File consists of 14 pages (front and back) of lined paper taken from Freedman's "little red workbook" of notes for To The Bridge.

File consists of four pages (front and back) of lined paper taken from Freedman's beige workbook of notes for To The Bridge.

File consists of ten pages (front and back) of lined paper taken from Freedman's orange workbook of notes for To The Bridge.

File consists of 24 pages (front and back) of unlined paper taken from Freedman's blue Japanese workbook featuring handwritten notes and sketches for Concerto Now and Then.

File consists of ten pages of unlined paper taken from Feedman's black workbook featuring green, pink, and black line sketches and some handwritten notes for Concerto Now and Then.

File consists of six pages (front and back) of the earliest version of Freedman's To The Bridge musical score, handwritten notes and edits, and sketches.

The sous-fonds contains records relating to Malcolm Lowry accumulated by Clarisse Francillon, Lowry’s French-language translator, and Maurice Nadeau, who published several of Lowry’s works in French translation (Nadeau published Francillon’s translations of Lowry’s works). Contents include correspondence from Malcolm Lowry to Francillon, from Margerie Lowry to Francillon and Nadeau, from Harvey Burt and Victor Doyen to Francillon and Nadeau, photographs of Malcolm Lowry and a house in Cuernavaca, Mexico, typescripts and copies of published versions of The Last Address (Lunar Caustic), a typescript of The Bravest Boat, news clippings about Lowry and his works (mostly in French), a copy of Francillon’s translation of Lunar Caustic, and a French-language translation of Malcolm Lowry’s Collected Letters as prepared by Margerie Lowry and Harvey Burt and translated by Suzanne Kim.

This series contains a wide variety of predominantly unbound, ephemeral materials produced by the press. The types of materials in the series includes business cards and promotional flyers, greeting cards and postcards, wedding and event invitations, calendars, and product packaging.

Most of the material was produced for local businesses or individuals. The series also includes some of the press’s own promotional flyers, business cards, and in-house designed cards.

Records consist primarily of slides along with several photographs. The slides reflect projects that Cardew designed and built, including key projects such as the CN Pavilion at Expo ‘86, Lignum Sawmill Offices in Williams Lake, Crown Life Building (now known by its address at 1500 West Georgia), the Stone (Yunesit’in) Band School, False Creek Townhouses, and the Morris and Helen Belkin Art Gallery at the University of British Columbia, as well as his best known exhibition, Peter Cardew, Ordinary Buildings. Project slides include images of drawings, plans, models, and completed structures. There are also slides of various buildings that may have served as inspiration for his designs.

Records include architectural drawings of some of Cardew’s best known projects including the Crown Life Building (now known by its address at 1500 West Georgia), the Morris and Helen Belkin Art Gallery at the University of British Columbia, the Calgary Folk Music Festival Hall, the CN Pavilion at Expo ’86, the Lignum Sawmill Offices in Williams Lake, Reigning Champ Stores, the TNRD Public Library and Art Gallery, and the Yunesit’in First Nation (also known as Stone Band) School, as well as private homes, offices, and furniture designs. Drawings are both stapled and loose, hand drawn and printed, on a variety of media including tracing paper, bond paper, plastic, and vellum.

Fonds reflects Lee’s professional career, investment ventures, engagement with political and social communities, and life with friends and family. It offers particular insight into the social aspects of Lee’s life, as she kept many of the invitations, programs, and other ephemera relating to events that she attended because of her community involvement and philanthropy across all aspects of her life. In addition to a variety of textual records relating to her business ventures, volunteering, and military service, the fonds contains a significant number of photographs that were taken or otherwise collected by Lee and reflect the full range of her life’s facets.

The fonds is divided into five series: Entrepreneurship, investing, and business; Military service; Community and political activity; Personal records; and Photographs.

The entrepreneurship, investing, and business records series relates to Lee’s activities as a businesswoman and investor. Records in this series include financial and legal records, marketing materials, and certificates of recognition.

The military service records series relates to Lee’s time in the ambulance corps and subsequent involvement with initiatives in support of veterans. Records include a limited number of original materials from Lee’s period of service; correspondence and other records including meeting minutes and ephemera documenting Lee’s involvement veterans’ advocacy and recognition efforts.
The community and political activity records series relate to Lee’s involvement in Chinese Canadian community projects and the Social Credit and Conservative parties of Canada. Records in this series include ephemera, correspondence, and meeting minutes that document her involvement with these groups.

The personal records series relates to Lee’s travels as well as her life outside of her work and volunteer efforts. Records include correspondence, ephemera, and certificates.

