Sub-series reflects Mary Bishop’s interest in and research about population growth and change, with a particular focus on the Canadian context.

Records contained in this sub-series include published grey literature on topics related to Canadian population, including immigration; population policy; and population statistics and projections.

Sub-series reflects Mary Bishop’s interest in and research about global population trends in the 1960s, 70s, and 80s. This sub-series is mostly comprised of published grey literature on topics related to population, including population statistics, population policy, laws, education, and world fertility surveys.

Sub-series reflects Mary Bishop’s interest in and writing about the topic of abortion, both historical and contemporary. The sub-series mostly comprises Bishop’s accumulation of newspaper articles reflecting perspectives on abortion access covered in news media from the 1960s to the 1980s. It also reflects Bishop’s research and published writing on the subject of abortion; perspectives within the Roman Catholic Church for and against abortion; abortion statistics in Canada; and medical information on abortion.

Records include newspaper clippings and magazine articles; reports on the subject of abortion; communication on abortion by pro-life movements (e.g., pamphlets, newsletters, articles); draft articles authored by Bishop on abortion; as well as some briefings, memorandums, press releases, and correspondence between Canada members of parliament.

Sub-series reflects a set of subject files maintained by Mary Bishop on a wide range of topics related to the social, political, and economic dimensions of family planning, birth control, and population growth. The files cover a broad spectrum of these subjects, including families and family planning (adoption, artificial insemination, birth control methods, sex education); population growth and planning (Zero Population Growth, non-governmental organizations); and social issues (child and spousal abuse, aging, unemployment, poverty). A small number of subject files on other topics is also present.

Records contained within the sub-series are mostly newspaper and clippings, and reproductions of articles; also contained within are government publications, pamphlets; and some correspondence.

Sub-series reflects Mary Bishop’s writing (published and unpublished) on family planning and birth control, particularly on its history in Canada. Bishop’s writing projects which are documented in this sub-series include: “The Politics of Abortion: Trends in Canadian Fertility by Larry Collins, Revisited” (Atlantis, 1982); “The Early Birth Controllers of BC” (BC Studies, 1984); “Vivian Dowding: Birth Control Activist 1892-“ (Not Just Pin Money, 1984); a contribution to the first Canadian Encyclopedia on the history of birth control in Canada; and an article on the Roman Catholic Church and the birth control movement.

Records contained within this sub-series include draft manuscripts; research notes; correspondence with publishers; and published editions of these various writing projects.

Sub-series reflects a set of interviews conducted by Mary Bishop in the late 1970s relating to her long-term project of documenting the history of the birth control movement in Canada between 1920 and 1980. Bishop interviewed several individuals with lived experience connected to this history, including physicians; religious leaders; and women and couples who spoke about their experiences seeking reproductive healthcare. The interviews were funded by a grant from the Explorations Programme supplied by the Canada Council.

Records in this sub-series include interview transcripts; typed and handwritten notes; interview releases; accompanying documentation on the history of birth control and dissemination of information about family planning; and one photograph.

Sub-series reflects Mary Bishop’s volunteerism as part of the Planned Parenthood Federation of Canada, where she was vice president between 1975–77, and also served on the board. In 1975, Bishop represented the PPFC at the United Nations International Women’s Year Tribune in Mexico.

Records in this sub-series include documentation of Bishop’s participation in several international conferences (such as itineraries, photographs, notes, and reports); newspaper clippings; committee documents; correspondence; reports; financial records and statements; and draft marketing and communication of the PPFC.

Sub-series reflects Mary Bishop’s volunteer involvement with the Planned Parenthood Association of British Columbia. Bishop was the President of this organization in 1971, 1972, and 1973, and she served on the board between 1966–1970. She also served on various committees with the PPABC.

Records contained in this sub-series include organizational records for the Planned Parenthood Association of British Columbia (such as financial records, minutes, annual reports, constitution and by-laws), as well as newspaper clippings, correspondence, and committee documents.

Sub-series reflects Mary Bishop’s volunteer service and membership within organizations outside of the IPPF, PPFC, and PPABC. These include the University Women’s Club of Vancouver; Alumni UBC, where Mary Bishop served on the Heritage Committee; the Norman Mackenzie Alumni Scholarship selection committee; and various Status of Women action committees at municipal, national, and international levels.

Sub-series reflects Mary Bishop’s involvement with the International Planned Parenthood Foundation. Bishop was appointed to a Laws and Policy Panel by the Western Hemisphere Board of the International Planned Parenthood, and served as a representative in at least five international conferences between 1976–1984.

Records in this sub-series include reports, policy documents, and other grey literature on family planning topics; newsletters; draft writing and speeches; correspondence; and newspaper clippings.

Subseries documents the curator files of Jonathan Middleton, Director/Curator of the Or Gallery from September 2007 to September 2017.

