Ontario’s fruit, vegetable and greenhouse farmers, the OFVGA is a nationally recognized not-for-profit association that advocates on behalf of Ontario fruit and vegetable farmers and the edible horticulture industry, and represents its members provincially, nationally, and internationally.

Knox Presbyterian Church in Burlington, Ontario was established in 1845 as Knox Presbyterian Church, Wellington Square. It wasn't until 1873 that the name of the town was changed to Burlington. Land was donated for a new church by Andrew and Martha Gage, and a small log building was constructed in the summer of 1845. The church was governed by a united Session with Knox Presbyterian Church in Waterdown, until 1877. In that year, a new church building was constructed as well. In 1925, the congregation voted to remain with The Presbyterian Church in Canada.

The Gallagher and Whatmough families have histories that are closely intertwined. The Gallaghers migrated to Hamilton, Upper Canada in 1836, then lived in Rochester, New York for four years before settling in East Flamborough, Upper Canada. Two Whatmough men, Charles and Isaac, came to Upper Canada in 1858 and 1863, from the area around Manchester, England. Their parents and other family members seem to have moved back and forth between the two counties, with most settling in the Toronto/Burlington/Hamilton, Ontario area. The Gallaghers appear to have been farmers, in the main, while the Whatmoughs produced a number of architects and businessmen. Howard Gallagher (1897-1987) was active in the Flamborough and Waterdown Agricultural Society, Gordon Gallagher (1900-1985) was on the town planning committee which prepared Burlington’s first Official Plan, and served as deputy reeve and reeve of Burlington. Percy Gallagher (1901-1987) was a builder and developer who registered the White Oak Manor commercial and residential development survey, Plan 1124, in 1958. Charles T. Whatmough (1837-1885) opened a hardware business on King Street East in Toronto. Arthur Edwin Whatmough (1884-1971) was an architect who designed residential buildings in Toronto in the Arts and Crafts style until the Great Depression (1931). His son, Grant Alan Whatmough (1921-1999) was a naval architect and designer of private houses throughout southern Ontario. Isaac Abraham Whatmough (1842-1911), the second in his family to emigrate, worked in Toronto and Simcoe, where he joined the Norfolk Rifles, and spent some time in Chicago during the Civil War before returning to Toronto to work in his brother Charles’ hardware store.

Robert (Bob) Elstone was an active member of the Burlington, Ontario community. His obituary reads: “… Bob was a man of vision and courage who wore many hats with a passion. Not only was he a WWII veteran (First Mate in the Merchant Navy), but an ambitious agriculturalist, naturalist, historian, entrepreneur, volunteer, world traveller, map enthusiast, master mariner, and master swimmer. He was the proud proprietor of Elstone Stationery for almost fifty years which was the hub of the community. His goal was to help and serve people. He was known as “Mr. Rotary” and during his years of service he has been involved in the formation of nine Rotary clubs including two in Egypt; as well as the past president of Burlington Central. Bob was the co-founder of the Burlington Rotary Fall Music Festival. He has been honoured twice with the Paul Harris fellowship, Rotary’s highest honour. He was instrumental, along with others, in establishing the Burlington YMCA., He received the first achievement award in 1976. For 36 years he had a teen program on Saturday nights at the YMCA and over one hundred teen weekend camps over the years. Bob was honoured as citizen of the year for Burlington in 1997. He was also the chairman of the Burlington Beautification Committee and Chairman of the Burlington Uniform Hours Association. He was an Honorary Life member of Hamilton-Burlington YMCA, Burlington Historical Society, Hamilton Naturalist Club and West Flamborough Heritage Society….”

Jacob Cooke was born in England in 1908 and emigrated to Canada in 1927, eventually settling in Burlington, Ontario. He worked as a carpenter’s helper for Pigott Construction (based in Hamilton, Ontario), and later specialized in the laying of hardwood floors. In 1935, he purchased a hand operated block making machine and began manufacturing concrete blocks in the evenings in a shed at the back of his home at 3 New Street (now 2109 New Street). The blocks were to be used as bases for Christmas trees that decorated Brant Street that Christmas season.

In 1937, he installed his first power-operated block machine. He purchased sand and gravel from Frank Scheer on St. Matthew’s Avenue. The demand for concrete blocks continued, so what had begun as a small cottage industry expanded to larger premises on St. Matthew’s Avenue in Aldershot, on lands purchased from George Filman. An adjacent 55 acre gravel pit provided the raw materials needed for the rapidly expanding operation.

Jacob Cooke purchased property in Aldershot, Oakville and Hamilton. He and employee Brant Coleman developed these properties and sold them to builders. In 1952, they developed the Glen Acres survey (Birdland) on the Filman property. The streets were named after birds in honour of William Filman, who used to have a bird sanctuary on the property. As the business expanded, Jacob Cooke purchased Joe DeLuca’s farm which became the site of the Cooke Business Park at 35 Plains Road E.

By 1953, J. Cooke Concrete Blocks was the largest producer of concrete blocks in Canada, each day producing enough to build 30 houses. The company was in operation around the clock and produced ten million eight-inch blocks per year. Jacob Cooke, retaining the land development company, sold the concrete block business in 1958. His son William (Bill) stayed on to manage the company with his brother Eugene Barrymore (Barry) as Plant Manager. The company was sold again in 1977 and 1998.

At the age of 62, Jacob Cooke visited family in Australia and decided to pursue opportunities there. Convincing his son Barry to join him, Jacob purchased, cleared and planted thousands of acres of land. Jacob Cooke died in Australia on 6 November 1976.

