This collection consists of administrative and artists records from the period of 1989-91. Artists such as Joe Fafard, David Thauberger, Vic Cicansky, Fred Moulding and Wilf Perreault are well represented within this collection. The Susan Whitney papers give an overview on current trends in Saskatchewan art.

The Susan Whitney Gallery opened its doors in November 1979. In addition to Susan Whitney, at the time of its founding there were four other shareholders: Victor Cicansky, Joe Fafard, Jill Rawlinson, and Richard Spafford. Whitney became the sole shareholder in the late 1980s. The mandate of this commercial art gallery is to exhibit and sell contemporary art, including painting, sculpture, tapestry, photography, and furniture, as well as Canadian folk art. A primary strength of the gallery has been Saskatchewan artists. In 1980 Whitney mounted the first of the Made in Saskatchewan exhibitions. The show was an unusual undertaking for a commercial gallery at the time. The show “included Doukhobor,Mennonite, Hutterite, Ukrainian, and French-Canadian furniture, rugs, quilts, carvings, clothing,
paintings, samplers and ceramics. For most of its viewers, it was a first introduction to the vibrant material culture of the province’s ethnic heritage”.* The gallery has participated in a number of international art fairs.

This collection consists of one compact disk and one photograph, the material is from 2009 and was donated by the donor, there are no access restrictions. Other related accessions include 87-94 and 96-26, future accruals are expected. A donor’s agreement is pending.

The records in the Ted Godwin Fonds consist mainly of correspondence between
himself and friends, including the Regina Five, and other business contacts. Also included are exhibition
catalogues, invitations to gallery openings for his and other artists shows; newspaper clippings about
himself and other artists, project correspondence, futuristic, and other designs created specially for
friends as well as correspondence regarding his wilderness concerns, Alcoholics Anonymous, donations,
and loans of artwork. Manuscripts and other correspondence pertaining to the Lower Bow publication
and exhibition; personal, travel and other memorabilia; as well as minutes and agendas for the Calgary
Allied Arts Foundation meetings can also be found. Financial information and inventory records for Hiloac
Enterprises and the Hard Art Moving and Storage Company as well as photographs, slides and
videotapes are also present. There is a list that identifies some of the correspondents and describes their relationship with Ted Godwin. Researchers should see the University Archivist for further information.

This accession contains one printed copy of Godwin’s writing The Days were kinda like that The nights I don’t remember.

This small accession is comprised of two publications, the first is an exhibition catalogue: Ted Godwin The Regina Five Years 1957-1967, the exhibition was organized by the Nickle Arts Museum at the University of Calgary in 2008 and was curated by Ann Davis. This is a signed copy of the catalogue from Ted Godwin to Shelley Sweeney, University of Regina Archivist from 1983 to 1998. Ted had inscribed both publications with personal notes to Ms. Sweeney: “Shelley, may the road be straight, the wind at your back, and [in] heaven a half hour before the devil
knows you’re dead. Ted”. The second publication, The Studio Handbook for Working Artists, is also
inscribed with a note from Ted to Shelley: “Shelley, We go this one right, Ted.”

This small accession was sent to the University of Regina Archives and Special Collections in October 2020 by Lydia White, (Stephen Clark’s daughter). The collection includes a number of letters written by T.A. Heinrich to his College friend, Stephen Clark and range is date from 1936 to 1941.