Exhibitions represented in this subseries include:

• Cedric and Nathan Bomford, “For Fools and Traitors – Nothing”, co-curated with guest curator Michèle Faguet (September 7 – October 13, 2007)
• Johanna Unzueta, “Work Dignifies”, co-curated with guest curator Michèle Faguet (11 January – February 23, 2008)
• Alejandro Cesarco, Germaine Koh, Micah Lexier, “This Particular Day of June” (May 9 – June 14, 2008)
• Aaron Carpenter, Steven Hubert, Kathy Slade, “Hold On” (June 6 – July 13, 2008)
• Laiwan, “Loose Work” (August 8-23, 2008)
• Miguel da Conceicao, Devon Knowles, Claude Zervas, “In the diagram below, line AB and line GH intersect at point D” (September 6 – October 11, 2008)
• Mat Bushell, Guido Molinari, Monique Mouton, Richard Tuttle, “Making Real”, co-curated with guest curator Eli Bornowsky (October 17 – November 22, 2008)
• Adel Abidin, Abbas Akhavan, A.S. Dhillon, Josephine Meckseper, Martha Rosler, Gail Wight, Retort, “shrink-wrapped”, co-curated with guest curator Alison Rajah (December 6, 2008 – January 24, 2009)
• Ahbyah Baker, Jason Froese, Dana Hawkes, Eric Roddy, Darius Stein, Dylan Wolney, “Danger in Paradise”, co-curated with guest curator Dana Claxton (January 31 – March 7, 2009)
• Lutz Bacher (Berkeley), Drakkar Sauna (Lawrence, Kansas), Heather and Ivan Morison (Wales), Oscar Tuazon (Paris/Tacoma), Jordan Wolfson (New York/Berlin), “Of vagrant dwellers in the houseless woods”, co-curated with guest curator Eric Frederickson (March 13 – April 18, 2009)
• Tacita Dean, Leslie Grant and Al Bersch, Jason Hendrickson, David Horvitz, Donald Lawrence, “The Wild So Close”, co-curated with guest curator Jennifer Cane (April 25 – May 30, 2009)
• Brady Cranfield, Robert Filliou, Mark Nakamura, Nicole+Ryan, Håvard Pedersen, Kate Sansom, Holly Ward, “Science Fiction 01” (June 27 – August 1, 2009)
• Debra Baxter, Dawn Cerny, Barb Choit, The Goggles (Michael Simons and Paul Shoebridge), “Death & Objects” (September 12 – October 17, 2009)
• Mariana Castillo Deball, Michele Di Menna, Until We Have A Helicopter, “Ginger Goodwin Way”, curated by Jesse Birth (January 27 – March 27, 2010)
• Rebecca Belmore and Terrance Houle, “Friend or Foe,” co-curated with guest curator Darrin Martens (April 24 – Mary 29, 2010)
• Kristina Lee Poseva, Brown Globe, at No Soul for Sale, Tate Modern (May 14-16, 2010)
• “Hold Still Wild Youth: The GINA Show Archive”, co-curated with guest curator Allison Collins (June 5 – July 10, 2010)
• Aleesa Cohene, Alex Da Corte, Jon Pylypchuk, Markus Vater, “Seemed Like a Good Idea at the Time”, curated by Kim Nguyen (September 11 – October 23, 2010)
• C\R\I\T\I\C\S, Josh Rose, Absurdus, Christian Nicolay, Ya-chu Kang, “Clamour and Toll”, co-convened with guest curator Eli Bornowsky (February 17, 2010)

Subseries documents the curator files of Michèle Faguet, Director/Curator of the Or Gallery from January 2006 to August 2007.

Exhibitions represented in this subseries include:

• Derek Brunen, “Plot” (January 25 – March 3, 2007)
• Jeremy Shaw, “Best Minds Part 1” (March 30 – May 5, 2007)
• Helena Producciones, “Cali en el espejo” (May 18 – June 23, 2007)
• Robert Arndt, Raymond Boisjoly, Matthew Booth, Heidi Johansen, Kyla Mallett, Jeremy Todd, “Between You and the Thing Itself”, guest curated by Dan Starling (June 29 – August 4, 2007)
• Andrea Stultiens, “Travels and Escapes”, co-curated by Jonathan Middleton and guest curator Michèle Faguet (October 26 – December 1, 2007)
• Chris Campbell Gardiner, “dia-bollein and sym-bollien abracadabra”, co-curated by Jonathan Middleton and guest curator Michèle Faguet (March 21 – April 26, 2008)

Subseries documents the curator files of Sydney Hermant, Director/Curator of the Or Gallery from March 2002 through 2005.