William Jacob Cooke (Bill) was born on Maple Avenue in Burlington on 1 June 1931. He and his brother Eugene Barrymore (Barry) attended Maplehurst Public School and Waterdown High School. Bill married Mary Elizabeth Gray (Bette) on 19 February 1955. Bill carried on the concrete block business after his father and brother moved to Australia, and also became involved with land development.

Some of the areas developed in Aldershot by the Cooke family are Birdland, Harbour Heights, Oaklands Estates, Fairwood Place West, and the Cooke Business Park adjacent to the former concrete block plant. The Cooke family developed over 800 residential lots in the Aldershot area. The property now known as Oaklands Estates on Burlington Bay was purchased by Jacob Cooke in the early 1950s and was later developed into a residential street by Bill. Bill lived at 160 Oaklands Park Court, the home he built there in 1959. In the Fairwood Acres survey on North Shore Boulevard, Bill named the streets after his children: Daryl, David, Lynn and Lee. Bill’s wife Mary died in 2000; he later married Louise Oates. He died in Burlington on 12 May 2005 at the age of 74.

George Blair (1852-1935) was a prominent member of the Burlington, Ontario community as a builder and fruit farmer, an elder and treasurer of Knox Presbyterian Church and a municipal councillor. He also served several terms on both the public and high school boards and was also a member of the Fruit Growers Association. Many of the houses that Blair built are still standing and several of them have plaques from the Burlington Heritage Committee. Blair was born at Harper's Corners, Ontario and as an adult, lived and worked as a carpenter in Kilbride. In 1886, he built a home for his first wife, Lorentia (nee Parkin) and their family at 472 Burlington Avenue, Burlington. In 1893, the now-widowed Blair married Hannah Smith (nee Shepherd), who was also widowed. George Blair feared the effect of city living on their sons and so bought a 50-acre fruit farm on Brant Street. Though rural in character, it was still within the boundaries of the Town of Burlington. Together, the couple raised their several children: George's two sons H. Melvin and Ferguson G., and daughter, Mary Grace, Hannah's two sons, Henry Melvin Smith and Edward (Ted) Shepherd Smith, as well as the couple's sons George Stanley and John Nicoll, and daughters Eva Marion and Mabel Beatrice.

The Burlington Spectator was published as a section of the Hamilton Spectator [Ontario, Canada] between 8 September 1986 and February 1988. Its launch on 8 September 1986 followed the takeover and closing of the Burlington Gazette which had been published since 1896. Originally published six days a week, the Burlington section began to appear less frequently. Its office at 534 Brant Street was closed in 1988 and remaining staff moved to the Spectator offices in Hamilton.

The Arts and Letters Club of Burlington, Ontario was formed in 1948 by a small group of dedicated women as an out-growth of the Roseland Book Club. Its purpose was to develop interest in literature and the arts, through the circulation of books, lectures on literary topics, art, music, films and drama. The early meetings were held in the Lion’s Club Hall, later in Trefoil Lodge, and then in the Burlington Central Library.

Anna Belle Wing Kindlund (later Mrs. Alois Trnka), 1876-1922, was an artist born in Buffalo, New York. She studied with W. Hitchcock in Buffalo, and G. Bridgman in New York. She was a member of the Buffalo Society of Artists and the New York Society of Craftsmen, and is listed in Who Was Who in American Art as a painter and miniaturist.

A.H. Howard (fl. 1889-1904) was an artist and member of the Toronto Art League.

Mercer Union was created by former members of A.C.T. in 1979 to operate as an artist-run, non-profit cooperative gallery. Twelve founders contributed financially to the rental of a ground floor space at 29 Mercer Street and planned to mix local, regional, national and international exhibits, collaborating with other artist-run programs. Its mandate was to exhibit new work in the most advanced forms of painting and sculpture that was not receiving exposure in the commercial and public galleries. Performance art, installations and music were incorporated into the programming, which has continued to represent innovative and sometimes controversial material. Twelve board members are elected by dues-paying members and serve on the various committees (programming, curatorial, etc), with the help of a small paid staff. The gallery moved to 333 Adelaide Street West, 5th floor in 1981 and 439 King Street West in 1994. Their present location is 37 Lisgar Street; current information about the gallery can be obtained at www.mercerunion.org.

Henry Sandham (1842-1910) was an illustrator and painter who lived successively in Montreal, Boston, and London, England. He was associated with the Montreal studio of William Notman, where he received his early training, later headed the art department, and was briefly a partner. Sandham produced illustrations for several leading magazines of his day, including the Century Magazine.

John Hamilton Bush (1909–1977), primarily known as Jack Bush, was a Canadian painter best known for his Abstract Expressionist style. Born in Toronto, he lived in London, Ont. and Montreal during his early years. Jack Bush began his career in advertising, working in his father’s firm, Rapid Electro Type Company in Montreal. During this time, he studied at the Art Association of Montreal with Edmund Dyonnet and Adam Sherriff Scott. In 1928, he transferred to the company’s office in Toronto, where he took evening classes under Frederick Challener, John Alfsen and Charles Comfort at the Ontario College of Art. Bush’s early work as a painter was influenced by Comfort and the Group of Seven, and throughout the 1930s and ‘40s he produced largely landscape and figurative paintings. His first exhibition was with the Ontario Society of Artists in Toronto in 1936.
In 1934, Jack Bush married Mabel Mills Teakle, a family friend from Montreal, and together they had three sons, Jack Jr (b. 1936), Robert (b. 1938) and Terry (b. 1942). In 1953, dissatisfied with Canada’s place in the international contemporary art scene, Bush and several other Toronto abstract artists founded the group Painters Eleven. William Ronald, another member of Painters Eleven, and an artist who had worked in New York, introduced U.S. art critic Clement Greenberg to the group, which led to a lasting friendship between Bush and Greenberg. The contact with Greenberg in 1957 led to Bush’s international breakthrough in the early 1960s, beginning with his 1962 exhibition at the Robert Elkon Gallery in New York. Between the late 1950s and mid ‘60s, Bush painted in loose brushstrokes with diluted oils, staining paint onto unprimed canvas. In 1966, concerned by the health hazards associated with oil-based paints, he switched to water-based acrylics, less textured than oils but more brightly coloured.
In 1964, Jack Bush’s work was included in Greenberg’s Post-Painterly Abstraction at the Los Angeles County Museum, an exhibition that travelled to Minneapolis and Toronto. Along with Jacques Hurtubise, Bush represented Canada at the Bienal de São Paulo (Brazil) in 1967. In the year preceding his death in 1977 (from a heart attack), he received the Order of Canada. That same year, the Art Gallery of Ontario mounted a retrospective exhibition of his abstract works that travelled to several Canadian galleries. Jack Bush’s work is in the collections of the Art Gallery of Ontario, the National Gallery of Canada, the Montreal Museum of Fine Arts, Boston’s Museum of Fine Arts, London’s Tate Gallery and others.