The photographs series relates to a large number of photo albums and loose photographs that reflect all aspects of Lee’s life.

The fonds reflects Peter Cardew’s professional career as an architect, predominantly since 1966, the year that he emigrated to Canada. Over his career, Cardew designed schools, exhibition buildings for Expo ‘86 held in Vancouver, B.C., condominiums, private homes, office buildings, libraries, art galleries, retail establishments and furniture. Records include slides and photographs of buildings that may have served as inspiration for his designs, as well as those that he designed and built. Records also include building permits for select projects, and an exhibit catalogue for one of his best known exhibitions: Peter Cardew, Ordinary Buildings, an exhibition of his drawings first held in the Charles H. Scott Gallery at the Emily Carr Institute of Art and Design in Vancouver, B.C. Records also include numerous awards that Cardew received for his designs, certificates which document his membership in various professional associations, as well as posters for various speaker series in which he participated. The fonds also includes records related to the operation of Cardew’s firm, Peter Cardew Architects, such as account ledgers, stamps, and the firm profile.

The fonds is divided into three series: Slides and Photographs, Professional Documents and Other Materials, and Architectural Drawings.

Records consist of slides, photographs, negatives, legal documents, building permit applications, awards certificates and medallions, exhibit catalogues, magazine profiles, posters, newspaper clippings, account ledgers, diplomas, furniture designs, and architectural drawings.

Series contains copies of books and ephemera issued by A Lone Press (1998-1999) and Heavenly Monkey (1999- 2010) and includes setting copies, detailed page layout schematics, dummy of final book, final printing schedule and sequence, proofs and impressions, make-ready copies, printing plates, printing blocks, photographs and various other documents used in the creation of each item.

File consists of two pages of handwritten edited musical score of composer's Il divertimento barocco.

Series consists of musical scores, notes, sketches, concert programs, DVDs, and audio CDs pertaining to three distinct pieces composed by Lori Freedman: Reimsix, To The Bridge, and Concerto Now and Then. Each piece is unique and pertains to a specific era during Freedman’s long musical career. Reimsix was composed by Freedman in 2011 for the flute, clarinet, violin, cello, percussion and piano. To The Bridge was composed in 2014 for bass clarinet (clarinet in B-flat) and voice. This piece is composed of five miniatures connected by four bridges, hence the naming of the song. The bridge is where the miniatures arrive or depart from a place. Freedman explains her perspective as, “playing music is equally about composition as it is about interpretation and the spontaneous combination of the two — improvisation.” With this piece, Freedman wants to focus on the interconnection between the composer, the performer and the audience. Concerto Now and Then was composed in 2020 for any five musicians. It has previously been performed with a violin, clarinet, cello, alto saxophone, and double bass.

File consists of six pages (front and back) of semi-lined and unlined paper taken from Freedman's Green workbook of sketches and handwritten notes for Concerto Now and Then.

File consists of a single page of textual information about Freedman's Concerto Now and Then private audio CD recording of the 18 Feb., 2020 live performance; including information about the composer, performers, performance date, and performance venue.

File consists of six pages (front and back) of the later version of Freedman's To The Bridge musical score, handwritten notes and edits, and sketches.

File consists of nine (front and back) sprial bound pages of the performance score of Freedman's To The Bridge musical score, handwritten notes and edits, and sketches.

The collection spans the full range of years that the press was in operation and demonstrates the breadth of their letterpress work.

It contains a series with books such as artists’ books and chapbooks that were printed by the press and another that collects ephemeral material such as greeting cards and promotional material for businesses.

This series contains books that were printed and in some cases designed by the press. It covers a wide variety of styles of book, including artists’ books, exhibit catalogs, chapbooks, and experimentally designed and typeset versions of works in the public domain

Of particular note in this series are pre-published editions of several of the works of Vancouver artist Charles Mayrs, a selection of materials designed for and by the Alcuin Society, a group dedicated to book design, and a copy of the artist's book 'Loci' by Vancouver-based artist Allyson Clay.

This series consists of records that were created and received throughout Lee’s life that relate to her service in the St. John’s Women’s Ambulance Corps.

Records include original materials from Lee’s period of service such as her registration card and her copy of the elementary drill manual. The majority of this series is records relating to the commemoration and recognition of World War II and its veterans and Lee’s involvement in organizing to make such events happen. These records include correspondence and ephemera relating to her participation in Canada’s Memory Project; meeting minutes and ephemera documenting Lee’s involvement with the ANAVETS Pacific unit 280 and Chinese Canadian Military Museum Society groups; and several awards and certificates of recognition that Lee received for her service.