The following exhibitions are represented in this subseries:

• Emily Vey Duke, Cooper Battersby, Shary Boyle, “Perfect Nature World” (May 7 – June 8, 2002)
• Una Knox, Corrin Sworn, Jace Lacek, Amy Lockhart, Holly Ward, Warren Auld, Terrence Dawes, Sabine Bitter, Helmut Weber, “The Village” (June 15 – July 13, 2002)
• Johanna Burke and Matt Dilling, “Welcome to Vancouver” (July 20 – August 10, 2002)
• Jason McLean, Holly Ward, Scott Evans, Shayne Ehman, “The Log Family” (September 7-28, 2002)
• Lesley Hope Farley, “Moving and Shaking It” (October 19 – November 16, 2002)
• Shayne Ehman, “Free Jazz Pinball” (October 19 – November 16, 2002)
• Sonja Ahlers, “We Didn’t Start the Fire” (January 11 – February 8, 2003)
• Una Knox, “In Love With Possibilities” (February 22 – March 2, 2003)
• Jason Breeden, Tony Romano, Corrin Sworn, “Explorations in Psychic Geography” (March 29 – April 26, 2003)
• Kim Austin, Stephanie Aitken, Tyler Brett, Marina Roy, Antik Sandor, Igor Santizo, Sam Shem, Rhonda Weppler, “Saturday Society: Explorations in Psychic Geography II” (May 10 – June 14, 2003)
• Danica Phelps, “Ten Day Trade” (June 18-28, 2003)
• Adalgisa Campos and Carol Sawyer (July 5 – August 2, 2003)
• Derek Root, Tim Lee, Maura Doyle, Kathy Slade, Sarah Edmonds, and Shannon Oksanen, “Confidence” (March 10 – April 16, 2004)
• Hannah Jickling and Valerie Salez, Demian Petryshyn, Eleanor Morgan, Jeremy Diggle, Leigh Bridges, Nadia Myre, Jen Weih, “Hurry Slowly” (March 20 – April 17, 2004)
• Dani Gal, “Holdup” (May 1-29, 2004)
• Shary Boyle, “Companions” (June 4 – July 3, 2004)
• Rhonda Weppler and Trevor Mahovsky, “Rhonda Weppler and Trevor Mahovsky” (September 8 – October 2, 2004)
• Vanessa Kwan, “Your Private Sky” (April 23 – May 2, 2005)
• Anika Yuzak, “Pictures of Myself When I Think That I Look Good” (June 4 – July 2, 2005)
• Annie Dunning, “The Pigeon Homing Project” (July 1 – August 31, 2005)
• Daina Warren, “Transference” (July 6 – August 6, 2005)
• Robyn Laba, “Thinking/Judging” (July 9 – August 6, 2005)

Subseries documents the curator files of Reid Shier, Director/Curator of the Or Gallery from April 1996 to March 2002.

Exhibitions represented in this subseries include:

• Patricia Deadman, Stan Douglas, Deanna Ferguson, Philippe Raphanel, Lawrence Paul Yuxweluptun, “Rough Bush” (July 13 – August 10, 1996)
• Robin Peck, “Sculptures of Gypsum Crystals” (September 14 – October 12, 1996)
• Corinne Carlson and Larry Krone (October 19 – November 16, 1996)
• Bruce Hugh Russell, “Sala dell’ermafrodito” (November 23 – December 21, 1996)
• G.B. Jones, “Bad. Good.” (November 23 – December 21, 1996)
• Tonel, Rene Francisco, Ponjuan, “New Art From Cuba: Utopian Territories”, co-curated by Keith Wallace of the Contemporary Art Gallery, Scott Watson of the Morris and Helen Belkin Gallery, Eugenio Valdez, and Juan Molina (March 21 – April 19, 1997)
• Kevin Ei-ichi De Forest, “The Record Shop” (May 31 – June 28, 1997)
• Myfanwy Macleod, “My Idea of Fun” (May 31 – June 28, 1997)
• Tass Mavrogordato and Ann Newdigate, “Truth or Consequences”, co-curated with guest curator Anthony Kiendl (July 4 – August 2, 1997)
• Karin Geiger, “Plush Toys and Poster Boys” (September 13 – October 11, 1997)
• Jerry Allen (October 18 – November 15, 1997)
• Luanne Martineau, “Ryan’s Arcade” (October 18 – November 15, 1997)
• Lise Soskolne and Yunhee Min (November 22 – December 20, 1997)
• Nancy Davenport, “Accident Prone” (January 10 – February 7, 1998)
• Phillip McCrum, “Tear” (February 14 – March 14, 1998)
• Philip Dion, “Selected Projects for the Reconstruction of Vancouver” (February 14 – March 14, 1998)
• Tyler Ingolia, “Somewhere”, co-curated with guest curator Geoffrey Farmer (March 21 – April 18, 1998)
• Euan Macdonald (April 25 – May 23, 1998)
• Fiona Bowie, “Deliverance” (April 25 – May 23, 1998)
• Judy Radul, “Documents for Performance” (May 30 – June 27, 1998)
• Francis Alÿs, “Dog Rose” (July 4 – August 1, 1998)
• Christine Corlett, “Salon: As You Keep Hurting Me, I'm Leaving” (September 12 – October 10, 1998)
• Edith Dekyndt and Damian Moppett (October 17 – November 14, 1998)
• Karin Bubas, Trevor Mahovsky, Scott Myles, “Monument Valley” (November 21 – December 19, 1998)
• Emily Carr and Jack Shadbolt, “Heart of Darkness”, co-curated with Scott Watson of the Morris and Helen Belkin Art Gallery (January 16 – February 27, 1999)
• Priscilla Yeung, “No Matter What” (May 29 – June 26, 1999)
• Daniel Anhorn, Renée Burgess, Maura Doyle, Polly Gibbons, Kirsten Harry, Herman Kao, Alison MacTaggart, Nadine Nickull, Shauna Oddleifson, Ellen Pollard, Crystal Przybille, Kate Stefiuk, Kenneth Sherman, Donna E. Szokem, Maria Patricia Yam, “Helen Pitt Awards” (July 3-31, 1999)
• Martin Boyce, Martin Creed, Angela de la Cruz, Jeremy Deller, Liam Gillick, Douglas Gordon, Lucy Gunning, Dean Hughes, Gareth Jones, Jeff Luke, David Shrigley, Jemima Stehli, T.S.U. Toronadoes, “Getting the Corners”, co-curated with guest curator Matthew Higgs (September 15 – October 23, 1999)
• Evan Lee, photographs (February 12 – March 11, 2000)
• Muu Blanco, Jose Gabriel Fernandez, Diana Lopez, Carlos Julio Molina, Alfredo Ramirez, Javier Tellez, Meyer Vaisman, “Demostrationräume: A Case Study”, co-curated with guest curator Jesus Fuenmayor (March 25 – April 22, 2000)
• Michelle Lopez, Peter Schuyff, Marina Rosenfeld, Sandeep Mukherjee, Marnie Weber, Alex Slade, “Philosophy in the Bedroom”, co-curated with guest curator Anne Walsh (May 5 – June 10, 2000)
• Stephen Shearer, “Swinging Lumpen” (July 8 – August 5, 2000)
• Malin Bogholt, Karin Persson, March 21, “Curatorial Mutiny Part 3”, organized with Konstakuten, Stockholm (January 20 – February 24, 2001)
• Mark Lewis, “North Circular & After (Made for TV)” (March 3-31, 2001)
• Isabelle Pauwels (April 7 – May 5, 2001)
• Kyla Mallett and Allison Hardy, Zin Taylor, “Secondhand”, guest curated by Damian Moppett (October 13 – November 10, 2001)
• Shannon Oksanen, “Spins” (February 16 – March 16, 2002)

Subseries documents the curator files of Janis Bowley, Director/Curator of the Or Gallery from January 1994 to April 1996.

Exhibitions represented in this subseries include:

• Michael Banwell, “Development and Desire” (January 15 – February 12, 1994)
• Douglass Scott, “July, August, September” (February 19 – March 19, 1994)
• Kati Campbell, Daniel Laskarin, Phillip McCrum, “New Works”, co-curated with guest curator Warren Murfitt (March 22 – April 16, 1994)
• Laura Vickerson and Helen Sebelius, “Camera Florae” (April 23 to May 21, 1994)
• David Acheson, “Zoophytes” (May 28 – June 25, 1994)
• Gwen Boyle, “Arc” (July 2-30, 1994)
• Sheila Ayearst, Laura Baird, Bob Boyer, Naoko Furue, Mindy Van Miller, Louise Noguchi, Ted Rettig, Robert Windrum, “Textiles, That is to Say”, co-curated with guest curators Sarah Quinton and John Armstrong (September 9 – October 7, 1994)
• Doug Buis, “Home and Oasis” (October 15 – November 12, 1994)
• Julie Andreyev, “Katabasis” (November 26 – December 23, 1994)
• Donna Brunsdale, “Ambivalencia” (January 7 – February 4, 1995)
• Stan Denniston, “fictions” (February 11 – March 11, 1995)
• Luke Blackstone, “Not to Code” (March 18 – April 15, 1995)
• Gillian Collyer, Catherine Heard, Germaine Koh, Roxane Permar & Wilma Johnson, Ruth Scheuing, Needle Arts Show (April 22 – May 20, 1995)
• Reid Shier, “Cheap” (May 26 – June 24, 1995)
• Kevin Kelly, “Building Natural History” (September 9 – October 7, 1995)
• Carole Itter, “The Float” (October 21 – November 18, 1995)
• Gaye Jackson “Travelogue”, Monique Dykstra, “Too Thick To Drink, Too Thin To Plow” (November 25 – December 23, 1995)
• Margaretha Bootsma and Jill Sabre, “Alterations: Reprotecting the Space” (January 6 – February 3, 1996)
• Anne Mosey, “A Paradise, A Veritable Garden” (March 16 – April 13, 1996)

Subseries documents the curator files of Susan Schuppli, Director/Curator of the Or Gallery from September 1991 to December 1993.