Goldwin Smith (1823-1910) was a prominent journalist, academic and liberal reformer who spent the latter part of his life in Toronto. Born in Reading, England, he was educated at Eton College and Oxford University, and was the Regius Professor of History at Oxford from 1858 to 1866. Smith began to publish widely on history and political reform. He moved to the United States in 1868, and taught briefly at Cornell University, to which he retained a connection for the rest of his life. He moved to Toronto in 1871, and married Harriet Elizabeth Mann (née Dixon) the widow of William Henry Boulton, in 1875. Smith thus became master of the Grange house and estate in central Toronto, and became a pillar of Toronto society. His journalistic career included a brief employment at the Globe, after which he joined independent publishing ventures including the Canadian Monthly and National Review and the Evening Telegram. He then published his own journal, the Bystander, sporadically between 1879 and 1890. Smith also published widely in other local and international news journals. He took part in important civic and educational reform initiatives, including serving on the new board of the University of Toronto. The Grange remained his wife's property and was willed by her to the city of Toronto to serve as a public art gallery, later becoming the first home of the Art Gallery of Ontario.

John Bernard Boyle (1941- ) is an artist, activist, curator and writer who has lived and worked in St. Catharines, London, Elsinore, and Peterborough, Ontario. He married Janet Perlman, with whom he has one daughter, Emily. Boyle was educated at London Teachers’ College and the University of Western Ontario, and is self-taught as a painter. He taught elementary school in St. Catharines intermittently between 1962 and 1968. In 1974 he moved with his family to a converted church in Elsinore, Ontario (near Owen Sound), where he had his studio until 2002. He is currently based in Peterborough. Boyle began to exhibit his paintings in 1964, the same year he was inspired by meeting London artists including Jack Chambers and Greg Curnoe. In 1966 controversy arose at the London Public Library and Art Museum over Boyle’s exhibited piece Seated Nude. Boyle was an early participant in London’s 20/20 Gallery. In 1972 he designed sets for the play Buffalo Jump at Theatre Passe Muraille, Toronto; that same year he curated the first Billboard Show in St. Catharines. In 1980 Boyle completed the mural Our Knell for Queen Subway Station, Toronto. From 1973 through the 1990s, Boyle exhibited regularly at Nancy Poole’s Studio, Toronto. A key figure among the artist activists who established professional representation and rights for artists in the early 1970s, Boyle was the founding spokesperson of Canadian Artists Representation Ontario (CARO) in 1971. In 1970 he served as the first president of the Niagara Artists Co-operative (later Company). Boyle was a member of the Board of Trustees of the Art Gallery of Ontario, 1975-1977. Boyle has written extensively in journals including 20 Cents Magazine, Parachute, and Twelve Mile Creek. His regular column “According to Boyle” in CAROT (1975-78) dealt with challenges facing artists. Boyle has written three novels, No Angel Came (1995); and the unpublished The Gergovnians and The Peregrinations and Permutations of a Young Artist in Canada. His illustration and book design work includes The Port Dalhousie Stories by Dennis Tourbin (1987), as well as several magazine articles and book jackets. He initiated the discipline of “Canadology” in 1989 to record the social customs of the country. Boyle is a founding member (since 1965) and principal kazooist of The Nihilist Spasm Band. His work is represented in numerous Canadian collections, including the National Gallery, the Art Gallery of Ontario and the Montreal Museum of Fine Arts.

