The series consists of records pertaining to Duncan’s published works and art work. The series contains four scrapbooks of clippings related to each of her published books: “You Can Live in An Apartment” (1939), “Here’s to Canada!” (1941), “Bluenose: A Portrait of Nova Scotia” (1942), and “Partner in Three Worlds” (1944). Duncan’s work as a writer is also represented by publishing contracts from houses in New York and London (1940-1946), a series of photographs and captions that were used in “Here’s to Canada,” and files of newspaper and magazine clippings of articles written by and about Duncan, including a feature that she wrote about Gabrielle Roy. Duncan’s work as an artist is documented by files of clippings and contracts with art galleries. There is also a list of Duncan’s paintings included in one of the notebooks in Series 5 Notebooks and Diaries (1931-1957).

This series consists of unpublished literary works, including typescripts for two unpublished novels written by Duncan: “Beyond & Back” (c.1933) and “Innocent Lambs” (c.1935), which was dedicated to Hugh MacLennan. Both novels were written before her marriage to MacLennan. “Beyond & Back” was written under the pen name “Judith Crimm.”

Series consists of pantins, paper puppets which can be cut out from printed paper sheets and assembled. Includes nine sheets of pantins. Files are described individually.

Correspondence from A.V. Cormack ("Mac") to Florence Morgan Graham, his sweetheart, living in Vancouver. Also includes one letter from G.D. Royds ("Jerry"), A.V. Cormack's roommate, to F.M. Graham. Contents of the letters chiefly concern news from home, anecdotes about daily life, and thanks for care packages.

This series contains documents related to Noel Noel-Buxton's personal life and financial transactions, created between roughly 1869 and 1948. Includes material related to Buxton's early education, dental health, and the Noel-Buxton Foundation. Also includes photographs and a drawn portrait of Buxton.

The arrangement of the series reflects the structure of the fonds when it was described by McGill archivists. This may reflect the original order or may be an arrangement that was introduced by Professor H. N. Fieldhouse, who acquired the fonds for McGill and spent many years conducting research in it.