Exhibitions represented in this subseries include:

• Bill Burns, “When Pain Strikes” (September 10-28, 1991)
• Laura Lamb, “There are more things in heaven and earth, than are dreamt of in your philosophy, Horatio” (October 8-26, 1991)
• Marian Penner Bancroft, “Holding” (November 5-23, 1991)
• Sutapa Biswas, “Synapse” (December 3-21, 1991)
• Jamelie Hassan, “The Conference of the Birds” and “Baghdad Commemorative Billboard Project” (January 14 – February 1, 1992)
• Marianne Nicolson, “A House of God” (February 4-22, 1992)
• Henry Tsang, “Love Stories” (March 3-22, 1992)
• Lisa Kokin (USA), “Unearthing”, installation (April 7-25, 1992)
• Paul Landon, “Heavy Weather”, (May 12-30, 1992)
• Jean Macrae, “Two Walking Days” (June 9-27, 1992)
• Kathryn Walter, “Regarding Places”, installation in an office space on the 7th floor of the Dominion Building, and “A Working Project”, Gallery installation (July 7-25, 1992)
• Deborah Koenker, “Bar-ba-loot” (September 8 – October 3, 1992)
• Frances Grafton, “Stripped of Sense” (October 8-30, 1992)
• Patrick Mahon, “Spectacular Viewhome” (November 10-28, 1992)
• Clare Gomez-Edington, “Don’t Let Them See You Coming” (December 8-23, 1992)
• Julie Arnold, “List” (February 9-27, 1993)
• Holly Owen, “Les Demoiselles de la Transfiguration; How Will We Recognize our Allies?” (March 2-27, 1993)
• Andrew Forster, “my favourite things” (April 6 – May 1, 1993)
• Carol Sawyer, “Vessels” (May 11 – June 5, 1993)
• Sarindar Dhaliwal, “Heart, Home & Hearth” (June 9 – July 3, 1993)
• Ingrid Bachmann, “Berlin Stories” (July 6-31, 1993)
• Susan Stewart, “Lovers and Warriors: Aural/Photographic Collaborations” (October 2-30, 1993)
• Donna Nield, “Cicatrix” (November 9 – December 4, 1993)
• Kathy Slade, “by dint of groping” (December 7-31, 1993)

Subseries documents the curator files of Nancy Shaw, Director/Curator of the Or Gallery from June 1989 to July 1991.

Exhibitions represented in this subseries include:

• Roy Arden, recent work (June 6-24, 1989)
• Matt Crossin, “Matrices” (July 4-22, 1989)
• Joanne Tod, “Purple Heart” (October 3-21, 1989)
• Rodney Graham, “Are you a doctor, Sir?” (October 31 – November 18, 1989)
• Mark Lewis, “Tyrannies of Intimacy” (November 28 – December 16, 1989)
• Nancy Frohlick, “Site/Sight” (January 16 – February 3, 1990)
• Susan Kealey, “Revision” (February 13 – March 3, 1990)
• Wendy Elliot, “News” (March 13-31, 1990)
• Roy Kiyooka, co-curated by Artspeak and Or Galleries (May 8-26, 1990)
• Larry Cohen, sculpture (June 5-23, 1990)
• Roy Arden, “Frontenac” (August 16 – September 8, 1990)
• Brenda Petays, “Affectionate Objects” (September 11-29, 1990)
• Daniel Congdon, “Praktik” (October 2-20, 1990)
• William Nevens, paintings (October 30 – November 17, 1990)
• Lorraine Gilbert, “Allowable Cuts” (November 27 – December 15, 1990)
• Don Gill, “Sites of Production” (January 8-26, 1991)
• Jan Koot Westendorp, “The Garden” (March 6-23, 1991)
• Katherine Kortikow, “Cypher” (April 2-20, 1991)
• “Yellow Peril: Reconsidered”, co-curated with guest curator Paul Wong (May 10 – June 8, 1991)
• Philippe Raphanel, “Lip Sync” (June 18 – July 13, 1991)

Subseries documents the curator files of Phillip McCrum, Director/Curator of the Or Gallery from June 1987 to June 1989.