Sir William Cornelius Van Horne (1843-1915), principal builder of the Canadian Pacific Railway and prominent businessman, was an important collector of paintings and Japanese ceramics and an accomplished amateur painter. Born in Illinois, he worked for American railway companies in various capacities until 1882, when he was appointed general manager of Canadian Pacific Railway, the construction of which was completed under his direction. In 1888, Van Horne was elected president of the company, and in 1899, he became president of its board of directors. He retired from active work in the company in 1910. Van Horne incorporated the Cuba Company in 1900 following a visit to that country; under its operations he built and operated a railway, sugar plantations and hotels. In North America, Van Horne was executive or director of more than 40 companies, and was considered one of Canada’s most successful businessmen. William Van Horne married Lucy Adaline, daughter of Erastus Hurd of Galesburg, Illinois, in 1867. They had 3 children: Adaline (1868-1941), William (1871-1876), and Richard Benedict (1877-1931). The family lived principally in Montreal, and also had residences in St. Andrews, New Brunswick, and in Cuba. Van Horne was knighted (KCMG) in 1894. Sir William’s art collection is considered to have been the most prominent pre-First World War collection in Montreal. It contained Old Master and 19th-century European paintings and Japanese ceramics, and also featured ship models and European decorative arts. Van Horne lent regularly to the Montreal Art Association (precursor to the Montreal Museum of Fine Arts) from 1887 to 1912. His reputation as a collector resulted in his appointment to the consultative committee of the Burlington Magazine in London from 1905 until his death in 1915. Following Sir William’s death, the bulk of his ceramics collection was left to the Royal Ontario Museum in Toronto and the art collection passed to the joint ownership of Lady Van Horne and her children Adaline and Richard Benedict, according to terms of Sir William’s will. Lady Van Horne died in 1929. Under the terms of her will, a portion of the art collection went to the Montreal Museum of Fine Arts and the rest was shared among her children. Richard Benedict Van Horne died in 1931. His widow, Edith Molson, had no claim to any share in the remains of the art collection; subsequently she married R. Randolph Bruce. A fire at the Van Horne mansion in 1935 did not damage any paintings. Adaline Van Horne, who had been managing the collection through the 1930s, died unmarried and childless in 1941. Ownership of the collection then passed to Richard Benedict and Edith’s son William C.C. Van Horne (1907–1946) and his wife Margaret (d.1987), familiarly known as “Billie” (née Hannon). When William died, leaving no heir, ownership of the collection remained with his wife. Margaret Van Horne managed the art collection for over forty years, corresponding with art dealers and conservators in order to achieve optimal values for paintings. Numerous paintings were sold in several different auction sales over the course of this time. She continued to live in the Van Horne mansion until 1972. The house was demolished the following year to great protest in the architectural conservation community. When Margaret Van Horne died in 1987, the remainder of the collection passed to her brother Matthew Hannon. Upon Matthew Hannon’s death in 1988, the remainder of the art collection passed to his heirs.

James Stanley McLean (1876-1954), Toronto business executive and art collector, was president of Canada Packers and founder of the J.S. McLean Collection of Canadian art. He was born in Clarke Township, Durham County, Ontario. Having graduated from the University of Toronto in 1896, McLean became an employee of the Harris Abattoir Company in Toronto in 1901, rising to become president in the 1920s. He achieved a merger of his firm with three others in 1927, forming Canada Packers Limited — of which he was president until his death. J.S. McLean was a founder-member of the Art Gallery of Toronto and a member of its executive from 1934 until his death. He was a patron of Canadian art himself and started collecting in 1934. In 1939 he began to buy Canadian artworks of art to hang in the offices and other areas of Canada Packers’ plants across the country. The result was a significant collection amassed at a time when such art was not widely sought after. Among the creators of modern art in Canada, he focused especially on the work of A.Y. Jackson, Carl Schaefer, Paraskeva Clark and David Milne. In 1952 the collection was the subject of an exhibition at the National Gallery of Canada, Paintings and Drawings from the Collection of J.S. McLean. Many of the works lent for this exhibition were subsequently donated to the Art Gallery of Ontario. J.S. McLean died in Toronto in 1954.

Michael James Aleck Snow (1929- ) is a Canadian painter, sculptor, filmmaker, photographer and musician. He was born in Toronto and educated at Upper Canada College and subsequently at the Ontario College of Art (1948-1952). After travels in Europe (1953-54) he worked for Graphic Films in Toronto (1955-56), producing his first independent film, A-Z. His first solo exhibition as a painter was at the Greenwich Gallery in Toronto in 1956. Between 1961 and 1967, mostly while living in New York, Snow produced work in the Pop-art mode based on the silhouette of a young woman, entitled Walking Woman, probably his most widely recognized creation. A series of 11 stainless steel sculptures of the image was created for the Ontario pavilion at Expo 67 and is now in the collection of the Art Gallery of Ontario. After moving to New York in 1964, he made films regarded as Minimalist, such as New York Ear and Eye Control (1964) and Wavelength (1966-67). Returning to Toronto in 1972, Snow worked mainly on cinematic and photographic projects including ‘Rameau’s Nephew’ by Diderot (Thanx to Dennis Young) by Wilma Schoen. His work is concerned with the nature of media themselves, with perception and with the interrelation of language, sound and meaning. Snow has been the subject of exhibitions and retrospectives in Toronto, Vancouver and Paris.

Greg Curnoe (1936-1992), artist, lived most of his life in London, Ontario. He studied at the Special Art Program at H.B. Beal Secondary in London (1954-1956), the Doon School of Fine Arts (June-October 1956), and the Ontario College of Art (1957-1960). Curnoe married Sheila Thompson in 1965, and the couple had three children, Owen, Galen and Zoe. From Curnoe's early years, his hometown of London became the focus of his life and work, and he attracted much attention to its flourishing art scene. In 1962, he organized the first happening and the first artist-run gallery (the Region Gallery) in Canada. Curnoe played a key role in the founding of the Nihilist Party (1963) and the Nihilist Spasm Band (1965). He began making stamp books in 1962, and has been considered the first maker of artists' books in Canada. He founded the Forest City Gallery in 1973. Curnoe took up competitive cycling in 1971, and it remained a passion and ingredient in his art-making for the rest of his life. Over the course of his career, Curnoe was awarded numerous Canada Council and Ontario Arts Council Grants. From 1964, Curnoe exhibited nationally; in 1969 he represented Canada at the Sao Paolo Bienal in Brazil, and in 1976 at the Venice Biennale. He died in a traffic accident while cycling in 1992. Curnoe was the subject of a National Gallery of Canada retrospective in 1980, and the AGO exhibition Greg Curnoe: Life & Stuff in 2001. His work is to be found in all of Canada’s major public collections, as well as many private and corporate collections.

