General files [textual record]
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General files [textual record]
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Record information General files [textual record]
Date:1922-1970; predominant 1935-1970.Reference:R9338-1-2-EType of material:Textual materialFound in:Archives / Collections and FondsItem ID number:211162Date(s):1922-1970; predominant 1935-1970.Place of creation:No place, unknown, or undeterminedExtent:18.5 cm of textual records.Language of material:EnglishScope and content:The series consists of biographical material, clippings of articles about Richard Taylor and reviews of his work, contracts and other financial records, correspondence and memoranda, notices of exhibitions, family documents, and memorabilia.
The biographical material includes Taylor's entries in biographical dictionaries and his typescript curriculum vitae. The clippings of articles about Taylor are largely from American newspapers, but include ones from Canadian papers and other periodicals. The contracts relate to the publication of Taylor's cartoons and illustrations and to his book, Introduction to Cartooning. Included are contracts with Watson-Guptill Publications, A.S. Barnes, Henry Holt, Doubleday, and Windmill Books. There are also contracts for the licensing of his illustrations for merchandise, including contracts with Culver Glassware and E. Errett Smith. Other financial documents include royalty statements recording Taylor's earnings from his work published by Playboy. There are also notes relating to possible earnings from the sale of prints.
The correspondence includes correspondence with agents, periodicals and publishing houses. Among the correspondents are Crown Publishers 1942 re. reprinting Taylor's cartoons, Simon and Schuster 1943 re. his "imaginary autobiography", Scott Meredith 1951 re. illustrating a P.G. Wodehouse book, and Mademoiselle 1952, 1954 re. submissions to the magazine (including typescripts of the submitted essays by Taylor, "Never Marry an Artist" and "It's Male-Bait or It Isn't"). There are two notes evidently from James (Jim) Geraghty, art editor at The New Yorker, re. rejected cartoons and a fragment of a letter on The New Yorker letterhead 1958 inquiring about the original drawing for one of Taylor's cartoons.
Personal correspondence includes a letter from Canadian journalist and broadcaster Claire Wallace, a party invitation featuring a Taylor drawing, and a Christmas card from Kay Daly Pepper (possibly to Kate Johnson MacTavish). The correspondence includes a letter from Taylor's wife, Maxine, evidently to her parents, describing Taylor's 1941 exhibition in New York and the construction of his studio; included is a note signed by Taylor re. William Beatty's death. Other letters written by Richard Taylor include a handwritten letter to a "Mrs. Ferguson" 1952 outlining his views on art and to "Francie and Oscar" 1964 outlining his views on religion.
The documentation on exhibitions includes an illustrated invitation to Richard Taylor: Unpublished Drawings at Walker Galleries, New York, 1940, as well as a letter from the gallery and a report on sales (recording one to playwright Moss Hart); an illustrated invitation to Unpublished Drawings by Richard Taylor at the Albert Roullier Art Galleries, Chicago, 1941; a poster for his Recent Drawings 1941 at the Valentine Gallery, New York; and copies of the catalogues Abstract and Surrealist American Art 1947 and Amerikaanse Karikaturisten 1956.
The family documents include a carbon copy of a letter circulated by Kate Johnson MacTavish about a proposed book on Canadian artists in the United States; a collection of formal invitations to Newton and Kate MacTavish; a programme for the Twentieth Century Liberal Association of Canada banquet at the Chateau Laurier in 1930; and a genealogy by Richard Lonton Denison, The Canadian Pioneer Denison Family (Toronto: n.d.).
The memorabilia includes a small poster consisting of a touched-up clipping featuring a photo of Richard Taylor (evidently touched-up by Taylor himself, with a halo and Taylor's trademark fish-eyes added to the photo), surrounded by excerpts from other clippings about him; a poster for two plays, including Taylor in a role in Uncle Tom's Cabin, and a poster addressed to "Drop-Ins" and signed by Taylor, evidently used on his studio door to discourage visitors. There is also material on the Art Circle and the Blandford, Mass., Art Club, both art clubs founded by Taylor, providing him with teaching opportunities.Source:Private -
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