Exhibitions represented in this subseries include:

• Michael Lawlor, “Kitchen” (October 2-24, 1987)
• David Ostrem, “Psychedelic Pictures” (October 27 – November 7, 1987)
• Reid Shier, “Cartoons (November 24 – December 5, 1987)
• Ruth Scheuing, “13 Men: A Penelopean Approach” (December 8-19, 1987)
• Arni R. Haraldsson, Nan Legate, Eric Fiss, Michelle Normoyle, Cornelia Wyngaarden, “In the Vernacular”, guest curated by Petra Watson at the Arts, Sciences and Technology Centre (January 12 – February 13, 1988)
• Julie Duschenes and Mark Grady, “Dialogue”, guest curated by Todd Davis (January 4-30, 1988)
• Susanna Ruebsaat, “Silence vs. Voice: Speak No Evil” (February 2-13, 1988)
• Terry Ewasiuk, “Whos Eros” (February 16-27, 1988)
• Cheryl Sourkes, “The Environmental Unconsciousness” (March 22 – April 9, 1988)
• Persimmom Blackridge, Kris Bergthorson, Carol Williams, “Mayworks, A Festival of Culture and Working Life”, juried by Sara Diamond, Margot Butler, Elspeth Sage (May 7-28, 1988)
• Skai Fowler, “Presence/Observing” (May 31 – June 18, 1988)
• Michelle Normoyle, “Faithful Portraits” (September 21 – October 8, 1988)
• Erin O’Brien, “Object” (October 12-29, 1988)
• Ian Wallace, “New Work” (November 2-20, 1988)
• Robert Wiens
• Kris Bergthorson, “Broken Race” (February 14 – March 4, 1989)
• Kati Campbell, “Recent Work” (April 5-22, 1989)
• Reid Shier, Mina Totino, Michelle Normoyle, Stan Douglas, Erin O’Brien, Wendy Dobereiner, Henry Tsang, Phillip McCrum, Nancy Shaw, “The Vancouver Exchange” at the Cold City Gallery, Toronto (May 27 – June 21, 1989)

Subseries documents the curator files of Arni Runar Haraldsson, Director/Curator of the Or Gallery from November 1984 to December 1985, and James Graham, Director/Curator of the Or Gallery from January to October 1986.

Exhibitions represented in this subseries include:

• Mina Totino, “Stumps” (March 4-16, 1985)
• Phillip McCrum, “Simulacrum” (February 3-15, 1986)
• 25 Young Artists, curated by Petra R. Watson, international youth year project (February 17 – March 1, 1986)

This subseries contains newspaper clippings and issues, meeting minutes, and Seaholm's research notes about the Swedish Press, a newspaper based out of Vancouver, but published in Swedish. Subseries also contains microfilmed versions of issues of the Swedish Press (some under its Swedish title Svenska Pressen) from 1929 to 1956.

The subseries contains newspaper and magazine clippings, index card notes by Seaholm on Swedish Canadians and Canadian history, photographs of Swedish Canadians, a handmade manuscript compiled by Seaholm of a chronology of Swedish Canadian contributions to the development of British Columbia, and a miscellaneous collection of stories on immigration in America. Clippings are in English and Swedish.

Sub-series consists of five albums containing photographs of and related to the Victoria Lumber and Manufacturing Company, Limited. Includes many photographs of its construction, equipment, employees, a photograph of a parade float used in its fiftieth jubilee celebrations in 1939, one album of photographs of the Chemainus, British Columbia plant, and one album of active logging camps near the Chemainus plant.

Series also contains a history of the Victoria Lumber and Manufacturing Company, Limited, which includes photographs of its founders, important executive board members, and maps of areas where the Company was active.

Subseries consists of court documents relating to civil cases in British Columbia between 1864 and 1903. The cases comprise a variety of document types, including: judge’s orders; affidavits; writs of summons; correspondence; bills of costs; jury lists; judgments; notices; statements of account; motions; bonds; speakers’ certificates; indentures; agreements; receipts of sale; complaints; notices of intention; mortgages; requests; wills; and subpoenas. As a whole, they are indicative of the development of civil and criminal law in the region at the time, closely reflecting British standards and precedence. Differences did develop, however, as circumstances required.

It is important to note that the time period represented in these cases includes years before and after the colonies were converged on August 6th, 1866. Before the unification, the Colony of Vancouver Island and the Colony of British Columbia were separate entities in which civil suits at the local level were a vital part of the decentralized colonial government. Initially, the mainland was governed from New Westminster, but once they were merged into the new Colony of British Columbia, governance took place in Victoria on Vancouver Island.

Sub-series consists of personal ledgers of Thomas J. Humbird.

Sub-series consists of various financial ledgers and journals, voucher records, a stock ledger and stock certificates, as well as a few volumes pertaining to the Company's plant operations .

Sub-series consists of two minute books of the Victoria Lumber and Manufacturing Company, Limited.

Sub-series consists of journals, an account book, and a cash book concerning the estate of Jacob Humbird.