Gilbert Forrest Bagnani (1900-1985) was a professor of ancient history. He was born in Rome to General Ugo Bagnani and Florence Dewar. He served as a Second Lieutenant of artillery towards the end of World War I. After the War he returned to the University of Rome where he received his doctorate. Instead of entering law as he had planned, he turned to the Italian School of Archaeology in Athens to study antiquities. In 1929 Gilbert married Mary Augusta Stewart Houston (1903-1996) of Toronto, daughter of Stewart Houston (editor of "The Financial Post") and Augusta Robinson (daughter of John Beverley Robinson, Lieutenant-Governor of Ontario, and granddaughter of Sir John Beverley Robinson, Chief Justice and Attorney-General of Upper Canada). Gilbert and Stewart had an apartment in Rome and for seven seasons worked, in the Sahara Desert, with the Royal Archaeological Mission to Egypt. In 1937 they fled fascist Italy and purchased a 200 acre farm and house built around 1845 near Port Hope, Ontario and named it "Vogrie". In 1945 Gilbert was invited to teach ancient history at the University of Toronto and in 1958 became a Professor. He retired from the University of Toronto in 1965. The Bagnanis returned to "Vogrie". In the same year, Gilbert was asked to accept a term-appointment at Trent University. He was honoured with a LL.D. by Trent in 1971 and he continued to teach as a Professor of Ancient History until 1975.

The Canadian Art Club was a Toronto-based exhibiting society active from 1907 to 1915. The club brought together the work of most of the leading Canadian painters and sculptors of the day, largely from Toronto and Montreal but also from abroad, for its annual exhibitions. It was formed by seceding members of the Ontario Society of Artists who rejected what they perceived as that group’s parochialism and low artistic standards. Among the founding artist members were W.E. Atkinson, Archibald Browne, Franklin Brownell, Edmund Morris, Homer Watson (first president of the club) and Curtis Williamson. The artists were soon supported by a considerable number of members who were not artists (referred to as ‘lay members’ in documents). Part of the club’s purpose was to encourage expatriate Canadian artists, such as J. W. Morrice and Clarence Gagnon, to associate with the club and to exhibit in Canada. It succeeded in affording sympathetic reception in Toronto for prominent Quebec artists of the time, like Marc-Aurèle de Foy Suzor-Coté. After the death in 1913 of Edmund Morris, honorary secretary and chief organizer, the club declined amid disputes between members until it ceased to function in 1915. The Canadian Art Club was formally dissolved about 1933.

J.A. Wainwright (1946- ) is a writer of poetry, fiction and non-fiction; and an emeritus Professor of English at Dalhousie University. He published Blazing Figures: A Life of Robert Markle (Waterloo, ON: Wilfrid Laurier University Press) in 2010.

Frederick Sproston Challener, painter, was born in Whetstone, England in 1869 and came to Canada in 1870. He studied at the Ontario School of Art, was first exhibited in 1900 at the Royal Canadian Academy and subsequently worked as a newspaper artist. After a tour of Europe and the Middle East in 1898-99, he began working as a muralist and participated in the decoration of the recently completed Toronto City Hall. At the end of the First World War, Challener worked as a painter for the Canadian War Records Department. He made his career chiefly by creating murals for passenger boats, restaurants, hotels—such as Fort Rouillé in the King Edward Hotel,Toronto—office buildings and theatres, including the Royal Alexandra Theatre in Toronto. He also produced easel paintings, watercolours and drawings in a realistic, romantic style. From 1927-1952 he taught at the Ontario College of Art, during which period he made notes and assembled material on Canadian artists. He died in Toronto in 1959. Challener was a member of numerous arts organizations including the Toronto Art Students’ League, Ontario Society of Artists, Royal Canadian Academy, Society of Mural Decorators of Toronto and the Arts and Letters Club of Toronto (founding member, 1908). His work is in the National Gallery of Canada, the Civic Art Gallery, Winnipeg, the Art Gallery of Ontario and numerous public buildings.

Gershon Iskowitz (1921-1988) was an abstract painter based in Toronto for much of his artistic career. Born in Kielce, Poland, he survived internment in Nazi concentration camps and lost his entire family in the Holocaust. Iskowitz studied art in Munich at the Akademie der Bildenden Künste in 1947, soon transferring to private studies with Oskar Kokoschka. He moved to Toronto in 1949. His work developed from wartime imagery to a focus on landscapes (particularly inspired by practice in the Parry Sound area), eventually arriving at his mature abstract expressionist style in 1967. Iskowitz began exhibiting with Gallery Moos in 1964, a relationship which continued throughout his career. He taught at the New School (Toronto) from 1967-1970, and his informal mentoring of artists in Toronto is often noted. Iskowitz, along with Walter Redinger, represented Canada at the Venice Biennale in 1972. The artist established the Gershon Iskowitz Foundation in 1985, with the mandate of awarding the Gershon Iskowitz Prize to a mature practising artist; since 2007 the Foundation has partnered with the Art Gallery of Ontario to administer the Gershon Iskowitz Prize at the AGO.

The Gershon Iskowitz Foundation was started by artist Gershon Iskowitz in 1985, with the mandate of awarding the Gershon Iskowitz Prize to a mature practising artist; since 2007 the Foundation has partnered with the Art Gallery of Ontario to administer the Gershon Iskowitz Prize at the AGO.

