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Joan and Henry Orenstein fonds

  • MS-2-774
  • Fonds
  • [194-?] - [before 2011]
Fonds consists of Joan and Henry Orenstein's materials regarding their professional activities, including photographs, negatives, sketches, programs, flyers, posters, postcards, slides, correspondence and other materials. Fonds includes several photographs of Joan Orenstein acting, Henry Orenstein's art pieces and sketches, and Joan and Henry Orenstein's family photographic negatives.

Orenstein, Henry, 1918-2008

History of Assakio village : [sketches]

File consists of a notebook of drawings created by James H. Morrison, and three maps of the Jos Plateau in Nigeria. One map was created in 1903 and is a visualization of the settlements on the Jos Plateau; one map is a visualization of Nigeria with a focus on Jos Plateau; one map is entitled "The Fulani Jihad and those Settlements on the Jos Plateau Affected by the Emirates and/or their Allies" and displays the attack strategy of Jemaa, Zaria, Ningi, and Bauchi groups. The notebook contains colour pencil crayon drawings of styles of dress in Assakio Village with descriptive titles.

Henry Orenstein's sketches

File contains sketches of various persons and scenes, including Joan rehearsing "La Sagouine," "Purcell's Cove Social Club, 1960s," "Extinct Species, Fisherman 1960s," "Do you know Anyone who Wants A Man?" "Musicians," "Instruments," "Masks," and three sketches of unidentified persons. File also contains a copy of the sketch "Juno & the Paycock" and a photograph of the "Masks" exhibition attached to the sketch.

Henry Orenstein's records

Series consists of Henry Orenstein's materials regarding his professional activities, including photographs, negatives, sketches, programs, flyers, posters, postcards, slides, correspondence and other materials. Fonds contains several of Henry Orenstein's art pieces and sketches, including related to the "Sudbury Industrial Landscape" project. In the 1950s, Henry Orenstein was commissioned by the Mine, Mill and Smelter Workers of Sudbury to paint a mural for the local union hall, which was the centre of a broad-ranging cultural role of Mine Mill Local 598 in the Sudbury area. At that time, Mine Mill was in the midst of a series of raids by the United Steelworkers.

Harold and Harold : illustrations

File contains copies of the sketches and proofs for the illustrations for Budge Wilson's book "Harold and Harold," with comments from the illustrator, Terry Roscoe.

Harold and Harold

Subseries consists of handwritten and typescript drafts of Budge Wilson's children's book "Harold and Harold." Subseries also contains illustrations for the book by Terry Roscoe.
Goodnight Desdemona (Good morning, Juliet)

Goodnight Desdemona (Good morning, Juliet)

File contains set and lighting designs for Neptune Theatre's 1992 production of "Goodnight Desdemona," directed by Mary Vingoe and designed by Stephen Osler (set) and Leslie Wilkinson (lights).

Osler, Stephen

Five charcoal and pencil study sketches by Donald Cameron Mackay

Five charcoal and pencil study sketches by Donald Cameron Mackay

Item consists of five small pencil and charcoal sketches by D.C. Mackay, likely from the early-1940s. The first three sketches show equipment on the deck of an unidentified Canadian naval ship in convoy formation; the middle sketch shows a focus of legs in motion; the sketch on the right-hand side shows a Canadian sailor walking.
Facsimile of a pencil sketch by Donald Cameron Mackay of an officer angered by a sailor

Facsimile of a pencil sketch by Donald Cameron Mackay of an officer angered by a sailor

Item consists of a facsimile of a pencil sketch by D.C. Mackay from the early 1940s of an officer dressing down an insubordinate sailor. The perspective appears to be from the corner of George Street and Brunswick Street in Halifax. An accompanying caption reads: "Like he said -- / 'Never salute an officer / with a cig in your mouth"
Epsom Salt

Epsom Salt

Item is a caricature created by Alexander Sutherland Murray. The caricature depicts a student that attended Pine Hill Divinity Hall ca. 1920. Caption says "If “Salts” have lost its savour where with shall it be salted?"

Ellen Ballon fonds

  • MS-5-2
  • Fonds
  • 1725-1972, predominantly 1898-1972
Fonds contains correspondence, musical scores (piano and orchestral), photographs, a sketch, harmony notebooks, fliers, programs, newspaper clippings, academic journals, a press book, scrapbooks, and letters of composers. The musical scores include several first edition copies and autograph manuscripts. All personal correspondence is incoming correspondence; no outgoing correspondence is included in this fonds.

Ballon, Ellen

Duff's monkey business : drafts and related correspondence

File contains two drafts of Budge Wilson's book "Duff's Monkey Business" and related correspondence with the publisher, Formac Publishing Company Limited, which include early proposed drawings by the illustrator Kim LaFave.

Drew Sperry fonds

  • MS-2-835
  • Fonds
  • 1966 - 2004
Fonds contains architectural drawings created by Drew Sperry as a student at Nova Scotia Technical College and later as a certified architect. His student work comprises presentation drawings, while the designs for his own home in Dartmouth, Nova Scotia, and two other residential commissions include both presentation and construction drawings. There are two folders of textual records, which comprise a transcript of an interview with Drew and Sheila Sperry, real estate appraisals of their Dartmouth residence, and early budget breakdowns from Sperry's architectural practice.

Sperry, Henry Drew

Drawings of the 1949 Dalhousie University mace

  • 2017-003, OS Folder 1
  • File
  • 1949

File contains 15 drawings of the ceremonial mace designed in 1949 by Chasteney Holbourne Saunders, former head of the Department of Anatomy. The mace was carved in oak, decorated with silver and enamel, and measured 1.4 metres in length. First used in the 1950 convocation, the mace was retired in 1919 when the university introduced the "New Dawn Staff of Place and Belonging" as its ceremonial object.

There is one full-scale drawing in ink and three reduced reproductions mounted on board. The remainder are rough sketches and detail drawings in pencil of the emblems and figures that Saunders employed to represent maritime traditions and the historical significance of Dalhousie’s service to the Atlantic provinces.

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