Sub-series consists of a book containing stock certificates.

Sub-series consists of one minute book.

Sub-series consists of a cash book, a treasurer's ledger, and stock certificates.

Sub-series consists of two minute books.

Sub-series consists of a land purchase ledger, as well as correspondence, annual reports, court depositions, transcripts, and orders pertaining to the estate of John A. Humbird.

The New Iceland Research collection subseries began from a research project Robert Ásgeirsson pursued for a potential documentary film called “The Twelve Year Republic,” about New Iceland, Manitoba. He began looking for photographic evidence from the first years of the community in the 1870s and early 1880s but ultimately found that most of the photographs were from the turn of the 20th century. He accumulated research information, correspondence, publications and photographs (copies and originals) from community members of the Icelandic National League (INL) in Manitoba and the Provincial Archives of Manitoba. Many of the photographs depict the lifestyle of New Icelanders.

He wrote a proposal for the documentary but ultimately, the project did not come to fruition. Ásgeirsson gave the photographs to the Gimli Museum in 1975. What remains in the subseries are the textual research documents kept in subject files in their original order, and copies of the original photographs of New Iceland Ásgeirsson collected during his original project. This subseries is the first collection created by the Icelandic Archives of British Columbia and was the inciting force of its collecting practices in the future.

The subseries consists of photocopied records pertaining to parts of the Bjarnason family history, a postcard from Emil and his wife Millie depicting Wynard, Saskatchewan, and a short textual anecdote about Paul Bjarnason’s interaction with Henry Ford. The subseries also includes biographies of the Yorsh family and an English and Icelandic copy of The Beginning of the Universe by Halldor Fridliefson. A notable portion of the subseries consists of photograph albums of the Bjarnason family.

The subseries consists mainly of four scrapbooks made by Frances (Olafson) Hanson of the Olafson family in Osland and Prince Rupert. Textual materials in the subseries include diaries of Hanson’s father, Olafur Olafson, correspondence and ephemera of the Olafson family, and some photocopied materials used to write Hanson’s book, Memories of Osland.

The subseries contains the original finding aid and collection information made by the Icelandic Archives of British Columbia for the Dora Hatton collection. The subseries also contains a manuscript written by Hatton’s father, Halldor Eriksson about his life and participation in different Icelandic communities in Canada. Additionally, the subseries contains a large series of family photographs and a scrapbook of the Eriksson and Hatton families.

Subseries consists of minutes, correspondence, bylaws, publications, newspaper clippings related to the Point Roberts Historical Society’s administration as well as its community and cultural endeavours. It is notably composed of photographs taken of the Point Roberts Icelandic settlers which were displayed by the Icelandic Archives of British Columbia.

Subseries consists of correspondence to both Magnus Eliason and Guðmundur Eliason, Magnus Eliason’s journals, writings, collected ephemera, and photographs. Included in Magnus’ collection are two journals: the Icelandic Canadian, March 1946 and Tímarit Þjóðræknisfélags Íslendinga.

此子系列收藏了與亞洲移民抵達北美和在北美定居有關的記錄。主要包含不列顛哥倫比亞省的有關中國移民和定居的記錄，但也包含了其他亞洲僑民以及這些僑民在加拿大和美國其他地區活動的記錄。這些記錄描述了淘金熱之後亞洲人的早期移民和定居活動，例如中國人在建造太平洋鐵路中所扮演的角色（中國工人承擔了其中最危險的工作）以及加拿大的反亞裔情緒。此子系列也收藏了與加拿大的移民政策和多元文化有關的資料，中文教育資料和兒童讀物，華裔所擁有的企業和居民通訊錄，溫哥華和維多利亞市的通訊錄以及與抗日戰爭有關的資料。由於涉及第一代移民及其家庭和後代，因此本子系列中的收藏也記錄了亞洲移民在加拿大的生活經歷，並著重介紹了亞裔社區的發展，包括亞裔在社會，文化，宗教，政治，體育，教育等方面的發展，以及加中貿易協會，中華會館，華加協會，和中國國民黨等組織機構的活動。

該子系列還包含大量早期亞裔加拿大人和亞裔美國人照片。重點包括溫哥華中文學校的歷史照片，溫哥華，維多利亞和舊金山唐人街的街景，結婚照等。其中美籍華裔少年Jue Fong的相冊（1915-1918），提供了其時珍貴的生活影像。

這些藏品包括不同的形式，有出版的專著，小冊子，通訊錄，目錄，雜誌，地圖，政府報告，立法文件，請願書，備忘錄，會議記要，演講稿，合同文本，表格，證書，許可證，機票，乘客清單，移民文件，稅項，發票和收據，捐贈書和籌款資料，職員名冊，學校作業簿，中國書法樣本，剪報，海報，通告，廣告，信件，明信片，邀請函和活動計劃書，餐廳菜單，手工製品，紀念品，剪貼簿以及照片，相冊和底片等等。