Robert Nelson Markle, Canadian artist, writer, educator and musician, was born in Hamilton, Ontario in 1936 and died in Holstein, Ontario in 1990. He began his studies at the Ontario College of Art (OCA) in 1954, but was expelled before graduation. While at OCA, he met Marlene Shuster, a fellow student, whom he married in 1958. The focus of Markle’s work from his early days was the female nude, particularly burlesque dancers, and Marlene became his primary model and muse. In 1962 Markle had his first group exhibition at The Isaacs Gallery in Toronto, becoming one of the “Isaacs Group” of artists. In 1965, Markle paintings shown in the exhibition Eros ’65 at the Dorothy Cameron Gallery were seized on a charge of obscenity, drawing considerable media attention. In the mid-1960s Markle began to write for magazines such as the Toronto Telegram Showcase, Maclean’s, and Toronto Life, publishing widely on topics as diverse as striptease, hockey, childhood Christmases, and Gordon Lightfoot. Markle also worked extensively as an illustrator, contributing images to magazines and literary journals. His work as an educator included terms at The New School of Art (1966-1977) and Arts’ Sake (1977-1982) as well as OCA and the University of Guelph. From the early 1960s, Markle played tenor saxophone and piano in the Artists’ Jazz Band. In 1970 the Markles moved to a farmhouse outside of Holstein, Ontario, although Robert re-established a studio in Toronto from 1979 to 1982. In 1979, he won a commission to decorate a Toronto hamburger restaurant, which was named Markleangelo’s in his honour. His other large-scale commissions include wall-sculptures for the Ellen Fairclough Building in Hamilton, Ontario, and the Metro Toronto Convention Centre. He executed painted outdoor murals in Owen Sound and Mount Forest, Ontario. Markle was killed in a traffic accident in 1990. Of Mohawk ancestry, Markle used his mother’s spelling of his surname, although it was spelled “Maracle” on his birth certificate. Markle worked primarily in painting and ink drawing, and also explored photography, collage, printmaking, wooden sculpture and neon. He collected folk art, which inspired a number of whirligig works later in his career. His work is in numerous public and private collections, including the Art Gallery of Ontario and the National Gallery of Canada.

Florence Vale, Canadian artist, was born on April 18, 1909 in llford, Essex, England and died on July 23, 2003 in Toronto, Ontario, Canada. Her family immigrated to Toronto two years after her birth, where she grew up with an interest in music. She married artist Albert Franck on June 8, 1929, and together they bought a house on Hazelton Avenue in Toronto which became a centre for artists, writers, musicians, and critics. Florence Vale was the mother of two children, Trudy (who died as an infant) and Anneke.
Florence Vale began to paint with her husband’s paints and brushes in the late 1940’s with no previous artistic training – only what she had learned under the influence of her husband and the artists who visited her home. Her art was influenced by Surrealism, Cubism, Expressionism, and the works of Paul Klee. After her husband’s death in 1973, Florence Vale continued to express her artistic ability with oil paints, collages, and ink, also including her own poetry in some of her works. Many of her works, most prominently after the death of her husband, were erotic, while still viewed by critics as keeping a whimsical, innocent tone. Her art appeared in exhibitions throughout Ontario, with exhibitions also in Quebec and New York, U.S.A. She was associated with the Gadatsy Gallery, Toronto.

Kathleen Jean Munn (1887-1974) was a modernist Canadian painter active in Toronto between the World Wars. She was the youngest of six children born to a Toronto jeweler who died when she was four (of an infection caused by the impact from a champagne cork) leaving her mother to manage the family business. Her talent for drawing was encouraged by her maternal grandmother, an accomplished amateur painter, and she was sent to study at the Westbourne School with F. McGillivray Knowles from 1904 to 1907. Knowles encouraged personal expression and an understanding of the principles of art and Munn thrived in this environment. In 1909 she began to exhibit Barbizon inspired landscapes at the OSA, RCA and CNE exhibitions, moving through periods influenced by Whistler, Corot, Puvis de Chavannes and the post-impressionists. About 1912 Munn first traveled to New York to study at the Art Student’s League and in 1914 she was awarded first prize at the Summer School in Woodstock NY. In 1915-16 she began a series of landscapes in which she showed a mastery of modernist techniques. Her association with the Art Student’s League, whose teachers were early proponents of modernism, was an important influence. Her notebooks show that she was reading extensively and broadly in the areas of literature, philosophy and aesthetics. She studied Jay Hambridge’s mathematical principles, the concept of ‘dynamic symmetry’ and Denman Ross’s colour theory. She seems to have been drawn to writers who proposed an underlying system of order and logic as a basis for individual expression. She also toured Britain and the major art centres of continental Europe in 1920, accompanied by her sister, and this trip seems to have encouraged her quest for a means to express religious and spiritual themes in a contemporary fashion. She was ultimately uncomfortable with complete abstraction and believed that art should express a larger purpose, influenced by readings of Blavatsky, Blake, Whitman, and others. The Group of Seven shared her interest in the spiritual content of painting but she was intolerant of their nationalism; of her contemporaries she formed the closest bonds with Bertram Brooker and Lemoine Fitzgerald. Her studio, in a large room overlooking the ravine at the family home at 320 Spadina Avenue, was visited often by Brooker. The household consisted of three unmarried siblings: Will (Jr.), who ran the family business, May, a teacher who ran the household, and Kathleen. During the 1920’s she began to work on a series of paintings that explored Christian themes and she devoted the 1930’s to the subject of the Passion. Two major drawings from this series were purchased by the Art Gallery of Ontario in 1945. She exhibited a number of these drawings with Fitzgerald and Brooker at the Malloney Galleries in Toronto in 1935 but there as little critical response. Discouragement at her lack of critical success, combined with the death of her brother in 1935 and her sister’s increasing disability, led to the end of her artistic output around 1939. Most of her work remained in family hands. The Art Gallery of Toronto exhibited her Passion drawings in several group shows in the 1940’s and the Willistead Art Gallery in Windsor included her Ascension in a 1954 show of drawings. She died twenty years later, in October 1974.

Jules Frederic Wegman was born in Neuchatel, Switzerland on 14 July 1865 and received his early education there. He came to the United States with his father Julius, also an architect, at the age of ten years and trained with him. At one point he was sent to Jerusalem to measure the city and its buildings, and his drawings were used to reproduce the city at the Worlds’ Fair at St. Louis in 1904. Wegmen then spent several years in the Chicago office of Daniel H. Burnham & Co., a leading figure of American architecture. He appears to have also worked there under his own name, and is credited with the design of the Newbury Building, South Wabash Avenue at East Ninth Street in Chicago, in 1896. In 1905 he was invited to join the Toronto firm of Darling & Pearson, and worked there until his death in 1931, becoming a partner in 1924. He worked on the Sun Life Building in Montreal, the North Toronto Station at Yonge and Summerhill, and the 1925 expansion of the Art Gallery of Toronto. He spoke at least four languages fluently and traveled widely, collecting photographs and drawings of architectural details. In 1911 he joined the Arts and Letters Club and lunched there regularly. In 1912 he was Chairman of the Toronto Chapter of the Ontario Association of Architects and he was elected a Fellow of the Royal Architectural Institute of Canada shortly before his death.

Avis Lang [Rosenberg] (1944-) is an art historian, teacher, curator, writer and editor who lived in Vancouver for many years. In 1972, as a member of the faculty of the Fine Art Department at the University of British Columbia, she wrote to Canadian artist Jack Chambers (1931-1978) beginning a correspondence that led Chambers to invite her contribution to a scholarly monograph on his work. In 1973, Peter Mellen took over the editorial direction for the book and differences of opinion prompted her to resign the project. Her essay, “The Hart of London: a film by Jack Chambers” was included in The Films of Jack Chambers, edited by Kathryn Elder (Cinematheque Ontario and Indiana State University Press, 2002).

The Tovell family of Toronto, in particular Harold Murchison Tovell (1887-1947), Ruth Massey Tovell (1889-1961) and their son Vincent Massey Tovell (b. 1922), was active in art circles in Toronto for several decades following the First World War. Harold Tovell and Ruth Massey married in 1910 and in 1913-1914 travelled in Europe, visiting the major art galleries. Returning to Toronto, they lived on the eastern edge of the city in Dentonia Park, the Massey estate, until 1936 when they moved to the city centre. The Tovells built a collection of works by Canadian and European artists. In France in 1926 they met French painter Marcel Duchamp (1887-1968) through their friend American author and artist Walter Pach (1883-1958). In 1928 they purchased a painting by Duchamp’s older half-brother Jacques Villon (1875-1963) at an exhibition in New York. They met Jacques and Gaby Villon in Paris in 1930 and corresponded with them until the 1960s. The Villons befriended Vincent who visited them in France in the years before the Second World War. From 1941 to 1947, the Tovells lived near Port Hope, Ontario. After her husband’s death, Mrs Tovell returned to live in Toronto. Harold and Ruth Tovell had three other sons: Walter (b. 1916), a geologist and Director of the Royal Ontario Museum 1972-1975, Freeman (b. 1918), diplomat and historian, and Harold (1919-2002), a physician. They bequeathed many of their artworks to the Royal Ontario Museum, the National Gallery of Canada and the Art Gallery of Ontario.

George Agnew Reid (1860-1947) was a Canadian artist, architect, educator and administrator influential in the early 20th century and instrumental in the formation of a number of important Canadian art institutions. Born in Wingham Ontario to a Scottish farm family, he studied architecture and book-keeping at his father’s insistence. In 1878 he moved to Toronto to study art. He was able to extend his art education under Thomas Eakins in Philadelphia, where he met the painter Mary Heister. In 1888 the couple travelled to Europe and studied at the Julian and Colorossi Academies, returning to Toronto in 1889. The house he designed and built in Wychwood Park was his home until the end of his life. In 1890, George Reid began reaching at the Central Ontario School of Art and Design. He eventually became principal and researched new theories of art education in the United States and Europe. Under his direction, the art school became independent of the Board of Education and moved into its own building, which he designed, in 1921. He also served as its first Principal. In 1892, George and Mary Reid built two cottages from his design at the artist colony in Onteora, New York. This led to the design of other summer homes and a small church in the Catskills community. They spent summers at this location until 1917 when the war made travel to the United States difficult. In 1921 Mary Heister Reid died, and in 1923 George Reid married Mary Wrinch, a former student and close friend of his first wife. His later life was filled with accomplishments, including the painting of murals for public spaces in Toronto City Hall, Jarvis Collegiate, the Royal Ontario Museum and elsewhere. He was instrumental in obtaining permanent funding and staff for the National Gallery in Ottawa, and was a force behind the establishment of the Art Gallery of Toronto. He was a member of the RCA, serving as President 1906-1907. He influenced a generation of students, among them C.W. Jefferys, through his teaching and created a number of works that exemplify his generation, including Forbidden Fruit, Mortgaging the Homestead, and The Foreclosure of the Mortgage.