此子系列包括與華人共濟會【也被稱為 Cheekungtong（致公堂）和 Dart Coon Club (達權社)】相關的商業記錄。華人共濟會於1876 年在克內爾和維多利亞成立了第一家分會，是眾多慈善協會之一，致力於為有需要的移民和鐵路建成後失業的中國勞工提供社會福利，並保護華人免受種族主義侵害。

這些記錄包括往來信函、賬簿、用於幫助在加拿大的華人的捐款和募捐記錄，俱樂部費用收據，俱樂部選舉記錄，名片，邀請函，證書和照片，以及與中國遊戲和中醫藥等主題相關的書籍。

此子系列包括與葉春田，葉氏家族和永生饒記（現為永生號）有關的記錄。葉春田於1845年出生於中國廣東省，在舊金山淘金熱之後，於1881年來到不列顛哥倫比亞省。 1888年， 葉春田以商人身份定居在溫哥華，並在片打（Pender) 街51號成立了永生饒記（Wing Sang Company）進出口公司。隨著時間的推移，公司業務逐漸擴大。永生號作為加拿大太平洋鐵路公司的中國客運代理，管理鐵路和輪船貨運以及票務，並經營香港信託公司永生分公司，以及承擔針對華人社區的非官方郵局業務。這些公司的業務記錄佔此子系列的很大一部分。

除葉春田和永生號的業務活動外，該子系列中的記錄還與葉氏家庭的個人和社交生活以及其慈善活動有關。葉春田（Yip Sang）先生是著名的慈善家，是醫院和學校的捐助者，其中包括溫哥華的第一所華文學校和第一家中國人醫院，並且是中華會館的創始成員。葉先生於1927年壽終正寢，他是一位備受尊敬的溫哥華市民，對華人社區做出了重大貢獻，被視為唐人街的“非官方市長”。

此子系列中的收藏涵蓋了葉氏家族的商業活動和個人生活的所有領域，包括與財產，稅務，票務，貨運和保險有關的文件，信託基金的賬簿， 收入與支出賬，收據，圖章，文具，名片，建築圖紙，地圖，合同，廣告，備忘錄，剪報，電話簿，小冊子，工作簿，年鑑，明信片，邀請函，活動計劃，照片，手工藝品， 錄音帶和錄像帶，以及商務和個人信件等。

Sub-series consists of records related to Miki’s personal, academic, literary, and political activities. The sub-series documents Miki’s participation on award selection committees, his trips abroad, his communications and work with the Canada Council for the Arts, his participation in various literary and political projects, and his dealings with Simon Fraser University, among other subjects. The sub-series contains award certificates presented to Miki, correspondence, notes, reports, travel itineraries, grant applications, research files, articles, essays, and scripts, publication agreements, Miki’s curriculum vitae, news clippings (many featuring Miki), audio recordings of Joy Kogawa speaking and reading and audio and video recordings of Miki speaking, reading, performing, and being interviewed for various radio, television, film and other programs.

Sub-series consists of incoming and outgoing correspondence related to Miki’s personal, academic, literary, and political activities. The sub-series contains cards, notes, letters, and printed email. The sub-series is arranged alphabetically by correspondent or subject.

Sub-series consists of Doyle's outgoing correspondence. Title based on contents of sub-series.

Sub-series consists of the postscript to Doyle's "Rise and Decline of the Pacific Salmon Fisheries," which contains an outline of his involvement in the fisheries. Also included are biographical sketches, written by Doyle, of Marshall Martin English, Sir Richard McBride, Woo Shou, and Tascha Machida, all men he knew while in business in British Columbia.

Subseries consists primarily of clippings from newspapers and magazines featuring articles pertaining to the life and career of Lansdowne or subjects of personal and professional interest such as art, nature, or British history. Also included are a small number of photographs.

Subseries consists of copies of magazines in which Lansdowne's artwork is featured and/or in which an article about Lansdowne has been published. Some of these publications include Maclean's, Audubon, Canadian Audubon, Nature Canada, National Wildlife, Vanguard, and many more.

Subseries consists primarily of textual materials created or collected by Lansdowne pertaining to his work. These materials include exhibition tour itineraries, resumés and curriculum vitae, biographical information, text accompanying his artwork in books, awards, honours and other ephemera. Also included are photographs, a framed letter, cassette tapes and a VHS tape.

Subseries consists of materials pertaining to the sale of Lansdowne's artwork, his services as a commercial painter, and his business relationship with M.F. Feheley Arts Company Limited and TDF Artists Limited. There are also a few personal financial records such as bank papers, bills, and receipts (including a number of receipts related to antique purchases/sales).