Workscene Gallery was a non-profit, artist-run co-operative gallery in Toronto, 1974-1995. It originally provided studio space and a venue for exhibitions of members’ works, later expanding to exhibiting other artists’ works and curated exhibitions. Members were responsible for all programming and administration with individual artists responsible for content, installation and promotion of exhibitions. Members were required to have a strong art practice, to provide financial support through membership fees and be committed to promoting the arts community.
The co-operative was incorporated May 16, 1974 as Workscene Co-operative Corporation with the following directors: Gissa Geraldine Gold, Ian James Shaw, James Henry Tiley, Robert John Varty and Badanna Bernice Zack. In May 1988, the corporation was re-activated by the current group of artist members who began operating the Workscene Galley at 1020 Queen Street West as an exhibition space. This storefront gallery was formerly the Ruby-Fiorino Gallery and the co-operative remained in this space until the lease expired at the end of August 1990. In September 1990, Workscene Gallery relocated to 183 Bathurst Street, a building which was a focal point at that time for Toronto’s arts community and housed other artist-run centres, arts organizations and magazines. Workscene Co-operative Corporation also produced a magazine as an independent program, Work Seen Artists Forum, to provide a forum for artists to write about their work and issues of concern. In the summer of 1992 the magazine became a separate entity with no ties to the Workscene Gallery, changing its name to Artword Artists Forum.
Workscene Co-operative Corporation was dissolved in February 1992. Workscene Gallery Art Association Toronto Inc. was formed in June 1992 with the following directors: Jocelyne Regina Belcourt Salem (President), Yvonne Maria Eva Singer (1st Vice President), Ian David Lazarus (2nd Vice President), David John Renaud (Treasurer), and Sheila Ann Gregory (Secretary). The final exhibition of Workscene Gallery ended January 28, 1995 and was documented in a number of newspaper articles describing the event. Workscene ceased operations permanently in 1995.

John Faichney is a Canadian dancer, television producer and software analyst born in Montreal in 1952. He graduated from Oberlin College where he developed an interest in choreography and dance improvisation. In May 1976 he performed at the Centre for Experimental Art & Communication (CEAC) in Toronto and was invited to join the Centre’s staff. Amongst other activities, he designed printed matter, maintained exchange programs with other artists’ groups, curated an exhibition of artists’ books and managed distribution of mailings and periodicals (including Strike, a quasi monthly newspaper.) An offshoot of the Kensington Art Association, CEAC moved in 1976 to 86 John Street and then to 15 Duncan Street, offering space for performance art, installations, videos and music. Key members of the group were Amerigo Marras, Suber Corley, Bruce Eves and Ron Gillespie (a.k.a Ron Giii); Marras in particular encouraged connections with European and American artists. The group became increasingly politicized and in 1978 its government funding was rescinded. An attempt at self sufficiency by starting a television production studio at 124 Lisgar Street was not sustainable and CEAC disbanded in 1980. John Faichney lives in Kitchener, Ontario, and remains involved with Contact Improvisation.

Jack (John Richard) Chambers, artist and experimental filmmaker, was born in London, Ontario in 1931. He studied at the Escuela Central de Bellas Artes de San Fernando in Madrid from 1957 to 1959. In Spain he met Olga Sanchez Bustos, whom he married in Canada in 1963. They made their home in London and had two children, John (b. 1964) and Diego (b.1965). Chambers’ style of painting and drawing in the 1960s was characterized by a dreamlike quality. Toward the end of that decade, his work became intensely focused on the depiction of reality, often relating closely to source photographs, most of which were taken by the artist himself. Between 1964 and 1970 Chambers also directed eight films. The subjects of his work were often domestic or regional, focusing on his experience in London. In 1967, Chambers founded Canadian Artists’ Representation to try to establish fee scales for reproduction rights and rental fees for works in public exhibitions, and served as president from 1967 to 1975. In 1969 Chambers published his essay “Perceptual Realism”, and that same year, was diagnosed with leukemia. From 1971 to 1977 he worked on “Red and Green,” a study of art and perception (unpublished). Chambers died in London in 1978. His work is in the collection of the Art Gallery of Ontario, the National Gallery of Canada, the Montreal Museum of Fine Arts, and numerous other Canadian galleries.

Newton McFaul MacTavish (1875-1941) was a Canadian journalist, art critic and early art historian. Born in Staffa, Ontario, he became a reporter at The Toronto Globe in 1896 and was its assistant financial editor until 1900. From then until 1906, he studied English literature at McGill University while working as a correspondent and business representative of The Globe in Montreal. In 1903 he married Kate Johnson. Between 1906 and 1926, MacTavish was the editor of The Canadian Magazine in Toronto. In 1910 he travelled to Europe and visited the Canadian artists J.W. Morrice and John Wentworth Russell in Paris. He subsequently (1922-1933) served as a trustee of the National Gallery of Canada in Ottawa. Acadia University, Wolfville, Nova Scotia conferred honorary degrees on Newton MacTavish in 1924 (M.A.) and 1928 (D. Litt.). From 1926 to 1932 he was a member of the Civil Service Commission of Canada. A founder of the Arts and Letters Club (Toronto), he was also on the editorial advisory board of and contributor to the Encyclopedia of Canada (1932-1935). In addition to his articles, essays and short stories, MacTavish was the author of Thrown In (1923), The Fine Arts in Canada (1925, the first full-length history of Canadian art), and Ars Longa (1938). A fourth work, Newton MacTavish’s Canada, was published posthumously in 1963. He died in Toronto in 1941.

The Master Print and Drawing Society of Ontario (MPDSO) is the first independent body of specialist collectors of prints and drawings in Canada. Founded in 1985 by Sidney Bregman and Katharine Lochnan, the Society first came into existence as the Master Print and Drawing Society, and operated as a non-profit educational association that provided special assistance to its members with problems unique to collecting. The Society is officially affiliated with the Art Gallery of Ontario, but is an independent organization belonging to its members, and through its Board of Directors determines its objectives, policies and activities, requirements for membership, selection of new members, and the composition of its executive. The executive consists of the President, Vice-President(s), Secretary/Treasurer, and Directors. The President has primary responsibility for determining the Society's activities, making arrangements for lectures, tours, and other special events. Since 1989, the MPDSO has been supported by the Fraser Elliot Foundation in fulfilling its mandate to represent the collective interests of its members in seeking out the expert advice of scholars, curators, and visiting lectures to contribute special assistance with collecting master prints and drawings from the 15th to the mid 20th century.